Performance

Hakka Musical: XIANGSI-NOSTALGIA / 客家音樂歌舞劇《香絲・相思》

Hakka musical, "XIANGSI-NOSTALGIA," gave 6 successful performances in 5 cities in Taiwan in May and June, 2016. Upcoming performances in various cities in Taiwan in 2017.

參與由客家委員會主辦、國立臺北藝術大學承辦的2016客家音樂歌舞劇《香絲・相思》的製作,並與多位戲劇前輩與先進共同合作。2016年5-6月於苗北、高雄、雲林、台北、桃園巡演六場,場場叫座,掌聲不斷。預計2017年將再次巡演。

Team of Production: 
演出/製作團隊:

導演:李小平         副導演:韋以丞、程鈺婷
編劇:林建華
作曲:顏名秀 (Music by Ming-Hsiu Yen)
指揮:張佳韻
編舞:董怡芬
舞台設計:王世信
燈光設計:簡立人
服裝設計:陳婉麗、陳佳敏
影像設計:王奕盛
舞台技術設計:楊金源

演員:徐灝翔、高靖榕、劉廷芳、劉佳怡、簡余倫、黃紹彬、羅思琦、陳石貴、張聖潔、吳權芸、黃珮舒、林志慶、吳志維、何錦輝、吳玟翰、盧宣頤、鍾婕安、鄭景文
舞者:賈祥國、許書銓、王昱程、方志捷、顏可茵、劉依昀、楊秋軒、江宜芳、黃千容
樂團:國立臺北藝術大學室內樂團
合唱團:國立臺北藝術大學傳統音樂學系合唱團
協演團體:台灣客家山歌團、美濃客家八音團
口白錄音:羅思琦、黃紹彬

監製:客家委員會主任委員(鍾萬梅、李永得)
製作人:楊其文
顧問群:何石松、鄭榮興、龔萬灶
藝術總監:吳榮順
行政總監:詹惠登
音樂總監:劉慧謹
舞蹈總監:何曉玫
舞台監督:陳昭郡
樂團副團長:楊聰賢
合唱指揮:林舉嫻
行銷總監:劉慧岑
執行製作:王玉玲

樂團助教:林詩律
舞台技術助教:林祐聖、王政中
服裝技術指導:顏良夙、凌詩芬
服裝技術助教:陳冠伶
燈光技術助教:林楷豐
舞蹈助教:葉國隆
展演助教:馮意倩、林汶智

NSO & Hsin-Yi: "Detective Dog & the Fantastic Toy Shop" / NSO&信誼 永遠的童話《狗汪汪與神奇玩具屋》

"TOY KALEIDOSCOPE" with Wei-Da Lin's pictured book, Papa's Red Umbrella, for NSO children's concert. The production was premiered in Taipei in April, 2016, and will be performed again in Xinbei City in September, 2016.

2016年參與NSO親子音樂會製作,以樂曲《玩具萬花筒》(繪本動畫版) 搭配繪本畫家林韋達的作品《爸爸的紅雨傘》,於2016年4月由NSO國家交響樂團於臺北國家音樂廳首演;2016年9月將於新北市再度演出。

Review: ONCE (again) - Sequenza21 (Garrett Schumann)

Pianist Ming-Hsiu Yen succeeded in delivering the work in a beautifully corporeal way. Most profound was the flowing of Ming-Hsu’s arms as she ascended and descended the arpeggiated figure at the heart of the piece.
— Sequenza21

November 6, 2010

ONCE (again)

- Sequenza21 (Garrett Schumann)

 

...Robert Ashley’s Van Cao’s Meditation (1991), for piano, opened the evening. The piece was resonant, repetitive, and reminded me of Satie’s Ogives in spirit. Essentially, Van Cao’s Meditationmilled about one confined group of a few notes which covered all registers of the piano and, at the end of each phrase, settled on an octave which was not part of this more prevalent pitch collection. The piece was over half and hour long, so the music’s motion through time was made interesting by altering the dynamics and lengths of phrases.

More importantly, the performance is meant to be intensely physical – as Ashley said before the piece, the player must have the music, “in their body” – and Pianist Ming-Hsiu Yen succeeded in delivering the work in a beautifully corporeal way. Most profound was the flowing of Ming-Hsu’s arms as she ascended and descended the arpeggiated figure at the heart of the piece. Perhaps because the work’s musical landscape is so static, Ashley placed a higher premium on the physical aspects of Thursday’s performance, even going so far as to request Ming-Hsiu wear a sleeveless top in the concert. These inferences notwithstanding, Ashley’s piece, despite its epic length, was a wild success on Thursday and many people I talked to after the concert said their reaction to Van Cao’s Meditation was profoundly visceral....