©Florian Kalotay

剛-布莉特‧柏金敏 Gun-Brit Barkmin

女高音

出生於德國的剛-布莉特．柏金敏是全世界最棒的歌唱演員之一，許多最複雜的歌劇角色都找她擔綱演出，包括莎樂美、《伍采克》的瑪莉、《穆森斯克地方的馬克白夫人》的卡特莉娜．伊茲麥洛娃，以及《馬克普洛斯檔案》的艾米里雅．馬蒂等等。

柏金敏本樂季在長野健的指揮下以瑪莉一角於漢堡國立歌劇院首度登台；在亞尼克．聶澤．賽金維的指揮下重返維也納國立歌劇院，演出莎樂美；在斯塔夫羅斯．尼亞爾霍斯基金會文化中心（希臘國家歌劇院現已遷址至此）的開幕製作中演唱克莉索緹米絲；以及與指揮家夏爾．杜特華再度攜手合作，這次是與上海交響樂團演出莎樂美。

柏金敏以柏林喜歌劇院的一員嶄露頭角，她演唱過的角色包括柴姆林斯基《侏儒》中的吉塔；在威利．德克的重要製作《顏如花》中擔任主角；布瑞頓《碧廬冤孽》中的家庭女教師，這也是歌劇導演哈立．庫佛的生涯告別作；以及貝爾格的瑪莉。此後她開始與數間歐洲重量級歌劇院發展密切的合作關係，包括維也納國立歌劇院，她首度演出《彼得葛萊姆》的艾倫霍福特之後，就開始定期獲邀多個角色的演出，包括《女武神》的齊格琳德、《納索斯島的阿麗安內》的阿麗安內，以及《艾蕾克特拉》的克莉索緹米絲，她也曾在畢契柯夫的指揮下於BBC逍遙音樂節演出克莉索緹米絲一角。

莎樂美在柏金敏最近幾季的演出中佔有非常重要的地位，她在維也納國立歌劇院、蘇黎世歌劇院、布拉格歌劇院與斯圖加特歌劇院的製作中都演出了此角，另外也在安德列斯．尼爾森斯的帶領下與波士頓交響樂團在紐約卡內基音樂廳進行音樂會演出，以及在夏爾．杜特華的指揮下與東京NHK管弦樂團於2017年韋比爾音樂節登台演出。

至於華格納的曲目，除了原本的《羅安格林》中的齊格琳德與艾爾莎以外，柏金敏上一季還在格拉茨歌劇院首度演唱《崔斯坦與伊索德》的伊索德，好評不斷。柏金敏本樂季在梵志登的帶領下與香港愛樂首度演出《諸神的黃昏》的布倫希爾德，這是拿索斯唱片公司《尼伯龍指環》系列音樂會錄音計畫中的一部分。

才華洋溢的柏金敏在索特洛的《眾人》中創作了依蓮娜一角，並在厄拉卡薩多的指揮下於馬德里皇家歌劇院進行世界首演；她在薩爾茲堡音樂節中於梅茲馬赫伯的指揮下演出伯特威斯爾《高文》的關妮薇王后，以及在弗朗茲．威爾瑟-莫斯特的帶領下演出萊曼《李爾王》中的蕾岡。在蘇黎世歌劇院音樂總監法比奧．雷西的指揮下，柏金敏於蘇黎世歌劇院演出荷穆齊全新製作的《伍采克》，廣受好評（DVD已發行），之後她又在匈旺特的指揮下，首次在巴黎國家歌劇院登台演出瑪莉。

擅長音樂會演出的她，曾在亞庫布．胡魯夏的指揮下，與愛樂管弦樂團演出楊納傑克的《格拉高利彌撒》；在湯瑪斯．道斯加德的指揮下與德勒斯登愛樂及西雅圖交響樂團演出理查．史特勞斯的《最後四首歌》；在名古屋國際音樂節演出荀貝格的《古雷之歌》；以及在安德列斯．尼爾森斯的指揮下與西北德愛樂演出華格納的《魏森東克歌曲集》跟《崔斯坦與伊索德》的第三幕〈愛之死〉。

在2017年的薩爾斯堡音樂節，她在弗朗茲．威爾瑟-莫斯特的指揮下演出萊曼《李爾王》中的蕾岡。

German-born Gun-Brit Barkmin is considered one of today’s most exciting singing actresses and finds herself in international demand for some of opera’s most complex characters including Salome, Marie (Wozzeck), Katerina Izmailova (Lady Macbeth of Mzsensk) and Emilia Marty (Věc Makropulos).

This season, Barkmin debuts at Staatsoper Hamburg as Marie, conducted by Kent Nagano, returns to Wiener Staatsoper as Salome under Yannick Nézet-Séguin, sings Chrysothemis in the opening production of the Stavros Niarchos Foundation Cultural Center, the new home of Greek National Opera, and reunites with Charles Dutoit for further performances as Salome, this time with the Shanghai Symphony Orchestra.

At the outset of her career, Barkmin was a member of Komische Oper Berlin where her many roles included Ghita in Zemlinsky’s Der Zwerg, Jenůfa in Willy Decker’s pivotal production, the Governess in Britten’s The Turn of the Screw, marking Harry Kupfer’s farewell to the Theatre, and Berg’s Marie. She has since gone on to cultivate strong relationships with several major European theatres including Wiener Staatsoper where, after her debut as Ellen Orford (Peter Grimes), she has received regular return invitations including as Sieglinde (Die Walküre), Ariadne (Ariadne auf Naxos), and Chrysothemis (Elektra), a role she has also performed as part of the BBC Proms under Semyon Bychkov.

Salome has proved a pivotal role in Barkmin’s recent seasons with productions at Wiener Staatsoper, Opernhaus Zürich, Prague Opera and Oper Stuttgart as well as in concert performance under Andris Nelsons and the Boston Symphony Orchestra at New York’s Carnegie Hall, and under Charles Dutoit with both Tokyo’s NHK Orchestra at the 2017 Verbier Festival.

Expanding on an existing Wagnerian repertoire of Sieglinde and Elsa (Lohengrin), Barkmin sang her first Isolde (Tristan und Isolde) at Oper Graz last season to great acclaim. This season she debuts as Brünnhilde (Götterdämmerung) with the Hong Kong Philharmonic under Jaap van Zweden as part of its Ring Cycle concert and recording project on the Naxos Label.

Demonstrating her impressive versatility and musicality, Gun-Brit Barkmin has also created the role of Elena in the world premiere of Sotelo’s El Público at Teatro Real Madrid under Pablo Heras- Casado, and appeared as both Guinevere in Birtwistle’s Gawain under Ingo Metzmacher and as Regan in Reimann’s Lear under Franz Welser-Möst at Salzburger Festspiele. A recent successful debut at Opéra national de Paris as Marie under Michael Schønwandt followed Gun-Brit Barkmin’s highly acclaimed performance in Andreas Homoki’s new production of Wozzeck at Opernhaus Zürich under Music Director, Fabio Luisi (now released on DVD).

A consummate concert performer, Gun-Brit has performed Janáček’s Glagolitic Mass with the Philharmonia Orchestra under Jakub Hrůša, Strauss’ Vier letzte Lieder with the Dresdner Philharmonie and Seattle Symphony Orchestra under Thomas Dausgaard, Schönberg’s Gurrelieder at the International Festival in Nagoya as well as Wagner’s Wesendonck Lieder and Liebestod from Tristan und Isolde with the Nordwestdeutsche Philharmonie conducted by Andris Nelsons.

At the Salzburg Festival 2017, she sang the role of Regan in Aribert Reimann's Lear under Franz Welser-Möst.