2026TIFA 女高音艾莎．德蕾西《心之女王》

綻放歐洲舞台的璀璨美聲，抒情女高音艾莎．德蕾西將首度感動臺灣！

The radiant voice that has captivated European stages—lyric soprano Elsa Dreisig makes her Taiwan debut!

活躍歐洲舞台的法國丹麥裔抒情女高音艾莎．德蕾西首度來臺！自柏林國立歌劇院啟程，開展璀璨歌唱生涯，足跡遍佈歐洲各大歌劇院，如維也納國家歌劇院、米蘭史卡拉歌劇院，皆演出重要角色，並與許多國際知名指揮如拉圖、提勒曼，及頂尖樂團如柏林愛樂、維也納愛樂合作。

她擁有輕盈優雅的音色及富渲染力的嗓音與情感張力，無論在詮釋歌劇角色或藝術歌曲美學皆廣受盛讚！此次將攜手《紐約時報》譽為「完美伴奏」的英國鋼琴合作喬瑟夫．米道頓，詮釋布拉姆斯與舒曼夫婦三人的愛與生命，結合法文、西班牙文藝術歌曲，交織成浪漫熱情的夢幻之夜。

Acclaimed French-Danish lyric soprano Elsa Dreisig makes her debut in Taiwan. Launching her career at the Berlin State Opera, Dreisig has since captivated audiences at major European houses, including the Vienna State Opera and La Scala, by taking on leading roles and performing with celebrated conductors such as Simon Rattle and Christian Thielemann, as well as with world-class orchestras like the Berlin and Vienna Philharmonics.

Known for her shimmering, expressive voice and emotional depth, Dreisig is lauded for her interpretations across both operatic and art song repertoires. For this recital, she is joined by British pianist Joseph Middleton, praised by the New York Times as "the perfect accompanist." Together, they present an intimate program exploring themes of love and life through the music of Brahms and the Schumanns, woven with French and Spanish art songs for a night of romance and passion.

^{©Simon Fowler}

演出者

女高音 Soprano｜艾莎．德蕾西 Elsa Dreisig

鋼琴 Pianist｜喬瑟夫．米道頓 Joseph Middleton

演出曲目 Programme｜


布拉姆斯 Johannes Brahms
〈溫暖靜止的風〉，作品57第8首
Unbewegte laue Luft, Op. 57 No. 8
〈我的愛是綠的〉，作品63第5首
Meine Liebe ist grün, Op. 63 No. 5
〈星期日〉，作品47第3首
Sonntag "So hab ich doch", Op. 47 No. 3
〈少女之歌〉，作品107第5首
Mädchenlied "Auf die Nacht in der Spinnstub…", Op. 107 No. 5
〈你那湛藍的雙眼〉，作品59第8首
Dein blaues Auge, Op. 59 No. 8

克拉拉・舒曼 Clara Schumann
《三首浪漫曲》選段：第一首行板，作品 11（鋼琴獨奏）
Andante I, from 3 Romances, Op. 11 (piano solo)

羅伯特・舒曼 Robert Schumann
《女人的愛與一生|》
Frauenliebe und Leben

—

普朗克 Francis Poulenc
〈心之女王〉
La reine de cœur

哈恩 Reynaldo Hahn
《如果我的詩有翅膀》
Si mes vers avaient des ailes
〈妮埃拉〉，選自《拉丁習作》
Néère (études latines)

葛拉納多斯 Enrique Granados
《瑪哈與夜鶯》
La maja y el ruiseñor

圖里納 Joaquin Turina
《你那雙藍眼睛》，作品81第2首
Tu pupila es azul Op. 81 No. 2

瓜斯塔維諾 Carlos Guastavino
《玫瑰與柳樹》
La rosa y el sauce

薩提 Erik Satie
《諾西安舞曲》第1首（鋼琴獨奏）
Gnossienne No. 1 (piano solo)
《我想要你》
Je te veux

夏米娜德 Cécile Chaminade
《愛之回旋曲》
Ronde d' amour

維雅朵 Pauline Viardot
《啊，露莉》
Hai luli

夏米娜德 Cécile Chaminade
《我的第一封信》
Ma premiere lettre

梅薩傑 André Messager
《我有兩個情人》
J'ai deux amants

德利伯 Leo Délibes
《加的斯的少女們》
Les filles de Cadix

^{©Simon Fowler}

艾莎．德蕾西

法國丹麥裔的女高音迅速崛起為當今最引人注目的抒情女高音之一，自2015年加入柏林國立歌劇院工作室後，很快成為正式團員，並在巴黎、蘇黎世、維也納、倫敦等歐洲各大歌劇院完成多個角色首演。

作為 Erato 唱片旗下專屬錄音藝術家，德蕾西於2022年1月推出第三張個人專輯《Mozart x 3》，收錄莫札特達彭特三部曲與三部莊歌劇中的詠嘆調。莫札特的音樂在她的職涯中扮演著核心角色——她在巴黎國家歌劇院詮釋過《魔笛》的帕米娜與《唐・喬凡尼》的澤莉娜；2020年疫情期間，在多數劇院停擺的情況下，她仍於薩爾茲堡音樂節登台演出全新製作的《女人皆如此》，飾演費奧迪莉吉。2022年，她重返柏林國家歌劇院，與巴倫波因合作演出達彭特三部曲，首次挑戰唐娜・艾薇拉一角；2023年則首度詮釋伯爵夫人。

德蕾西的演出廣受好評，她不斷在角色中發掘嶄新面向。她相信，唯有超越歷史框架，角色才能真正活現舞台。她也堅持，像瑪儂、茱麗葉、薇奧蕾塔、費奧迪莉吉這些經典女性角色，不該僅被視為受害者。

「我體內流著現代的血液，這股脈動也應該灌注在我的聲音中。」

她認為真正的目標是「讓樂譜被聽見」——這不僅需要紮實的技術，更需要一具能夠具象化角色的身體。

她形容，對角色心理的理解是滋養詮釋的內在養分。2021年，她於日內瓦大劇院首演董尼采第《安娜・波蕾娜》時，便特別關注這位女王的情感狀態，並試圖從個人經驗中尋找共鳴。2022年，她在普羅旺斯艾克斯音樂節首次飾演理查・史特勞斯歌劇《莎樂美》的主角。這部製作由指揮梅茲馬赫與導演安德烈亞・布瑞特共同打造，從一開始就鎖定一位年輕、具抒情特質的女高音擔綱演出，這也符合德蕾西一貫不按常規出牌的藝術選擇。

「我不想強求命運，我只想順著生命的流向前進。」她以卡拉絲（Maria Callas）的職涯作為榜樣。

德蕾西熱衷於接受突發任務，即使面對風險也從不退縮。

2017年，她在接到一日通知後，緊急頂替演出由賽門・拉圖指揮、柏林愛樂詮釋的海頓《創世記》。上一樂季，她剛在哥本哈根與兩個不同樂團演出結束，隨即飛返柏林，在數小時後登台演出《魔笛》的帕米娜。2023年，她於維也納國家歌劇院臨時救火演出《瑪儂》，完成該院首演，隨後更首度登上米蘭史卡拉歌劇院，詮釋《費加洛婚禮》中的伯爵夫人。在2023/24樂季中，她陸續挑戰《波希米亞人》的咪咪、《米特里達特》的西法蕾、《羅伯特・德弗羅》的伊莉莎白女王，以及與拉圖合作音樂會版《伊多美尼歐》中的伊萊特拉，並與提勒曼指揮的維也納愛樂於薩爾茲堡音樂節再次演出《隨想曲》的伯爵夫人。

「我希望自己永遠不會滿足於當下的成就，而是持續探索，永不止步。」

^{©Simon Fowler}

Elsa Dreisig

"You often set limits for yourself before they exist," says Elsa Dreisig. This is certainly not true for the French-Danish native, who is rapidly establishing herself as one of today's most captivating lyric sopranos. Since joining the studio of the Berlin State Opera in 2015 and going on to become an ensemble member, she has made role debuts at leading houses across Europe, from Paris to Zurich, from Vienna to London. As an exclusive recording artist with the label Erato, Elsa in January 2022 released her third album, Mozart x 3, featuring arias from W.A. Mozart's three Da Ponte operas and three opere serie.

The composer occupies a central place in her career. At Paris National Opera, she has appeared as both Pamina (Die Zauberflöte) and Zerlina (Don Giovanni). In the summer of 2020, Elsa sang the role of Fiordiligi in a new production of Così fan tutte at the Salzburg Festival that was fully staged while most institutions had to close their doors due the corona pandemic. In 2022 she returned to the Da Ponte trilogy at the Berlin State Opera under Daniel Barenboim with her debut as Donna Elvira after her Countess debut the year before.

Elsa's interpretations stand out through her commitment to continually uncovering new facets in a role. That also means transcending historic constructs so that the performance comes to life in a believable way. For the soprano, no female personality – whether Manon, Juliette, Violetta or Fiordiligi – should ever be a victim. "It's the modern blood that flows in my veins and should also flow into my singing," she explains.

And yet the ultimate goal is to "make the score heard: with a solid technique – that goes without saying – but also a body that can recreate the character in the flesh." She likens the psychological knowledge required to a kind of inner nourishment that feeds her musical delivery. Upon debuting in the title role of Donizetti's Anna Bolena at the Grand Théâtre de Genève in 2021, Elsa above all focused on the queen's emotional state and tried to relate to her on a personal level.

In 2022 she made her first appearance as Salome in the eponymous Richard Strauss opera at the Festival d'Aix-enProvence (where she had previously performed as Micaëla in Bizet's Carmen). The production came together through a collaboration with the conductor Ingo Metzmacher and the director Andrea Breth, who from the outset envisioned a young, lyrical soprano for the role. The project satisfies Elsa's non-conventional appetite: "I don't want to force destiny but rather take what life offers me," she says, citing the career of Maria Callas as inspiration.

More recent, past season highlights include multiple appearances with the Bayerische Staatsoper including Le nozze di Figaro (Contessa), Il Trittico (Lauretta/Ein Liebespaar), and a European tour performing Mahler's 4th Symphony. In her 23-24 season, she returned to Deutsche Staatsoper Berlin in Mitridate as Sifare, and to Grand Theatre de Geneve for performances of Roberto Devereux, Maria Stuarda (Elisabetta) and Anna Bolena (Anna Bolena). Elsa made her role debut as Mimi in La bohème with Trondheim Opera and had a further role debut at Salzburg Festival as Gräfin in Capriccio.

Elsa's 24-25 season starts in Vienna at the Wiener Staatsoper, as Micaëla in Carmen and at the Theater an der Wien in Das paradies und die Peri (Soprano -Peri). She will embark on a European tour as the title role in Alcina with Il Pomo d'Oro, and will return to the Hamburgische Staatsoper as Manon and join the Aix-en-Provence Festival as Louise. Elsa will make her eagerly anticipated debut at Madrid's Teatro Real as Sifare in Mitridate. The season will also include recitals in Barcelona, Brussels, Paris, and Copenhagen, as well as performances with the Orchestre de Paris and Orchestre National du Capitole de Toulouse.

Elsa thrives on participating in what she identifies as exceptional events – even if they involve some risk. In 2017, she jumped in on a day's notice to sing Haydn's Creation with the Berlin Philharmonic under Simon Rattle. Last season, after giving concerts with two different orchestras in Copenhagen, the Berlin State Opera called on her to appear as Pamina just a few hours later. In 2023 she stepped in last minute as "Manon" at the Vienna State Opera making her house debut which would be followed by her debut at La Scala in Milan as Contessa in Le nozze di Figaro. In the 2023/24 season she made role debuts as Mimi in La bohème, Sifare in Mitridate, Elisabetta in Roberto Devereux as well as Elettra in Idomeneo in a concert performance with Simon Rattle. "I hope to never rest on my laurels," she says, "and continue to explore."

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