Al Ayre Español : Spanish Treasures in the Americas

Al Ayre Español

Spanish Treasures in the Americas 西班牙之風古樂團

重拾失落在美洲的西班牙瑰寶 Eduardo López Banzo conductor and harpsichord 愛德華度．盧比斯．班素 指揮及古鍵琴

香港藝術節今年踏入第4 6屆，再度為來自世 界各地的觀眾獻上精彩紛呈的藝術盛宴，讓 香港這個文化大都會更添生色。 今年藝術節預備了各式各樣的表演節目， 古典及當代藝術元素俱全，凸顯本港豐富 多元的文化特色。短短一個月內將有約1 3 0 場音樂、舞蹈、戲劇、歌劇等表演舉行， 讓一眾藝術愛好者目不暇給。 一如以往，本屆藝術節除了請來本地和海 外藝術家演繹引人入勝的代表作品，亦悉 心安排各項外展活動。為培養青少年對藝 術的興趣，「香港藝術節青少年之友」計 劃讓本地學生有機會欣賞藝術節節目和參 與全方位藝術活動。此外，藝術節又透過 工作坊、後台參觀和大師班等「加料節 目」，讓觀眾一睹藝術節重點節目的幕後 創作過程，大開眼界。 政府致力推動本地文化藝術發展，亦樂見贊 助商和捐款者鼎力支持，攜手把香港藝術 節打造成為享譽國際的藝壇盛事。我衷心感 謝藝術節團隊多年來盡心盡力，為我們帶來 這項高質素的文化活動，令本港藝壇百花齊 放，蓬勃發展。 謹祝第4 6屆香港藝術節圓滿成功，各位表演 嘉賓和觀眾朋友共享一段精彩難忘的藝術旅 程。

林鄭月娥 香港特別行政區行政長官

Now in its 46th year, the Hong Kong Arts Festival continues to contribute to the cultural life of Hong Kong, delighting audiences from near and far.

This year, the Festival puts on a wide variety of performances that showcase a mix of classic and contemporary genres, spotlighting Hong Kong’s rich and diverse cultural landscape.

Featuring some 130 performances in a packed month of music, dance, theatre, opera and more, the Festival has much to offer to arts lovers of all kinds.

Alongside dazzling performances by an array of local and international artists, the Festival continues to place great emphasis on its outreach activities. To develop youngsters’ appreciation of the arts, the Young Friends of the Hong Kong Arts Festival offers local students the opportunity to enjoy the Festival’s performances and participate in multi-arts activities. Similarly, the PLUS programme gives audiences an inspirational glimpse into the creative process behind the core Festival performances through a combination of workshops, backstage tours and masterclasses.

The Government is committed to promoting the development of arts and culture in the city, and we are blessed to have the support of devoted sponsors and donors who join us in making the Hong Kong Arts Festival an international success. I am also thankful to the Festival team for their years of hard work to deliver a top-class cultural event and their invaluable contribution to the city’s thriving arts scene.

I wish the 46th Hong Kong Arts Festival a resounding success and all the participants, performers and audiences alike, an enjoyable and memorable experience.

Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region

歡迎閣下蒞臨欣賞第4 6屆香港藝術節，與 我們一起分享、感受這一場精彩的表演藝 術節目。 我們要感謝香港特別行政區政府透過康樂 及文化事務署的年度恆常撥款，使香港藝 術節能每年成功舉辦。我們同時亦非常感 謝香港賽馬會慈善信託基金多年以來積極 而持續的鼓勵和贊助，以及其他眾多的商 業機構、企業、慈善團體以至社會各界人 仕，他們的慷慨捐助，讓我們能夠呈獻世 界一流藝術家的演出，為本地人才提供一 展才華的機會，委約及製作新作品，培養 年青一代的觀眾。 更重要的，是要感謝到來欣賞節目的各位 觀眾。沒有廣大觀眾的熱情參與，就不會 有香港藝術節。期望您喜歡這場演出。

查懋成 香港藝術節主席

I am very pleased to welcome you to this performance at the 46th Hong Kong Arts Festival. Thank you for being here with us and sharing in our celebration of the performing arts.

I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention which is crucial to the Festival’s continuing success. I am also most grateful to The Hong Kong Jockey Club Charities Trust for their continued support and encouragement over many years, enabling us to enrich the cultural calendar of the city. Thanks are also due to the many corporate sponsors, charitable foundations as well as individual donors whose generous support enables us to feature many of the world’s best artists, promote local talent, produce new works, and nurture young audiences in Hong Kong.

Most importantly, my warm thanks to you for joining us tonight. Without the passion, participation and engagement of our audiences there would be no Hong Kong Arts Festival. I very much hope you will enjoy the performance.

Victor Cha Chairman, Hong Kong Arts Festival

衷心感謝閣下蒞臨欣賞第4 6屆香港藝術節 的演出。 今屆藝術節的主題是「真．我角度」，我 們從此角度出發，欣賞藝術家透過他們的 技藝、創意和心思所創作和呈現的多重現 實。今年的節目當中，無論是對應某種人 生經驗、藝術動機或敘事手法，都往往帶 着對「真」的各種個人省思。整體而言， 我期望今屆藝術節可以啟發大家思考，甚 至懷疑我們所理解的「真實」。 希望您能開放自我，投入到舞台上呈現的 世界，與藝術家共同經驗各種現實。也誠 邀您參加「加料節目」的各項活動，豐富 您的藝術節體驗。 感謝您參與香港藝術節，支持我們的使 命，為香港打造一個既屬於香港，也代表 香港的世界級藝術節。

何嘉坤 香港藝術節行政總監

It is a pleasure and privilege to welcome you to this performance at the 46th HKAF. This year, we take the notion of "what’s real to me" to celebrate the realities created through the artistry, creativity and thoughtfulness of our participating artists. Many works are informed by highly personal views, whether responding to some aspect of human experience as a matter of artistic motivation, or as a narrative device. Taken as a whole, I hope this Festival will provoke us to think about – and perhaps to question – our own understanding of what’s real.

I hope that you will allow yourself to be immersed in the realities presented on stage at this and many other performances at the 46th HKAF, and enjoy the resulting co-created experience. I would also recommend the many PLUS performances and events that have been designed to enrich your Festival experience.

Together with the entire team, I would like to thank you for your participation and support which sustains us in the mission to present a world class Arts Festival in, of and for Hong Kong.

Tisa Ho Executive Director, Hong Kong Arts Festival

香港藝術節 扎根香港的國際藝壇盛事 香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的 文化盛事，於每年 2、3 月期間呈獻眾多優秀本地及國 際藝術家的演出，以及舉辦多元化的「加料」和教育 活動，致力豐富香港的文化生活。 香港藝術節是一所非牟利機構，2018 年第 46 屆藝術節 的年度預算約港幣一億二千五百萬，當中香港特區政 府的基本撥款約佔總收入的 14%，另外約 32% 需來自 票房收入，約 3 6 % 則需依賴來自各大企業、熱心人士 和慈善基金會的贊助和捐款。預計餘下的大約 18% 則 來自其他收入，包括政府針對捐款和贊助收入而提供 的配對資助。 香港藝術節每年呈獻眾多國際演藝名家精采多元的演 出，例如 *： •歌劇：巴伐利亞國立歌劇院、莫斯科大劇院、聖彼 得堡馬林斯基劇院 •中國戲曲：中國國家京劇院、河北梆子劇院、上海 張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百 花越劇團 •古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、古 斯塔沃．杜達美、菲力普．格拉斯、馬友友、安娜． 涅翠柯、詹安德列亞．諾斯達、甘拿迪．羅傑斯特 汶斯基、克里斯蒂安．泰利曼、倫敦交響樂團、皇 家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、 萊比錫聖多馬合唱團、維也納愛樂樂團 •爵士樂及世界音樂：波比．麥非年、尤蘇．恩多爾、 艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼 •舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘．漢、 約翰．紐邁亞、美國芭蕾舞劇院、雲門舞集、漢堡 芭蕾舞團、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、 翩娜．包殊烏珀塔爾舞蹈劇場

2018 年藝術節預計收入來源 （約港幣一億二千五百萬） Estimated Income Sources for the 2018 HKAF (Approximately HK$125 Million)

Sponsorship & Donations 贊助及捐款

•戲劇：彼得．布祿克、羅伯特．威爾遜、柏林劇團、 中國國家話劇院、皇家莎士比亞劇團 •大型特別節目：《藝裳奇幻世界》、星躍馬術奇藝坊 •戶外節目：《聲光園》、《幻光動感池》、《聲光頌》 香港藝術節積極與本地演藝人才合作，並致力為新晉 藝術家提供展示才華的平台。藝術節至今委約及製作 逾 200 套本地全新創作，包括戲劇、室內歌劇、音樂 和舞蹈作品，近年開始同步出版新作劇本，不少製作 更已在香港及海外多度重演。近年的藝術節新製作包 括《香港家族》三部曲、《世紀．香港》音樂會、《論 語》、《炫舞場》、《大同》、《金蘭姊妹》、《爆蛹》、 《野豬》、《聖荷西謀殺案》等。 香港藝術節多年來與知名海外藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節、香港歌德學 院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗 人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街 製作公司製作、香港藝術節為聯合委約機構之一的「橫 貫計劃」之《暴風雨》及《李察三世》、由香港藝術 節及上海國際藝術節聯合委約的《青蛇》、三藩市歌 劇院與香港藝術節聯合製作的《紅樓夢》等。 香港藝術節大力投資下一代的藝術教育。「青少年之 友」成立 26 年來，已為逾 730,000 位本地中學生及大 專生提供藝術體驗活動。藝術節近年亦開展多項針對 大、中、小學生的藝術教育活動，包括由國際及本地 藝術家主持的示範講座及工作坊、學生展演、演前講 座、公開彩排、以及欣賞藝術節演出。同時，通過「學 生票捐助計劃」，藝術節每年提供約 10,000 張半價學 生票。 香港藝術節每年主辦一系列多元化並深入社區的「加 料節目」，例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等， 鼓勵觀眾與藝術家互動接觸。

18%

36% Box Office 票房收入

32%

14%

Other Income (Including Possible Matching Grant for Sponsorship and Donation Income) 其他收入 （包括按捐款和贊助收入 可望獲得的配對資助 ) Government Baseline Funding 政府的基本撥款 （Updated August 2017 2017 年 8 月更新）

Hong Kong Arts Festival A Major International Arts Festival In, Of and For Hong Kong

• Theatre: Peter Brook, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

• Large-scale special events: World of WearableArt, Zingaro

HKAF is a non-profit organisation. Secured government baseline funding for the Festival in 2018 represents roughly 14% of its HK$125 million budget. Around 32% of the Festival’s income needs to come from the box office, and another 36% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 18% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations.

HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western opera: Bavarian State Opera, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Anna Netrebko, Gianandrea Noseda, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, John Neumeier, American Ballet Theatre, Cloud Gate Dance Theatre, Hamburg Ballet, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

• Outdoor events: Power Plant, Super Pool, Chorus HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include A Floating Family, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong – The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few.

HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

HKAF invests heavily in arts education for young people.

Over the past 26 years, our “Young Friends” scheme has reached over 730,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2017.html 誠邀贊助或捐助第 46 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details of the 46th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: dev@hkaf.org

直綫 Direct Lines: (852) 2828 4910/11/12

網頁 Website: www.hk.artsfestival.org/en/support-us

Presents

Al Ayre Español

Spanish Treasures in the Americas Eduardo López Banzo conductor and harpsichord

西班牙之風古樂團

《重拾失落在美洲的西班牙瑰寶》 指揮及古鍵琴：愛德華度．盧比斯．班素

3 月 Mar

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香港大會堂音樂廳 Concert Hall, Hong Kong City Hall 演出長約 1 小時 45 分鐘，包括一節中場休息 Running time: approximately 1 hour and 45 minutes including one interval

封面照片 Cover photograph:: © Marco Borggreve

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

HKartsfestival

本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.

www.hk.artsfestival.org

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西班牙之風古樂團 西班牙之風古樂團由愛德華度．盧比斯．班素於 1 9 8 8 年成立，致力挑戰當時西班牙巴羅克音樂演奏的陳腔 濫調。團名源自西班牙亞拉岡區作曲家嘉斯帕．山士 的一首結他賦格曲名。西班牙之風古樂團不滿足於成 為專奏古樂的樂團，而選擇開創「西班牙式」的音樂 哲學，讓樂團得以靈活適應各種音樂形式。 來自亞拉岡的西班牙之風古樂團活躍於歐洲享負盛名 的音樂節和劇院逾二十五年、為薩拉戈薩音樂廳駐場 十年、曾推出十八張專輯、在西班牙與國際間獲獎無 數（包括 2004 年的西班牙國家音樂獎），以及無休止 到海外演出和參加節目。他們無疑是西班牙最炙手可 熱的樂團之一。 過去二十五年，西班牙之風古樂團曾於世界聞名的演 奏廳演出，包括阿姆斯特丹音樂廳、維也納金色大廳、 維也納音樂廳、杜塞爾多夫音樂廳、柏林音樂廳、柏 林愛樂廳、巴黎香榭麗舍劇院、巴黎音樂城、馬德里 皇家劇院、馬德里國家音樂廳、巴塞隆拿加泰羅尼亞 音樂宮、那利西厄大劇院、漢堡音樂廳、華盛頓國會 圖書館、布魯塞爾藝術中心、梅斯武器庫音樂廳、里 斯本高秉根演奏廳、西班牙畢爾包的尤斯卡杜那宮及 羅馬奧林匹克劇院等。 樂團曾獲邀到世界著名音樂節演出，包括德國貝登 - 貝 登復活節音樂節、萊比錫巴赫音樂節、烏得勒支古樂 節、德國斯圖加國際古樂節、德國石荷州音樂節、德 國德累斯頓音樂節、昂布羅內音樂節、哈雷韓德爾音 樂節、奧斯陸教會音樂節、布拉格春季音樂節及波蘭 格但斯克 Actus Humanus 古樂節。 西 班 牙 之 風 古 樂 團 曾 與 多 間 唱 片 公 司 合 作， 包 括 Almaviva、Fidelio、DHM 唱片公司、世界和聲唱片公司、 Naïve-Ambroisie 唱片公司和 Challenge 唱片公司。2015 年，樂團發表最新專輯《給音樂愛好者》，灌錄曲目 包括韓德爾的編號第五全套作品，由荷蘭 Challenge 唱 片公司發行。 西班牙之風古樂團獲西班牙伊貝爾卡澤銀行、埃布羅 化學公司和西班牙文化部資助，並與薩拉戈薩音樂廳 維持駐場協定。樂團自 2011 年起任薩拉戈薩大使。

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Al Ayre Español Al Ayre Español was founded in 1988 by Eduardo López Banzo in an effort to challenge the pervading clichés that often surrounded the performance of Spanish baroque music at that time. The name of the ensemble was inspired by the title of a guitar fugue by the Aragonese composer Gaspar Sanz. The fact that Al Ayre Español has not settled for becoming a specialised early music ensemble, but chosen instead to create a musical philosophy "al ayre español" (à la espagnole), has given the project the necessary flexibility to adapt itself to different formats.

With over 25 years of appearances at the top festivals and theatres in Europe, 10 years as resident orchestra at the Auditorio de Zaragoza, 18 CD recordings, national and international awards (including the 2004 Premio Nacional de Música, among others) as well as a relentless schedule of international performances and events for the coming seasons, there is no doubt that this group from Aragon is one of the most prominent ensembles in Spain.

Throughout the last quarter of a century Al Ayre Español has performed at the most prestigious concert halls: Amsterdam's Concertgebouw, Vienna's Musikverein and Konzerthaus, Düsseldorf's Tonhalle, Berlin's Konzerthaus and Philharmonie, the Théatre des Champs Elysées and the Cité de la Musique in Paris, Madrid's Teatro Real and Auditorio Nacional, Barcelona's Palau de la Musica Catalana and Gran Teatre del Liceu, Hamburg's Leiszhalle, Washington's Library of Congress, the Palais des Beaux Arts in Brussels, Metz's Arsenal, Lisbon's Fundação Calouste Gulbenkian, Bilbao's Palacio Euskalduna, Rome's Teatro Olimpico, and others.

Al Ayre Español has also been invited to some of the world’s most important festivals, including: Baden-Baden Easter Festival, Bachfestspiele Leipzig, Oude Muziek Utrecht, Internationale Festtage Alter Musik Stuttgart, Schleswig-Holstein Musik Festival, Dresdner Musikfestspiele, Festival d'Ambronay, Handel Festspiele Halle, Oslo Church Music Festival, Prague Spring Festival and Actus Humanus in Gdansk.

Al Ayre Español’s recordings have been produced by labels such as Almaviva, Fidelio, Deutsche Harmonia Mundi, Harmonia Mundi, Naïve-Ambroisie and Challenge Records. In 2015, the ensemble released its CD, To all lovers of Musick, featuring Handel’s complete Opus No 5, on the Dutch label Challenge Records.

© Marco Borggreve

Al Ayre Español is sponsored by Ibercaja Bank, Industrias Químicas del Ebro and the Ministry of Culture of Spain, and maintains a residence agreement with the Auditorio de Zaragoza. The ensemble has been Zaragoza’s ambassador since 2011.

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愛德華度．盧比斯．班素 指揮及古鍵琴 愛德華度．盧比斯．班素 1 9 6 1 年生於西班牙薩拉 戈薩，是歐洲首屈一指的指揮家。盧比斯．班素的 音樂哲學以復古派為中心，與他合作的音樂家因而 能更接近每首樂曲的起源與精神。他們演奏的樂曲 即使久經年月，現代觀眾仍覺嶄新、創新。 盧比斯．班素在薩拉戈薩隨荷西．路易斯．岡扎拉 斯．奧里歐學習管風琴和古鍵琴；他在阿姆斯特丹 師隨雅克．范奧梅爾森及古斯塔夫．里昂哈特， 在兩位導師鼓勵下，以發揚西班牙巴羅克音樂為使 命。2 0 0 2 年，他憑演奏巴羅克作曲家安東尼奧． 里特瑞斯的作品獲頒授巴利阿里群島音樂學院的榮 譽勳章。但要直至 2 0 0 4 年，盧比斯．班素才取得 驕人成績：他於 1 9 8 8 年創立的西班牙之風古樂團 獲西班牙文化部頒授西班牙國家音樂獎，以表揚他 們廿載以來對音樂的嚴謹態度和精湛演出。文化部 的認可讓西班牙之風古樂團一躍成為歐洲復古派演 奏的指標。 盧比斯．班素受邀指揮各地交響樂團，包括特內里 費島、大加那利群島、加利西亞、馬德里、格拉納 達和華倫西亞，古樂器樂團如紐約古樂團、三藩市 巴羅克愛樂樂團、比利時巴．羅克樂團、塞維利亞 巴羅克管弦樂團、波蘭演奏家藝術古樂團和 KORE 管弦樂團。 歌劇方面，盧比斯．班素是研究韓德爾歌劇最重要 的專家之一。他參與西班牙畢爾包歌劇之友協會的 舞台製作，亦曾參與華倫西亞管弦樂團在索菲亞王 后藝術歌劇院，及基爾愛樂管弦樂團在基爾歌劇院 的演出。 他在薩拉曼卡大學、阿爾卡拉大學、UIM P 國際大 學（桑坦德和薩拉戈薩）授課和主持專門課程。他 每年在西班牙文化部轄下的萊昂國家音樂推廣中心 開辦名聞遐邇的巴羅克清唱劇課程。 盧比斯．班素於 2010 年 10 月獲頒「薩拉戈薩榮譽 © Peter Adamik

市民之鑰」。

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Eduardo López Banzo Conductor and harpsichord Eduardo López Banzo, born in Zaragoza in 1961, is one of the most notable European conductors to have adopted Historicism as a convincing part of his own musical philosophy. By doing so, he has brought his musicians closer to the sources and spirit of each composition, resulting in their music sounding fresh and innovative to contemporary audiences after many centuries.

López Banzo studied organ and harpsichord in Zaragoza with José Luis González Uriol and in Amsterdam with Jacques van Oortmerssen and Gustav Leonhardt, who encouraged him to champion the cause of Spanish baroque music.

In 2002 he received the Medal of Honour of the Conservatory of Music of the Balearic Islands for his work on the music of the baroque composer Antonio de Literes, but it was in 2004 that he achieved major success, when Al Ayre Español, the group he had founded in 1988, was awarded the Spanish National Music Prize, granted by the Spanish Ministry of Culture, in recognition of their musicological rigour and performance excellence over more than 20 years. This acknowledgement has led to Al Ayre Español becoming a reference point for historicist interpretation all across Europe.

López Banzo has been invited to conduct the symphonic orchestras of Tenerife, Gran Canaria, Galicia, Madrid, Granada and Comunitat Valenciana, as well as period instruments ensembles such as New York Collegium, San Francisco's Philharmonia Baroque Orchestra, the Belgian B'Rock Orchestra, Orquesta Barroca de Sevilla and the Polish Arte dei Suonatori and KORE. In the operatic field, López Banzo is currently one of the most important specialists in Handel's operas.

He has also participated in stage productions by Bilbao's Friends of Opera Association (ABAO/OLBE), at Valencia's Palau de les Arts with the Orquestra de la Comunitat Valenciana, and at the Kiel Opera with the Philharmonisches Orchester Kiel.

He has also lectured and conducted specialist courses at the Universities of Salamanca, Alcalá de Henares, UIMP Santander and Zaragoza, and every year gives a renowned course on the baroque cantada in León (Centro Nacional de Difusión Musical, Spain’s Ministry of Culture).

López Banzo was honoured with the Key to the City of Zaragoza award in October 2010.

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15

美洲的西班牙清唱劇

Spanish Cantadas in the Americas

在美洲豐富而引人入勝的收藏裏，我們仍然

In rich and fascinating archives in the Americas we can still uncover many music scores which are part of the musical heritage of the Americas and Spain, and which have therefore left a cultural legacy on both sides of the Atlantic.

能夠發現美洲和西班牙的大批音樂手稿，為 大西洋兩岸留下重要的文化遺產。 西班牙之風古樂團成立多年來，致力演出這 個寶庫的作品，但當中仍有不少遺珠有待發 掘。荷西．托利斯是十八世紀初著名的馬德 里作曲家，擔任管風琴師及西班牙宮廷的皇 家聖堂樂長。他的作品享譽美洲，由原住民 樂手及歌手組成的教堂樂團演出，在十八世 紀廣泛流傳。他的音樂在十九世紀仍時有演 出。 托利斯的清唱劇在他豐富的作品中尤其出 眾，質量亦遠勝同年代的作曲家。他從曲式、 器樂和聲樂語言方面重塑意大利清唱劇，形 成獨樹一幟的「西班牙清唱劇」。托利斯避 免消極仿傚意大利風格，提倡大膽多變的結 構，融合意大利清唱劇與西班牙頌歌及舞曲。 西班牙清唱劇一般以莊嚴內斂的終曲作結， 與前段節奏明快、不受拘束的舞曲，如塞吉 第亞舞曲及科普拉，以及富西班牙特色的宣 敘調和詠嘆調形成對比。 西班牙之風古樂團將為香港藝術節的觀眾獻 上一系列未經出版的清唱劇瑰寶。這些作品 來自美洲收藏的手稿，由盧比斯．班素整理 及抄錄。

For many years, Al Ayre Español has been showcasing some of this immense and rich music repertoire, but there are still many treasures to be discovered. José de Torres, an early 18th century composer from Madrid of the highest calibre, worked as an organist and maestro de capilla at the Spanish court. He was widely known and performed in the Americas, largely by indigenous instrumentalists and singers who formed part of the capillas de música, and they maintained the music of Torres, keeping it alive throughout the 18th century. In some cases, his music was still performed well into the 19th century.

His cantadas – as he named them – stand out from the rest of his ample output and are certainly superior in quality to those of his contemporaries. Torres experimented both with form and with instrumental and vocal language, transforming the Italian cantata in such a way that we can easily call it a cantada española. Torres avoided the passive imitation of Italian cantatas to propose bolder and more varied structures, a result of combining these models with the Spanish villancico and with dance. Often, the cantadas end in a mood that is contemplative, reserved, and sober, which enhances the compositions by creating a contrast with the free-spirited atmosphere of the dances – seguidillas, coplas – and the unmistakably Spanish characteristics of his recitados and arias.

Al Ayre Español brings the Hong Kong Arts Festival audience a selection of these beautiful and previously unpublished cantadas. They have been carefully transcribed by Eduardo López Banzo from original manuscripts found in archives in the Americas.

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《重拾失落在美洲的西班牙瑰寶》

Spanish Treasures in the Americas José de Torres (c. 1670-1738)

托利斯 「至聖聖體」清唱劇《啊，誰可達到》*

Oh, quién pudiera alcanzar, Cantada al Santísimo *

詠嘆調

Aria

宣敘調

Recitado

詠嘆調

Aria

緩慢地

Despacio

賦格曲

Fuga

宣敘調

Recitado

詠嘆調

Aria

莊嚴終曲

Grave

柯里尼

Arcangelo Corelli (1653-1713)

第十二首教堂奏鳴曲，作品 3

Sonata da Chiesa, No 12, Op 3

莊嚴地 / 快板

Grave/Allegro

快板 / 慢板

Allegro/Adagio

活潑地

Vivace

快板

Allegro

快板

Allegro

快板

Allegro

托利斯

José de Torres

「聖母」清唱劇《天上的瑪利亞》*

María en ese Cielo, Cantada a Nuestra Señora *

宣敘調

Recitado

詠嘆調

Aria

宣敘調

Recitado

詠嘆調

Aria

莊嚴終曲

Grave

— 中場休息 Interval —

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托利斯 「聖誕」清唱劇《神聖的亞當之子》*

José de Torres Divino hijo de Adán, Cantada al Nacimiento *

詠嘆調

Aria

宣敘調

Recitado

詠嘆調

Aria

宣敘調

Recitado

詠嘆調

Aria

莊嚴終曲

Grave

贊布尼

Giovanni Zamboni (c. 1650-?)

《魯特琴指法譜奏鳴曲》樂章選段， 作品 1

Selected movements from Sonate d'intavolatura di leuto, Op 1

阿勒芒舞曲

Allemande

吉格舞曲

Gigue

卡巴尼耶斯

Juan Cabanillas (1644-1712)

第二調式天托曲，第九十六首

Tiento de segundo tono, No 96

加亞爾德舞曲

Gallarda

托利斯

José de Torres

「聖母」清唱劇《無盡的恩寵》*

A el abismo de gracia, Cantada a Nuestra Señora *

副歌

Estribillo

詠嘆調

Aria

宣敘調

Recitado

詠嘆調

Aria

宣敘調

Recitado

科普拉

Coplas

* 與女高音維羅妮卡．柏拉達聯合演出 with soprano Verónica Plata 中文節目介紹請詳閱 p19 English programme notes on p29 是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

19

節目介紹 托利斯清唱劇 《重拾失落在美洲的西班牙瑰寶》 引言 荷西．托利斯是十八世紀初西班牙宮廷主要的聖 樂作曲家，初時在馬德里擔任管風琴師，後來出 任皇家聖堂樂長。可是他的影響力卻不限於聖樂 作曲：他同時擔任少年合唱團的主任司鐸，負責 培育優秀的音樂家（如璜．法蘭斯．伊利巴倫和 荷西．尼布拉等），團內的指揮工作更啟發他撰 寫《伴奏通則》一書。《伴奏通則》（1702 年） 是關於通奏低音的重要著作，出版一年後馬上再

成西班牙文「cantada」。這種具意大利色彩的音 樂形式，激發意大利音樂與西班牙本土的傳統音 樂如頌歌與世俗歌曲的融合。這種新式的混合體 將意大利和西班牙元素糅合得精彩萬分─既有 宣敘調和詠嘆調，也有合唱、流行曲和塞吉第亞 舞曲（佛蘭明高音樂的一種），偶然還會採用法 式樂段（賦格曲或小步舞曲）。這種融合現象也 同時延伸到聖樂；不久，宗教清唱劇成為了「變 體頌歌」，在西班牙各地的教堂也可聽到。

版，及後又在 1736 年再版。可是他最重要的成

這場節目裏的托利斯作品，既能徹底體現意大利

就之一，卻毫無疑問是成立並親自經營「音樂出

與西班牙兩國傳統風格的結合，從中又可見清唱

版社」。「音樂出版社」是西班牙當時唯一的同

劇形式的靈活多變。雖然四首曲目都是宗教清唱

類出版社，不但出版教學著作，更將馬德里音

劇，但它們與托利斯所寫的世俗歌曲之間的差異

樂的風格特色向外傳播，遍及西班牙所有領土，

卻不甚明顯。事實上，不拘聖俗採用同類風格是

對振興西班牙人的音樂生活至關重要。事實上，

西班牙的創作傳統，其源流可追溯至中世紀末；

美洲地區獨一無二地收藏了大批此類出版物及手

有時只要把世俗歌曲的歌詞稍微改動一下，就會

稿；該年代的西班牙音樂史，因而與這批流落在

變成聖樂或宗教作品。儘管如此，分析樂曲的形

美洲的豐富寶藏息息相關。

式特徵及不同的詮釋手法，也有助深入了解作品

當然，是因為在十八世紀初，西班牙音樂經歷了

豐富的情感，激發出引人入勝的真知灼見。

重大的風格轉變。這次改變以記譜法和音響效果

這些作品的織體取自獨唱與器樂段落的對比。當

的變遷最為明顯，但譜曲的深層結構也有所改

時西班牙作品裏，弦樂總是跟隨三重奏鳴曲的結

變，其中包括作曲的必要元素例如拍子和調性。

構（兩把小提琴，配合通奏低音），直到意大利

這種趨勢其實早在上世紀璜．賀代戈、基斯托瓦

作曲家柯瑟利在 1 7 3 0 年代末出任皇家聖堂樂長

爾．格蘭和塞巴斯蒂安．杜倫的作品已見端倪，

時，中提琴才開始有系統地加入弦樂組；再過幾

但是西班牙音樂以托利斯為先驅，在 1 7 2 0 年代

十年，馬德里以外地區才開始普遍接受中提琴。

吸收了意大利獨特的樂種、曲式、風格以及演繹

托利斯也引入了雙簧管等新樂器。他的清唱劇經

模式之後，才看得出清晰的風格轉變。

常出現兩件高音樂器互相模仿的樂段，當中以第

托利斯在同僚安東尼奧．利達斯的支持下，踏出 將意大利元素融入西班牙音樂決定性的第一步。 托利斯採用新樂器、發展清唱劇，並將宣敘調和 詠嘆調加入所有以西班牙語演唱的傳統樂種，例 如頌歌、西班牙輕歌劇（一種集抒情與戲劇於一 身的音樂喜劇）和小夜曲等。可是托利斯最擅長 的卻是宗教清唱劇，甚至令清唱劇一詞迅速翻譯

一小提琴與雙簧管的組合最常見，寫法重視旋律 與主題發展多於嚴格對位。曲式方面，與一眾意 大利前輩相比，托利斯的清唱劇分段較多，變化 也較大：與亞歷山德羅．史格拉第確立的「兩組 宣敘調與詠嘆調」的慣例不同，當時的西班牙清 唱劇會在結尾加入一首三拍子哀歌（稱為〈莊嚴 終曲〉），並加入各式各樣的樂段。

20

節目中第一齣清唱劇《啊，誰可達到》用於聖

出類似大三和弦的音型，令人聯想起小號，而且

禮。聖體敬禮的做法可追溯至中世紀，被視為天

在歌詞裏「響起警號」一句時更明顯；然後是一

主教的重要教義，促使西班牙在歐洲宗教改革時

小段難度極高的炫技段落。短篇宣敘調過後，就

對聖禮重拾熱忱。聖體敬禮的高潮在於基督聖體

是抒情如歌的第二首詠嘆調，這裏透過雙簧管主

聖血節，不過西班牙皇室的「四十小時明供聖

導的樂段，突顯了樂章的抒情色彩。第二首詠嘆

體」也同樣備受推崇。縱觀整個十七世紀，聖體

調同時為〈莊嚴終曲〉作鋪墊，而〈莊嚴終曲〉

敬禮時所用的都是頌歌和聖歌，到了十八世紀才

則與全劇開端遙相呼應。

加入清唱劇，這可能是由於清唱劇能營造靜寂、 沉思的氣氛，與活力充沛的複音頌歌形成對比。 清唱劇為這個音樂傳統加入豐富的比喻式語言， 流露奉獻之情、描繪大自然，甚至經常將基督與 神話人物相提並論。例如在《啊，誰可達到》結 尾的〈莊嚴終曲〉裏，歌詞第一句就是「啊，偉 大的阿多尼斯」。這裏的「阿多尼斯」就像歌詞 中提及的愛神丘比特或奧菲歐一樣，實際上都是 比喻基督。

第三齣清唱劇《神聖的亞當之子》內容圍繞基督 降生，所以詮釋脈絡也截然不同。在巴羅克時期 的西班牙，聖誕晨禱是頌歌演出的最重要時刻之 一。在皇家聖堂，每年聖誕頭七次誦讀經課時， 會安排七首頌歌在其中交替頌唱。十八世紀初， 清唱劇開始取代部分頌歌，《神聖的亞當之子》 正是一例。這齣清唱劇是托利斯為 1 7 1 2 年聖誕 節而寫的，在第二夜禱第一節經文之後演出。 可惜時辰頌禱禮中採用的樂曲只有這一首流傳至

清唱劇的樂章較多，意味着各種對比效果可以在

今，因此已無法得知不同的清唱劇如何以音樂配

同一作品中出現。《啊，誰可達到》首尾都是

合整個慶祝活動。

慢樂章（包括第一樂章及結尾沉重的〈莊嚴終 曲〉），情感以中間的〈飛禽走獸與林中大樹〉 最強烈，呼應西班牙劇作家卡爾德隆劇作中的經 典元素。音樂方面，〈飛禽走獸與林中大樹〉顯 然受十七世紀下半葉的慢三拍子哀歌影響，同類 影響也可見於最後的〈莊嚴終曲〉。

《神聖的亞當之子》歌詞明顯與教義有關，講述 基督為了拯救世人，從出生的一刻開始，就要 面對痛苦的命運。托利斯的音樂也同樣緊扣「苦 難」這個主題，顯得份外沉重，與一般聖誕作品 喜氣洋洋的氣氛格格不入。跟《啊，誰可達到》 一樣，《神聖的亞當之子》以緩慢而優美的詠嘆

作品還有兩組宣敘調和詠嘆調，其中第二組宣敘

調掀開序幕，為作品奠下基調：慨嘆聖嬰的悲慘

調與詠嘆調之前是賦格曲。《啊，誰可達到》的

命運。宣敘調中間包含一段詠敘調，在提到基督

慢樂章瀰漫哀傷與惋惜的氣氛，其他樂章則在情

被釘十字架時突然減慢。第二首詠嘆調維持了全

感上與此形成對比。第一首詠嘆調速度活潑，器

曲的整體氣氛，也突出了本身的戲劇性：複奏樂

樂段落多用短音，並讓所有高音樂器同時演奏。

段利用小提琴的下行半音線條，呼應由耶穌唱出

主旋律以大三和弦為基礎，有軍樂風範，樂章戰

的歌詞「我是要來受苦、流淚、受死」。第三首

意激昂、洋洋得意，與歌詞「我那受傷的心必須

詠嘆調的氣氛雖然較輕鬆，但情感依然強烈，其

得勝」非常契合。慢速中段過後的賦格曲也同樣

中快速下行音階更維持了整體戲劇效果。沉重的

戰意激昂，但這種音調是由所有樂器奏出統一節

〈莊嚴終曲〉重申全曲的整體氣氛，最後在不協

奏而成，手法有別於第一首詠嘆調。人聲再次唱

和的悠長切分音襯托下，以歌詞「在主懷裏死 去」結束。

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今晚第二及第四齣清唱劇則是獻給聖母瑪利亞的

將意大利式樂段加到頌歌裏，例如以合唱曲掀起

作品。但其實皇家聖堂（也就是托利斯的僱主）

序幕，並以終樂章連串的唱段作結，期間加插兩

很少以頌歌和清唱劇慶祝聖母慶日，因此這兩齣

首詠嘆調，而每首詠嘆調之後都有一段宣敘調。

清唱劇要麼是托利斯為其他馬德里的宗教機構而

合唱曲是短小質樸的慢樂章，歌詞採用適合宣敘

寫，要麼作品原本另有用途─最後一齣清唱劇

調的意大利式韻文，只用通奏低音伴奏，卻能令

似乎屬於後者。在其他宗教機構裏，這類音樂常

人聯想起火焰（有「人類的指引明燈」之意）。

見於聖母慶祝活動，例如慶祝聖母無原罪始胎、

第一首詠嘆調的輕盈音色，與雙簧管、小提琴和

聖母蒙召升天等；而在美洲各地，慶祝「瓜達盧

人聲之間的豐富對話形成對比，華麗的主題發展

佩聖母」顯現也會採用同類音樂。

更帶出難度極高的美聲樂段。第二首詠嘆調也許

《天上的瑪利亞》經常把聖母與彩虹相提並論， 意味着作品原本可能是為聖母蒙召升天節而寫， 慶祝基督將聖母的身體和靈魂迎接到天國，並呼 應基督教徒對彩虹的信仰─深信彩虹是神與世 人之間不滅連結的紀念。但其實作品在危地馬拉 （也就是樂曲手稿的收藏地）獻給「瓜達盧佩聖 母」的可能性更大─據說「瓜達盧佩聖母」是 在一道彩虹裏向印第安人璜．狄雅哥顯現。這齣 清唱劇有四個傳統樂章：兩首短篇宣敘調、兩首 詠嘆調，之後一如其他同類作品，以〈莊嚴終 曲〉作結。第一首詠嘆調以三拍子的小調寫成，

是今晚最創新的樂章，因為當中採用的撥弦技法 （樂譜上的標記是「punteado」，意即「撥」） 在當時的西班牙音樂並不常見。無論音樂還是歌 詞，第二首詠嘆調都與第一齣清唱劇《啊，誰可 達到》遙相呼應：強調「苦難」與「肉身之死」 是通往永生的唯一道路。《無盡的恩寵》最後以 連串的唱段作結。這個三拍子的樂章採用分節結 構和主音織體，詞曲方面則以一音節一音符配 對，呈現了許多前一個世紀（十七世紀）西班牙 流行曲傳統特徵，包括多用重複音，以及每個樂 句都以希米奧拿三二拍子節奏結束。

速度緩慢，並跟高音樂器合奏。無論在複奏樂段 還是人聲樂段，大提琴都非常突出。第二首詠嘆 調活潑輕快，與第一首詠嘆調形成強烈對比；小 提琴持續演奏，這裏的譜曲與樂器的音色非常吻 合，讓人想起韋華第的協奏曲（韋華第在十八世 紀上半葉的西班牙很著名）。〈莊嚴終曲〉氣氛 沉重，但歌詞卻較活潑；音樂的陰沉氣氛主要以 三個方法來營造：將旋律某些樂音降半音、採用 減七和弦，以及在強拍採用不協和音。 至於另一齣「聖母」清唱劇《無盡的恩寵》似乎 由舊作改編而成，手稿上好些記譜法都顯示樂曲 並非原創，而原作極有可能是為聖誕節而寫。此 外，曲中有些段落的歌詞完全沒有提及聖母，卻 意指耶穌的形象。形式上，《無盡的恩寵》彷如 瓜達盧佩聖母畫像 A painting of the Virgin of Guadalupe

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音樂會的純器樂作品，於托利斯創作清唱劇的年

璜．卡巴尼耶斯是西班牙早期巴羅克時期最重要

代在西班牙常有演出。大家要記得，當時聖堂

的鍵盤作曲家之一。他創作最多的是天托曲（形

的歌手和樂師大多是意大利人（弦樂手尤甚）。

式類似幻想曲，相當於意大利探索曲的西班牙變

自十七世紀末開始，柯里尼的作品名氣越來越大

體）。「天托曲」是種相對自由的模仿性作品，

（這可以從他作品的手抄本數目印證），因此宮

多種風格共冶一爐，由極度嚴謹（例如賦格曲，

廷裏演奏的室樂很可能經常出現柯里尼的作品。

以長時值音符發展主題）到氣氛輕鬆、炫技的

不過他的作品也會應用在禮儀中的特定時刻，例

曲風，例如今晚演出的「第九十六首」。卡巴尼

如「舉揚聖體」，也就是在彌撒時舉揚祝聖餅和

耶斯管風琴作品的特色，還有寫作取材自歐洲舞

酒的時刻。柯里尼的音樂有一矛盾之處：當中在

曲的樂章，例如〈D 小調加亞爾德舞曲〉。雖然

今天看似常見、傳統的效果，在當時其實是劃時

源於舞蹈，但事實上〈D 小調加亞爾德舞曲〉卻

代的新穎聲音。這種新音樂後來大大改寫歐洲的

是首四聲部複音作品。四個聲部接連發展同一主

音樂面貌，而柯里尼第十二首教堂奏鳴曲正是其

題，開展成多個插段；而且樂曲織體越來越錯綜

中一例。樂曲為兩把小提琴及通奏低音而寫，由

複雜，表現出高超的技巧。

數個樂章組成，各樂章在速度、調性及織體方面 形成對比。樂曲的一大特色是平衡了兩件高音樂 器，不但寫法與樂器音色非常吻合，柯里尼更從 大量琶音當中，發展出樂器之間的均衡對話。而 且同一樂章內也有對比，例如第一樂章分為「莊 嚴地—快板—慢板」三段，第二樂章也有「快 板—慢板—活潑地」三種氣氛的對比。表面上， 每個樂章的指示都只說明速度，但實際上卻用 來掩飾隱藏在音符之間的舞曲：例如最後的〈快 板〉聽起來竟然是首吉格舞曲，實在出人意表。 喬凡尼．贊布尼的兩個魯特琴樂章選自《魯特琴 指法譜奏鳴曲》。該作於 1 7 1 8 年在意大利盧卡 出版，是作曲家唯一曾出版的作品（1 7 1 8 年正 是托利斯出任皇家聖堂樂長的年份）。曲集雖然 以「奏鳴曲」為標題，但事實上每首作品都跟隨 組曲的傳統結構，由幾個樂章組成，當中通常有 阿勒芒舞曲、庫朗特舞曲和薩拉邦舞曲。今日演 奏的是典型的阿勒芒舞曲和吉格舞曲。

西班牙堅實的聲樂傳統承接自十七世紀，意大利 影響則在十八世紀初湧入西班牙；托利斯的清唱 劇可以說是將兩者共冶一爐，而兩種音樂傳統的 結合的一體兩面也是今晚節目的主題。西班牙曾 經有一段時間受歷史及國族偏見左右，將這類曲 目斥為「墮落」。可是欣賞過西班牙之風古樂團 這場節目的觀眾，也肯定會同意大家正在見證西 班牙音樂的崇高成就。 文：艾法羅．托蘭提

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Programme notes The Cantadas of José de Torres (c. 1670-1738) Spanish Treasures in the Americas Introduction Throughout the first few decades of the 18th century, José de Torres was the principal composer of sacred music at Court, first as organist and later as Master of the Royal Chapel in Madrid. His influence, however, was not limited to this one area of professional activity. As Rector of the Boys Choir he was responsible for producing musicians of the calibre of Juan Francés de Iribarren and José de Nebra, and his work as maestro there led to the publication in 1702 of his hugely significant treatise on thorough bass accompaniment General Principles of Accompaniment, which was immediately reprinted in 1703 and again in 1736. But without doubt one of the most notable achievements of his career was the Music Printing Press that he both established and led. The only one of its kind to exist in Spain at that time, the Press played a decisive role in the regeneration of Spanish musical life, both through its publication of didactic texts and its dissemination of the stylistic preferences of Madrid throughout the various territories under the Spanish crown. Indeed, many of these publications have been conserved only in American archives, alongside a substantial number of manuscripts. The history of music in Spain at the time is intimately connected to these rich holdings in the Americas.

Because, of course, in the first decades of the 18th century, Spanish music had undergone one of the most profound periods of stylistic change in its history. The most obvious features of this change lie in notation and sonority, but these in turn reflect deeper structural transformations in essential aspects of composition, such as metre and tonality.

The process had already begun the previous century with the work of composers such as Juan Hidalgo, Cristobal Galán and Sebastián Durón, but it was

under the leadership of José de Torres, particularly in the second decade of the 18th century, that the full impact was felt with the greater incorporation of the genres, forms, styles and interpretative modes characteristic of Italian music.

It was José de Torres, supported by his colleague Antonio Literes, who took the first and most decisive step in terms of incorporating Italianate elements into Spanish music, especially in relation to the use of new instruments, the development of the cantata, and the integration of recitative and arias into all of the genres traditionally sung in the Spanish vernacular, such as carols, zarzuelas (a lyricdramatic form of musical comedy) and serenades.

But it was with the sacred cantata that Torres particularly excelled, to the extent that the genre was rapidly translated into Spanish as the cantada.

The reception of this characteristically Italian form sparked a whole process of integration in the way that it merged with the native traditions of Spain – the carol and the tono humano (secular song) – giving rise to a hybrid form which brilliantly brought together Italian and Spanish elements (recitative and aria, on one hand, and chorus, popular songs and seguidillas – a form of flamenco music – on the other), with the occasional use of French sections (fugues or minuets). It was a process that extended at the same time into the realm of sacred music, and very quickly examples of religious cantatas as a variant of the carol began to be heard in churches throughout Spain.

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This programme features works by Torres that illustrate perfectly these combined stylistic traditions as well as the diversity of the cantata form itself. Although the four cantatas are religious, it is not easy to detect significant differences between them and secular songs written by the same composer. In fact, the use of the same stylistic conventions in sacred and secular music alike had been a well-established tradition in Spain since the late Middle Ages, to the extent that at times it was only necessary to change a few words for a secular song to become a sacred or devotional work. Even so, analysis of the formal characteristics and the different interpretative ranges of the form yield a fascinating insight into its expressive richness.

The texture of these works derives from the c o n t ra s t b e t we e n t h e s o l o vo i c e a n d t h e instrumental section. The string section in Spanish music of the time depends upon the structure of the trio sonata (two violins and basso continuo).

The viola was only incorporated into this group of instruments in any systematic way at the end of the third decade of the century, when the Italian composer Corselli became Master of the Royal Chapel – although several more decades would elapse before the new instrument became widely accepted outside Madrid. Torres also introduced other new instruments, such as the oboe. In his cantatas we find frequent imitative passages played between the higher-pitched instruments, especially between the first violin and the oboe, where the development of melody and theme are given precedence over strict counterpoint. In terms of form, Torres’s cantatas feature both a greater number and a wider variety of sections than their Italian precursors – in contrast to the convention established by Alessandro Scarlatti of two sets of recitatives and arias, the Spanish cantatas of the time bring in a sort of final triple time lament (denominated grave), as well as a variety of other different sections.

The cantata with which this programme opens – Oh, quién pudiera alcanzar (Oh, Whosoever Might Attain) – is dedicated to the Holy Sacrament.

The roots of this devotion to the Body of Christ stretch back to the Middle Ages, but the Protestant Reformation in Europe bestowed fresh fervour on it in Spain because of its perceived status as iconic Catholic dogma. The climactic moment of this devotion comes with the Feast of Corpus Christi, but in the Spanish Court the celebration of the 40 Hours’ Devotion was at least equally venerated. Throughout the 17th century the cult of the Holy Sacrament had been accompanied by carols and tonos a lo divino (divine songs), to which the cantata was added in the following century, possibly because of its capacity to create an atmosphere of still contemplation in contrast to the more dynamic impact of the polyphonic carols. Within this musical tradition, the cantata offers a richly allegorical language, replete with expressions of devotion, evocations of nature, and the identification of Christ with mythological characters. This can be seen, for example, in the final grave section of Oh, quién pudiera alcanzar, where the text opens with Oh, inmenso Adonay (Oh, great Adonis) – Adonis in this case, like Cupid or Orpheus at other times, being an allegorical representation of Christ.

The increased number of movements in these cantatas means that various contrasting effects may be present in a single piece. Oh, quién pudiera alcanzar is framed by two slow sections – the opening movement and the final sombre grave – reaching its moment of maximum intensity in the middle section Aves, fieras, troncos brutos (Birds, Beasts, Wild Tree Trunks), which echoes the classic elements of the theatre of Calderón. In musical terms, this section has its roots in the slow triple time lament that was so popular in the second half of the 17th century, and which in turn gave rise to the final grave.

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The other sections of this piece (two sets of recitative and aria, the second of which is preceded by a fugue) offer an affective counterpoint to the sense of sorrow and regret that infuses the slow movements. The first aria features both a lively tempo and the use of short-note values in the instrumental passages, where all the high-pitched instruments come together. The main melodic line, based on a major triad, possesses a military tone, bestowing on the movement a warlike, triumphalist air accentuated by the lyric mi corazón herido ha de vencer (my wounded heart must conquer). The fugue that follows the slow middle section also has an air of war, although in this instance the tone is achieved through the uniform rhythmical articulation of all the instruments. Once again the voice echoes the form of the major triad so as to evoke trumpets, particularly on the words toquen alarma (sound the alarm), which are followed in turn by a brief melismatic passage of extraordinary virtuosity. The second aria, preceded by a short recitative, is much more songlike, a quality achieved and accentuated through the dominance of the oboe. In turn, it serves to prepare the way for the sombre grave final, which echoes the opening section of the piece.

The interpretative context of the third cantata, Divino hijo de Adán (Divine Son of Adam), is markedly different in that it is devoted to the Nativity. Christmas matins provided one of the most significant moments in Baroque Spain for the performance of carols, and in the Royal Chapel seven carols were interspersed each year between the first seven lessons. From the beginning of

the 18th century, some of these carols began to be replaced by cantatas, such as this one. Divino hijo de Adán was composed to mark Christmas 1712, to be performed after the first lesson of the second nocturn. Unfortunately, this is the only piece to have survived from the Liturgy of the Hours, and today it is impossible to tell how these cantatas were integrated musically into the overall celebration.

The text of Divino hijo de Adán is patently doctrinal, recalling at the moment of birth the painful destiny that awaits the Child in his mission to redeem humanity. The suffering is echoed in Torres’s music, bestowing on this cantada a particular sombreness that is at odds with the normal cheer of Christmas celebrations. As is the case with the previous piece, this cantada opens with a beautiful slow-moving aria that sets the tone for a work that laments the tragic destiny of the Child. The recitative includes a central arioso that slows down abruptly when the crucifixion is brought to mind. The second aria, although maintaining the overall tone of the piece, also accentuates its drama thanks to the use of a ritornello of the descending chromatic line of the violins, echoing the text put into the mouth of Jesus: A eso vengo… a penar, a llorar, a morir (This is why I have come… to suffer, to weep, to die). The third aria, despite its much lighter tone, does not change the emotional charge in any significant way, and indeed maintains intense drama of the piece through its rapid descending scales. The sombre final grave reaffirms the general feel of the piece, ending on the words y en ti morir (and die in you) on top of long, syncopated, dissonant notes.

基督降生 The Nativity of Jesus

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The second and fourth cantatas are dedicated to Our Lady Mary, Mother of God. It was unusual in the Royal Chapel, for which Torres composed his music, to celebrate Marian feast days with carols or cantatas, so that it is likely that these pieces were either composed for a different religious institution in Madrid or are versions adopted from some other act of dedication, as seems to be the case in the last of these cantatas. Such music was a common feature of the Marian celebrations held in other institutions – for example, for the Immaculate Conception, the Assumption and, throughout the whole of America, for the Virgin of Guadalupe.

In María en ese cielo (Mary In That Heaven) there is an extended identification of the Virgin with the rainbow. It is an association that suggests that it may have been composed for the Feast of the Assumption, which celebrates the Christian belief that Christ raised his mother to heaven in body and soul, echoing the belief that the rainbow is a celestial phenomenon commemorating God’s undying bond with humanity. But it is more likely that it was in Guatemala – where the manuscript of this piece is conserved – that the piece was dedicated to the Virgin of Guadalupe, whose legend states that she appeared to the Indian Juan Diego in the midst of a rainbow. The cantata has four conventional movements – two brief recitatives and two arias – before concluding with the usual grave. The first aria is a slow movement in minor ternary time, with the high-pitched instruments playing in unison. The cello predominates, above all in the ritornelli, but also in the sung parts. The lively air of the second aria contrasts with the first one through a constant articulation of the violins and an idiomatic instrumental score that is reminiscent of the violin concertos of Vivaldi – well known in Spain in the first decades of the 18th century. The sombre character of the final grave contrasts with a relatively lively text, its dark colour achieved through the use of melodic flats and diminished seventh chords, with dissonances on the strong beat.

The other Marian cantata appears to be the adaptation of a pre-existing piece (written in all likelihood for Christmas) since some notations in the manuscript confirm differences from an original text. Moreover, the lyrics of some sections do not contain Marian references and are more directed towards the figure of Jesus. In formal terms, it takes the form of a carol with interpolated Italian sections, as can be seen from the way in which it opens with a chorus and closes with a series of sung verses, between which are intercalated two arias each followed by a recitative. The chorus, written in the Italianate verse forms appropriate to recitative, is a slow, short and simple movement, accompanied only by the basso continuo, and evokes the flame that is the guiding light of humanity. The first aria provides a marked contrast both with the lightness of its tone and the richness of the dialogue between oboe, violins and voice, with an elaborate thematic development that gives rise to moments of bel canto virtuosity. The second aria is perhaps one of the most original in this programme in its use of pizzicato, indicated as punteado (plucked) on the manuscript, a technique that was not commonly used in the Spanish music of the time. In musical and textual terms alike, it echoes the tone of the first cantata in its insistence that the only path to attain to eternal life is that of suffering and physical death. The cantata concludes with a number of sung verses, a strophic homophonic and syllabic composition in ternary rhythm that returns to the traditional character of the tonos humanos (popular songs) of the century before, especially in the repeated articulation of the notes and the device of every phrase ending with a hemiola.

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The instrumental pieces that form part of this programme provide a representative sample of the sort of music that would be heard in Spain at the time when José de Torres was writing his cantatas. We need to remember that many of the musicians in the Chapel were Italians, singers and instrumentalists alike – especially string.

Corelli’s music was becoming increasingly wellknown from the end of the 17th century onwards – as the number of manuscript copies of his work testify – and it is likely that it featured regularly in the chamber repertory of the Court, although it was also used at particular moments of the liturgy, such as the Elevation, when the consecrated elements of bread and wine are raised during the celebration of the Eucharist. The paradox of Corelli’s music is that what today seems predictable and conventional was in its moment revolutionary.

The Sonata da Chiesa No12 Op 3 is a perfect example of the new music that would come to transform the musical landscape of Europe. Written for two violins and basso continuo, it consists of a number of movements rich in contrasts in terms of tempo, tonality and texture. A core feature is the equilibrium between the two high-pitched instruments, whose balanced dialogue develops from an idiomatic score full of arpeggios. There are contrasts even within the same movement, such as the succession of Grave-Allegro-Adagio in the first movement or the Allegro-Adagio-Vivace in the second. The instructions for each movement apparently only refer to tempo, but in fact serve to conceal authentic dances, which happens, for instance, in the case of the gigue that emerges unforeseen in the final Allegro.

Giovanni Zamboni’s two movements for lute come from his only printed work, Sonate d’intavolatura di leuto, published in Italy, in Luca, in 1718 – the same year in which Torres became Master of the

Royal Chapel. Although described as sonatas, they are compositions that follow the classical structure of the suite, consisting of various movements that almost always include an allemande, a courante and a sarabande – the piece we will hear as part of this programme features a particularly stylised allemande and gigue.

One of the most important composers for keyboard in the early Spanish baroque period was the Valencian Juan Cabanillas. The genre that he cultivated most assiduously was the tiento (formally analogous to the fantasia, the tiento was the Spanish equivalent of the Italian ricercare), a relatively free imitative composition that brings together various styles, from the most severe, whose theme develops through long note values, such as a fugue, to others which are much lighter, full of virtuosity, such as No 96, which will be played as part of this programme. The other characteristic of his works for organ are the dance movements that derive from European models, like the Gallarda en re menor (Galliard in D minor).

Despite its origins in dance, it is in reality a dense polyphonic composition for four voices which successively develops thematically unified episodes within an increasingly complex imitative texture that reveals extraordinary technical ability.

The cantatas of José de Torres can be thought of as a synthesis between the solid Spanish vocal tradition that was inherited from the 17th century and the Italianising tendencies that were ushered in at the beginning of the 18th. Both sides of this union feature in this programme. There was a time when historical and nationalistic prejudice in Spain would have led to such programming being denounced as decadent. But anyone who listens to this Al Ayre Español programme cannot help but recognise that we are indeed witnessing one of the sublime moments of Spanish music.

By Álvaro Torrente

38 –1–

José de Torres (1670-1738) 節目所有清唱劇由愛德華度．盧比斯．班素抄錄自美洲收藏的 18 世紀原稿。 All these cantadas have been transcribed by Eduardo López Banzo, from the originals of the XVIII century preserved in American archives.

「至聖聖體」清唱劇《啊，誰可達到》 Oh, quién pudiera alcanzar, Cantada al Santísimo 詠嘆調

Aria Oh quién pudiera alcanzar un amoroso vivir, un sentir, un anhelar, un reír hecho a llorar, y un llorar para reír.

Oh, whosoever might attain a loving life, a feeling, a yearning, a laugh made to cry and a cry to laugh.

宣敘調

Recitado Oh humano corazón, Oh quién lograra para que dignamente consiguiera en la mesa del ara gozar del pan que es cielo de su esfera, prevenir de manera su corazón contrito que lo amante obligase a lo infinito.

Oh, human heart, Oh whosoever achieved with dignity a place at the altar’s table, to enjoy the bread, the heaven of its realm, to somehow prevent his contrite heart from the infinite bind of love.

If by loving, my tender and wounded heart has to overcome, I will be effective in challenging malice until reaching the grace, the sun, of justice of those who enjoy today’s rosy dawn.

Birds, beasts, bodies, brutes, sky, star, moon, sun, mountains, valleys, cliffs, jungles, river, fountain, plant and flower, I confess that of man there are no greater crimes or greater mercies in God.

飛鳥、走獸、身體、牲畜、 天空、星宿、月亮、太陽、 山脈、山谷、花草樹木， 我承認在天主裏 世人沒有再大的罪過， 也沒有再大的憐憫。

賦格曲

Fuga Y así viendo que ingrato contra quien le hizo su feliz retrato no es mucho que a una voz toquen al arma, sentidos y afectos contra quien mal sus talentos gastó.

Y todo sea espanto, asombro y confusión, clamando guerra, al arma de las culpas el hórrido escuadrón.

我那受傷的心必須得勝， 要靠着愛戰勝惡意， 直到觸及恩寵、太陽和正義， 還有今天享受有玫瑰朝露的 清晨的人。

緩慢地

Despacio Aves, fieras, troncos, brutos, cielo, estrella, luna, sol, montes, valles, riscos, selvas, rio, fuente, planta y flor, yo confieso que no caben ni en el hombre mayores delitos ni mayores piedades en Dios.

啊，人心哪，有誰能 留住尊嚴 到祭台前得一席位， 同分天國的祭餅， 或是讓懺悔的心 拒絕慈愛無盡的結合。

詠嘆調

Aria Si amando, enternecido mi corazón herido ha de vencer yo haré que la eficacia impugne la malicia hasta alcanzar la gracia del sol de la justicia de quien hoy gozó unido el rosicler.

啊，誰可達到充滿 慈愛的一生， 一種感受、渴求， 求哭的笑，求笑的哭。

And so, seeing the ingratitude against whosoever made his happy portrait ‘tis of little matter that with one voice they touch the weapons, senses and emotions against those with talents badly spent.

And everything is fright, amazement and confusion, with these horrific troops crying out for war, the weapon of guilt.

於是乎，有見他對創造 其快樂肖像者忘恩負義 他 們 以 一 把 聲 音 觸 摸 武 器、 感官和情感， 與浪費才華者相對立， 並不重要。 所有的事物都使人震驚、 驚歎、混亂， 這些可怕的軍隊發出 戰爭的叫喊聲， 手持罪疚的武器。

39 –2– 宣敘調

Recitado Mas contra la fatiga que la culpa enemiga impone al pecho que su horror alcanza defiéndase la Fe con la esperanza.

But against fatigue, the enemy’s guilt, its reaching horror imposed on the breast, we defend the Faith with Hope.

我們以盼望守護信心， 抵抗疲怠和仇敵的罪過， 讓它們不至在胸膛上強加恐 懼。

詠嘆調

Aria Yo espero, mi bien yo aguardo, Señor que afables estén justicia y rigor.

I hope, my dear, I expect, my Lord, justice and rigour most gracious.

我的愛卿，我盼望、 期待我的主。 祂掌公義且嚴厲， 是最慈悲的。

Pues arrepentido rendido, obligado mi fino cuidado el que era desdén hará ser favor.

So, repentant submissive, obliging to my fine care, what was once disdain will become favour.

我悔過、順服， 祂對我熱心照顧， 向曾經遭蔑視的人施恩惠。

莊嚴終曲

Grave Oh inmenso Adonai!

Oh inefable, supremo Sabaoth!

Oh cuánta es mi crueldad!

Oh cuánta es tu piedad, cuánto es tu amor!

Oh, great Adonis!

Oh, indescribable, supreme Lord of the armies!

Oh, such is cruelty!

Oh, such is Your Mercy, such is Your Love!

啊，偉大的阿多尼斯！ 啊，無法言說、至高的 萬軍之主！ 啊，世界如此殘酷！ 啊，你如此慈悲、如此的愛！

40 –3– 「聖母」清唱劇《天上的瑪利亞》 María en ese Cielo, Cantada a Nuestra Señora 宣敘調

Recitado Maria en ese Cielo soberano, de Paz el arco es entre Dios y el hombre, y gracias el humano consiguiendo en su Nombre, alto blasón de la Naturaleza, es el lograr por Iris, tal Pureza.

Mary in that Sovereign Heaven, the arch of Peace between God and man, graces the human race obtains in her Name, a high blazon of Nature, achieving such Purity through Iris1.

天上的瑪利亞， 神人之間的和平中保， 世人滿懷感恩， 奉她的名， 得見大自然的記號， 藉伊莉絲 1 變得聖潔。

詠嘆調

Aria Pues ama y confía, gozando en Maria el hombre su Gloria, no hay mas que lograr;

Man then loves and trusts, enjoying, in Maria, Her Glory, he needs only to achieve;

世人愛慕、信任瑪利亞， 沐浴在她的榮光中， 並無其他所求；

si es colmo al deseo de un alto trofeo de Sacra victoria, su amable brillar.

if to fulfil the desire of a high trophy of Sacred victory, Her gentle glow.

只有她的慈祥榮光 才配得神聖的勝利。

宣敘調

Recitado De los Cielos la Gloria se venera; en el Orbe es brillante el Iris de su esfera: la delicia es amante del que fino la llama y con fervor la aclama.

The Glory of Heaven is worshipped; the Orb is bright the Iris of its sphere: delight loves the one who subtly calls her and with fervour acclaims her.

詠嘆調

Aria De Paz arco hermoso en la esfera mejor es delicia al mortal.

Favor mas piadoso hallara su fervor si la ensalza leal.

The beautiful bow of Peace in the best sphere is delightful to the mortal His fervour will find a more devout favour if he loyally extols Her.

1 伊莉絲，古希臘的彩虹女神 Iris, ancient Greek goddess of the rainbow

平安之虹霓 令世人喜樂。 忠心地讚頌她的人， 愈加獲得她的恩惠。

莊嚴終曲

Grave A su heroica Pureza, su Celestial belleza, ha de aplaudir la voz con dulce acento, el milagro de Gracia y el Portento.

我們敬拜天國的榮耀； 全地充滿着 伊莉絲的虹彩， 呼喚她、虔誠地讚美她的人， 真是有福。

Her heroic Purity, Her Heavenly beauty, must the voice applaud, with sweet accent, the miracle of Grace and the Portent.

這把聲音要讚美 她的英勇聖潔 和神聖美貌、 恩寵的奇蹟和徵兆。

41 –4– 「聖誕」清唱劇《神聖的亞當之子》 Divino hijo de Adán, Cantada al Nacimiento 詠嘆調

Aria Divino hijo de Adán, ¿qué es esto gran Señor? vos nacéis al afán, vos al rigor, viendo como en su error hoy los hombres están, como entre ellos se van las ansias de tu amor.

Divine Son of Adam, What is this Great Lord?

You are born to toil, in severity, seeing today the wrongs of men, and how among them the longing for Your love disappears.

神聖的亞當之子， 至高的主是誰？ 你生來要受重苦， 見證這個時代的世人犯罪 和不再渴慕你的慈愛。

宣敘調

Recitado ¿Qué es esto eterno Rey de cielo y tierra? pues cuando más la guerra de la culpa se esfuerza rigurosa, quando más poderosa triunfa de la piedad y la justicia la villana crueldad de la malicia naces tan confiado tan sin guarda, tan solo y olvidado.

What is this, eternal King of heaven and earth? for when the war of guilt, its harsh rigours on oneself, when the villainous cruelty of malice more powerfully triumphs over mercy and justice, You are born in such trust, unguarded, so alone and forgotten

掌管天地的永生之王， 這是甚麼？ 在罪疚的戰爭裏， 對自己如此嚴厲， 殘忍的惡意， 大大的戰勝了慈悲和公義。 你是這樣自信降生， 不畏無人看顧、孤獨 和被遺忘。

Volved, volved bien mío del Padre eterno al increado seno, huid, huid el rayo, que os amenaza el trueno, ved que habéis de morir crucificado.

Come back, come back my dear from the eternal Father to the untouched womb, escape, escape from the lightning, the thunder threatens You, seeing that you must die on the Cross.

我的愛卿，回來吧， 從永生天主處回來無玷的母 腹吧， 逃走吧，逃避威脅你的 閃電和雷聲， 已經知道你將在十架上死去。

A eso vengo, responde enamorado el Dios que de mis males se desvela ¿cómo ha de huir del riesgo, el que le anhela?

For this reason I come, with a loving answer, the God who reveals my evil.

How can he escape from the risk, the one who longs for it?

我因此而來，帶來愛的答案， 是天主把我的罪過揭露。 祂如此渴求危難， 又怎能逃過危難？ 詠嘆調

Aria A eso vengo, dichoso mortal: a penar, a llorar, a morir.

Agradece mi amor sin igual, pues soy bien y me abrazo a tu mal por poder tanto mal redimir.

For this reason I come, blissful mortal: to suffer, to cry, to die.

Give thanks for my love without equal, for I am good and I embrace your ills to redeem such evil.

宣敘調

Recitado A esto baja a la tierra el bien que adoro.

Diga en su honor el Céfiro sonoro:

我因此而來，有福的世人： 我是要來受苦、流淚、受死。 要為我無與倫比的慈愛稱謝， 因為我是全善的， 又接受你們的惡行， 赦免這些罪過。

For this, the Good that I adore comes down to earth.

Let the sonorous Zephyr wind say in His honour:

因此，我愛慕的至善者 降生為人。 願西風之神薩弗吹拂， 並尊祂的名說：

42 –5–

詠嘆調

Aria Que viva inmortal, que ciña el laurel, su afecto leal, pues vino por él, y ya aquel error, del mundo el mayor deshace este real, flamante clavel.

He lives immortal, with the laurel wreath, His faithful affection came for Him, and that mistake, the biggest in this world was the unmaking of this brilliant, royal carnation.

永生王戴上桂冠花圈， 對祂忠誠愛慕， 世間最大的過錯， 就是摘掉、破壞屬於君王的、 明媚的花朵。

Pues rayo es del sol, que nace a lucir su hermoso arrebol podéis aplaudir pues veis al rayar al alba anunciar un nuevo farol de sacro influir.

For He is a ray of sunlight, which rises to shine, applaud its beautiful red glow, for the break of dawn announces a new lamp of sacred influence.

因祂是一束陽光， 起來就照耀， 要讚美這美麗的紅光， 因為晨曦宣告了神聖改變的 新的明燈。 莊嚴終曲

Grave Oh soberano amor!

Oh solo aquel feliz! que en tí sabe animar y en ti morir.

Oh, supreme love!

Oh, only the happy one!

Who knows how to encourage and in You to die.

啊，無上的慈愛！ 啊，唯一滿有喜樂的！ 通曉怎樣振奮人心， 然後在主懷裏死去。

43 –6– 「聖母」清唱劇《無盡的聖寵》 A el abismo de gracia, Cantada a Nuestra Señora 副歌

Estribillo A el abismo de gracia, a el centro de dulzura, me guia de esa antorcha la eficacia, en cuya llama Pura todo premio y fineza se asegura.

To the abyss of grace, to the centre of sweetness, the efficiency of that torch guides me, in whose Pure flame every prize and finesse is assured.

無盡的恩寵， 在甘飴之中， 讓那火炬引領我， 到純淨的火焰裏， 一切獎賞與美好皆得允。 詠嘆調

Aria Ya puedo alentar a tanto favor, guiando su albor mi pecho à su Altar;

I can already encourage so much favour His dawn light guiding my breast to his Altar;

我得到如此恩澤 衪破曉之光引領我 來到祭台；

seguir logré fino, aliento postrado, el norte Divino que cifra al Señor en luz singular.

I manage to delicately follow, with prostrate breath, the Divine north that centres on the Lord with a singular light.

我輕柔地跟隨， 帶虔誠之息， 那神聖的北方 在上主唯一的榮光中。

宣敘調

Recitado El conseguir espere, mortal que al mundo muere, ventura la mas alta, que con el Serafín à ser le exalta.

The mortal who dies of this world, hopes to achieve the highest fortune, and exaltation with the Seraphs.

詠嘆調

Aria Ven mortal à sentir, à penar, si es tu gozo, el penar y el sentir, à vivir, ò mortal con morir; pues el alentar has de conseguir, logrando acabar, si solo es amar, amoroso gemir.

Mortal, come to feel, to grieve, if your joy is to grieve and feel, to live, oh mortal, with death; you must embrace the achievement of the finish, if it is only to love, a moan of love.

凡人們，去感受，去哀慟， 若哀慟與感受是世人喜樂所在， 生存，啊凡人，然後死去； 你必須接受 終結的成就， 是為了愛， 愛之嘆息。

宣敘調

Recitado Logra, consigue, alcanza, una luz que es el colmo a tu esperanza!

凡人滿懷盼望， 成就崇高榮耀， 被提拔為色辣芬。

Achieve, get, reach a light that fulfils your hopes!

伸手去捉緊 能使你的盼望成真的光華吧！ 詩節

Coplas Mariposa encendida es Maria que amante en el fuego sus alas rompen el ayre.

Mary, like a glowing butterfly the lover, its wings in the fire breaking the air.

慈愛者瑪利亞 有如發光的蝴蝶， 在火焰裏拍翼 劃破空氣。

Tiernamente se arroja del Sol al fuego amable donde sin sombras feas, rinde beldades.

Tenderly it throws itself to the friendly fire of the Sun where without ugly shadows, it renders beauties.

她溫柔地投入 太陽柔和的火焰中， 那裏沒有醜陋的影子， 造就了美。

Arda victima dulce, en sagrados Altares, en que el humo que exhala brilla celajes.

Burn, sweet victim, on sacred Altars, where smoke rises as a sign of light in the clouds.

甘飴的犧牲， 在神聖的祭壇上燃燒吧， 有煙冉冉上升， 在雲彩裏閃閃生輝。

44

45

維羅妮卡．柏拉達

女高音

維羅妮卡．柏拉達生於西班牙格拉納達，她於維 多利亞．尤金妮亞皇家高等音樂學院修讀聲樂， 又在格拉納達大學修讀音樂史及科學。她之後繼 續跟隨多位大師學習，包括黛麗斯．貝根莎、安 娜．露西亞．查娃和伴奏家魯賓．費南德茲．亞 基爾。她專注於古樂，師隨卡諾斯．梅納、格爾 德．特克、蘭伯特．克萊蒙、路易斯．維拉馬祖 和愛德華度．盧比斯．班素。 柏拉達曾與不少樂團合作，包括西班牙之風古樂 團、西班牙之聲、格拉納達交響樂團、塞維利亞 巴羅克管弦樂團、大西洋樂團、卡塔隆尼亞皇家 合唱團、Música Ficta 和新光合唱團。她與這些樂 團合作灌錄了數張專輯，並在歐洲和拉丁美洲的 音樂會和音樂節演出。柏拉達亦演唱當代古典音 樂，合作樂團包括扎希爾樂團、神聖室樂合唱團 和當代大西洋工作坊。 2 011 年，柏拉達與舞台監督拉菲．西蒙和鋼琴 家兼作曲家海克特．艾里爾．馬奎斯聯合創立了 人聲歌劇團，並演出浦朗克《人聲》中女人一角 和浦塞爾《狄多與依尼亞斯》中的貝琳達。她亦 曾演出韓德爾《里納度多》的阿爾米萊娜和《阿 波羅與達芙妮》的達芙妮。柏拉達也是明暗劇團 的女高音和演員。 柏拉達經常參與音樂演出，曾與多位著名音樂總 監合作，包括愛德華度．盧比斯．班素、荷迪． 薩巴爾、約瑟夫．龐塞、克里斯多夫．荷塞、迪 戈．法索利斯、哈利．基斯杜化、薩爾瓦多．馬 斯、柏布羅．赫拉斯 - 卡薩多、安德烈．馬孔和 安利高．奧諾弗里。

Verónica Plata

Soprano

Born in Granada, Spain, Verónica Plata studied singing at the Royal Higher Conservatory "Victoria Eugenia" while also studying Music History and Sciences at the University of Granada. She continued her training under Teresa Berganza, Ana Luisa Chova, and accompanist Rubén Fernández Aguirre. In addition, she specialised in early music under Carlos Mena, Gerd Türk, Lambert Climent, Lluis Vilamajó, and Eduardo López Banzo.

Plata has worked with several ensembles and orchestras, including Al Ayre Español, Vozes del Ayre, Orquesta Ciudad de Granada, Orquesta Barroca de Sevilla, Ars Atlántica, La Capella Reial de Catalunya, Música Ficta and Nova Lux Ensemble.

With these groups and others she has made several records and performed in concerts and festivals all over Europe and Latin America. She has also sung contemporary classical music with groups like Zahir Ensemble, Numen Ensemble, and Taller Atlántico Contemporáneo.

In 2011 she co-founded the opera company La Voz Humana along with stage director Rafa Simón and pianist and composer Héctor Eliel Márquez.

With them she has sung the roles of the woman in Poulenc's La Voix Humaine and Belinda in Purcell's Dido and Aeneas. She has also played Almirena and Daphne in Handel's Rinaldo and Apollo and Daphne, respectively. She also works as a soprano and actress with the Claroscuro company.

Thanks to her intense musical activity she has had the chance to work with prominent directors such as Eduardo López Banzo, Jordi Savall, Josep Pons, Christophe Rousset, Diego Fasolis, Harry Christophers, Salvador Mas, Pablo Heras-Casado, Andrea Marcon, and Enrico Onofri.

47

西班牙之風古樂團 Al Ayre Español CONDUCTOR AND HARPSICHORD Eduardo López Banzo

SOPRANO Verónica Plata

VIOLINS Alexis Aguado Kepa Artetxe

OBOE Jacobo Díaz

ARCHLUTE Juan Carlos de Mulder

CELLO James Bush

DOUBLE BASS Xisco Aguiló

西班牙之風古樂團獲西班牙文化部資助 Al Ayre Español is supported by the Ministry of Culture, Spain

香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Member

嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member

怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

鷹君集團有限公司 Great Eagle Holdings Limited 太古集團慈善信託基金 The Swire Group Charitable Trust

青銅會員 Bronze Members

上海商業銀行 Shanghai Commercial Bank Limited Vontobel Wealth Management (Hong Kong) Limited

其他支持機構 other Supporters •Adam Mickiewicz Institute •Australia Arts Council •Canada Arts Council

•Pro Helvetia •Spanish Ministry of Culture

實物支持機構 in-kind Supporters •愉景灣渡輪碼頭 Discovery Bay Ferry Pier •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •香港國際機場 Hong Kong International Airport

•立信專業顧問 Lap Shun Professional Consultant •M．A．C Cosmetics •奧海城 Olympian City •信和集團 Sino Group •屯門市廣場 TMT Plaza

藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATinuM DonorS HK$120,000 或以上 AnD ABoVE

純銀捐款者 SilVEr DonorS HK$5,000 - HK$9,999

•無名氏 Anonymous •林護紀念基金有限公司 Lam Woo Foundation Limited •Lincoln & Yu-San Leong •杜振源先生

•無名氏 (2) Anonymous (2) •Mrs Anson Chan •陳建球伉儷 Mr & Mrs E Chan •SHN Cheng •Mr & Mrs Ko Ying •Ms Ka Shi LAU •Mr & Mrs David S L Lin •Mr & Mrs Gilles Martin •Dr & Mrs Joseph Pang •Ms Poon Yee Ling Eligina •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Enoch Yiu •Ms Isabel Yiu

鑽石捐款者 DiAMonD Donor HK$60,000 - HK$119,999 •無名氏 Anonymous 黃金捐款者 GolD DonorS HK$10,000 - HK$59,999 •無名氏 (6) Anonymous (6) •Mr & Mrs Herbert Au-Yeung •Jeffrey & Helen Chan •陳元鉅夫人 Mrs Sabina Chen •Dr York Y N Chow •Consigliere Limited •Alex & Hanne Fung •Richard & Ruth Herbst •李葉耀珍 Jane Li •林聖竤 Chris Lin •Wing Kay Po •Martin Rogers •Jacqueline Shek 石悅玟 •Mr & Mrs Stephen Suen •孫天珍小姐 Ms Sun Tien Chen •Mr Stephen Tan •Tsang Wing Fun •曹延洲醫生 Dr Tsao Yen Chow •Samuel & Amy Wang •Mr Wong Yick Kam •黃逸思先生夫人 Mr & Mrs YS Wong

青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •無名氏 (2) Anonymous (2) •Atkinson Lambert Limited •Mr Cheung Shu Tong Edmund •Bethan and Tim Clark •Dr David Fang •銀河娛樂集團 Galaxy Entertainment Group •Mr & Mrs Jaeger •Ms Khoo Li Lian •Heidi Lee •Miss Ruby Lee •Ms Lim Geck Chin Mavis •Stephen Long •Mr Gary Ma •Mr Christopher Wong & Dr Ivo Chen

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATinuM DonorS HK$120,000 或以上 AnD ABoVE •無名氏 Anonymous •Burger Collection •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •恒生銀行 Hang Seng Bank •芝蘭基金會 Zhilan Foundation 鑽石捐款者 DiAMonD DonorS HK$60,000 - HK$119,999 •Vina Cheng •梁家傑先生夫人 Mr & Mrs Leong Kah-Kit Alan •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •Mr & Mrs Stephen Suen •田家炳基金會 Tin Ka Ping Foundation 黃金捐款者 GolD DonorS HK$10,000 - HK$59,999 •無名氏 (4) Anonymous (4) •St. Paul's College Alumni Choir •陳求德醫生 Dr Chan Kow Tak •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •Consigliere Limited •Mr & Mrs Kenneth H C Fung •馮兆林先生 JP 及夫人 Mr & Mrs Fung Shiu Lam JP •Richard & Ruth Herbst •胡興正醫生慈善基金有限公司 Dr Wayne Hu Charitable Foundation Ltd •Mr & Mrs Stefan & Caroline Kracht •林聖竤 Chris Lin •Mr & Mrs Roger Lui •MAXSMART INV. LTD •Mrs Carol Murray •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •Tsang Wing Fun •曹延洲醫生 Dr Tsao Yen Chow •Ms Wong Yuen Mee Elsa •黃逸思先生夫人 Mr & Mrs YS Wong 純銀捐款者 SilVEr DonorS HK$5,000 - HK$9,999 •無名氏 (5) Anonymous (5) •Mr Iain Bruce •Winnie Chiu Wing Ngar •Chou's Foundation •Mr & Mrs Norman Chui •Mr & Mrs A R Hamilton •Ms Winnie W Y Ho •King Yuen-Fung Diana •Mr & Mrs Ko Ying •Yvonne Cheng & Kelvin Koo

•羅偉騫先生夫人 Mr Andy Law & Ms Wendy Chan •Lee Lai-Kuen Shelley •Craig Lindsay Family •Lok Yu Kim Ching Memorial Fund •C H Mak •Dr Mak Lai Wo •Karen & Vernon Moore •Ms Poon Yee Ling Eligina •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Alan and Penny Smith •Anna Stephenson & Alan Leigh •John and Anthea Strickland •Leland & Helen Sun •Dr Henry N C Wong •Mr Wong Yick Kam •Dr Adrian Wu •Mrs Wu Tseng Helen 青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •無名氏 (9) Anonymous (9) •Ms Michaela Au •Ms Rebecca Austin •區燊耀先生 Mr Au Son Yiu •Biz Office Limited •Carthy Limited •Diana Tong Chan •Dr Chan Wan Tung •Cynthia Cheng & Aaron Chan •Cheung Kit Fung •Dr Chow Sze Fu Joseph •Cindy Chan Psychological Services •Community Partner Foundation Limited •Easy Living Limited •giliproduction •Susan Hayden •Betty Hung •Isla School of Dance •Dr Alfred Lau •Susan Lim & Neil Roberts •Ms Jackaline McPhie •Mr & Mrs Kenneth Quinn •陶國豪 Frederico Rato •Ms Janice Ritchie •Mr Siddique Salleh •So Ching •So Kin Man •Ms Yim Chui Chu •余德銘先生 Mr Desmond Yu •皮皮

新作捐助計劃 new Works Scheme 鉑金捐款者 PlATinuM DonorS HK$120,000 或以上 AnD ABoVE •Mrs Mona Leong •Permanent Success Limited 鑽石捐款者 DiAMonD Donor HK$60,000 - HK$119,999 •Winfull Group Holdings Limited 黃金捐款者 GolD DonorS HK$10,000 - HK$59,999 •無名氏 (2) Anonymous (2) •Mrs K L Chan •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •Mrs Diana & Mr Jay Parmanand •孫天珍小姐 Ms Sun Tien Chen

純銀捐款者 SilVEr DonorS HK$5,000 - HK$9,999 •無名氏 (2) Anonymous (2) •Lexandra Chan •Ms Winnie W Y Ho •Lok Yu Kim Ching Memorial Fund •Ms Poon Yee Ling Eligina •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •Ms Michaela Au •Ms Chiu Shui Man Tabitha •Contempo Charity Foundation Limited •黃逸思先生夫人 Mr & Mrs YS Wong

支持及協助 Support and Co-operation •Academy of Jazz •Acorn Design •Adsmart Hong Kong Limited •Alfie Leung Design •Alliance Française •AMC Pacific Place •巴塞爾藝術展 Art Basel •樺利廣告有限公司 Avanny Advertising Co Ltd •龍堡國際 B P International •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •Broadway The One •明愛白英奇賓館 Caritas Bianchi Lodge •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •周俊輝先生 Mr Chow Chun Fai •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •毛妹芭蕾舞學校 Christine Liao School of Ballet •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •購票通 ( 香港 ) 有限公司 Cityline (Hong Kong) Limited •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •澳洲駐港總領事館 Australian Consulate-General Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •愛沙尼亞共和國駐香港名譽領事館 Honorary Consulate of the Republic of Estonia in Hong Kong •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •以色列駐港澳總領事館 Consulate General of Israel in Hong Kong & Macau •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •葡萄牙駐香港領事館 Consulate of Portugal in Hong Kong •波蘭駐香港總領事館 Consulate General of the Republic of Poland in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •南非駐港澳總領事館 Consulte General of the Republic of South Africa, Hong Kong SAR and Macao SAR •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •德勤企業管理咨詢（香港）有限公司 Deloitte Consulting (Hong Kong) Limited •dreamoffish Limited •風采中學 Elegantia College •埃克森美孚香港有限公司 ExxonMobil Hong Kong Limited •粉嶺禮賢會中學 Fanling Rhenish Church Secondary School •藝穗會 Fringe Club •鳳溪廖萬石堂中學 Fung Kai Liu Man Shek Tong Secondary School

•港威酒店 Gateway Hotel •六國酒店 Gloucester Luk Kwok Hong Kong •香港歌德學院 Goethe-Institut Hong Kong •香港君悅酒店 Grand Hyatt Hong Kong •青苗琴行 Greenery Music •港島海逸君綽酒店 Harbour Grand Hong Kong •快達票香港有限公司 HK Ticketing •香港藝術行政人員協會 Hong Kong Arts Administrators Association •香港藝術中心 Hong Kong Arts Centre •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港知專設計學院 Hong Kong Design Institute •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港唱片 Hong Kong Records •香港旅遊發展局 Hong Kong Tourism Board •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •Intox Design & Communication Co. Ltd. •The Italian Cultural Institute in Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •鍾詠賢芭蕾舞學校 Ivy Chung School of Ballet •王仁曼芭蕾舞學校 Jean M. Wong School of Ballet •JellyBin Limited •Ms Anastassia Katafygiotis •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Centre •Lanson Place Hotel, Hong Kong •梁震宇先生 Mr Mark Leung •李鏡輝先生 Mr Alpha Li •李慧中博士 Dr Li Wai Chung •立方國際青年公寓 M3 International Youth Apartment •MANA! •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •Wavemaker Hong Kong Limited •酩悅軒尼詩帝亞吉歐洋酒香港有限公司 Moët-Hennessy Diageo Hong Kong Limited •MOViEMOViE •北區大會堂 North District Town Hall •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •Pixellent •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •Red Square Gallery •麗豪酒店 Regal Riverside Hotel •RFI Asia Limited •帝都酒店 Royal Park Hotel

•香港帝景酒店 Royal View Hotel •Russian Club in Hong Kong •沙田大會堂 Sha Tin Town Hall •信興廚藝中心 Shun Hing Cooking Centre •上環文娛中心 Sheung Wan Civic Centre •岑智頤先生 Mr Henry Shum •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •事必達推廣有限公司 Speedy Promotion Limited •Steam Studio •辰衝圖書有限公司 Swindon Book Co. Ltd. •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港中文大學 The Chinese University of Hong Kong 音樂系 Department of Music 和聲書院 Lee Woo Sing College •香港城市大學 The City University of Hong Kong 英文系 Department of English •香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港理工大學 The Hong Kong Polytechnic University •香港科技大學 The Hong Kong University of Science and Technology 人文學部 Division of Humanities 藝術中心 Center for the Arts 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office •中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong 音樂系 Department of Music 通識教育部 General Education Unit 香港大學美術博物館 University Museum and Art Gallery Cultural Management Office 圖書館 Library 香港大學博物館學會 The University of Hong Kong Museum Society 國際事務處 International Affairs Office •譚縉謙先生 Mr Tam Chun-him •通利琴行 Tom Lee Music Company Ltd •中環荷李活道彩鴻酒店 Travelodge Central, Hollywood Road •Trickstation •三角關係 Trinity Theatre •荃灣大會堂 Tsuen Wan Town Hall •UA CINEHUB •城市售票網 URBTIX •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •進富印刷公司 Wealthy Step Printing Co. •wine etc •香港基督教青年會（港青） YMCA of Hong Kong •青年廣場 Youth Square •赤豚事務所 Zhu Graphizs

贊助人

林鄭月娥女士

PATRON

永遠名譽會長 執行委員會 主席 副主席 義務司庫 委員

邵逸夫爵士

HONORARY LIFE PRESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members

節目委員會 主席 委員

財務委員會 主席 委員 發展委員會 主席 副主席 委員

顧問

名譽法律顧問 核數師

查懋成先生 盧景文教授 李錦榮先生 鄭維新先生 鄭惠貞女士 劉鎮漢先生 梁靳羽珊女士 梁卓偉教授 姚潔莉女士 楊 光先生 盧景文教授 白諾信先生 紀大衛教授 羅志力先生 毛俊輝先生 李 義法官 約瑟．施力先生 + 譚榮邦先生 姚 珏女士 李錦榮先生 鄭惠貞女士 梁國輝先生 梁靳羽珊女士 雍景欣女士 鄭阮培恩女士 邱詠筠女士 龐建貽先生 孫林宣雅女士 姚祖輝先生 楊海燕女士 夏佳理先生 鮑 磊先生 李業廣先生 梁紹榮夫人 李國寶博士 孖士打律師行 羅兵咸永道 會計師事務所

香港藝術節基金會 主席 霍 璽先生 管理人 陳達文先生 梁紹榮夫人 陳祖澤博士

地址 : 香港灣仔港灣道 2 號 12 樓 1205 室 電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430 出版：香港藝術節協會有限公司 承印：香港嘉昱有限公司 本刊內容，未經許可，不得轉載。

PROGRAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

HONORARY SOLICITOR AUDITOR

Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman Vice Chairman Members

ADVISORS

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)

Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao Ms Hoi-yin Yeung The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown JSM PricewaterhouseCoopers

HONG KONG ARTS FESTIVAL TRUST Chairman Mr Angus H Forsyth Trustees Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP Dr John C C Chan, GBS JP

電子郵箱 : afgen@hkaf.org

Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430 Published by: Hong Kong Arts Festival Society Limited Printed by Cheer Shine Enterprise Co., Ltd Reproduction in whole or in part without written permission is strictly prohibited.

+

職員 行政總監 節目 節目總監 副節目總監 節目經理

榮譽節目顧問 Honorary Programme Advisor * 合約職員 Contract Staff

STAFF 何嘉坤

Executive Director

節目經理（行政） 助理節目經理 節目統籌 節目行政主任 物流及接待經理

梁掌瑋 蘇國雲 葉健鈴 陳韻妍 蘇雪凌 林淦鈞 * 黃傲軒 * 曹愷怡 * 金學忠 *

•技術 製作經理 視聽統籌

Programme Programme Director Associate Programme Director Programme Managers

Tisa Ho

Programme Manager (Administration) Assistant Programme Managers Programme Coordinators Programme Administration Officer Logistics Manager

Grace Lang So Kwok-wan Linda Yip Susanna Yu* Vanessa Chan Shirley So Lam Kam-kwan* Jacqueline Li* Joseph Wong* Patricia Lee* Sabrina Cho* Elvis King*

徐子宜 * 許肇麟 *

• Technical Production Manager Audiovisual Coordinator

Tsui Tsz-yee* Boolu Hui*

•出版 高級編輯 編輯 助理編輯

黃迪明 * 林尚諾 * 鍾佩妝 *

• Publications Senior Editor Editor Assistant Editors

Timothy Wong* Sherlock Lam* Eunice Chung*

•外展 高級外展經理 助理外展經理 外展統籌 外展主任 藝術行政見習員 外展助理

李冠輝 張鼎丞 * 林嘉敏 * 譚曉峯 * 李萬祺 * 李玨熙 *

• Outreach Senior Outreach Manager Assistant Outreach Managers Outreach Coordinator Outreach Officer Arts Administrator Trainee Outreach Assistant

Kenneth Lee Bell Cheung* Carman Lam* Mitch Tam* Kelvin Li* Michael Lee*

市場推廣 市場總監 副市場總監 市場經理 副市場經理 助理市場經理 數碼營銷專員 市場主任 市場經理（票務） 票務主任 客戶服務主任

鄭尚榮 胡銘堯 周 怡 楊 璞* 吳嘉沛 * 陳閏霖 * 莫文軒 * 梁彩雲 李 彤* 鄭佩欣 *

MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Marketing Officer Marketing Manager (Ticketing) Ticketing Officer Customer Service Officers

Katy Cheng Dennis Wu Alexia Chow Michelle Yeung* Tiffany Ng* Ben Chan* Tony Mok* Eppie Leung Lee Tung* Bonnie Cheng*

DEVELOPMENT Development Director Development Manager Deputy Development Manager Assistant Development Managers Arts Administrator Trainee Development Officer

Flora Yu Chingmi Chow* Anna Cheung* Lorna Tam Esther Mok* Mandie Choy*

余瑞婷 * 李詠芝 * 李芷銦 *

林惠賢 *

鄧冠恒 *

張嘉麟 *

李俊偉 *

發展 發展總監 發展經理 副發展經理 助理發展經理 藝術行政見習員 發展主任

余潔儀 周美清 * 張慧芝 * 譚樂瑤 莫穎哲 * 蔡杏村 *

會計 會計部主管 助理會計經理 會計主任

鄺敬婷 林英光 * 蘇永恆 *

ACCOUNTS Head of Accounts Department Assistant Accounting Manager Accounting Officer

Teresa Kwong Sunny Lam* Peter So*

人力資源及行政 人力資源及行政經理 人力資源及行政主任 行政秘書 接待員／初級秘書 助理

馮紹昌 簡凱彤 * 謝凱婷 李美娟 黃國愛

HR & ADMINISTRATION HR & Administration Manager HR & Administration Officer Executive Secretary Receptionist/Junior Secretary General Assistant

Calvin Fung Vivian Kan* Heidi Tse Virginia Li Bonia Wong

蘇寶蓮 *

Grace Lam*

Joe Tang*

Louis Cheung*

Michael Lie Ken Jie*

Conny Souw*

技術統籌 * Technical Coordinators* 歐慧瑜 Rachel Au、陳焯華 Billy Chan、陳寶愉 Bobo Chan、陳佩儀 Claudia Chan、陳詠杰 Chan Wing-kit、 陳家彤 Doris Chen、鄺嘉欣 Karen Kwong、黎智勇 Martin Lai、林環 Nancy Lam、 羅瑞麟 Lo Shui-lun、 曾家慧 Joanne Tsang、黃靜文 Ivy Wong 藝術家統籌 * Artist Coordinators*

鄭瑋菁 Virginia Cheng、馮顯峰 Fung Hin-fung、張素真 Susan Hayden、何嘉露 Carrol Ho、彭慧雯 Jan Pang、 黃婉媚 Becky Wong、游慧姿 Janet Yau

節目時間表 Programme Calendar 歌劇 戲 /曲 OPERA / CHINESE OPERA

中國國家京劇院 主演：于魁智、李勝素 -《鳳還巢》 -《牛皋下書 ‧ 挑滑車》、《打漁殺家》 -《帝女花》 -《紅鬃烈馬》

China National Peking Opera Company Featuring: Yu Kuizhi, Li Shengsu - The Phoenix Returns to Its Nest - Breaking the Siege/Lifting the Chariots and The Fisherman's Revenge - Princess Changping - Rekindling a Life-Long Romance

賽馬會本地菁英創作系列： 粵劇《百花亭贈劍》毛俊輝導演作品 改編及導演：毛俊輝

Jockey Club Local Creative Talents Series: Cantonese Opera - Pavilion of a Hundred Flowers Adaptation and Director: Fredric Mao

粵劇《霸王別姬》 藝術總監：尤聲普

Cantonese Opera - Farewell My Concubine Artistic Director: Yau Sing-po

CHCH

27/2 28/2

7:30pm 7:30pm

CCGT

2/3 3/3

7:30pm 7:30pm

APAL

2-4/3

8pm

CHCH

9-11/3

7:30pm

CCGT

15, 17/3

7:30pm

Maxim Rysanov and Hong Kong Sinfonietta Music Director and Conductor: Yip Wing-sie

CHCH

25/2

8pm

巴．羅克樂團《聲音之旅》 藝術領導及小提琴獨奏：德米特里．辛柯夫斯基

B’Rock Orchestra - Sounding Stories Artistic leader and Solo Violin: Dmitry Sinkovsky

CHCH

1/3

8pm

潘尼迪爾鋼琴獨奏會

Jean-Claude Pennetier Piano Recital

CHCH

2/3

8pm

香港中樂團《劉邦．項羽．兵馬俑》 指揮：閻惠昌

Hong Kong Chinese Orchestra Liu Bang, Xiang Yu and the Terra Cotta Warriors Conductor: Yan Huichang

CCCH

3/3

8pm

愛沙尼亞之聲 指揮：約翰 - 艾克．杜爾夫

Vox Clamantis Conductor: Jaan-Eik Tulve

CHCH

3/3

8pm

愛沙尼亞之聲與潘尼迪爾

Vox Clamantis and Jean-Claude Pennetier

CHCH

4/3

4pm

鋼琴三重奏 - 潘尼迪爾．巴斯基耶．皮杜 鋼琴：潘尼迪爾 小提琴：巴斯基耶 大提琴：皮杜

Trio Pennetier Pasquier Pidoux Piano: Jean-Claude Pennetier Violin: Regis Pasquier Cello: Roland Pidoux

CHCH

5/3

8pm

俄羅斯史維特蘭諾夫國家交響樂團 指揮：克利斯蒂安．約菲

State Academic Symphony Orchestra of Russia "Evgeny Svetlanov" Conductor: Kristjan Järvi

CCCH

8-10/3

8pm

威爾斯國家歌劇院．親子音樂會

O is for OPERA! Family Concert by Welsh National Opera

CCCH

16/3

8pm

CHCH

16/3

8pm

Beyond Impressionism - Piano Concert and Film Screening 《跨越意象》鋼琴音樂會及電影放映 CHCH 鋼琴：張郁苓、黃蔚然、黃蔚園、娉婷鋼琴二重奏 Piano: Evelyn Chang, Wong Wai-yin, Wong Wai-yuen, Duo Ping & Ting

17/3

6pm

威爾斯國家歌劇院 - 德布西《佩利亞斯與梅麗桑德》 Welsh National Opera - Debussy’s Pelléas et Mélisande Conductor: Lothar Koenigs 指揮：洛德．古尼斯

音樂

MUSIC

《最愛中提琴》：賴沙諾夫與香港小交響樂團 音樂總監及指揮：葉詠詩

西班牙之風古樂團 《重拾失落在美洲的西班牙瑰寶》 指揮及古鍵琴：愛德華度．盧比斯．班素

Al Ayre Español - Spanish Treasures in the Americas Conductor and Harpsichord: Eduardo López Banzo

爵士樂 世 / 界音樂 Jazz / WorlD MUSIC

丹麥國家交響樂團 指揮：法比奧．雷西

Danish National Symphony Orchestra Conductor: Fabio Luisi

CCCH

20/3

8pm

瑞士韋爾比亞音樂節室樂團 指揮：加博爾．塔卡奇 - 納吉 鋼琴：張緯晴 大提琴：戈蒂埃．卡普森

Verbier Festival Chamber Orchestra Conductor: Gábor Takács-Nagy Piano: Rachel Cheung Cello: Gautier Capuçon

CHCH

23/3

8pm

愛沙尼亞國家交響樂團及 愛沙尼亞國家男聲合唱團 指揮：萊夫．薩格士譚

Estonian National Symphony Orchestra and Estonian National Male Choir Conductor: Leif Segerstam

CCCH CHCH

24/3 25/3

8pm 5pm

傑思．博迪

Chris Botti

CCCH

23-24/2

8pm

爵士新潮 - 霍圖納與辛波絲卡《詩樂對話》 - Vila Navio 三重奏 - 霍圖納爵士四重奏

Nouveau Jazz Weekend - Fortuna Plays Szymborska - Vila Navio - Maciej Fortuna Special Quartet

HKAC-ST 3-4/3 3/3 4/3

3pm 9pm 8pm

世界音樂週末營 - 安娜．瑪麗亞．悠珮克及 Kroke 三重奏 - Songhee 韓國清唱研究所 - 白雲

World Music Weekend - Anna Maria Jopek and Kroke - Songhee Pansori LAB - Namgar

APAA

17-18/3 18/3 18/3

8pm 3pm 5pm

瑟西兒．麥克羅恩．莎芳與艾倫．迪爾三重奏

Cécile McLorin Salvant and the Aaron Diehl Trio

CCCH

21-22/3

8pm

CCGT CCCH CCST

香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre

CHCH CHTH APAL

香港大會堂音樂廳 Concert Hall, HK City Hall 香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA

Ballett Zürich - Anna Karenina Choreographer: Christian Spuck

CCGT

23-24/2 24-25/2

7:30pm 2:30pm

亞太舞蹈平台（第十屆）

Asia Pacific Dance Platform X

- 松根充和《舞得入境》

- Michikazu Matsune: Dance, if you want to enter my country! FC-FU

- 馬丁．赫辛《身身相印》 - 奧菲爾．約迪拉維治《萬有引力》及 尼克．鮑華《蚊型城市間》

- Martin Hansen: if it’s all in my veins - Ofir Yudilevitch: Gravitas and Nick Power: Between Tiny Cities

23/2 24/2 13-14/3 16/3 17/3

8pm 3pm 8pm 8pm 3pm

香港賽馬會當代舞蹈平台

The Hong Kong Jockey Club Contemporary Dance Series

-《舞．聲》 編舞：陳穎業、梁儉豐、盤彥燊 聲音藝術家：彼得．萊納

- The Battle Zone | Vortex Choreographers: Yip Chan, Kenny Leung, Wayson Poon Sound Artist: Peter Lenaerts

24/2 25/2

8:15pm 3pm

-《兩地書》 編舞：李超、白濰銘、潘振濠、謝欣、 楊暢、楊浩、姚潔琪、張翼翔

CCST - Dance Exchange Choreographers: Li Chao, Ming Pak, Poon Chun-ho, Xie Xin, Yang Chang, Yang Hao, Judy Yiu, Zhang Yixiang

3/3 4/3

8:15pm 3pm

-《舞鬥》 編舞：程偉彬、柯志輝、廖月敏、呂沅蔚、 馬師雅、黃翠絲、張喜龍

- Dance Off Choreographers: Rex Cheng, Felix Ke, Sudhee Liao, Evains Lui, Alice Ma, Tracy Wong, Solong Zhang

KTT-BBT

22-25/3 24-25/3

8pm 3pm

薩卡洛娃及列賓《足尖情弦》 舞者：斯文蘭娜．薩卡洛娃 小提琴 : 瓦汀．列賓

Svetlana Zakharova and Vadim Repin Pas de deux for Toes and Fingers Dancer: Svetlana Zakharova Violin: Vadim Repin

CCGT

27-28/2

7:30pm

PPS 舞團《反斗校園》 藝術總監及編舞：皮埃 - 保羅．薩瓦

PPS Danse - Playing Hooky Artistic Director and Choreographer: Pierre-Paul Savoie

SWCC-TH 3-4/3 4/3

KTT-BBT KTT-BBT

CCST

8pm 3pm

TheaTre

戲劇

佛蘭明高大師加凡

Israel Galván - FLA.CO.MEN

CCGT

5-6/3

7:30pm

勅使川原三郎 | 渡烏舞團《崔斯坦與伊索德》

Saburo Teshigawara | KARAS - Tristan and Isolde

CHTH

8-11/3

8pm

美國芭蕾舞劇院《芭蕾小忌廉》 編舞：阿列克塞．羅曼斯基 藝術總監：凱文．麥肯齊

American Ballet Theatre - Whipped Cream Choreographer: Alexei Ratmansky Artistic Director: Kevin McKenzie

CCGT

22-25/3 25/3

7:30pm 2:30pm

南非開普敦港口劇團《非洲少年流浪記》 改編自莊尼．斯坦貝格小說 導演：馬克．當福 - 梅

Isango Ensemble - A Man of Good Hope Based on the book by Jonny Steinberg Director: Mark Dornford-May

APAL

23-24/2 24-25/2

7:30pm 2:30pm

APA-DT

24/2 25/2

7pm 2:30pm

The Great Learning Playwright and Director: Tang Chi-kin

CHTH

24-25, 28/2, 8pm 1-3/3 3pm 25/2, 4/3

National Theatre of Great Britain The Curious Incident of the Dog in the Night-Time Original: Mark Haddon Adaptation: Simon Stephens Director: Marianne Elliott

APAL

8-11, 13-18/3 10-11, 17-18/3

7:30pm

Les 7 Doigts de la Main and Theatre Republique Bosch Dreams Idea and Concept: Samuel Tétreault, Martin Tulinius, Ange Potier

CCGT

9-10/3 11/3

7:30pm 2:30pm

Claude Régy - Dream and Derangement Director: Claude Régy

CCST

9-10/3 10-11/3

8:15pm 4:30pm

奧克拉荷馬自然劇團及 EnKnap 舞團 《美國獨立宣言之幸福大作戰》 編劇及導演：柏維爾．利斯卡、嘉莉．古柏

Nature Theater of Oklahoma & EnKnapGroup Pursuit of Happiness Playwright and Director: Pavol Liska, Kelly Copper

CHTH

14-16/3

8pm

《中庸之幸福學堂》 編劇及導演：鄧智堅

Doctrine of Happiness Playwright and Director: Tang Chi-kin

CCST

16-17, 22-24/3 18, 24-25/3

8:15pm

倫敦巡迴劇團及愛丁堡皇家蘭心劇院 《祈願女之歌》 編劇：埃斯庫羅斯 新版本：大衛．葛利格 導演：拉文．格雷

Actors Touring Company and Royal Lyceum Theatre Edinburgh - The Suppliant Women Original: Aeschylus Adaptation: David Greig Director: Ramin Gray

CHTH

22-24/3 24-25/3

8pm 3pm

俄羅斯國家劇院《俄羅斯平民風景》 （舒克辛小品） Theatre of Nations (Russia) - Shukshin's Stories Director: Alvis Hermanis 導演：艾維斯．赫曼尼斯 《大學之烈火青春》 編劇及導演：鄧智堅 英國國家劇院《深夜小狗神秘習題》 原著：馬克．海登 改編：西門．史提芬斯 導演：瑪麗安．艾莉特 七指雜技團及哥本哈根共和國劇團 《博希的奇幻旅程》 概念：薩穆爾．特塞雷、馬 丁．迪尼路斯、安殊．博田 克勞德．雷吉《夢與狂妄》 導演：克勞德．雷吉

APAA APADT HKAC

香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

2:30pm

3pm

FC-FU 藝穗會樓上劇場 Fringe Upstairs, Fringe Club SWCC-T 上環文娛中心劇院 Theatre, Sheung Wan Civic Centre KTT-BBT 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

資料截至 Information as of: Oct 2017

DaNCe

舞蹈

蘇黎世芭蕾舞團《安娜．卡列妮娜》 編舞：克里斯蒂安．施普克

藝術節加料節目 Festival 節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 特 備 節 目 SpecialS 舞 蹈 DaNce 音 樂

17/3/2018 23/2-25/3/18 24-25/3/2018

聲．色愛沙尼亞 Sound and Colour from Estonia 香港藝術節傑出文化領袖講座系列（五）威爾斯國家歌劇院藝術總監大衛·普尼 HKAF Distinguished Cultural Leader Series (V) In Conversation with David Pountney, Artistic Director of Welsh National Opera 歌劇探秘同樂日 Opera Adventure Day 《十二面體 - 精粹 132》- 馬克 ‧ 雷登作品 Dodecahedron - Quintessence 132 by Mark Ryden 美國芭蕾舞劇院全接觸 ABT Recipe

24, 25/2/2018 24/2/2018 5/3/2018 5/3/2018 24, 25/3/2018 24, 25/3/2018 24/3/2018 24/3/2018 25/3/2018 24,25/3/2018 25/3/2018

後台參觀 - 走進托爾斯泰的芭蕾世界 Backstage Tour: Tolstoy’s Ballet World 《安娜．卡列尼娜》演前講座 Pre-Performance Talk: Anna Karenina PPS 舞團《反斗校園》駐節藝術家計劃展演 Artist-in-Residence Project: PPS Danse Showcase 佛蘭明高魅力俱樂部 Flamenco Club Off-stage 美國芭蕾舞劇院彩排參觀 Observing ABT Company Class 《芭蕾小忌廉》兒童工作坊 ABT Kids - Whipped Cream Children Workshop 美國芭蕾舞劇院大師班（中級程度）ABT Masterclass (Intermediate level) 樂韻芭蕾藝術教育音樂會 From Music to Ballet Education Concert 美國芭蕾舞劇院大師班（高級程度）ABT Masterclass (Advance level) 後台參觀：雷登的超現實甜美國度 Backstage Tour: A Pop Surrealist's Delirium 《芭蕾小忌廉》演前講座 Pre-Performance Talk: Whipped Cream

2,5/3/2018 15/3/2018

MUSic

2/2/2018 2, 5/3/2018 3/3/2018 5/3/2018 7/3/2018 8/3/2018 9/3/2018 10/3/2018 18/3/2018 19/3/2018 19/3/2018 20/3/2018 21/3/2018 24/3/2018

歌 劇 ／ 戲 曲 OpeRa 戲 劇 THeaTRe 電 影

4/2/2018 26/2/2018 15-17/3/2018 15, 17/3/2018 16, 17/3/2018 16, 17/3/2018 17/3/2018 17/3/2018 17/3/2018 25/2/2018 10, 11/3/2018 10/3/2018 11/3/2018

FilM

24/1, 10/3/2018 27/1, 3/2/2018 8/2/2018 10/3/2018 22-25/3/2018

加料講座及演出：拉赫曼尼諾夫的樂與畫 PLUS Artist Talk & Performance: Rachmaninov: Music and Art 李希特及帕特：愛沙尼亞之聲展覽音樂會 Richter Meets Pärt: Vox Clamantis - Concert at an Exhibition 潘尼迪爾雙鋼琴大師班 Jean-Claude Pennetier Piano Duo Masterclass 葛利果聖歌合唱工作坊 Gregorian Chant Workshop 香港演藝學院音樂學院座談會系列：國際指揮家之路 HKAPA School of Music Assembly Series: A Conductor's Journey 演前講座：與俄羅斯樂團巡演經驗談 Pre-Performance Talk: Touring with Russian Orchestras 演前講座：俄羅斯史維特蘭諾夫國家交響樂團 Pre-Performance Talk : State Academic Symphony Orchestra of Russia "Evgeny Svetlanov" 演前講座：拉赫曼尼諾夫之鋼琴音樂 Pre-Performance Talk: Rachmaninov's Piano Music 演前講座：韓國清唱與蒙古民謠 Pre-Performance Talk: Pansori & Mongolian Songs 李飈敲擊樂大師班 Percussion Masterclass with Li Biao 聲樂大師班及藝術家沙龍：法比奧．雷西 Vocal Masterclass and Artist Salon: Fabio Luisi 演前講座：作曲家尼爾森與丹麥 Pre-Performance Talk: Carl Nielsen and the Danes (DNSO) 演前講座：爵士女伶 Pre-Performance Talk: Matriarchs of Jazz 演前講座：與米克．烏列奧同唱 Pre-Performance Talk: Let's sing along with Mikk Üleoja 賽馬會本地菁英創作系列：《百花亭贈劍》公開彩排 Jockey Club Local Creative Talent Series: Pavilion of a Hundred Flowers Open Rehearsal 藝術家沙龍 : 京劇與梅派 Artist Salon: Peking Opera and the School of Mui 魔法蝴蝶虛擬實境 Magic Butterfly VR Experience 《佩利亞斯與梅麗桑德》演前講座 Pre-Performance Talk: Pelléas et Mélisande 《卡門》歌劇兒童入門工作坊 Whistle Stop Tour of Carmen Opera Workshop 兒童敲擊樂 Percussion Workshops for Kids 道具及戲服展覽 Props and Costumes Display 歌劇探秘加料演出 LIVE@Opera Adventure 後台參觀：德布西的迷霧秘境 Backstage Tour: Enter the World of Allemonde 舞蹈工作坊：玩轉南非舞蹈大熱身 Dance Workshop: Dance in the Isizhosa Tradition 後台參觀：《博希的奇幻旅程》Backstage Tour: The Fantastic World of Hieronymus Bosch 雜技樂園 Circus Funtasia 藝術家沙龍及紀錄片放映 : 法國戲劇大師雷吉的心路歷程 Artist Salon and Documentary Screening: The Art & Vision of Claude Régy 《葛哈．李希特 – 作畫》Gerhard Richter – Painting 《Bosch：地獄圖繪》Hieronymus Bosch: Touched by the Devil 《卡雅利沙的卡門》Isango Ensemble U-Carmen eKhayelitsha 《博希的奇幻世界》The Curious World of Hieronymus Bosch 《美國芭蕾舞劇院歷史回顧》電影放映 Documentary screening: American Ballet Theatre: A History