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| 題 名 | 簡樸與豐富之間:論NSO歌劇音樂會系列演出(2002-2004)=Between Austerity and Abundance: An Essay about "NSO Opera in Concert Hall Series" from 2002 through 2004 |
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| 作 者 | 車炎江; | 書刊名 | 關渡音樂學刊 |
| 卷 期 | 1 2004.12[民93.12] |
| 頁 次 | 頁187-195 |
| 分類號 | 915.2 |
| 關鍵詞 | 歌劇音樂會; 樂評; 簡文彬; 國家交響樂團; 跨界導演; Opera in concert hall; Music criticism; Chien wen-bin; NSO; National symphony orchestra; Cross-over theatrical director; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 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。 |
| 英文摘要 | 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. |
本系統中英文摘要資訊取自各篇刊載內容。