普契尼歌劇《瑪儂．雷斯考》

普契尼逝世百週年  成名之作華麗鉅獻

跨國共製  旗艦歌劇

義大利是聲樂王國，歌劇傳統源遠流長，從文藝復興時代以降一路輝煌燦爛，為世界提供數不盡的美好旋律與精采詠嘆。只是大概沒人料到，威爾第之後義大利最成功的歌劇大師，居然是到35歲才寫出成名作的普契尼。他有信心也有耐心，戲劇感敏銳超群，筆法海納百川，任何流行招數都能學會，還能無縫整合於自己的創作。雖只寫了12部歌劇，卻屬史上最受歡迎的作曲家，連《007量子危機》和《不可能的任務：失控國度》都把他的場景搬上銀幕，還成為重要的情節互文。無論你是否喜歡，這世界已經不能沒有他。2024年是他逝世百年紀念，可想而知，我們會聽到更多更多的普契尼。

然而，是什麼讓普契尼在35歲成名？答案就是他第三部歌劇，1893年上演的《瑪儂．雷斯考》。此劇改自普弗神父鼎鼎大名的小說。作者本人就浪漫不羈，小說則詳實描寫法國路易十五時代貴族子弟的荒唐生活，加上青春又輕佻，呆萌又奢華、可愛可笑又可憐的美少女瑪儂，難怪一時洛陽紙貴。是啊，香豔刺激誰能不愛？大家都著迷放蕩又瘋魔的現實傳奇，連小仲馬的《茶花女》，都把《瑪儂》此書當成男女主角的信物與對照，「瑪儂」也成為史上最具代表性的拜金女郎之名。

原著雖然有名，普契尼這部歌劇卻是得來不易，因為已有法國歌劇巨擘馬斯內改寫的經典在前，而那到今天仍是最熱門也最迷人的歌劇之一。「馬斯內以法國人的方式感受瑪儂，音樂裡充滿香粉和小步舞曲。我則以義大利人的方式去感受瑪儂，充滿絕望的激情。」幾經思考，普契尼最後仍決定勇敢挑戰同一題材。畢竟，「為什麼不能有兩部關於瑪儂的歌劇呢？瑪儂都可以有一個以上的情人了。」 所幸事實證明，普契尼和馬斯內一樣，都是最會描寫女人的作曲家，各有不凡功夫。但為避免和前輩正面交鋒，普契尼努力閃開馬斯內寫過的場景，情節也隨之調整配合，成為四幕各自宛如小天地的場景歌劇。為增強各段之間的連續性，他提升男主角戲份，筆下的瑪儂更成為有血有肉、高強度的戲劇性角色。這使《瑪儂．雷斯考》每一幕都有強大張力與爆發力，情感渲染令人血脈沸騰。事後回看，《瑪儂．雷斯考》的大獲成功，讓普契尼從此深諳撩撥聽眾之法，建立自成一家的音樂劇場美學，至今仍立於不敗之地。

馬斯內不斷翻修自己的瑪儂，普契尼也是。目前演出的《瑪儂．雷斯考》最終修訂定版，管絃寫作細膩精湛，音色豐艷華美，唱段刺骨椎心，絕對有其最佳手筆。身經百戰、唱遍大小角色的男高音多明哥，曾將此劇列為心中最偉大的六部歌劇，不難想像它能給予聲樂家的揮灑空間。劇尾女主角衰竭而死的場景，其濃烈逼人的程度，放眼整部歌劇史也屈指可數。這次衛武營與斯洛維尼亞國家劇院和阿根廷哥倫布劇院跨國共製，不只要你認識花都拜金女的紙醉金迷，更要讓你深深愛上普契尼。這是歌劇大師逝世百週年不得不看的製作，無論如何，請你千萬別錯過！

劇情簡介
原奉父命成為修女的美少女瑪儂，在前往修道院途中被年輕學生德．格里厄的熱情求愛打動，決定私奔至巴黎。然而，窮學生無法滿足巴黎開銷，瑪儂選擇成為老富翁的情婦。即使享受著奢華，她的心卻始終牽掛德．格里厄。再度重逢時，他們被老富翁發現偷情，逃亡中瑪儂難以割捨珠寶，最終被捕而流放至北美洲荒漠。在重病中，瑪儂回憶起過去的錯誤，在德．格里厄的懷抱中悲痛地死去。

Renowned as the kingdom of choral and voice music, Italy boasts a rich history in operas, dating back to the Renaissance era with its earliest operatic works. However, it may come as a surprise to some music lovers that Giacomo PUCCINI, one of the most successful opera maestros born in a country which nurtured numerous beautiful melodies and arias, didn't become known to the public for his musical genius until the age of 35. With incredible confidence, patience, and extraordinary sense of dramatics, PUCCINI adeptly adopted popular writing techniques of his time, seamlessly incorporating them into his own works and thus crafting an eclectic style. Having only written 12 operas throughout his lifetime, PUCCINI wasn't the most productive composer. Nevertheless, his works have endured the test of time and continued to be among the most-performed operas to this day. His operas were featured in Hollywood blockbusters such as Quantum of Solace and Mission: Impossible—Rogue Nation as important plot devices. Like it or not, one cannot live a life without hearing PUCCINI. This year marks his 100th death anniversary, so expect to hear more of him!

How exactly did PUCCINI earn his fame at the age of 35? The answer lies within his third opera Manon Lescaut. Premiering in 1893, the opera was based on the 1731 novel Histoire du Chevalier des Grieux et de Manon Lescaut by Abbé PRÉVOST, a famed novelist. The novel tells the story of the uninhibited lifestyles of aristocratic heirs when France was under the reign of Louis XV. The book is recognized as the most reprinted book in French literature, largely attributable to the young, frivolous, pretty, luxurious, lovely, laughable, yet pitiable Manon. Indeed, few can resist the temptation of a seductive heroine in a wild, tempestuous legend. Even the great novelist Alexandre DUMAS made a reference to Manon in A Dama das Camélias, which further cemented her status as the materialistic femme fatale in the history of literature.

Despite how well-known the original novel is, PUCCINI's Manon Lescaut didn't come by easily, especially when the original material was already adopted into an opera by French composer Jules MASSENET, whose version is still frequently performed on stage today.

"MASSENET felt Manon as a Frenchman, with powder and minutes. I shall feel it as an Italian, with a desperate passion," said PUCCINI, as he made the decision to "rehash" the century-old story, "Why can't there be two operas about Manon, when a woman like her can have more than one lover?"

Like MASSENET, PUCCINI knew how to write women well, and they both excelled in their own way. To avoid head-on comparisons with his senior, PUCCINI strived to avoid scenes already written by MASSENET. He modified the plot and divided the opera into four acts, each with strikingly distinct staging. To strengthen the connection between acts, he made the role of the male lead much more significant than in the novel, while his version of Manon was the most hot-blooded and dramatic yet. Every scene from PUCCINI's Manon Lescaut is filled with tension, emotions, and passion. In hindsight, it should not come as a surprise that PUCCINI's Manon Lescaut has remained a hit for more than a century; indeed, he knew how to intrigue the audience with his unique operatic aesthetics.

MASSENET revised his Manon countless times and so did PUCCINI with his version. For this production, we are presenting the final revision of Manon Lescaut written by PUCCINI himself. The lush, delicate orchestral accompaniment and the heartfelt arias in this version are arguably some of the best works ever penned by PUCCINI. The revered veteran tenor Plácido DOMINGO ranked PUCCINI's Manon Lescaut as one of his top six favorite operatic works of all time, indicating how much it showcases the range of a vocalist. The final scene where Manon dies of exhaustion was so imbued with emotions that few operas in the history of music can compare. The goal of this international co-production between the National Kaohsiung Center for the Arts (Weiwuying), Slovene National Theatre Maribor, and Teatro Colón Buenos Aires is to plunge the audience deep in love with not only Manon's charm and opulent lifestyle but also with the operatic genius that is PUCCINI. Whether you are an opera fan or new to the art form, join us in this production of Manon Lescaut as we celebrate the 100th death anniversary of PUCCINI.

演出人員名單

指揮｜簡文彬

導演｜皮耶．弗朗切斯科．馬埃斯特里尼

助理導演｜蒂姆．里比奇

舞台設計｜尼古拉斯．博尼

服裝設計｜盧卡．達拉爾皮、蘇珊娜．倫吉歐

燈光設計｜皮耶．弗朗切斯科．馬埃斯特里尼、尼古拉斯．博尼、薩修．貝卡菲戈

技術指導｜尤爵．舒德爾

瑪儂．雷斯考｜耿立（9/5、9/7場次）、林玲慧（9/6、9/8場次）

雷斯考｜陳翰威（9/5、9/7場次）、趙方豪（9/6、9/8場次）

騎士德．格里厄｜安格羅斯．薩瑪齊斯（9/5、9/7場次）、崔勝震（9/6、9/8場次）

傑隆特、船長｜朴泰桓

艾德蒙多、舞蹈教師、點燈人｜林健吉

旅館主人、士官｜曾文奕

音樂家｜王郁馨

樂團｜長榮交響樂團

合唱團｜微行星聲樂藝術工房

Conductor｜CHIEN Wen-pin

Stage Director｜Pier Francesco MAESTRINI

Assistant Director｜Tim RIBIČ

Set Designer｜Nicolas BONI

Costume Designer｜Luca DALL'ALPI, Suzana RENGEO

Lighting Designer｜Pier Francesco MAESTRINI, Nicolas BONI, Sašo BEKAFIGO

Technical Director｜Jože ŠNUDERL

Manon Lescaut｜KENG Li (Sep 5 & 7), LIN Ling-hui (Sep 6 & 8)

Lescaut｜CHEN Han-wei (Sep 5 & 7), CHAO Fang-hao (Sep 6 & 8)

Il Cavaliere Renato des Grieux｜Angelos SAMARTZIS (Sep 5 & 7), CHOI Seung-jin (Sep 6 & 8)

Geronte di Ravoir / Un Comandante di Marina｜Taihwan PARK

Edmondo / Il maestro di ballo / Un lampionaio｜Claude LIN

L'oste / Sergente degli Arcieri｜TSENG Wen-i

Un musico｜WANG Yu-hsin 

Orchestra｜Evergreen Symphony Orchestra

Chorus｜Planetesimal Vocal Art Studio

※本製作由衛武營國家藝術文化中心、斯洛維尼亞國家劇院、阿根廷哥倫布劇院共同製作。

Co-produced by National Kaohsiung Center for the Arts (Weiwuying), Slovene National Theatre Maribor, and Teatro Colón Buenos Aires. 

♛普契尼歌劇《瑪儂．雷斯考》節目冊網路預購限量9折 ♛
預購期間：6/12（三）12:00 起 至 7/21（日）止
網路預購價：每本NTD270元（原價：NTD300元)
限量800本
節目冊預購請點此

演前導聆｜ 

9.5(四)19:00  歌劇院二樓大廳

9.6(五)19:00  歌劇院二樓大廳

9.7(六)14:00  歌劇院二樓大廳

9.8(日)14:00  歌劇院二樓大廳

到場注意事項｜

＊演出全長約165分鐘，含中場休息20分鐘。建議7歲以上觀眾觀賞。

＊9/5(四)、9/6(五)場次演出中同步錄影。

＊義大利文演出，中、英文字幕。

＊演出含道具槍、槍聲場景，請斟酌入場。

＊遲到、中途離席觀眾請依循現場工作人員指示入場。

＊主辦單位保留所有活動異動權與解釋權。