珀斯音乐厅

三位明星 在苏格兰皇家国家交响乐团的悠久历史中，2025 年初，两支乐团同时以同一名称进行巡回演出，这还是第一次。

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.

苏格兰皇家国家交响乐团可能同时有两个独立的阵容进行巡演，但维也纳爱乐乐团一年一度的施特劳斯音乐节似乎为这场音乐会的节目提供了灵感，这场音乐会被誉为苏格兰国家交响乐团的维也纳盛会。

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，节目上是这么说的，节目中收录了约翰·施特劳斯二世 (Johan Strauss II) 的七首作品，今年恰逢约翰·施特劳斯二世 (Johan Strauss II) 诞辰 200 周年，节目中还播放了他父亲拍手的拉德茨基进行曲 (Radetzky March) 来结束节目。

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，这无疑是唯一一场从该剧目最著名的曲子《美丽的蓝色多瑙河》到哈利·劳德的《一直到路的尽头》的维也纳音乐会。

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.

造成这种奇怪的转场的原因是音乐会的独奏者兼主持人男高音杰米·麦克杜格尔的出现，他的双重角色既反映又解释了音乐会核心的悖论：一方面，很高兴听到一些维也纳的旋转风格多种多样，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.

莱哈尔和奥芬巴赫在施特劳斯兄弟旁边坐得很舒服，但麦克杜格尔选择了两首由德国电影作曲家维尔纳·理查德·海曼和汉斯·梅尔创作的两首歌曲，这些歌曲是由两次世界大战之间的德国电影作曲家维尔纳·理查德·海曼和汉斯·梅尔创作的，为管弦乐队增添了萨克斯管和键盘，这确实属于另一个节目，就像兰黛和道吉·麦克莱恩的喀里多尼亚。

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.

乐团以我们所知道的 RSNO 为傲，以证明其收费的合理性，副领队 Lena Zeliszewska 担任首席，第一小提琴和大提琴位于舞台前面，而双簧管则位于舞台后面，所有工作人员都熟悉。

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.

来自 BBC SSO 和苏格兰歌剧院管弦乐团的负责人也为乐队提供了支持，队伍中不乏高素质的人才，但在巡演的首演之夜，可以合理地推测 RSNO 助理指挥德里克·摩根 (Derrick Morgan) 的排练时间有多少和他的团队。

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.

上半场开场的两首施特劳斯序曲是乐团最大的表演，其中第二首来自作曲家最后一部轻歌剧《理性女神》，是当晚的亮点。

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.

中场休息之后，摩根和他的音乐家们在一起似乎更加自在，尽管他们开始了自己的拜占庭音乐之旅。

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 的维也纳晚会周三将参观朗霍尔姆的巴克卢中心，周四将参观因弗内斯的伊甸园，周五将参观格林诺克的灯塔艺术中心。