03/01/2026
富邦世紀音樂盛宴－鋼琴巨星 朗朗
2025 年 12 月 21 日午後，在臺北國家音樂廳，這場音樂會的節目設計很漂亮：先用拉威爾把空氣染成西班牙夜色，再用聖桑把整座音樂廳變成會眨眼的動物世界；中場之後，柴可夫斯基第一號鋼琴協奏曲把浪漫派的張力一路推到最後一秒。
舞台焦點當然是朗朗。現場最迷人的，不只是他對速度與音量的掌控，而是他能把一段旋律講得像故事：句子有起伏、情緒有呼吸，觀眾很自然就會被帶進去。這場也同時看見他在「巨星光環」之外更細膩的一面：一旦進入音樂，他會把炫技收進結構裡，讓你先聽到作品的骨架，再聽到聲音的光澤。
同台的鋼琴家吉娜・愛麗絲，是另一個非常重要的亮點。兩人合作的段落，最讓人印象深刻的是彼此的聆聽與回應：不是單純「兩台鋼琴加倍」，而是表情、節奏、語氣的加倍。你會感覺他們像在用音符對話，一句接一句，偶爾互相鬧一下，下一秒又默契地一起轉彎。
指揮準・馬克爾與國家交響樂團 NSO，讓整體聲響的層次非常清楚。從拉威爾的配器色彩、到聖桑的幽默細節、再到柴一那種大規模的浪漫派推進，樂團都能維持秩序感與透明度。你不會只聽到「大聲」，而是聽到每個聲部在不同角落各自發光，最後又能收攏成同一個方向。
上半場
一、拉威爾：西班牙狂想曲
這首作品不像在描寫旅遊景點，更像在描寫夜裡的西班牙：空氣裡的熱度、遠處的舞步、街角的燈影，還有忽明忽暗的躁動。四個樂章像一段由暗到明的旅程，最後收在最熱鬧的節慶。
第一樂章 夜之前奏曲
特性是「夜色與距離」。整體音響偏低調，像把燈光調暗，讓聽覺先習慣夜的溫度。你可以注意那種反覆出現、像夜裡心跳一樣的短動機，整段音樂在半夢半醒之間游移。
第二樂章 馬拉圭尼亞舞曲
特性是「舞步突然清楚」。節奏輪廓更俐落，像夜裡突然有人開始跳舞。它不會用很厚重的力量碾過你，而是用乾淨的節奏把你拉進場。
第三樂章 哈巴奈拉舞曲
特性是「慵懶的擺盪」。音樂有種黏稠的搖晃感，像慢慢轉動的扇子或帶著香氣的熱風。你會聽到旋律在微妙的張力中前進，帶一點誘惑、一點克制。
第四樂章 節慶
特性是「城市醒來」。節奏與色彩瞬間全面爆發，像人潮湧上街，燈光、笑聲、鼓點一起把畫面推亮。最後的收束很燦爛，是那種會讓人忍不住在心裡跟著加速的結尾。
二、聖桑：動物狂歡節
這套作品最厲害的地方，是用很短的篇幅寫出「角色感」。它不只是可愛，而是精準：音色像表情、節奏像動作，很多地方還帶著很壞的幽默。你越仔細聽，越會發現每個動物不只是一種形象，而是一種性格。
第一段 序奏與獅王進行曲
動物特性：王者、威嚴、步伐穩。
曲風與聲響：進行曲的架勢很正，像獅子踏步進場；鋼琴的快速音型像吼聲或甩鬃毛，既霸氣又帶戲劇感，像國王在宣布「我來了」。
第二段 公雞與母雞
動物特性：碎念、啄食、短促反應。
曲風與聲響：短音符像啄米，節奏斷斷續續，音型像雞群在互相喊話。整段有一種忙碌又好笑的日常感，像雞舍裡永遠停不下來的吵鬧。
第三段 野驢
動物特性：躁動、衝刺、說跑就跑。
曲風與聲響：速度直接拉滿，像一群野驢突然狂奔。音型很直、很快、很不講理，像你還沒準備好，它已經衝過去了。
第四段 烏龜
動物特性：慢、慢到可愛。
曲風與聲響：反差幽默是重點。旋律像原本應該很快的舞步，被硬是放慢成龜速，於是整段變成一種「慢到有表情」的搞笑，像烏龜用優雅的姿態堅持自己的節奏。
第五段 大象
動物特性：體型巨大、步伐厚重，但又想跳舞。
曲風與聲響：低音區是主角，像大象把重量感踩在每一拍上，但又努力擺出優雅的舞姿。越是用力想優雅，越可愛。
第六段 袋鼠
動物特性：彈跳、停住、再彈跳。
曲風與聲響：音樂常做跳一下、停一下的節奏戲法，像你看到袋鼠突然蹦出去，下一秒又停在原地觀察，再一個彈跳換到另一邊。
第七段 水族館
動物特性：漂浮、透明、會發光的靜。
曲風與聲響：最夢幻的一段之一。聲響像水光在玻璃上閃動，和聲與分解和弦像水流，把你整個人拉進一個藍色的慢動作世界。
第八段 長耳人
動物特性：尖叫、嘴硬、帶點吐槽。
曲風與聲響：像兩個聲音在互相模仿、互相嘲諷，短、尖、直接，帶一點刻意的滑稽感。它不靠旋律取勝，而靠「叫聲的表情」取勝。
第九段 森林中的杜鵑
動物特性：躲在遠處，只留下固定音程的叫聲。
曲風與聲響：空間感非常強。你會聽到遠方的杜鵑叫聲被留在背景裡，周圍的音響像森林的靜，把距離拉得很長，安靜到你會不自覺放慢呼吸。
第十段 大鳥籠
動物特性：敏捷、碎步、愛炫技。
曲風與聲響：快速線條像鳥翅振動，音符像在空中急轉彎。你會感覺鳥群在籠裡上上下下地跳、飛、停，整段充滿活力與閃爍感。
第十一段 鋼琴家
動物特性：這裡的動物其實是人，練琴時的固執與機械感。
曲風與聲響：像初學者在練音階或基本功，規矩到有點荒謬。它的幽默很內行，但就算不懂也能感受到那種「練到失去靈魂」的刻意效果。
第十二段 化石
動物特性：被封存的過去、骨董、老派收藏。
曲風與聲響：節奏乾脆像敲到骨頭，音樂裡常有「老東西」的影子，像博物館標本忽然被燈照亮。這段的趣味在於，它讓你聽到時間的灰塵被抖落。
第十三段 天鵝
動物特性：優雅、線條長、慢慢滑行。
曲風與聲響：全曲最純粹的一段。旋律像天鵝在水面平滑前進，沒有多餘的動作，只有乾淨的歌唱感。它會讓現場自然安靜下來，像大家都怕一出聲就打破水面。
第十四段 終曲
動物特性：整個動物園一起出來謝幕。
曲風與聲響：像大遊行最後的集體狂歡，把前面角色的影子快速拼貼回來，節奏更密、更亮，笑點一閃而過，最後收在很燦爛的句點。
中場休息
下半場
三、柴可夫斯基：降 B 小調第一號鋼琴協奏曲，作品 23
這首協奏曲的魅力不只在於它的名氣，而在它把鋼琴寫成一個會說故事的角色：有時像英雄、有時像詩人、有時像硬撐著不示弱的人。鋼琴與樂團不是誰陪誰，而是一場持續的對話與拉扯，最後再一起走向同一個終點。
第一樂章 不太快且極為莊嚴的快板－精神抖擻的快板
一開頭就像把大門推開，氣勢大到讓人瞬間清醒。接著鋼琴與樂團像在辯論，你一句我一句，情緒在戲劇性與歌唱性之間快速切換，越走越熱，卻仍維持清楚的結構感。
第二樂章 樸質的小行板－最急板－回到初始的速度
像一段靠近心臟的慢速獨白，旋律簡單但很有重量。中段突然加速，像情緒被打斷或突然想起什麼，隨後回到原本的步伐，留下耐人尋味的餘韻。
第三樂章 火熱的快板－速度轉緩－活潑的快板
推進感很強，節奏像火往上加。中間速度轉緩像短暫喘息，但你知道它是在蓄力，後段再把能量一次放出去，結尾乾脆俐落，像把整場音樂會的心跳交還給觀眾。
這場音樂會的感覺很完整：拉威爾讓你先進入色彩，聖桑讓你用笑與想像力重新打開耳朵，柴可夫斯基再用浪漫派的重量把所有感官收束起來。走出音樂廳的時候，腦中會一直浮現不同畫面：夜色、動物的影子、以及鋼琴在樂團之上掀起的浪。
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Fubon Century Music Feast – Piano Superstar Lang Lang
On the afternoon of December 21, 2025, at the National Concert Hall in Taipei, this program felt thoughtfully curated: Ravel first colored the air with Spanish night, Saint-Saëns then turned the hall into a living animal world with humor and imagination, and after intermission, Tchaikovsky’s Piano Concerto No. 1 carried Romantic intensity all the way to the final second.
Lang Lang was, of course, the center of the stage. What impressed me most was not only his control of speed and volume, but the way he tells a story through sound: phrases breathe, tension rises and releases, and the audience is naturally drawn into the narrative. Even when the writing invites brilliance, he places virtuosity inside structure, so you hear the architecture first, then the shine.
Gina Alice was another major highlight. In the passages they performed together, what stood out was the constant listening and response between them. Duo-piano here was not about “twice the loudness,” but twice the expression—timing, color, and attitude. It felt like a conversation in notes: playful for a moment, then turning together with quiet precision.
Conductor Jun Märkl and the National Symphony Orchestra, NSO, shaped the overall clarity of the sound. From Ravel’s orchestral colors to Saint-Saëns’s quick-witted details and finally Tchaikovsky’s large-scale Romantic drive, the orchestra maintained transparency and direction. It never felt simply “loud”; it felt layered, each section shining from its own corner while still moving as one.
First Half
Ravel: Rapsodie espagnole
This is not a travel postcard. It’s Spain at night: heat in the air, distant dance steps, lights at the corner of the street, and a restlessness that flickers on and off. The four movements travel from darkness to brightness, ending in a full celebration.
I. Prélude à la nuit
Character: night and distance. The sound world is restrained, as if the lights were dimmed. A recurring small motive feels like a nocturnal pulse, hovering between wakefulness and dream.
II. Malagueña
Character: the dance suddenly becomes clear. Rhythmic outlines sharpen, like someone beginning to dance in the dark. It pulls you in with clean rhythm rather than heavy force.
III. Habanera
Character: a languid sway. The music moves with a slightly weighted, seductive motion—like a slowly turning fan in warm air—tension and restraint woven together.
IV. Feria
Character: the city wakes up. Rhythm and color burst into full life, like crowds flooding the streets. The ending is bright and exhilarating, almost making your heartbeat accelerate.
Saint-Saëns: The Carnival of the Animals
The brilliance of this suite is character: timbre becomes facial expression, rhythm becomes movement, and the humor is precise. The more closely you listen, the more you realize each animal is not only an image, but a personality.
I. Introduction and the Lion’s Royal March
Animal traits: royal, steady, commanding.
Style and sound: a proper march as the lion enters; piano figures suggest roaring or a mane being tossed—majestic, theatrical, and unmistakably “the king has arrived.”
II. Hens and Roosters
Animal traits: busy chatter, pecking, quick reactions.
Style and sound: short notes peck like grains; abrupt rhythms chatter like a coop that never quiets down.
III. Jackasses (Wild Animals)
Animal traits: restless, sudden sprinting.
Style and sound: velocity is the point—straight, fast, and unapologetic, like a stampede that’s already gone before you blink.
IV. Tortoises
Animal traits: slow, charmingly slow.
Style and sound: the comedy is in the tempo—music that “should” be quick is stretched into turtle speed, becoming slow-motion wit with personality.
V. The Elephant
Animal traits: massive weight, yet trying to dance.
Style and sound: low register humor—heavy steps in every beat, with a lovable attempt at elegance.
VI. Kangaroos
Animal traits: hop, stop, hop again.
Style and sound: leap-and-pause gestures capture bouncing motion, like a camera tracking sudden jumps and brief stillness.
VII. Aquarium
Animal traits: floating, transparent, quietly glowing.
Style and sound: one of the most dreamlike movements—rippling textures shimmer like light through glass and water, pulling you into a blue slow-motion world.
VIII. Personages with Long Ears
Animal traits: sharp braying, stubborn teasing.
Style and sound: short, pointed exchanges like brays thrown back and forth—dry satire in miniature.
IX. The Cuckoo in the Deep Woods
Animal traits: hidden, distant calls at a fixed interval.
Style and sound: spacious and still—the cuckoo call feels far away, framed by “forest silence” that stretches distance.
X. Aviary
Animal traits: agile, fluttering, flashy.
Style and sound: fast lines flicker like wings; notes dart and turn as if birds are hopping, flying, and perching in quick succession.
XI. Pianists
Animal traits: humans as “animals,” stubborn practice habits.
Style and sound: scale-like rigidity and repetition—so rule-bound it becomes absurd, a perfectly crafted inside joke.
XII. Fossils
Animal traits: preserved past, museum relics.
Style and sound: crisp, bony rhythms, with a sense of old objects being tapped awake—like labels suddenly lighting up on ancient specimens.
XIII. The Swan
Animal traits: elegant, long lines, smooth glide.
Style and sound: pure lyric calm—melody glides like a swan on water, and the hall naturally falls silent as if afraid to disturb the surface.
XIV. Finale
Animal traits: the whole zoo returns for a curtain call.
Style and sound: a parade of quick character flashes—denser, brighter, and more playful, closing with a clean, radiant full stop.
Intermission
Second Half
3. Tchaikovsky: Piano Concerto No. 1 in B-flat minor, Op. 23
This concerto is not only famous; it is dramatic storytelling. The piano becomes a character—heroic, poetic, stubborn, vulnerable—while the orchestra is an equal partner in a long dialogue and tug-of-war that ultimately converges into one ending.
I. Allegro non troppo e molto maestoso – Allegro con spirito
The opening is like pushing open a grand door—immediately electrifying. Then piano and orchestra debate, trading lines as the music shifts quickly between drama and song, growing hotter while staying structurally clear.
II. Andantino semplice – Prestissimo – Tempo I
An intimate slow soliloquy with simple but weighty lyricism. The sudden fast middle section feels like an interruption or a flash of urgency, then the music returns to its original pace, leaving an aftertaste that lingers.
III. Allegro con fuoco – Molto meno mosso – Allegro vivo
Drive and momentum dominate, as if the fire is turned up. The slower section is a brief breath—clearly gathering strength—before the final surge releases everything, ending with decisive brilliance.
This concert felt complete: Ravel opened the door to color, Saint-Saëns reset the ears with humor and imagination, and Tchaikovsky brought everything into Romantic weight and resolution. Leaving the hall, different images kept returning—night air, animal silhouettes, and waves of piano sound rising above the orchestra.
