Newsletter No. 403

12 No. 403, 19.9.2012 这个夏天你在香港演出频密,感觉怎样? 8月19日与大师赫尔穆特.里霖合作莫札特《C小调庄严弥撒曲》,今晚(9月2日)演 唱莫札特《安魂曲》、巴赫的经文歌和清唱剧,明天回阿姆斯特丹开学,两星期后再 回港参与香港圣乐团的海顿与布列顿音乐会。这样频密演出并不常有,也挺累的。 每套作品对音色、诠释的要求各异,我只有尽量多研习乐谱,多听一些录音。 你最初常演唱女低音或女中音的曲目,现在则多是女高音,何解? 中学女生都爱唱高音,我是少数低音较突出的,自然就归入低音部。十多岁学声乐, 接受的是女中音的训练,老觉得音色厚一点比较安全,感情比较充沛,还是这两年在 荷兰才领悟要把音色均匀调和。老师常叮嘱我不要故意用胸腔把声音加厚,要兼备 头腔和胸腔,不可偏重。 还记得在中大学习的片段吗? 中大是大学,比较注重学术根基,中英文和通识的学习比重也不小。最近辞世的系主 任麦嘉伦教授就是位了不起的学者,我曾上他的西方歌剧课。音乐系的乐室可算是 二十四小时开放的,我住在文质堂,晚上常和同学从后门溜进去,唱歌、玩乐器,练 习嬉闹到三四点。 在荷兰的学习又如何? 我在阿姆斯特丹音乐学院念完硕士,那边着重实践,除了上法、德、意文课、戏剧课, 大部分时间都在练习声乐,表演机会也较多。我不是学术型,是颇适合音乐学院的。 可以谈一下各阶段老师给你的启蒙吗? 我高中开始跟陈少君老师上课,直至完成大学,每次都乐在其中。学声乐除了要有美 丽的声线,音乐感很重要。不能单靠乐谱上的记号或别人告诉你怎样做,要自己感受 音乐的要求。当时年纪还很小,对音乐的诠释、想像、感觉,全靠陈老师启导培养,至 今仍然受用。九岁加入香港儿童合唱团,音乐总监霍嘉敏给我很大启发。对小孩子 讲话不能太技术性,你说怎样提高某块肌肉,没人会明白。她用很多意象加深我们 的理解,很是奏效。阿姆斯特丹的Sasja Hunnego老师则强于提升技巧,令我在两 年内进步很大。她能发出很确切的指示,也擅于针对我的问题,设计练习助我改善。 在这个阶段,我已累积了一点经验,比较有能耐了解技术性较强的课题,辨识力也较 强,遇到她,时间上配合得刚好。 谈谈今年4月在奥地利的比赛夺得亚军、女高音奖和观众奖的经验吧。 我也是姑且一试,只想着尽力而为,如能进入准决赛,也算是「超标完成」,对自己有 个交代了。三轮比赛共唱七首歌,我本没胜算,所以把威尔第《假面舞会》的一首咏叹 调放到决赛,因为那需要很重的声音,并不太适合我。后来在决赛名单见到自己的名 字,真是喜出望外,唯有豁出去吧。可能就是那份豁出去的努力赢取了观众和评判的 好感。 未来的路打算怎么走?何时会举行独唱会? 还是想在外国多闯些时,多一点表演机会,也多跟一些乐师、歌唱家观摩学习,增 广见识。我喜欢教学,我曾回中学母校教声乐、教合唱团。中大的师弟妹遇到问题找 我,我也乐于和他们讨论,这会迫令自己深入思考,学习因应个别学生不同的能力和 性格,改善自己的表达方式或解决问题的方法,在过程中可能也会发现对自己有助的 方法。至于独唱会,现在还未是时候,我还须汲取更多经验,充实技巧和修养;或者 期于五年后吧。 请扫描QR码阅读全文版 Scan the QR code for the full version Photos of Louise Kwong in this issue are by Keith Hiro How do you feel about the busy schedule in Hong Kong this summer? I sang in Mozart’s Great Mass in C Minor under the baton of maestro Helmut Rilling on 19 August, and will sing the soprano solo in Mozart’s Requiem , a Bach cantata and a motet tonight (2 September). I will return to Amsterdam tomorrow for the new semester and come back two weeks later for the Hong Kong Oratorio Society’s Haydn and Britten concert. Such a busy schedule is quite unusual and demanding for me, as each work requires a different tone quality and interpretation. You used to appear as an alto or mezzo soprano. How come you’ve been singing more soprano roles recently? Nearly all high school girls love singing the high voice. Since I belonged to the few who have a better low register, I was assigned to the low-voice part. I was trained as a mezzo soprano in my teens. Singing with a rich timbre made me feel secure, and it sounded more expressive. It was not until two years ago in Holland that I learned to have a balance between head and chest tones. What is it like studying at CUHK? The undergraduate programme focused on building a strong academic foundation weighted with general education and languages. The late Professor McClellan of the Music Department taught me Western opera, and he was an outstanding scholar. I lived in Wen Chih Tang. I remember sneaking in through the back door of the department’s studio at night, which was practically ‘open’ around the clock. We would have fun there until 3 to 4 am, singing and playing instruments. And what is it like studying in the Netherlands? I obtained my master’s degree at the Conservatory of Amsterdam where practice was the emphasis. Besides learning French, German, Italian and drama, I spent most of my time practising voice. Opportunities for performance were plenty. I’m not the academic type and so a conservatory suits me well. How do teachers at different stages inspire you? Ms. Chan Siu-kwan taught me voice from Secondary 4 till I graduated from CUHK. I enjoyed every lesson with her. It takes a beautiful voice, and most of all, musicality, to be a good singer. You have to feel the music and understand what it asks from you. As a young girl, I learnt everything—interpretation, imagination and musical senses—from Ms. Chan, and I am still benefiting from her teaching now. I joined the Hong Kong Children’s Choir at nine and was inspired by its Music Director Kathy Fok. She used vivid imageries to help us understand the technical requirements for singing, and it proved to be effective. Under the coaching of Ms. Sasja Hunnego at the Amsterdam Conservatory, my techniques have improved tremendously over the past two years. She is good at giving me specific instructions, and designing customized exercises for me to correct my mistakes. Having gained some experience and grown with age, I have become more capable of understanding more technical issues. I met her at the right time. Tell us how you won the singing competition in Austria in April. I didn’t aim at winning at all. I had to sing seven songs altogether. Since I didn’t think I would make the finals, I left an aria from Verdi’s Un ballo in maschera to it. It requires a heavy voice which is not my strength. I was stunned to see my name as one of the finalists. I told myself, ‘Let it be, just try your best.’ Maybe it’s my daring attempt and hard work which had impressed the audience and the judges. How will you walk your future path? When will your first solo recital be? I want to spend more time overseas, to gain more performing opportunities and learn from more experienced artists. I love teaching. I have taught voice and choirs at my high school, and I love to offer my help if my juniors at CUHK need it. When you teach, you’re forced to reflect deeply, to present your views in different ways and develop different solutions to suit the ability and personality of individual students, and in doing so, you may come to discover something helpful to yourself. I think it’s not yet time to give a solo recital. I need more time to gain experience, to hone my skills and to enrich myself. Five years from now, maybe. Louise Kwong Music graduate of 2009, winner of the Second Prize, the Soprano Prize and the Audience Prize at the 2012 International Singing Competition ‘Ferruccio Tagliavini’ 邝励龄 音乐系2009年毕业生,2012年「佛路曹.塔尔亚云尼」国际歌剧赛三大 奖项得主

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