指揮／多利安‧威爾森 Dorian Wilson

多利安․威爾森為伯恩斯坦關門弟子之一，24歲時，即於丹麥馬爾科國際指揮大賽嶄露頭角(1989)。奪獎之後，莫斯科愛樂為他量身打造了名為「第二指揮」的席位，不但使他成為俄國十五年以來第一位美國指揮，也創下莫斯科愛樂最年輕指揮的記錄。威爾森為俄羅斯國家交響樂團第一位客席指揮，亦經常客席聖彼得堡愛樂以及德意志廣播愛樂，常年活躍於歐洲樂壇。威爾森的演出足跡遍布全球，於巴黎、羅馬、莫斯科、東京、法蘭克福、赫爾辛基、哥本哈根、柏林、阿姆斯特丹、佛羅倫斯、首爾、雅典、布加勒斯特、聖彼得堡等大城市登台。

威爾森擔任貝爾格勒愛樂首席客座指揮期間(2003-2007)，率團赴斯堪的那維亞半島巡迴演奏(2006)。2006年10月，指揮柏林交響樂團於西班牙演奏九場。2007年，聖彼得堡交響樂團授予威爾森「終身客席指揮」榮銜。他率領聖彼得堡交響樂團赴中國和西班牙演出；為紀念海頓逝世二百年，2009年於西班牙巡迴演出16場《創世紀》音樂會。

威爾森與歌劇的淵源甚早，二十歲時擔任西雅圖歌劇院助理指揮(為期三年)，參與華格納《指環》製作。1998 年至2003年，出任德國前波莫瑞州劇院音樂總監 (該劇院每年預算一千九百萬歐元，編制330人，由威爾森掌管樂團團員、獨奏家、合唱團、室內樂團及芭蕾舞者等共210人)，推出了超過五十套製作、指揮三百場以上的演出。威爾森的曲目廣泛，從最經典的歌劇、芭蕾舞劇到最冷僻或是新出爐的作品，同樣拿手。於法國波爾多大劇院演出莫札特《女人皆如此》，於柏林德意志歌劇院演出莫札特《費加洛婚禮》，於柏林喜歌劇院指揮比才《卡門》、普契尼《杜蘭朵公主》、威爾第《茶花女》，於瑞典皇家歌劇院《費加洛婚禮》等劇，皆大獲好評。當他在德國威瑪國家劇院指揮完華格納的《羅安格林》之後，立即獲得劇院《波西米亞人》歌劇的再次邀約。

自1989年以來，威爾森在國際指揮大賽中所向披靡，參賽必贏，共拿下九項獎座，包括米特羅波斯指揮大賽(雅典，1996)、孔德拉辛指揮大賽(阿姆斯特丹，1994)、東京國際大賽(東京，1994)、佩卓地指揮大賽(義大利，1991)、托斯卡尼尼指揮大賽(義大利，1990，1992)、馬爾科指揮大賽(哥本哈根，1989，1992)以及西貝流士指揮大賽(赫爾辛基，1995)等，專業能力受到國際樂壇的肯定。

威爾森致力於推廣冷僻的經典作品，在東德時期，他為當地聽眾首演希納斯特拉、柯普蘭、馬悌努、皮亞佐拉、科赫林、布瑞頓、雷史碧基、法雅等人的作品。曾在德國首演西貝流士戲劇配樂《暴風雨》組曲、丹麥首演德布西《佩利亞斯與梅麗桑德》交響曲、斯堪的那維亞半島首演巴伯《節慶觸技曲》。2005年，他指揮聖彼得堡愛樂於俄羅斯首演施米特《莎樂美》；至今世界首演超過三十五部作品。威爾森與許多傑出的獨奏家合作，曾指揮赫爾辛基愛樂的「西貝流士大賽優勝者音樂會」，鋼琴大師徹卡斯基生前最後一場音樂會是由他執棒；威爾森與大提琴家羅斯托波維奇於德國和義大利演出，與馬友友在BBC影片「壇格塢的一個月」合作；齊赫邁爾、費亞多、蓋瑞․霍夫曼、貝瑞․道格拉斯、貝瑞佐夫斯基、今井信子等大師級人物也是他的合作對象。

由他指揮的音樂會電視實況轉播，有丹麥國家廣播樂團(丹麥女王出席聆賞)、荷蘭廣播愛樂(阿姆斯特丹大會堂)、俄羅斯國家樂團(莫斯科波修瓦音樂廳)、芬蘭廣播樂團(芬蘭音樂廳)以及巡迴挪威的音樂會記錄片等節目。各地廣播電台播放過的音樂次數更是不計其數。

威爾森曾就讀美國歐柏林音樂院(主修鋼琴和藝術史)、印第安納大學(主修鋼琴和中提琴)、密西根大學(主修管弦樂指揮和歌劇指導)、維也納音樂院(主修指揮)。他的指導老師包括古斯塔夫․麥爾、基坦科、巴夏、潘努拉及伯恩斯坦。威爾森指揮過世界各地一百多個交響樂團，部分名單如下：

法國 :

法國國家交響樂團
土魯斯管弦樂團
巴黎室內樂團
波爾多大劇院

德國:

柏林歌劇院柏林交響樂團
威瑪國立劇院
哈雷管弦樂團
耶那愛樂樂團
布蘭登堡愛樂樂團
石荷州音樂節樂團
法蘭克福黑森州廣播交響樂團
國立梅克堡劇院
國立歐登堡管弦樂團
威斯特法倫愛樂
薩爾州廣播交響樂團
國立萊茵愛樂
萊茵法茲愛樂

俄羅斯:

莫斯科愛樂
俄羅斯國家交響樂團
聖彼得堡愛樂
聖彼得堡交響
莫斯科音樂院樂團
修道院室內樂團

西班牙:

馬拉加交響樂團
大加納利島管弦樂團
格拉納達交響樂團
科多巴交響樂團
埃斯特雷馬杜拉交響樂團

荷蘭:

海牙管弦樂團
荷蘭廣播愛樂

義大利:

海頓-波札諾管弦樂團
托斯堪納管弦樂團
巴勒摩西西里管弦樂團
威尼斯鳳凰劇院
帕爾馬托斯卡尼尼管弦樂團

美國/加拿大:

阿拉巴馬交響樂團
魁北克交響樂團
聖地牙哥交響樂團

芬蘭:

赫爾辛基愛樂
坦佩雷交響樂團
奧盧交響樂團
于韋斯屈來交響樂團
庫歐皮歐交響樂團

斯堪的納維亞半島:

丹麥蒂沃利愛樂
丹麥廣播交響樂團
丹麥桑德堡交響樂團
丹麥阿胡斯交響樂團
丹麥歐登賽交響樂團
瑞典馬爾默交響樂團
瑞典皇家歌劇院
挪威卑爾根愛樂
挪威斯塔萬格交響樂團
挪威廣播管弦樂團
瑞典赫爾辛基交響樂團

亞洲:

首爾愛樂
東京交響樂團
九州交響樂團
大阪愛樂
東京都愛樂
群馬交響樂團
新星日本交響樂團
馬來西亞愛樂
臺北市交
廣州交響樂團
名古屋愛樂
廣島交響樂團

其他:

盧森堡愛樂
愛沙尼亞國家交響樂團
波蘭波茲南愛樂
瑞士琉森劇院 
瑞士伯恩交響樂團
貝爾格勒愛樂
布加勒斯特愛樂

即將合作的樂團有:日本愛樂、東京大都會交響、大阪愛樂、東京都愛樂、名古屋愛樂、廣州交響、塞爾維亞國家劇院、馬德里愛樂、波蘭國家廣播管弦，並於德國新天鵝堡指揮華格納歌劇《帕西法爾》

「普契尼《杜蘭朵公主》的群眾場景相當壯觀，音樂處理專業，音響爆棚，這些都要歸功於充滿活力的美國指揮威爾森，他初次倫敦亮相就獲得成功，現場觀眾均報以最熱情的掌聲。」----倫敦《觀察家報》

Dorian Wilson, one of Leonard Bernstein’s last students, first received international recognition at the 1989 Malko International Conducting Competition, at age 24. As a result he was asked to be the second conductor for the Moscow Philharmonic; an unprecedented appointment in Russia; making Wilson the first American guest conductor in fifteen years and, at 25 years old, the youngest conductor in their history. Later Wilson was to be the first guest conductor of the Russian National Orchestra. He continues his close associations in Russia, especially with the St. Petersburg Philharmonic where he frequently conducts, as well as with the Deutsche Radio Philharmonie. He has performed in the great halls of Paris, Rome, Moscow, Tokyo, Frankfurt, Helsinki, Copenhagen, Berlin, Amsterdam, Florence, Seoul, Athens, Bucharest and St. Petersburg. 

Between 2003 and 2007 Wilson was Principal Guest Conductor, then Music Director of the Belgrade Philharmonic, culminating with tours of Scandinavia in 2006. In October 2006 Wilson conducted a 9 concert tour of Spain with the Berliner Symphoniker. Future tours include China and Spain with the St. Petersburg Symphony, as well as a massive 16 concert production of Haydn’s “The Creation” throughout Spain, celebrating the composer’s 200th anniversary. In 2007 Wilson was bestowed with the title “Permanent Guest Conductor” with the St. Petersburg Symphony.

Wilson’s experience in opera began already at age 20, when he was 3 years assistant conductor for the Seattle Opera’s production of Wagner’s “Ring”. Between 1998 and 2003 Wilson was Music Director (GMD) of Theater Vorpommern, Germany (Budget €19 million. 330 staff including 210 under Wilson’s responsibility; orchestra, soloists, choirs, ensemble and ballet). In his tenure there he conducted over 50 productions in more than 300 performances. A solid repertoire was grounded with most of the standard operas and ballets, as well as new and seldom-heard works. Other opera performances include the highly acclaimed production of Mozart’s “Cosí fan Tutte” at the Grand Theatre de Bordeaux, for the Deutsche Oper Berlin production of Mozart’s “Nozze di Figaro” and continues his work in Berlin with Bizet’s “Carmen”, Puccini’s “Turandot” and Verdi’s “La Traviata” at Komische Oper Berlin. Wilson made his Royal Swedish Opera debut with “Nozze di Figaro” and conducted the production of “Lohengrin” at the Deutsches National Theater Weimar, where he was immediately asked to conduct the new production of “La Boheme”.

As recognized by the International Federation of Music Competitions, Wilson has won more International prizes for conducting than any other conductor. Since 1989 Wilson has won an additional 8 prizes in every conducting competition he has entered, virtually every one of the world’s major competitions: Dimtri Mitropoulos; Athens, 1996, Kiril Kondrashin; Amsterdam, 1994, Tokyo International; Tokyo, 1994, Antonio Pedrotti; Italy, 1991, Arturo Toscanini; Italy, 1990, 1992, Nicolai Malko; Copenhagen, 1989, 1992 and Jean Sibelius; Helsinki, 1995.

Always wanting to bring out the less-known masterworks, Dorian Wilson premiered many works unknown to the East German audience, including the works of Ginastera, Copland, Martinů, Piazolla, C. Koechlin, Britten, Respighi and de Falla. He also had the privilege of conducting the German premiere of Jean Sibelius’ complete penultimate opus “The Tempest” as well as the Danish premiere of Debussy’s „Pelléas et Mélisande“ Symphony (M. Constant) as well as the Scandinavian premier of  Samuel Barber’s “Toccata Festiva for Organ and Orchestra”. In 2005 he conducted the premiere Russian performance of Schmitt “Salome” with the St. Petersburg Philharmonic. In total he has also performed over 35 world-premieres.

Wilson has collaborated with some of the most distinguished soloists. While conducting the “Winner’s Concert” with the Helsinki Philharmonic (after the Sibelius Competition) he had the honor of performing what was to be Sura Cherkarsky’s last orchestra engagement before his death. He has performed with M. Rostropovich in Germany and Italy and was the featured conductor in a BBC film working with Yo-Yo Ma entitled “A Month at Tanglewood”. Other soloists include:  Thomas Zehetmair, Vladmir Viardo, Gary Hoffman, Barry Douglas, Boris Berezovsky, Nelson Freire, and Nabuko Imai.

Live television broadcasts include Danish National Radio Orchestra (in the presence of Her Royal Majesty, the Queen of Denmark); Netherlands Radio Philharmonic (in the Concertgebouw, Amsterdam); Russian National Orchestra (Bolshoi Hall, Moscow); Finnish Radio Orchestra (Finlandia Hall); and a documentary of a concert tour of Norway. Numerous radio programs have also been broadcast.

Wilson’s Conservatory studies are in piano, viola, composition, art history, and conducting; from Oberlin Conservatory (Piano and Art History), Indiana University (Piano and Viola), the University of Michigan (Orchestral Conducting and Opera Coaching), and the Hochschule für Musik in Vienna (Conducting). His teachers include Gustav Meier, Dmitri Kitaenko, Rudolph Barshai, Jorma Panula and Leonard Bernstein.

Wilson has conducted over 120 orchestras throughout the world, including:

France:

Orchestre National de France

Orchestre de Capitole Toulouse

Ensemble Orchestral de Paris

Grand Théâtre de Bordeaux

Germany :

Komische Oper Berlin

Berliner Symphoniker

Deutsches National Theater Weimar

Halle Staatsorchester

Jena Philharmonie

Brandenburg Philharmonie

Schleswig-Holstein Festival Orchestra

Hessische Rundfunk, Frankfurt

Mecklenburgisches Staatstheater

Oldenburgische Staatsorchester

Philharmonische Orchester Westfalen

Saarländische Rundfunk

Staatsorchester Rheinische -Philharmonie

Rheinland-Pfalz Philharmonie

Russia:

Moscow Philharmonic

Russian National Symphony

St. Petersburg Philharmonic

St. Petersburg Symphony

Moscow Conservatory Orchestra

Camerata of the “Hermitage”

Spain:

Malaga Symphony

Orchestra Gran Canaria

Granada Symphony

Cordoba Symphony

Orchestra Extremadura

Murcia Symphony

Holland:

Orchestra of the Hague

Netherlands Radio Philharmonic

Italy:

Orchestra Haydn-Bolzano

Orchestra Regionale Toscana

Orchestra ETA Sicilia, Palermo

Teatro La Fenice

Orchestra Tosacanini, Parma

America, Canada:

Alabama Symphony

Orchestre Symphonique du Quebec

San Diego Symphony

Finland:

Helsinki Philharmonic

Tampere Symphony

Oulu Symphony

Jyvaskula Symphony

Kuopio Symphony

Scandinavia:

Tivoli Philharmonic, Denmark

Danish Radio Symphony

Sonderborg Symphony, Denmark

Århus Symphony, Denmark

Odense Symphony, Denmark

Malmö Symphony, Sweden

Royal Swedish Opera, Sweden

Bergen Philharmonic, Norway

Stavanger Symphony, Norway

Norwegian Radio Orchestra

Helsingborg Symphony, Sweden

Asia:

Seoul Philharmonic

Tokyo Symphony

Kyushu Symphony

Osaka Philharmonic

Tokyo City Philharmonic

Gunma Symphony

Shinsei-Nihon Symphony

Malaysian Philharmonic

Taipei Symphony

Guangzhou Symphony

Nagoya Philharmonic

Hiroshima Symphony

Others:

Luxembourg Philharmonic

Estonian National Symphony

Poznan Philharmonic, Poland

Lucern Theater, Switzerland 

Bern Symphony, Switzerland

Belgrade Philharmonic

Bucharest Philharmonic

Upcoming new engagements include: Japan Philharmonic, Tokyo Metropolitan Symphony,

Osaka Philharmonic, Tokyo City Philharmonic, Nagoya Philharmonic,

Guangzhou Symphony, Serbian National Theater, Madrid Philharmonic,

  Polish National Radio Orchestra and Wagner’s Parsifal at the Castle Neuschwanstein.

“The crowd scenes (Puccini’s Turandot) were musically expert, filling this house with a magnificent roar. Much credit for this energetic performance must go to the young American conductor Dorian Wilson, making his house debut. The audience cheered with great enthusiasm.”

The Observer, London