珀斯音樂廳

三位明星 在蘇格蘭皇家國家交響樂團的悠久歷史中，2025 年初，兩支樂團同時以同一名稱進行巡迴演出，這還是第一次。

The Royal Scottish National Orchestra may have had two separate line-ups touring at once, but the Vienna Philharmonic’s annual Strauss-fest seemed to provide the inspiration for the programme at this concert, billed as the RSNO’s Viennese Gala.

蘇格蘭皇家國家交響樂團可能同時有兩個獨立的陣容進行巡迴演出，但維也納愛樂樂團一年一度的施特勞斯音樂節似乎為這場音樂會的節目提供了靈感，這場音樂會被譽為為蘇格蘭國家交響樂團的維也納盛會。

At least, that’s what it said on the tin, and there were seven pieces by Johan Strauss II, whose bi-centenary falls this year, in the programme, and the clap-along Radetzky March by his father to conclude it.

至少，節目上是這麼說的，節目中收錄了約翰·施特勞斯二世(Johan Strauss II) 的七首作品，今年恰逢約翰·施特勞斯二世(Johan Strauss II) 誕辰200 週年，節目中也播放了他父親拍手的拉德茨基進行曲(Radetzky March) 來結束節目。

However, this was assuredly the only Viennese concert ever to lurch from that repertoire’s best known tune, On the Beautiful Blue Danube, to Harry Lauder’s Keep Right on to the End of the Road.

然而，這無疑是唯一一場從該劇目最著名的曲子《美麗的藍色多瑙河》到哈利·勞德的《一直到路的盡頭》的維也納音樂會。

The reason for that odd segue was the presence of the soloist, and presenter, of the concert, tenor Jamie MacDougall, whose dual roles both mirrored and explained the paradox at the heart of the concert: on the hand, it was good to hear some variety in the usual Viennese whirl, but it was also often very odd.

造成這種奇怪的轉場的原因是音樂會的獨奏者兼主持人男高音傑米·麥克杜格爾的出現，他的雙重角色既反映又解釋了音樂會核心的悖論：一方面，很很高興聽到一些維也納的旋轉風格多種多樣，但也常常很奇怪。

Lehar and Offenbach sat comfortably enough alongside the Strausses, but MacDougall’s choice of two songs by German film composers from between the wars, Werner Richard Heyman and Hans Mayer, which added saxophone and keyboard to the orchestra, really belonged in another programme as much as the Lauder and Dougie MacLean’s Caledonia.

萊哈爾和奧芬巴赫在史特勞斯兄弟旁邊坐得很舒服，但麥克杜格爾選擇了兩首由德國電影作曲家維爾納·理查德·海曼和漢斯·梅爾創作的兩首歌曲，這些歌曲是由兩次世界大戰之間的德國電影作曲家維爾納·理查德·海曼和漢斯·梅爾創作的，為管弦樂隊增添了薩克斯管和鍵盤，這確實屬於另一個節目，就像蘭黛和道吉麥克萊恩的喀裡多尼亞。

The orchestra boasted enough of the RSNO we know to justify the billing, with associate leader Lena Zeliszewska as concertmaster and the first violins and cellos at the front of the stage – and the oboes further back – all familiar staff faces.

樂團以我們所知的 RSNO 為傲，以證明其收費的合理性，副領隊 Lena Zeliszewska 擔任首席，第一小提琴和大提琴位於舞台前面，而雙簧管則位於舞台後面，所有工作人員都熟悉。

With principals from the BBC SSO and Orchestra of Scottish Opera also bolstering the band, there was no lack of quality in the ranks, but on this opening night of the tour it was fair to speculate how much rehearsal-time RSNO assistant conductor Derrick Morgan had had with his team.

BBC SSO 和蘇格蘭歌劇院管弦樂團的負責人也為樂隊提供了支持，隊伍中不乏高素質的人才，但在巡演的首場演出之夜，可以合理地推測RSNO 助理指揮德里克·摩根(Derrick Morgan ) 排練的時間有多少和他的團隊。

The two Strauss overtures that opened each half were the orchestra’s biggest showcases, and the second of those, from the composer’s last operetta, The Goddess of Reason, was the evening’s highlight.

上半場開場的兩首史特勞斯序曲是樂團最大的表演，其中第二首來自作曲家最後一部輕歌劇《理性女神》，是當晚的亮點。

It was after the interval that Morgan and his musicians seemed much more comfortable together, even as they embarked on their own Byzantine musical excursion.

中場休息之後，摩根和他的音樂家們在一起似乎更加自在，儘管他們開始了自己的拜占庭音樂之旅。

The RSNO’s Viennese Gala visits The Buccleuch Centre, Langholm on Wednesday, Eden Court, Inverness on Thursday and the Beacon Arts Centre in Greenock on Friday.

RSNO 的維也納晚會週三將參觀朗霍爾姆的巴克盧中心，週四將參觀因弗內斯的伊甸園，週五將參觀格林諾克的燈塔藝術中心。