東方飛來的百靈鳥 A Lark from the East
文懷沙爲胡曉平題詞，赞誉她为东方情韵的百靈鳥。
A calligraphic inscription by Huaisha Wen, praising her as a nightingale of Eastern elegance and charm.
文懷沙（1910 – 2018）中國著名書畫家、金石家、中醫學家，以及中國楚辭研究的奠基人。
Huaisha Wen (1910–2018) was a renowned Chinese painter, calligrapher, epigrapher, and traditional Chinese medicine scholar, and is regarded as the founding figure in the study of Chuci (Songs of Chu) in China.
胡曉平出生于上海一個知識分子家庭。父母受過良好教育，酷愛音樂，這使她自幼便在音樂氛圍中與哥哥們一起成長。她6歲開始學習口琴，隨後加入上海少年宮口琴隊，成爲中國著名口琴演奏家、作曲家、教育家石人望的得意弟子。8歲時，她便組織鄰居小朋友在家中舉辦 “音樂會”，展現出她早期對音樂的熱情。
Xiaoping Hu was born in Shanghai into an intellectual family where both parents were well-educated and passionate about music. Growing up in such an environment, she and her brothers were immersed in music from a young age. She began learning the harmonica at the age of six and soon joined the Shanghai Children’s Palace Harmonica Ensemble, becoming a prized student of Renwang Shi, who was the renowned Chinese harmonica virtuoso, composer, and educator. At the age of eight, she was already organizing ‘concerts’ at home with neighborhood children, showing an evident passion for music.
胡曉平真正開始系統學習聲樂是在1968年“文革”期間。當時，父親被下放到磚瓦廠勞動，恰巧著名聲樂教授高芝蘭的女兒馬小蘭也被分配到該廠工作。胡父找到機會對馬小蘭說：“我女兒非常喜歡唱歌，不知您母親能否指導她學習聲樂？” 馬小蘭熱心地帶著胡曉平去見她母親。胡曉平站在鋼琴旁演唱完一首歌曲後，高教授便欣然收下這位天賦異禀的學生。在接下來的數年裏，每個星期天，胡曉平都會准時到高教授家中上課。
Xiaoping Hu began formal vocal training in 1968, during the “Cultural Revolution”. At the time, her father was sent to do manual labor at a manufactory, where Xiaolan Ma – the daughter of the famous vocal professor Zhilian Gao – was also assigned to work. Her father seized the opportunity to ask Xiaolan, “My daughter loves singing. Would your mother be willing to teach her?” With great enthusiasm, Xiaolan took Hu to meet her mother. After hearing her sing beside the piano, Professor Gao warmly accepted this exceptionally gifted young student. From then on, Hu attended weekly lessons at Professor Gao’s home.
高芝蘭是中國首位接受正統西洋歌劇教育的女高音，亦是中國舞台上首位演唱歌劇《茶花女》的歌唱家。在她悉心指導和藝術精神的熏陶下，胡曉平虛心求教、刻苦訓練，從發聲方法、語言運用、風格把握到情感表達，以及對藝術追求的態度，都日臻成熟。1972年，胡曉平考入上海樂團，成爲歌唱演員。兩年後晉升爲獨唱演員。1979年，她在上海市音樂舞蹈彙演中獲優秀獎，隨後被團裏送往上海音樂學院聲樂系進修，正式成爲高芝蘭教授的學生。
Professor Zhilian Gao was the first Chinese soprano to receive formal Western opera training and the first to perform La Traviata on the Chinese stage. Under her meticulous guidance and artistic influence, Xiaoping Hu studied diligently and matured rapidly – developing not only her vocal technique, stylistic understanding, and emotional expression, but also her outlook on the pursuit of art. In 1972, Hu joined the Shanghai Symphony Orchestra as a vocalist, and two years later she was promoted to soloist. In 1979, she won an Excellence Award at the Shanghai Music and Dance Festival, after which she was sent by the orchestra to further her studies in the Vocal Department of the Shanghai Conservatory of Music, officially becoming a student of Professor Gao.
機會總是青睐有准備的人。1980年，法國指揮大師讓·皮裏松來華排演海頓清唱劇《創世紀》。爲挑選獨唱女高音，他走遍北京、廣州、最終在上海把贊許的目光投向了胡曉平。《創世紀》演出大獲成功。
Opportunity always favors the prepared. In 1980, the celebrated French conductor Jean Périsson came to China to stage Haydn’s oratorio The Creation. After auditioning sopranos in Beijing and Guangzhou, he found what he was looking for in Xiaoping Hu in Shanghai. The performance was a great success.
1982年，她赴匈牙利參加第二十屆布達佩斯國際聲樂比賽。臨行前，高芝蘭將心愛的湖藍色長紗裙贈她作爲出國演出服。在改革開放初期的中國，聲樂藝術方才重啓，與世界聲樂界的交流尚處萌芽，想在如此重大的國際聲樂賽事中一鳴驚人，談何容易。
然而，經過激烈比賽，胡曉平憑借出色表現，在77位來自21個國家的選手中脫穎而出，于9月30日榮膺大賽第一名以及歌劇演唱特別獎，成爲該賽事曆史上首位獲此殊榮的東方歌唱家。當晚7時半，胡曉平接過了那凝聚著她十幾年心血、見證她艱辛奮鬥曆程的兩塊獎牌和證書，“那一刻，我再也控制不住自己的情緒，竟然哭了，” 她回憶道。
In 1982, she participated in the 20th Budapest International Vocal Competition in Hungary. Prior to her departure, Professor Gao presented her with a cherished lake-blue chiffon gown to wear for the performance. At that time, China’s classical vocal arts were only beginning to reemerge, and international cultural exchanges in this field were still in their early stages – making it especially challenging to distinguish oneself on such a prestigious global stage.
But Hu did exactly that. Outperforming 77 contestants from 21 countries, she won First Prize and the Special Opera Award on September 30, becoming the first Asian singer in the competition’s history to receive such honors. “At that moment, I couldn’t hold back my emotions – I cried,” she recalled, as she received her medals and certificates – symbols of her years of dedication and hard work.
此後，胡曉平收到來自世界各地的演出邀請，足迹遍布歐洲、北美、東南亞等地，舉辦多場獨唱音樂會，並與世界知名樂團合作。1983年3月，她應邀回訪匈牙利，在國家歌劇院出演普契尼歌劇《藝術家的生涯》中的咪咪一角。她感慨道：“多少坎坷的道路，多少師長的扶持，多少朋友的幫助，才有了今天的我。
隨後在 “布拉格之春” 音樂節上，她與指揮大師卡拉揚、女高音歌唱家明拉·弗萊尼等同台演出。在德沃夏克音樂廳，她演唱了中外藝術歌曲和歌劇詠歎調13首，還用捷克語演唱了斯美塔那歌劇《被出賣的新娘》中瑪仁卡的詠歎調，贏得滿堂喝彩。
Soon after, she was invited to perform around the world. She held solo recitals across Europe, North America, and Southeast Asia, and collaborated with prestigious international orchestras. In March 1983, she was invited back to Hungary to perform the role of Mimì in Puccini’s La Bohème at the Hungarian State Opera. “So many obstacles overcome, so many mentors and friends who helped me – only then could I become who I am today,” she reflected.
At the Prague Spring Festival, she sang alongside legends like conductor Herbert von Karajan and soprano Mirella Freni. At Dvořák Hall, she performed thirteen operatic arias and art songs drawn from both Eastern and Western traditions, including Marenka’s aria from Smetana’s The Bartered Bride in Czech – earning resounding applause.
1984年，胡曉平在中國劇院參加大型音樂舞蹈史詩《中國革命之歌》的演出，演唱了《科學的春天到來了》。演出後，受到鄧小平等國家領導人的接見。同年，美國總統裏根訪華，特別指名會見胡曉平，感謝她對中美文化交流的傑出貢獻。隨後，她在美國21個大城市舉辦獨唱音樂會，廣受好評。國際樂評家盛贊她：“音色純淨甜美，演唱自然真摯，舞台風範大方優雅。” 她被譽爲 “從東方飛來的百靈鳥”，並獲洛杉矶市長湯姆·布拉德利授予的 “榮譽市民” 稱號。
In 1984, Hu took part in the musical epic Songs of the Chinese Revolution at the Chinese Theatre, performing The Spring of Science Has Arrived. After the performance, she was received by national leaders including Deng Xiaoping. That same year, U.S. President Ronald Reagan specifically requested to meet her during his visit to China, thanking her for her exceptional contribution to Sino-American cultural exchange. Later, she toured 21 major U.S. cities with solo concerts, garnering enthusiastic reviews. International critics praised her: “Her tone is pure and sweet, her performance sincere and natural, and her stage presence elegant and graceful.” She was hailed as “the lark from the East,” and honored as an “Honorary Citizen” of Los Angeles by Mayor Tom Bradley.
然而此時的胡曉平有了新的追求。1986年，已爲人母的她獲得美國曼哈頓音樂學院獎學金，赴美深造。她表示：“藝術無止境，我渴望在更好的藝術環境中繼續學習歌劇與聲樂。” 她師從世界著名男高音、被譽爲 “世界十大男高音” 之一的加勃·卡萊裏，系統學習三年半，進一步提升了音樂理論與演唱技藝，還常被請做教師級的示範演唱。
深造期間，她仍活躍于國際舞台，在北美、歐洲、東南亞等地巡演，與世界一流歌唱家、指揮家、鋼琴家及交響樂團合作，同台演出，將東方細膩柔和的藝術情感融入西方歌劇，被譽爲東西融合、獨具魅力的世界級女高音。
Yet Hu sought new artistic horizons. In 1986, already a mother, she earned a scholarship to the Manhattan School of Music in the U.S. “Art has no limits,” she said. “I longed to continue studying opera and vocal technique in a better artistic environment.” She studied with the world-renowned tenor Gabor Carelli and received rigorous training for three and a half years, further refining her musical and vocal mastery.
While studying in the school, Hu remained active on the international stage, touring and performing throughout North America, Europe, and Southeast Asia. She shared the stage with some of the world’s finest singers, conductors, pianists, and orchestras – infusing the rich, lyrical sensitivity of Eastern artistry into Western opera, and becoming a world-class soprano known for her unique East-meets-West style.
1992年，胡曉平移居加拿大，定居多倫多，從事聲樂教學，並積極參與當地華人社區的文化演出活動。她多次舉辦個人獨唱音樂會，並與本地音樂家合作登台演出。她還在多倫多創立了曉平合唱團，擔任音樂總監。三十多年來，在她的指導下，合唱團曾在Roy Thomson Hall、Toronto Centre for the Arts、CBC Glenn Gould Studio 等著名劇院演出，推廣中外古典音樂與藝術歌曲，豐富社區的文化生活。
In 1992, Xiaoping Hu immigrated to Canada and settled in Toronto, where she dedicated herself to vocal instruction and actively participated in cultural performances within the local Chinese community. She has held numerous solo recitals and collaborated with local musicians in concert. She also founded the Xiaoping Chorus in Toronto, serving as its music director. For over three decades, the chorus performed at prestigious venues such as Roy Thomson Hall, the Toronto Centre for the Arts, and the CBC Glenn Gould Studio, promoting both Chinese and Western classical music and art songs, and enriching the cultural life of the community.
90年代後期，她再次受邀赴匈牙利，與國家歌劇院合作演出《藝術家的生涯》，並錄制唱片。隨後又在莫斯科、聖彼得堡和維也納成功舉辦個人演唱會。1998年，俄羅斯天文學會將一顆新發現的小行星命名爲 “胡曉平星” ，象征她美妙動人的歌聲將在宇宙永久回響。如此崇高的榮譽在世界音樂史上實屬罕見。
In the late 1990s, she was invited back to Hungary to perform La Bohème again with the State Opera and to record an album. She then gave acclaimed solo concerts in Moscow, St. Petersburg, and Vienna. In 1998, the Russian Astronomical Society named a newly discovered asteroid “Xiaoping Hu” – a rare honor in world music history, signifying that her voice would echo in the universe forever.
2000年後，胡曉平頻頻回國演出，並在上海創辦上海胡曉平文化傳播有限公司，成立“曉平合唱團” 和 “曉平藝術培訓中心”。
2004年，她受聘爲寧波大學特聘教授，建立 “胡曉平聲樂藝術中心”。她說：“雖然旅居海外多年，但我的心始終與這片土地相連。作爲音樂家，我有責任爲家鄉的音樂事業盡一份力。”
2006年，在寧波大學建校20周年的慶祝大會上，胡曉平傾情演唱了她的保留曲目《我愛妳，中國》。“人的一生就是爲了事業，總要爲社會貢獻一點什麽。這就是我回國的首要目的，也算是我的中國夢 – 讓祖國的聲樂藝術登上世界舞台。” 這番話，胡曉平說得很真誠。
After 2000, Hu frequently returned to China for performances. She established the Xiaoping Cultural Communication Company in Shanghai, along with the Xiaoping Chorus and Xiaoping Art Training Center.
In 2004, she was appointed a Distinguished Professor at Ningbo University and founded the Xiaoping Hu Vocal Arts Center. “Though I have lived overseas for many years, my heart remains deeply connected to this land,” she said. “As a musician, I have a responsibility to contribute to my homeland’s musical development.”
In 2006, at the university’s 20th anniversary celebration, she gave a moving performance of her signature piece I Love You, China. “A life should be dedicated to one’s vocation. We all should contribute something to society. That is my true purpose for returning to China. It’s also my Chinese Dream – to see Chinese vocal art take its place on the world stage,” she said earnestly.
音樂，是胡曉平一生的摯愛。多年來，她始終活躍于舞台，致力于推廣和傳承美聲藝術。爲了心中的夢想，她不斷突破、超越自我，爲無數追夢人照亮藝術之路。
2022年，胡曉平選擇移居溫哥華 “安度晚年”，但依舊不曾停歇。她繼續不遺余力地推廣她所堅持的聲樂美學理念，執著踐行她那份熾熱的音樂使命 – 培養學生、組織合唱團、舉辦音樂會，豐富更多人的精神世界。2023年，她再次從零開始，親手締造了溫哥華曉平合唱團。我們無比榮幸，能夠成爲她的學生，並作爲溫哥華曉平合唱團的一員，伴隨老師一同追尋音樂的夢想。
Music has been Xiaoping Hu’s lifelong passion. Throughout the years, she has remained active on stage, dedicated to promoting and preserving the art of bel canto. In pursuit of her dream, she has constantly pushed boundaries and surpassed herself, inspiring countless others in pursuit of their own artistic aspirations.
In 2022, she chose to settle in Vancouver for “retirement”, but she has never slowed down. She continues to advocate for her vocal aesthetic philosophy with unwavering dedication – teaching students, organizing choirs, and producing concerts. In 2023, starting from scratch once more, she founded the Vancouver Xiaoping Chorus. We are tremendously honored to be her students and proud members of this choir – walking alongside our beloved teacher in pursuit of her lifelong dream in music.
在中國音樂史上的獨特地位 Unique Place in Chinese Music History
藝術成就的絕對高度 Artistic Achievement at the Highest Level
胡曉平的音域覆蓋中央C至High F（F6），在《茶花女》第三幕 “永別了，過去的美夢” 中連續保持弱聲高音超過15秒，這一技術難度至今未有華人女高音超越。意大利聲樂泰斗帕瓦羅蒂曾高度評價：“胡曉平對威爾第作品的诠釋，讓意大利人重新認識了自己的歌劇。”
Xiaoping Hu’s vocal range spans from middle C to high F (F6). In Act III of La Traviata, during “Addio del passato,” she sustained a pianissimo high note for over 15 seconds – an extraordinary feat that no other Chinese soprano has surpassed to this day. The legendary Italian tenor Luciano Pavarotti once praised her interpretation of Verdi’s work, saying: “Xiaoping Hu’s rendition of Verdi makes Italians rediscover their own opera.”
改革開放後中國聲樂的 “破冰者” A Pioneer of Post-Reform Chinese Vocal Music
1982年，胡曉平在匈牙利柯達伊·艾凱爾國際聲樂比賽中奪冠，成爲首位在西方主流聲樂賽事中摘金的中國歌唱家。這一成就不僅打破了西方對於中國聲樂 “技術落後” 的刻板印象，更標誌著中國藝術家在封閉多年後重新融入國際藝術體系的歷史里程碑。
In 1982, Hu won the Kodály–Erkel International Vocal Competition in Hungary, becoming the first Chinese vocalist to take gold at a mainstream Western competition. This milestone shattered the stereotype of “technical inferiority” in Chinese vocal training and marked a historic moment of re-entry for Chinese artists into the global cultural arena after years of isolation.
文化複蘇的象征 A Symbol of Cultural Reawakening
她的成功恰逢中國改革開放初期，媒體賦予其經歷 “用歌聲推開國門” 的象徵意義。意大利《晚郵報》曾評論：“胡曉平的聲音，讓世界聽見中國從文化冬眠中甦醒 。”
Her success coincided with the early years of China’s Reform and Opening era. The media imbued her story with symbolic meaning, calling it “opening the national gate with song.” Corriere della Sera remarked: “Xiaoping Hu’s voice let the world hear China awaken from its cultural hibernation.”
“美聲中國化” 的實踐先驅 A Forerunner of the “Sinicization of Bel Canto”
胡曉平融合中西聲樂美學，運用義大利美聲唱法演繹《黃河怨》《茉莉花》等中國民歌與藝術歌曲，開創出一條 “不犧牲中文咬字清晰度” 的本土化美聲路徑。她透過調整共鳴位置與吐字方式，使西方技法服務於中國音樂的情感表達，為 “美聲中國化” 的理論與實踐奠定基礎，成為後來 “華人美聲學派” 的奠基人之一。
By integrating Chinese and Western vocal aesthetics, Hu used Italian bel canto technique to perform Chinese folk and art songs such as The Lament of the Yellow River and Jasmine Flower. She pioneered a vocal style that preserved the clarity of Chinese diction without compromising technique. Through adjustments in resonance placement and articulation, she used Western methods to serve Chinese musical expression. Her work laid the foundation for both the theory and practice of a localized bel canto style, making her one of the founders of the emerging “Chinese Bel Canto School.”
突破西方對東方聲樂的刻板想象 Challenging Western Stereotypes of Eastern Voices
在西方歌劇舞台仍普遍存在對 “東方聲音” 的獵奇偏見時（如對尖細假聲的期待），胡曉平以渾厚圓潤的戲劇女高音音色打破刻板印象，征服評委。她以抒情女高音的自然音色，通過強化胸腔共鳴，挑戰《阿依達》等戲劇性角色，突破當時東方女高音 “只能演唱輕型抒情曲目” 的局限。
At a time when Western opera stages often exoticized “Eastern voices” – expecting thin, falsetto tones, Hu broke through these preconceptions with her rich and rounded dramatic soprano timbre. She conquered international juries by delivering dramatic roles like Aida with a natural lyrical soprano tone reinforced by strong chest resonance. This defied the then-common assumption that Asian sopranos could only sing light lyrical roles.
“中國式呼吸法” 的革新 Innovator of the “Chinese Breathing Technique”
針對中文發音的特點，胡曉平創新性地將戲曲中 “氣沈丹田” 的呼吸控制與西方美聲的橫膈膜支撐結合，解決了 “中文難唱美聲” 的技術瓶頸。她的 “結合式呼吸法” 被寫入多所音樂學院教材，成爲中國聲樂教學的重要一環。
Her innovative “integrated breathing method” overcame the long-standing technical barrier that deemed Mandarin unsuitable for bel canto and has since been included in the vocal curricula of many Chinese conservatories, becoming a key element of vocal pedagogy in China.
搶救 “斷層記憶” 的傳承者 Preserver of a “Lost Legacy”
文革期間，中國的西方聲樂教育體系幾近中斷。胡曉平在高芝蘭等前輩的指導下，繼承並發揚上海音樂學院尚存的 “民國美聲傳統”，融合新時代教學理念，建立起一套承前啓後的聲樂教學體系。這一體系的傳承與創新，在現任上海音樂學院院長、國際級歌唱家廖昌永的藝術成就中得到了充分印證。
During the Cultural Revolution, China’s Western vocal education system was nearly dismantled. Under the mentorship of pioneers like Zhilan Gao, Hu inherited and revitalized the surviving bel canto traditions of the Shanghai Conservatory. By integrating this legacy with contemporary pedagogical approaches, she established a new vocal instruction system that bridged eras. Its influence is reflected in the artistic accomplishments of internationally acclaimed baritone and current president of the Shanghai Conservatory, Changyong Liao.
冷戰後期的人文交流使者 A Cultural Ambassador During the Late Cold War
1980年代，胡曉平赴美演出《蝴蝶夫人》，正值中美關係微妙之際。《華盛頓郵報》讚譽她的表演“用藝術溶解了意識形態的堅冰”。她常在海外演出結束後返場加唱《我愛你，中國》，猶如一扇文化之窗，使西方觀眾得以窺見中國的迅速發展與變化。
In the 1980s, Hu performed Madama Butterfly in the United States amid a period of sensitive Sino-American relations. The Washington Post remarked that her performance “melted the ideological ice with art.” She often closed her international concerts with an encore performance of I Love You, China, for Western audiences seeking insight into a rapidly changing China.
“非體制化” 的成長路徑 A Nontraditional Path to Excellence
胡曉平未接受過 “附中-本科-研究生” 式的標准化學院培養，而是通過業余自學考入上海樂團。這種 “草根逆襲” 的經曆，在強調科班出身的中國聲樂界尤爲罕見，卻恰好契合改革開放初期 “不拘一格降人才” 的時代精神。
Hu did not follow the conventional conservatory track of “affiliated middle school – undergraduate – graduate.” Instead, she taught herself as an amateur and gained admission to the Shanghai Symphony Orchestra. Her grassroots rise was rare in a field that emphasized academic credentials, yet it embodied the Reform-era spirit of “recognizing talent beyond formal systems.”
藝術純粹性的堅守者 A Defender of Artistic Authenticity
在事業巅峰時期，胡曉平謝絕商業化巡演的邀約，選擇赴美深造，以拓展各類歌劇角色儲備。1990年代歸國後，她不圖複出撈金，而專注于教學事業。她對藝術純粹性的堅守，與當下流量主導的娛樂生態形成鮮明對比。
At the height of her career, Hu declined commercial tours and chose to pursue advanced studies in the U.S. to expand her operatic repertoire. Upon returning to China in the 1990s, she did not chase fame or fortune, instead dedicated herself to teaching. Her unwavering pursuit to artistic purity sets her apart from today’s entertainment industry, where success is often measured by visibility and mass appeal.
中國音樂史上的不可替代性 Irreplaceable Role in Chinese Music History
正如音樂評論家劉雪楓所言：“胡曉平是不可複制的。她的成功需要天時（改革開放）、地利（上海中西交融傳統）、人和（高芝蘭等導師）三重曆史機緣，更離不開她將苦難轉化爲藝術張力的個人特質。” 這種曆史環境與個體特質的獨特交彙，構成了她在中國音樂史上的不可替代性。
As music critic Xuefeng Liu noted: “Xiaoping Hu is inimitable – her success was the result of a rare convergence of timing (Reform era), place (Shanghai’s East-West cultural fusion), and people (mentors like Zhilan Gao), not to mention her personal ability to turn suffering into artistic power.” This unique intersection of historical context and individual character defines her irreplaceable role in Chinese music history.
行歌路上的趣聞與勵志 Anecdotes & Inspirations Along the Music Journey
胡曉平的職業生涯中充滿了值得品味的趣聞與勵志片段：
Xiaoping Hu’s career is filled with memorable anecdotes and inspiring episodes:
布達佩斯 “高跟鞋斷跟” 臨場應變 A Broken Heel in Budapest – Grace Under Pressure
1982年胡曉平參加匈牙利第20屆柯達伊·艾凱爾國際聲樂比賽時，身著旗袍和高跟鞋登台演唱。在演繹歌劇《蝴蝶夫人》詠嘆調 “晴朗的一天” 時，因投入表演忘情跨步導致鞋跟意外斷裂。面對突發狀況，她神色自若，直接脫掉鞋子，光腳完成了整首歌曲的演唱。這一舉動不僅沒有影響她的發揮，反而讓評委和觀衆感受到她的專業與從容。最終，她以近乎滿分的成績奪得比賽冠軍和歌劇演唱特別獎。
In 1982, Hu Xiaoping competed in the 20th Kodály–Erkel International Vocal Competition in Hungary, taking the stage in a traditional qipao and high heels. While performing the aria Un bel dì vedremo from Madama Butterfly, she stepped forward passionately and accidentally broke a heel. Unfazed, she calmly removed both shoes and finished the aria barefoot, not only preserved the performance but impressed both judges and audience alike. She ultimately won first prize and the Special Opera Performance Award.
“臨時替補” 逆襲成主角 From Last-Minute Substitute to Leading Role
藝術生涯早期，胡曉平多次憑替補身份創造機遇。1980年代上海樂團原定的一位外籍女高音臨時因故無法演出《貝多芬第九交響曲》，胡曉平被臨時點名頂替。盡管時間緊迫，她僅用三天就熟記了德語歌詞和掌握了複雜的旋律。最終演出大獲成功，她的職業生涯也再次得到重大突破。
Early in her career, Hu often rose to fame through unexpected opportunities. In the 1980s, when a foreign soprano with the Shanghai Symphony Orchestra had to cancel her appearance in Beethoven’s Symphony No. 9, Hu was called in on short notice. With only three days to prepare, she memorized the German lyrics and mastered the intricate melody. The performance was a great success and marked another major breakthrough in her career.
“鄰家阿姨” 與 “國際巨星” A Global Star with a Humble Spirit
雖然享譽國際，胡曉平在生活中却極爲低調。上世紀90年代，她常被鄰居看到穿著樸素，提著菜籃去上海弄堂的菜市場。有一次，一位菜販認出她，驚訝地問： “妳真的是電視裏那個唱歌的胡曉平？” 她笑著回答：“是啊，唱歌的也要吃飯呀！” 這種接地氣的性格讓她在同行中傳爲佳話。
Despite her international acclaim, Hu has always lived a modest and unpretentious life. In the 1990s, neighbors in Shanghai often saw her dressed simply, carrying a basket to shop in the local markets. On one occasion, a vegetable vendor recognized her and asked in surprise, “Are you really the Hu Xiaoping who sings on TV?” She replied with a smile, “Yes, singers need to eat too!” Her down-to-earth personality has made her beloved not only by audiences but also within the music community.
與帕瓦羅蒂的 “跨洋互動” A Transoceanic Connection with Pavarotti
1986年，胡曉平在美國演出時，義大利男高音帕瓦羅蒂偶然聽到她的錄音，對她的音色驚艷不已，特意托人聯絡她表示贊賞。後來帕瓦羅蒂訪華時，還幽默地對媒體說: “中國有位 ‘胡女士’，她讓我覺得自己需要更努力練聲了。”
In 1986, while performing in the United States, Hu’s recording happened to reach the ears of Italian tenor Luciano Pavarotti, who was so impressed by her voice that he sent someone to contact her and express his admiration. Later, during a visit to China, Pavarotti humorously told the media: “There’s a Ms. Hu in China who makes me feel like I need to practice more.”
筷子敲碗找音高 Chopsticks and Bowls as a Tuning Tool
胡曉平諸多軼事充滿人情味。她曾回憶，早年練聲時沒有鋼琴，就用筷子敲碗找高音。出國演出時，行李箱塞滿方便面以節省開支。她常說：“藝術不是高高在上的，而是用心和生活磨出來的。”
Many of Hu’s stories reflect her resourcefulness and passion for music. She once recalled that in her early vocal training, when she didn’t have access to a piano, she would tap bowls with chopsticks to find pitch. When traveling abroad for concerts, she packed her suitcase full of instant noodles to save money. “Art isn’t something lofty and untouchable,” she often said. “It’s shaped by dedication and everyday life.”
這些傳奇不僅有趣，更折射出一代藝術家在資源匮乏年代對藝術的執著與堅守。
These personal tales not only entertain, but also reveal the perseverance and devotion of a generation of artists who pursued excellence despite limited resources.