据华尔街时代传媒消息 美东时间4 月 10 日，纽约市立大学研究生中心马丁・E・西格尔剧院，一场跨越东西文明的顶级艺术对话唯美启幕。这座剧院是美国传奇文化领袖、林肯艺术中心荣誉主席马丁・E・西格尔创立，是纽约极具影响力与艺术规格的标杆性文化展演地标，常年汇聚全球顶尖艺术家登台演绎。

活动开场舞台实拍｜弗兰克教授、Lance Horne 及嘉宾同台亮相，开启本次东西方艺术交流盛典

本场活动由法国政府艺术与文学骑士勋章得主弗兰克教授主持，艾美奖得主、斯坦威签约艺术家 Lance Horne 端坐琴前，执掌全场音乐脉络。作为欧美乐坛殿堂级音乐人，他合作过 Alan Cumming、Kristin Chenoweth 等国际巨星，更曾受邀为英国女王、奥巴马等国际重磅人物登台演出；演出足迹遍布卡内基音乐厅、悉尼歌剧院、伦敦西区等全球顶级艺术殿堂。由他创立的知名音乐项目「Sing with us!」，以零提前彩排、现场使用 iPad 电子乐谱辅助参考为特色，邀约世界各地歌唱家奔赴纽约，仅凭艺术共鸣与临场默契完成共创演绎。

艾美奖得主、斯坦威艺术家兰斯·霍恩

Prince John王国权向兰斯·霍恩以及现场来宾介绍演唱曲目法国经典香颂《LesFeuillesMortes》

今夜与他并肩同台、开启这场极致即兴合作的东方艺术家，正是知名华人艺术家王国权。纽约州参议员、纽约市议会分别授予其「情歌王子」「国际主持人」荣誉称号，先后担任第 69 届、第 70 届联合国妇女地位委员会大会官方论坛主持人与官方代表。主持与演唱足迹遍及林肯中心、卡内基音乐厅、纽约市政厅、威尼斯凤凰歌剧院等中外顶级艺术殿堂；多次受邀于耶鲁大学、哥伦比亚大学，主持联合国论坛、国际圆桌峰会等高规格议程。在国内，他多次领衔东方艺术中心、上音歌剧院新年音乐会及各类高端文艺演出。国际文化领域，受邀为多国使领馆、欧盟机构开展演出交流；与《小鬼当家》导演斯科特、《纳尼亚传奇》制片人道格拉斯、《狮子王》制片人唐・哈恩、李小龙系列活动发起人霍华德，以及迈克尔・杰克逊的搭档 Marvel King和迈克尔杰克逊艺术团队等深度合作，包括主持、海选、专访、座谈等多元艺术活动。

这场惊艳全场的音乐邂逅，充满极致的艺术默契与专业底气：两位艺术家在登台前十分钟，才初次见面相识。

Prince John王国权与艾美奖得主兰斯·霍恩惺惺相惜

没有商定节拍速度，没有磨合乐句处理，没有事前曲目沟通，仅依托电子乐谱快速对接。Lance Horne 听罢曲风，指尖即刻即兴落键；王国权从容开嗓，深情演绎 1945 年传世经典香颂《Les Feuilles Mortes》，这首经由皮雅芙传唱世界的不朽旋律，缓缓流淌在纽约的夜色之中。

现场演出实拍｜王国权与 Lance Horne 同台默契演绎，跨域音乐碰撞直击人心

一唱一奏，跨域共鸣。自由节奏完美契合，钢琴随性的即兴加花，精准贴合歌声的延长与情绪起伏，无需言语，便达成浑然一体的二重奏质感。

王国权演唱完毕，Lance Horne 兰斯·霍恩赞叹：“因您演唱极专业、舞台阅历丰厚且艺术感知细腻，我的伴奏便也从容自如、随心发挥。”

演唱完毕王国权感谢兰斯·霍恩的完美伴奏，而兰斯·霍恩由衷的翘起了大拇指

真正顶级的艺术相遇，从来都是势均力敌、彼此懂得、相互成就的双向奔赴。

艺术家对两人合作的评价：

深耕纽约下城剧场五十载的La MaMa 核心策划人 Nicky 现场观演，直言：“两个都是真家伙，一个中国歌手把法国香颂完美经典呈现。而钢琴大师的即兴伴奏是如此的和谐”

Lance Horne 长期合作伙伴 Savanna Sinéad Kenny 感慨：“整场演绎，耳朵和心都是完全打开的。”

纽约本土歌唱演员 Faith 有感而发：“剥离所有安全网与预设，零彩排的临场之下，声音里最纯粹的真实，无从隐藏。”

坐拥数万粉丝的百老汇演员 Eleanna Fin 记录瞬间触动：“那种未知里的临场张力，带来直击心底的艺术战栗。”

芬兰歌剧演员 Olga Heikkilä 聆听录音后点评：“Horne 的钢琴不再是简单伴奏，而是平等对话、同频共振的真正二重奏伙伴。”

芬兰钢琴大师 Tuija Hakkila 深度解读：“愿意一同拥抱艺术冒险，拒绝固守安全套路，正是零彩排的未知，造就了不可复制的珍贵音乐时刻。”

活跃于芬兰乐坛的韩国大提琴家 Hannah Collins 由衷感慨：“短短十分钟初识，便能建立深度艺术信任，这是顶尖艺术家独有的专业素养。”

活动现场观众席实景｜各界艺术人士、行业嘉宾齐聚现场，共赏国际艺术盛宴

Prince John王国权和活动主持人法国骑士勋章获得者纽约市立大学研究生导师Frank教授

弗兰克教授压轴总结，指出现场艺术的核心真谛：“现场艺术的本质，在于独一无二、转瞬即逝的不可复制性。”

夜色浸染纽约，王国权演唱的法国香颂《Les Feuilles Mortes》的悠扬余韵缓缓飘散。

东方歌者邂逅西方音乐大师，东方底蕴碰撞西方即兴，沉淀多年的专业实力，遇见随心自在的艺术机缘。

跨越国界、语言与文化，顶级的音乐对话，无需繁琐彩排，更无需多余翻译。

When Eastern Song Meets Western Master: A Dialogue Without Rehearsal

[New York, April 10] At the Martin E. Segal Theatre of the CUNY Graduate Center, a transcendent artistic dialogue spanning East and West unfolded with breathtaking elegance. This theatre, founded by legendary American cultural leader and Honorary Chairman of Lincoln Center Martin E. Segal, stands as one of New York’s most influential and prestigious cultural landmarks, regularly hosting the world’s finest artists.
The evening was hosted by Professor Frank, recipient of the French government’s Order of Arts and Letters. Seated at the piano was Emmy Award winner and Steinway artist Lance Horne, guiding the evening’s musical journey. A titan of European and American music, Horne has collaborated with international superstars including Alan Cumming and Kristin Chenoweth, and has performed for Queen Elizabeth II, President Obama, and other world leaders. His performances have graced Carnegie Hall, the Sydney Opera House, London’s West End, and other global temples of art. His renowned project “Sing with us!” — characterized by zero advance rehearsal and the use of iPad digital scores for reference — invites singers from around the world to New York, where they create together purely through artistic resonance and onstage chemistry.
Tonight, the Eastern artist who stood beside him to launch this ultimate improvisational collaboration was Wang Guoquan, known internationally as Prince John. Honored with the titles “Prince of Love Songs” and “International Host” by the New York State Senate and New York City Council, he has served as official forum moderator and delegate for the 69th and 70th sessions of the UN Commission on the Status of Women. His hosting and performance credits span Lincoln Center, Carnegie Hall, New York City Hall, Venice’s Teatro La Fenice, and other premier venues worldwide. He has been invited to Yale University and Columbia University to moderate UN forums and international roundtable summits. In China, he has headlined New Year’s concerts at the Shanghai Oriental Art Center and the Shanghai Conservatory of Music Opera House, among other high-profile cultural events. Internationally, he has been invited to perform and exchange at multiple embassies, consulates, and EU institutions. His collaborations include extensive work with Home Alone director Chris Columbus, The Chronicles of Narnia producer Douglas Gresham, The Lion King producer Don Hahn, Bruce Lee series initiator Howard, Marvel King (Michael Jackson’s collaborator), and Michael Jackson’s artistic team — encompassing hosting, auditions, exclusive interviews, and panel discussions.
This breathtaking musical encounter was defined by ultimate artistic chemistry and professional confidence: the two artists met for the first time merely ten minutes before taking the stage.
No tempo was agreed upon. No phrasing was rehearsed. No prior discussion of the repertoire took place. Relying solely on a digital score for quick reference, Lance Horne listened to the style and immediately began improvising at the keys. Wang Guoquan opened his voice with serene confidence, delivering a deeply moving interpretation of “Les Feuilles Mortes,” the immortal 1945 French chanson popularized by Édith Piaf, its melody flowing gently into the New York night.
One voice, one piano, resonating across boundaries. Rubato perfectly synchronized. The piano’s spontaneous ornamental flourishes precisely matched the voice’s sustains and emotional arcs. Without a word spoken, they achieved a seamless duet texture.
After Wang Guoquan’s performance, Lance Horne offered his heartfelt praise:
“Because your singing is so professional, your stage experience so rich, and your artistic sensitivity so refined, my accompaniment became effortless and free.”
Truly top-tier artistic encounters are always a meeting of equals — mutual understanding, mutual elevation.
Artists’ Reflections on the Collaboration:
Nicky, core programmer at La MaMa with five decades in downtown New York theatre, witnessed the performance and declared: “Both are the real deal. A Chinese singer presenting French chanson in perfect classic form. And the piano master’s improvisational accompaniment was so harmonious.”
Savanna Sinéad Kenny, Lance Horne’s longtime collaborator, reflected: “Throughout the entire performance, ears and heart were completely open.”
Faith, New York-based vocal artist, shared her impressions: “Stripped of all safety nets and pre-planning, under the zero-rehearsal spotlight, the purest truth in a voice cannot be hidden.”
Eleanna Fin, Broadway actress with tens of thousands of followers, captured the instant impact: “That onstage tension born of the unknown delivers an artistic thrill that strikes straight to the heart.”
Olga Heikkilä, Finnish opera singer, offered her assessment after hearing the recording: “Horne’s piano is no longer mere accompaniment, but a true duet partner in equal dialogue, resonating on the same frequency.”
Tuija Hakkila, Finnish piano master, provided deeper insight: “The willingness to embrace artistic adventure together, refusing to cling to safe formulas — it is precisely the unknown of zero rehearsal that creates irreplaceable, precious musical moments.”
Hannah Collins, Korean cellist active in Finland’s music scene, expressed her admiration: “To establish profound artistic trust within a brief ten-minute first encounter — this is the unique professional caliber of top-tier artists.”
Professor Frank delivered the concluding remarks, identifying the core truth of live art:
“The essence of live performance lies in its uniqueness, its fleeting, unrepeatable nature.”
As night enveloped New York, the lingering resonance of Wang Guoquan’s “Les Feuilles Mortes” gradually dissipated into the evening air.
An Eastern singer encountering a Western music master. Eastern depth meeting Western improvisation. Years of cultivated professional excellence meeting the freedom of spontaneous artistic opportunity.
Across nations, languages, and cultures — the highest level of musical dialogue requires no elaborate rehearsal, and no translation whatsoever.