200/ 11/01 SATURDAY

小飛熊幸運的得到由AJ得到的門票

所以 當天可以去參加JOSE CARRERAS的演唱囉~~

中午下班 馬上就直奔苗栗市

但是由於YAHO地圖的不明確

還我們走了好幾個錯誤的地方

 

苗栗縣政府花大錢 做的活動 真的非常棒!

女高音長的像微胖的麗芙泰勒 也非常的用心

不只是音色非常響亮清澈

她還換了三套衣服 以及不同的頭髮造型 還有飾品

長榮交響樂團的演出也很迷人 全場都沒有冷場

非常的熱烈

掌聲就像是潮水一樣

不過 綠色的衣服 真的不是那麼好看

首席小提琴手 真的長的...好像是前總統的女婿--照健明

不過他真的很厲害

技巧超高的

而且長榮樂團還推出四重奏

兩個中提琴 一個小提琴 一個大提琴

奏出的音樂真的超棒的!!

滿天的星光跟月亮 微微的涼風 跟遠方的煙火

都讓這場演出變的更有味道

四萬多人在現場

冷靜的 安靜的 像是連根針掉下去都聽的見

尤其當邵曉鈴女士出現的時候

大家也是掌聲如雷

真是太感謝AJ&AJ弟了

 

以下是由主辦單位的網站上面寫的

http://www.kham.com.tw/ad.asp?P1=0000008365

 

從浴室發跡的巨星
1946年12月5日,卡列拉斯出生於西班牙加泰隆尼亞區的巴塞隆納,一個擁有獨特文化生態和語言的區域;許多偉大的歌唱家都表示,他們從小就具有天生的歌唱欲望,幾乎變成了一種表達自我的生理需求,卡列拉斯也不例外。他從小就熱愛唱歌,曾經在阿根廷返回巴塞隆納的蒸氣船上對著乘客高歌,母親的美髮店顧客也成了他的聽眾,即使卡列拉斯的家人暗示他的歌聲令人驚艷,但已經頻繁到開始讓全家人抓狂的地步,這個六歲大的小孩依然快樂地把自己鎖在浴室,恣意歌唱,終於卡列拉斯的母親決定採取行動來抒發他無窮的歌唱精力,這對歌劇界和等著洗澡的家人來說可是一大幸事,他開始上發聲和鋼琴課程,八歲時,他開始利用放學時間到當地的音樂學院上課,就在這個時期,卡列拉斯在巴塞隆納里西奧大劇院看了畢生第一齣歌劇—威爾第的【阿依達】,看過第一場歌劇後沒多久,卡列拉斯在西班牙國家電台演唱【善變女人】,這是八歲的他第一次舉行公開演出,十一歲時,他登上巴塞隆納里西奧大劇院的舞台,在法雅的木偶歌劇【彼得羅先生的木偶戲】中以童聲高音擔任敘事旁白。

歌劇界新星
十八歲時,少年卡列拉斯先後跟隨法蘭西斯柯˙普伊格和璜˙雷學習聲樂,卡列拉斯將璜視為他的演藝啟蒙之父。事實上,正是璜鼓勵卡列拉斯去參加歌劇【諾瑪】的試鏡,後來劇中的弗拉維奧成為他在里西奧劇院的第一個男高音角色。這個次要配角對他的歌唱事業有舉足輕重的影響,雖然弗拉維奧的台詞僅有寥寥數句,但卡列拉斯美妙的詮釋不僅引起劇評注意,也吸引了當時的主角—世紀女高音卡芭葉。她邀請卡列拉斯與她合唱,在董尼采第的【魯克蕾齊亞﹒波吉亞】中飾演吉納羅一角,這是他第一次擔任成人主要角色,也是他認為自己「真正」以男高音的身分首次登台。

如果雷是卡列拉斯的演藝啟蒙教父,那麼卡芭葉在許多方面都足以成為他的演藝啟蒙之母。她在卡列拉斯的倫敦首次公演—【瑪莉亞˙斯圖亞特】全本歌劇音樂會中擔任劇名主角,英國劇評艾倫˙布萊斯也曾去皇家節慶廳看【瑪莉亞˙斯圖亞特】,當時卡列拉斯只有25歲,布萊斯回憶道:「有時候一個人會立刻憑直覺認定,在他面前的正是一個天賦異稟的新星,而當時就是如此。不僅因為他深切美妙的男高音和濃厚的典型西班牙氣質,也因為此特質的主人知道如何將它運用到極致;同樣不可忽視的是,他天生擁有鮮明、充滿生命力且直達人心的風采。」

卡列拉斯持續精進,舊金山歌劇院導演羅特菲˙曼蘇里曾稱他是「我合作過最全面的歌劇巨星…他的音樂技巧、智慧、戲劇詮釋能力,更不用說他的絕佳嗓音,集上述優點於一身的他,儼然是個完全的藝術家。」28歲的年紀,當其他歌劇歌手正要開始蓄勢待發之際,卡列拉斯已經在歐洲和北美擔任過24齣不同歌劇的主角,並且在世界四大歌劇院舉行過首演—包括1974年在維也納國家歌劇院演出【弄臣】中的曼都瓦公爵;1974年在倫敦的皇家歌劇院飾演【茶花女】中的阿弗雷德;同樣1974年在紐約大都會歌劇院飾演【托斯卡】中的卡瓦拉杜西;以及1975年在米蘭斯卡拉歌劇院飾演【假面舞會】中的李卡多。

戰勝死神
1987年,卡列拉斯事業正值如日中天之時,他被診斷罹患急性白血病,存活的機率只有十分之一,為了熬過這嚴峻的考驗,他只能全心專注於畢生的最愛—歌劇。接受輻射治療時,他會在腦海播放一些最喜愛的詠嘆調來估算療程時間,電報和信件從世界各地湧來;多明哥特地飛到西雅圖,花了兩小時隔著塑膠牆對老友說話;帕華洛帝寄了張電報:「早日康復。如果沒有你,我就失去了對手!」

「我覺得我不能讓這些人失望,」卡列拉斯說:「所以我得成為那個堅強的角色。」 卡列拉斯康復之後會面的第一批親朋好友,其中一個就是著名的奧地利指揮家卡拉揚,兩人之間有宛如天生的親密情誼。卡列拉斯發覺卡拉揚最迷人的一點是「卡拉揚讓你覺得他像是你的父親,彷彿只為你一個人指揮。」兩人合作長達十年,卡列拉斯的許多顛峰演出和錄音就在此時期誕生。1989年,在卡拉揚去世前夕的一次訪問中,他提到卡列拉斯時說:「卡列拉斯曾經罹患可怕的疾病,但是他依然充滿希望。從他和我分享的回憶看來,那是個極痛苦的經歷,但是他現在成立自己的基金會 ,去幫助其他為病魔所苦的人,這對他來說是莫大的喜悅。他是個可敬的人,而且他還年輕,我們都希望他再開創一片新天空。」

卡列拉斯的確重新站起來了,他逐漸重返歌劇舞台、音樂會表演台和錄音室。如今他的重心放在音樂會和獨唱會,歌劇演出則縮減為每年一至二場。Opera Now雜誌的劇評曾寫道:「他毫不保留地為演唱注入優雅和抒情的生命力,既深刻又強大。」

為病患高歌
卡列拉斯的基金會為他的人生拓展了新的格局和意義。如今,他的音樂會和獨唱會收益大多用來經營荷西˙卡列拉斯國際白血病基金會。1990年的三大男高音羅馬音樂會,最初的構想就是為這個基金會募款,另一方面也讓卡列拉斯的夥伴—多明哥和帕華洛帝歡迎他們的「小老弟」重返歌劇界。然而,這場演出和陸續舉行的三大男高音演唱會,為卡列拉斯締造的聲勢遠超過在歌劇界受到的矚目。 卡列拉斯如今已邁入六十大關。他的專輯和音樂會曲目幾乎轉向拿坡里歌謠,屬輕古典曲風,輕鬆且易入耳。他的嗓音隨著年歲增長,也更沉穩內斂,但依然保有36年前驚為天人的「鮮明、充滿生命力且直達人心的風采」。對許多人而言,他們是在看完其中一場三大男高音音樂會後,才第一次認識荷西˙卡列拉斯。他也許是三位男高音之中最不露鋒芒的,但卻是本世紀最美麗的聲音。

榮譽紀事
‧1991年葛萊美獎
‧1991年,榮獲阿斯圖里亞斯王儲獎項
‧1992年,擔任巴塞隆納奧運音樂總監
‧1993年,以<人生的故事>自傳影片獲美國電視藝術與科學
 學會頒發之艾美獎
‧巴黎學院頒發之唱片大獎
‧魯伊吉˙伊利卡獎
‧在皇家歌劇院的柯芬花園以<史帝費里歐>一
 劇獲得勞倫斯˙奧利弗大獎
‧維也納國家歌劇院皇家歌手暨終身榮譽會員
‧倫敦皇家音樂學院榮譽會員
‧紐約西班牙協會金牌獎
‧維也納市金牌獎
‧西班牙國王頒予之藝術金牌獎
‧巴塞隆納市金牌獎
‧西班牙加泰隆尼亞區自治政府金牌獎
‧法國文藝榮譽司令勳章
‧義大利官方最高榮譽--大十字騎士勳章和最高等軍官頭銜
‧巴伐利亞政府榮譽獎章
‧奧地利政府榮譽獎
‧波蘭政府卡睦德十字榮譽勳章
‧柬埔寨皇家政府榮譽獎章
‧聯合國教育科學暨文化組織(UNESCO)親善大使
‧1996年獲得艾伯特史懷哲音樂獎殊榮
‧2004年,榮獲西班牙蘇菲亞女皇頒發之社會團結榮譽市民黃金
 十字勳章
‧歐洲醫藥協會,白血病互助團體,德國兒科腫瘤學和血液學協會
 之榮譽會員
‧歐洲腫瘤學協會榮譽贊助人
‧聖.波尼菲斯綜合醫院研究基金會1996年國際榮譽獎
‧朱利安.蓋耶爾國際歌唱比賽評審團主席
‧倫敦藝術管弦樂隊榮譽主席

Jose Carreras, one of the three internationally renowned tenors, is finally presenting a concert again in Taiwan. Carreras is one of the greatest tenors in the world having conquered the global audience with his romantic voice that is always full of emotion and warmth. His optimistic attitude toward life and his endless passion for music has made him a legend that never fades in the music world. Carreras likes Taiwan very much. This time, he is going to have his concert in Maioli because he is attracted by Maioli’s spectacular scenery. Though his golden voice, you will feel the warm and be touched from the bottom of the heart.

Talent Rising from Bathroom
He was born on December 5, 1946 in Barcelona, the capital of Catalonia, a region of Spain with a unique cultural life and language. It has been said of many great singers that they have an almost physical need to sing, a need that can express itself when they are very young. Carreras was no exception. As a child he truly loved to sing. He sang to the passengers on the steamship from Argentina back to Barcelona. He sang to the customers in his mother’s hair-dressing shop. Whenever his family suggested that his constant singing, although impressive might just be starting to drive them crazy, the six year old happily locked himself in the bathroom and kept right on singing.

Fortunately for the world of opera (and for the other members of the Carreras family who were waiting to take their baths), his mother arranged for him to channel this seemingly boundless vocal energy. He started voice and piano lessons. And at eight he started attending the local music conservatory after school. During this same period he saw his first live opera, attending a performance of Verdi's Aida at Barcelona's Gran Teatro del Liceo. Shortly after seeing his first opera, Carreras gave his first public performance, singing ‘La Donna e Mobile’ on Spanish National Radio. At eleven, he was on the stage of Barcelona’s opera house, the Gran Teatro del Liceo, singing the boy soprano role of the narrator in de Falla’s El retablo de Maese Pedro.


Nova in Operatic World
By 18 he studied at first with Francisco Puig and later with Juan Ruax, whom he has described as his artistic father. It was Ruax who encouraged him to audition for what was to become his first tenor role at the Liceo, Flavio in Norma. This minor role had major consequences for his career. The beauty of the few phrases that he sang as Flavio was noticed not only by the critics but also by the great soprano in the title role, Montserrat Caballe. She asked that he sing Gennaro with her in Donizetti’s Lucrezia Borgia, his first principal adult role, and the one which he considers to be his ‘real’ debut as a tenor.

If Ruax was his artistic father, then Caballe was to become in many ways his artistic mother. She sang the title role in his London stage debut, a concert performance of Maria Stuarda. The English critic, Alan Blyth saw the Maria Stuarda performance at the Royal Festival Hall. Carreras was only 25 at the time but Blyth recalls "It was one of those occasions when one immediately and instinctively recognises that one is in the presence of a new and very special talent. Not only was his a profoundly beautiful tenor, typically dark-hued in the Spanish vein, but its owner knew how to employ it to maximum advantage and, almost as important, had the vital, vivid presence of a born communicator." Carreras went on to grow into what Lotfi Mansouri, the Director of the San Francisco Opera has called "One of the most complete operatic stars that I have ever worked with...His musicianship, intelligence, dramatic ability, not to mention his gorgeous voice make him a total artist." What is perhaps quite unusual about Carreras’ career is that by the age of 28, when many opera singers are just starting to make their mark, he had already sung the tenor lead in 24 different operas in both Europe and North America and had made his debut at the world’s four great opera houses - the Vienna Staatsoper in 1974, as the Duke of Mantua in Rigoletto; London’s Royal Opera House in 1974, as Alfredo in La Traviata; the New York Metropolitan Opera in 1974, as Cavaradossi in Tosca; and La Scala Milan in 1975, as Riccardo in Ballo in Maschera.

Defeat the Death
In 1987, at the height of his success, Carreras was diagnosed with acute leukemia and was given a 1 in 10 chance of survival. To sustain himself through this ordeal, he focused on his first love--the opera. During radiation treatments, he would measure time by running through some of his favorite arias in his head. After he was told of the diagnosis, he was overwhelmed by 100,000 telegrams and letters from round the world.Domingo flew to Seattle to spend two hours talking to his colleague through a plastic wall. Pavarotti sent a telegram: ''Get well soon. Without you I have no competition!''

''I felt I couldn't disappoint these people,'' Carreras said, ''so I played the tough one.''
After his recovery, one of the first people he went to see was the great Austrian conductor Herbert von Karajan, a musician with whom he had an almost instinctive affinity. Carreras found it fascinating "how Karajan made you feel that he was like your father, conducting for you alone." Their ten year artistic collaboration has produced some of Carreras’ finest performances and recordings. In an interview shortly before his death in 1989, Karajan said of Carreras " He has had this terrible illness, but he is full of hope. From all that he has told me it was a terrible experience, but he has now set up his Foundation to help other sufferers, and this is a great joy to him. He is an adorable person, and as he is still young, we all hope that he will make a new career now."

Carreras did indeed resume his career, gradually returning to the opera stage and the concert platform as well as to the recording studio. He now concentrates more on concerts and recitals and restricts his opera performances to one or two productions a year. The Opera Now had written "His ardent infusion of grace and lyrical vitality was both poignant and powerful."


Sing for Sufferers
And of course, his Foundation has added a new dimension and purpose to his life. Many of the concerts and recitals that he now gives are benefits for the Jose Carerras International Leukemia Foundation. The 1990 Three Tenors concert in Rome was originally conceived to raise money for this Foundation and as a way for Carreras’ colleagues, Placido Domingo and Luciano Pavarotti, to welcome their "little brother" back to the world of opera. However, it and the subsequent Three Tenors concerts brought Carreras a fame that went far beyond the opera house. Carreras is now in his sixties. His recording and concert repertoire has now moved almost entirely into Neapolitan songs, the light classical genre, and 'easy-listening'. His voice is older and darker, but he still has the vital, vivid presence of the born communicator like criticisms over 36 years ago. For many people, the first time they ever saw or even heard of Jose Carreras was through one of the Three Tenor concerts. He perhaps remains the least well known of the three, but definitely the most beautiful voice of this century.


Awards and Distinctions

‧a 1991 Grammy Award
‧Prince of Asturias Award 1991
‧served as the Musical Director for the 1992 Olympic Games
  held in Barcelona
‧an Emmy from the Academy of Television Arts and Sciences
 of the United States for his biographic film A Life Story
‧the Grand Prix du Disque from the Academy of Paris
‧the Luigi Illica Prize
‧the Sir Laurence Olivier Award for his performance in Stiffelio
 at the Royal Opera House, Covent Garden
‧Kammersanger and Lifetime Honorary Member of the Vienna
 Staatsoper
‧Honorary Member of the London Royal Academy of Music
‧the Gold Medal of the New York Spanish Institute
‧the Gold Medal of the City of Vienna
‧the Gold Medal of Fine Arts bestowed by His Majesty the
 King of Spain
‧the Gold Medal of the City of Barcelona
‧the Gold Medal of the Generalitat of Catalunya
‧Commandeur de l'Ordre des Arts et des Lettres de la
 Republique Franca ise
‧Gran Croce di Cavaliere and Grande Ufficiale della
 Repubblica Italiana
‧Honour Medal of the Bavarian Government
‧Grand Honour Award of the Austrian Republic
‧Komandor’s Cross of the Order of Merit of the Polish Republic
‧Commandeur de la Medaille du Sahametrei of the Royal
 Cambodian Government
‧Goodwill Ambassador of UNESCO
‧The Albert Schweitzer Music Award 1996.
‧The Civil Order Golden Cross of the Social Solidarity bestowed
 by Her Majesty the Queen of Spain, dona Sofia, 2004
‧Doctor Honoris Causa by the University of Barcelona and the
 Universities of Loughborough and Sheffield in (United
 Kingdom), the University Mendeleyev of Moscow (Russia), the
 University of Camerino (Italy), the Napier University in
 Edinburgh (Scotland), the Rutgers University (United States),
 the Miguel Hernandez University of Elche (Spain), the
 University of Coimbra (Portugal), the National University of
 Music in Bucharest (Romania) , the University of Marburg
 (Germany) ,and the University of Pecs (Hungary).
‧Honorary Member of the European Society for Medicine,
 Honorary Member of the Leukaemia Support Group, the
  German Society of Paediatric Oncology and Haematology
‧Honorary Patron of the European Society for Medical Oncology
‧The St Boniface General Hospital Research Foundation 1996
 International Award.
‧Honorary President of the Julian Gayarre International Singing
 Competition
‧Honorary President of the London Arts Orchestra
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