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管楽器弦楽器打楽器特任教授

新通 英洋しんどおり ひでひろSHINDORI Hidehiro

大阪音楽大学・大阪音楽大学短期大学部
指揮 特任教授


プロフィール

武蔵野音楽大学大学院修了後、桐朋学園、モスクワ音楽院において指揮を学ぶ。石黒祥義、R.カヴァイエ、村方千之、高階正光、尾高忠明、秋山和慶、黒岩英臣、小澤征爾、L.ニコラィエフ、V.シナイスキーの各氏に師事。英国ロイヤルオペラハウス、イングリッシュ・ナショナルオペラ、BBCウェールズ響のリハーサルで研鑚。

第5回フィテルベルク国際指揮者コンクールにおいて第2位ならびに特別賞受賞。ワルシャワでシンフォニア・ヴァルソヴィアを指揮してヨーロッパ・デビュー。G.シャハム、E.モギレフスキー、佐々木典子、高橋多佳子、田部京子、丸山泰雄、横山幸雄各氏をはじめとする多くのソリストと共演。独奏者からの信望も厚い。近年はアルマ・マーラー歌曲全曲演奏など管弦楽の響きが醸成される異色派伴奏ピアニストとしても評価が高まっている。日本テレビ「深夜の音楽会」にも出演。これまでに大阪フィル、九州響、群馬響、札幌響、東京響、東京シティフィル、東京フィル、名古屋フィル、日本フィル、読売日響、ポーランド国立シレジア・フィル、シンフォニア・ヴァルソヴィア、東京佼成ウインド等を指揮。

2015年11月にはロイヤルバンコク交響楽団に客演し好評を博した。2017年4月、再び同交響楽団に招かれ客演指揮。5月5日付のバンコクポストにおいてJames Keller氏執筆の批評が次のように掲載された。 “Massaging the tempo--- At the Royal Bangkok Symphony Orchestra’s sold-out Classical Concert No.2 last Friday, at the Small Hall of the Thailand Cultural Centre, already well-established local musician Apichai Leamthong enhanced his reputation with a commendable performance of this masterpiece, producing both a musically convincing and technically competent rendition. He played the usual revised version by Tchaikovsky’s original dedicatee Wilhelm Fitzenhagen, with a well-balanced RBSO accompanying very sensitively under the direction of jovial Japanese conductor Hide Shindori. The inner parts of this score in particular require a neatness of articulation and transparency of texture so as not to cover up the solo line, so that pianos are often better read as pianissimos, for example. This was achieved, as was a sense of ongoing momentum and connection between the theme and the seven distinct variations, which otherwise might be in danger of presenting themselves as separate, isolated units, rather than functioning as linked sections of the larger, unified whole.
It is primarily the conductor’s role to effect this cohesion successfully by steering skilfully through the successive phrase structures with well-judged tempo relationships, as the mood of one variation or atmospheric passage transitions smoothly to the next contrasting one. Shindori achieved this admirably, although the overall tempo of the performance was a little slower than many audiences may be accustomed to -- Leamthong made sure to give himself ample time to negotiate the numerous hurdles that Tchaikovsky-Fitzenhagen present with ease and confidence.
Shindori had opened the concert with a tastefully etched reading of Sir Edward Elgar’s beloved salon piece Salut D’Amour as arranged for strings, woodwind and French horns. Composed in the very same year as the Andante cantabile, which was to follow in the programme, it is not entirely dissimilar music, also indulging unabashedly in heart-on-sleeve emotional outpourings of vibrato-laden bel canto style. In this work, however, it is the first violin section which holds the tune, for the most part, with its numerous tutti portamentos and rich-toned G-string playing here given careful, loving attention and treatment by the RBSO ranks.
Following the intermission was a quite breathtaking performance of Beethoven’s Symphony No.7, immediately reminding anyone who had seen Shindori on his last visit of his energised, exuberant stage persona. Beethoven’s very opening metronome marking of crotchet-equalling 69 beats per minute is designed to build up an irresistible tension before the sublime release of that famous dotted motor-rhythm which dominates the Vivace.
More than one other eminent composer noticed that wild dancing might well be imagined when listening to the outer movements, and in this respect the orchestra and conductor were certainly a happy match for each other. The audience was clearly overjoyed by the experience, Shindori having truly won them over once again -- as indeed he had also done with the RBSO itself.”

さらにオペラでは「こうもり」、「森は生きている」、「後宮からの逃走」、「フィガロの結婚」、「ドン・ジョヴァンニ」等を指揮し高く評価された。ライフワークとして探求するベートーヴェンの交響曲のほかバッハ「マタイ受難曲」、ヘンデル「メサイア」等、宗教曲や合唱音楽にも意欲的に取り組んでいる。

大阪音楽大学特任教授、上越教育大学大学院非常勤講師、世田谷フィルハーモニー管弦楽団音楽監督。

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