2026TIFA 拉貝克姊妹：菲利普．葛拉斯《考克多三部曲》

銀幕光影化作聲響波紋 ——

兩臺鋼琴逐幀建構菲利普．葛拉斯的極簡幻境

極簡主義大師菲利普．葛拉斯《考克多三部曲》源自法國詩人兼導演尚．考克多的電影與劇作《奧菲斯》、《美女與野獸》和《可怕的孩子們》。在葛拉斯筆下，銀幕光影化作聲響波紋，詩意幻想如影格隨著循環音型不斷推進，成為上世紀末最具代表性的歌劇創作。

來自法國的知名雙鋼琴組合——拉貝克姊妹，本次將透過黑白琴鍵，逐幀建構葛拉斯的極簡幻境！《考克多三部曲》雙鋼琴版，由葛拉斯為拉貝克姊妹量身打造。演出中除了穿插考克多的聲音紀錄，更以別緻的數位水晶燈，映照鋼琴家指尖下的絕佳默契與優雅動能，構築時空與明暗交織的聲響蒙太奇。

Minimalist master Philip Glass's Cocteau Trilogy draws inspiration from the films and plays of French poet and director Jean Cocteau—Orphée, La Belle et la Bête, and Les Enfants Terribles. In Glass's hands, flickering images are transformed into waves of sound, with poetic and dreamlike narratives unfolding through ostinatos. This trilogy stands as one of the most iconic operatic works of the late 20th century.

The renowned French piano duo Katia and Marielle Labèque will construct Philip Glass's minimalist dreamscape frame by frame through the black and white keys. The Cocteau Trilogy for two pianos, specially arranged by Glass for the Labèques, will be performed alongside archival sounds of Jean Cocteau. Complemented by elegant digital crystal lighting, the performance highlights the duo's remarkable synergy and graceful energy, crafting a sound montage where time, space, light, and shadow intertwine.

演出曲目 Programme｜
葛拉斯：《考克多三部曲》雙鋼琴組曲
Philip Glass: Cocteau Trilogy, Suites for two pianos
．《奧菲斯》Orphée
．《美女與野獸》La Belle et la Bête
．《可怕的孩子們》Les Enfants Terribles

「精準的靈敏度、精湛的琴藝、心有靈犀的協調；我無法想像還有比這更好的演繹方式……」—— 泰晤士報
“unerring sensitivity , virtuosic ferocity, telepathic co-ordination …..I can't imagine this music being better served….” —— THE TIMES, Daniel Lewis

「優雅而略帶憂傷的旋律線，在如漣漪般的琴聲上蕩漾…… 演奏中充滿了拉貝克姊妹一貫的精湛和精準。」—— 衛報
“…elegant, wistful melodic lines that float over his rippling piano textures … played with all the Labèques' usual flair and precision”—— THE GUARDIAN, Andrew Clements

拉貝克姊妹 Katia & Marielle Labèque

雙鋼琴姊妹檔——卡蒂亞．拉貝克與梅瑞兒．拉貝克，以她們高度默契與充滿能量的合奏聞名於世。她們從小就展現音樂天賦，憑藉改編的《藍色狂想曲》成名（這也是古典樂界首批獲得黃金唱片認證的作品之一），此後開啟了璀璨的國際演奏生涯，足跡遍布全球。

她們曾與世界最頂尖的樂團合作，包括：柏林愛樂、巴伐利亞廣播交響樂團、波士頓交響樂團、芝加哥交響樂團、捷克愛樂、萊比錫布商大廈管弦樂團、倫敦交響樂團、洛杉磯愛樂、紐約愛樂、巴黎管弦樂團、費城管弦樂團、阿姆斯特丹皇家大會堂管弦樂團與維也納愛樂等。合作過的指揮包括：布隆斯泰特、畢契科夫、柯林．戴維斯爵士、杜達美、祖賓．梅塔、小澤征爾、安東尼奧．帕帕諾爵士、賽門．拉圖爵士、埃薩-佩卡．薩洛寧等。

拉貝克姊妹經常受邀於國際重要音樂節及著名音樂廳演出。她們曾與許多當代作曲家合作，包括：貝里奧、布列茲、葛拉斯、穆利與梅湘等。她們曾與杜達美和洛杉磯愛樂合作，首演了葛拉斯的鋼琴協奏曲；也曾在巴黎管弦樂團與埃梅里亞尼謝夫合作首演穆利的新作。

她們目前正巡演葛拉斯的《考克多三部曲》計畫，由巴黎愛樂廳委製，並與導演西里爾．蒂斯特（Cyril Teste）攜手合作，自巴黎首演後至國際巡迴。

Katia and Marielle Labeque are sibling pianists renowned for their ensemble of synchronicity and energy. Their musical ambitions started at an early age and they rose to international fame with their contemporary rendition of Gershwin's Rhapsody in Blue (one of the first gold records in classical music) and have since developed a stunning career with performances worldwide.

They have played with the most prestigious orchestras such as the Berlin Philharmonic, Bayerischer Rundfunk, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Czech Philharmonic, Dresden Staatskapelle, Filarmonia della Scala, Leipzig Gewandhaus, London Symphony, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic , Orchestre de Paris, Philadelphia Orchestra, Royal Concertgebouw Amsterdam , Santa Cecilia and Vienna Philharmonic, under the direction of John Adams, Herbert Blomstedt, Semyon Bychkov, Sir Colin Davis, Gustavo Dudamel, Gustavo Gimeno, Mirga Grazinyte-Tyla, Pietari Inkinen, Louis Langrée, Zubin Mehta, Juanjo Mena, Andres Orozco-Estrada, Seiji Ozawa, Antonio Pappano, Matthias Pintscher, Georges Pretre, Sir Simon Rattle, Santtu Matias Rouvali, Esa-Pekka Salonen, Michael Tilson Thomas and Jaap van Zweden.

Katia and Marielle have had the privilege of working with many composers including Thomas Adès, Louis Andriessen, Luciano Berio, Pierre Boulez, Bryce Dessner, Philip Glass, Osvaldo Golijov, György Ligeti, Nico Muhly and Olivier Messiaen. At Walt Disney Cuoncert Hall in Los Angeles they presented the world premiere of Philip Glass's new Concerto with the Los Angeles Philharmonic Orchestra under the direction of Gustavo Dudamel, the world premiere of Bryce Dessner's concerto at Royal Festival Hall with the London Philharmonic Orchestra and John Storgards and the new concerto written by Nico Muhly in Certain Circles  was premiered by Orchestre de Paris with Maxim Emelyanichev in 2021 and New York Philharmonic with Jaap van Zweden in 2022 at Carnegie Hall.

They are currently touring their project the Cocteau Trilogy with stage director Cyril Teste and perfumer Francis Kurkdjian after the premiere in Paris Philharmonie followed by an international tour.

「人們溫柔地為亡者闔上雙眼；也應以同樣的溫柔，為生者打開雙眼。」 —— 尚．考克多
“On ferme les yeux des morts avec douceur; c'est aussi avec douceur qu'il faut ouvrir les yeux des vivants.”—— Jean Cocteau

考克多三部曲 Cocteau Trilogy

美國作曲家菲利普．葛拉斯（Philip Glass）是極簡主義音樂的代表人物之一。他以重複的節奏型與漸進的和聲變化，堆疊出獨特的音樂語言。對當代音樂、戲劇與電影配樂產生深遠影響。

1964年，年僅27歲的葛拉斯前往巴黎，向教育家兼作曲家娜迪亞．布蘭傑拜師。這次相遇，對葛拉斯日後的創作養成具有決定性的意義，也讓他深刻體驗法國藝術，留下深遠影響。而他對法國的熱愛也使他精通法語，這幫助他在1990年代開始創作歌劇三部曲，並將這些歌劇作品獻給法國詩人考克多。這三齣歌劇，皆改編自考克多的同名電影與劇作，分別是：《奧菲斯》（Orphée, 1993）、《美女與野獸》（La Belle et la Bête, 1994）以及《可怕的孩子們》（Les Enfants Terribles, 1996）。它們不僅展現葛拉斯對考克多藝術世界的詮釋，也反映葛拉斯音樂敘事的深度與創作媒材的廣度，成為當代歌劇史上重要的里程碑之一。

2021年，拉貝克姊妹為慶祝她們演出生涯五十週年，將《可怕的孩子們》改編為雙鋼琴組曲。這張專輯及其音樂會大獲成功，也促使拉貝克姊妹進一步邀請葛拉斯與其音樂總監麥可．里斯曼（Michael Riesman）改編另外兩部歌劇，為她們量身打造《考克多三部曲》的雙鋼琴版本。

In 1964, at the age of 27, Philip Glass moved to Paris to study under Nadia Boulanger. Their meeting would prove decisive in the young composer's training and afforded him an immersion into French culture that left a lasting impression on the artist. His love of France also gave him a command of the French language that would help him to write and versify the operas that he dedicated to Cocteau during the 1990s.

In 2021, Katia and Marielle Labèque created the instrumental suites for two pianos taken from Philip Glass's opera Les Enfants Terribles, based on the film by Cocteau. The success of both the record and their concerts – held at venues including the Philharmonie de Paris – left the pianists all the more eager to ask Philip Glass and his music director Michael Riesman to complete the trilogy by applying the same method to the remaining two operas in the Cocteau Trilogy: Orphée and La Belle et la Bête.

菲利普．葛拉斯 Philip Glass

當我開始著手創作「考克多三部曲」時，主導我思考的第一個概念，是如何凸顯三部電影中潛藏的核心主題。這些主題可被概括為兩組對應的二元性：第一組是「生命／死亡」與「創造力」；第二組則是「日常世界」與「轉變與魔法的世界」。這些議題在三部作品中皆居於核心位置，並在電影裡被明確呈現。若說我的第一部歌劇三部曲「肖像三部曲」（《沙灘上的愛因斯坦》、《真理堅固（又譯聖雄甘地）》、《阿肯納頓（又譯法老王）》）探討的是如何透過思想而非武力改變社會，那麼九〇年代的第二部歌劇三部曲「考克多三部曲」，則圍繞著「個體的轉變」——關注的是個人的道德與生命困境，而非整個民族或社會。

「與此相伴的，是魔法與藝術如何將日常世界轉化為一個超越的境界。考克多的這三部電影，其本質是一場關於創造力與創作過程的討論、描繪與引導。」——菲利普・葛拉斯（節錄自《無聲的言語》）

對於鋼琴界這對「可怕的孩子們」（編按：指拉貝克姊妹）而言，這樣的合作可說是再自然不過。她們長年從這位美國極簡主義作曲家的作品中獲得靈感。葛拉斯《給雙鋼琴的四個樂章》是她們音樂會的主力曲目，而在2015年，拉貝克姊妹更與洛杉磯愛樂在指揮家杜達美指揮下，再次演出由葛拉斯改編的雙鋼琴協奏曲。

為讓觀眾更深入體驗每部歌劇的音樂，導演西里爾・泰斯特（Cyril Teste）與舞台設計妮娜・夏洛（Nina Chalot）在鋼琴家上方懸吊了一盞吊燈，營造親密的氛圍。這件物件在舞台上能創造無盡的變化——無論是場景、燈光、影像或文字——並在三部組曲的接續演出中，以戲劇性的方式引導聽眾進入作品的精神核心。

When I began work on the Cocteau trilogy, the first idea that governed my work was to bring out the underlying themes of the three films. They are best described as a pair of dualities – life/death and creativity being the first; and the ordinary world and the world of transformation and magic being the second. These topics are at the core of all three works and are explicitly put forward in the films. Whereas the first trilogy of operas (Einstein on the Beach / Satyagraha / Akhnaten) was about the transformation of society through the power of ideas and not through the force of arms, this second trilogy from the 1990s revolves around the transformation of the individual – the moral and personal dilemmas of a person as opposed to a whole people or society.

A corollary to this is the way in which magic and the arts are used to transform the ordinary world into a world of transcendence. These three films of Cocteau are meant as a discussion, description, and instruction on creativity and the creative process. —Philip Glass (in "Words Without Music")

It was a most natural step for piano's two enfants terribles, performers with a history of taking inspiration from the catalogue of the repetitive American composer. While Four Movements for Two Pianos swiftly became a staple of their recitals, in 2015 the Labèque sisters added another arrangement by Philip Glass to the impressive list of two-piano concertos composed for them (Los Angeles Philharmonic, conducted by Gustavo Dudamel).

To heighten the audience's listening experience of each opera, stage director Cyril Teste and stage designer Nina Chalot have placed a chandelier above the pianists to produce an atmosphere of intimacy. The object offers endless different possibilities in terms of staging (set, lighting, video, text and more) and dramatics to enlighten listeners during the successive performances of the three suites.

主創團隊 Cast & Creative

藝術總監 Artistic Direction｜西里爾・泰斯特 Cyril Teste

舞台設計 Scenography｜妮娜・夏洛 Nina Chalot

燈光與數位創作 Lights and Digital Creation｜梅迪・多坦-洛佩茲 Mehdi Toutain-Lopez

本作品由巴黎愛樂廳製作
並與巴比肯中心、都柏林國家音樂廳、梅斯音樂中心、波爾多國家歌劇院、香檳沙隆國家舞台藝術中心、富維耶之夜藝術節共同製作
Produced by Philharmonie de Paris
in coproduction with Barbican Centre, National Concert Hall - Dublin, Cité Musicale - Metz, Opéra National de Bordeaux, La Comète - Scène Nationale de Châlons-en-Champagne, Les Nuits de Fourvière.

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