簡文彬接任國家交響樂團（NSO）的音樂總監三年以來，對於全本的歌劇演出明顯地抱持著高度興趣；其中，「NSO歌劇音樂會系列」的節目即為最具體的例證。在簡樸的舞台布景中，NSO歌劇系列的演出獲得高票房的支持，這象徵著跨界合作的成功？還是暴露出更多歌劇音樂會演出上的問題？這類「簡樸」的製作是否一樣能為觀眾帶來「豐富」的收獲？音樂專業工作者是否能在發揮自身創意的同時，不僅呈現歌劇音樂的新風貌，還能增益其商業市場的價值，甚至超越原有演出形式的藝術水平？文中將逐一加以探討。

The aim of this music criticism was to evaluate the program of the “NSO Opera in Concert Hall Series” from May 2002 to April 2004, and to explore the “cross-over” phenomenon in this series. After being the music director of National Simphony Orchestra for three years, Chien Wen-bin has shown his enthusiasm in opera, for instance, the program of “the NSO Opera in concert hall series” in 2002-2004. According to the statistics, all the performances of this series were amazingly successful in box-office, and they benefited quite a lot from the cross over theatrical directors. This “cross-over” phenomenon was the main topic of the second half of this criticism.