Ballett Zürich: Anna Karenina by Hong Kong Arts Festival

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

Ballett Zürich

Anna Karenina 蘇黎世芭蕾舞團

《安娜．卡列妮娜》 2 月 Feb

23-25

香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 演出長約 2 小時 15 分鐘，包括一節中場休息 Running time: approximately 2 hours and 15 minutes including one interval

蘇黎世芭蕾舞團成員乘坐第 46 屆香港藝術節指定航空公司芬蘭航空來回香港 Members of Ballett Zürich are flying to and from Hong Kong on Finnair, Official Airline of the 46th Hong Kong Arts Festival 封面照片 Cover Photograph: © Gregory Batardon

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

Presents

Ballett Zürich

Anna Karenina 蘇黎世芭蕾舞團

《安娜．卡列妮娜》 2 月 Feb

23-25

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

ÂŠ Monika Rittershaus

《安娜．卡列妮娜》

Anna Karenina

根據托爾斯泰（1828-1910）同名小說改編

Based on the novel of the same name by Leo Tolstoy (1828-1910)

音樂拉赫曼尼諾夫、魯杜斯華夫斯基、京沙茲及巴丹拿殊維里

Music by

Sergei Rachmaninov, Witold Lutosławski, Sulkhan Tsintsadze and Josef Bardanashvili

創作及製作團隊

Creative and Production Team

編舞克里斯蒂安．施普克

Choreography

舞台設計克里斯蒂安．施普克約．斯連斯基

Stage Design

服裝設計愛瑪．呂奧特

Costume Design

燈光設計馬丁．格布赫特

Lighting Design

錄像設計提安尼．博哈特

Video Design

聲效剪輯馬丁．東尼

Sound Collages

Christian Spuck Christian Spuck Jörg Zielinski Emma Ryott Martin Gebhardt Tieni Burkhalter Martin Donner

戲劇指導 Dramaturgs Michael Küster 米高．庫斯特克勞斯．斯帕 Claus Spahn 芭蕾舞導師 Ballet Masters Jean-François Boisnon 尚 - 弗朗索瓦．波農伊娃．迪威爾 Eva Dewaele 丹尼爾．奧蒂夫路 Daniel Otevrel 排舞導師 Ballet Répétiteurs Christophe Barwinek 基斯杜夫．巴維力路易吉．拉戈 Luigi Largo 女中音石琳

Mezzo-soprano

Lin Shi

於 2014 年 10 月 12 日由蘇黎世芭蕾舞團於蘇黎世歌劇院首演

Premiere: 12th October 2014, Ballett Zürich, Opernhaus Zürich Ballett Zürich’s tour is supported by

藝術節加料節目

後台參觀 Backstage Tour

24-25.2 ( 六、日 Sat and Sun ) 下午 12:30-1:00pm

蘇黎世芭蕾舞團《安娜．卡列尼娜》後台參觀走進托爾斯泰的芭蕾世界

Ballett Zürich Anna Karenina Backstage Tour – Tolstoy’s Ballet World

香港文化中心大劇院後台

Backstage of Grand Theatre, HK Cultural Centre

報名 HK$40

Registration HK$40

英語主講

In English

演前講座 Pre-performance Talk

24.2 ( 六 Sat ) 下午 6:30-7:00pm

講者：克里斯蒂安．施普克（蘇黎世芭蕾舞團藝術總監）

Speaker: Christian Spuck, Artistic Director of Ballett Zürich

香港文化中心平台工作室

Podium Workshop, HK Cultural Centre

持票觀眾免費入埸

Free and open to all ticket holders

英語主講

In English

更多加料節目詳情及網上報名 More Festival PLUS and online registration: www.hk.artsfestivalplus.org

角色

舞者 ( 下午場次 )

舞者 ( 晚上場次 )

奇雲．普素

丹尼爾．梅利根

杉島知奈津

戈利納．米哈洛瓦

曼紐爾．雷納

菲臘．波圖戈爾

安娜．嘉倩娜

維多蓮娜．卡比托諾娃

伍鎮傑 *

黃曦 *

杰西．弗雷澤

塔斯．范德比克

伊利莎白．威盛伯克

米雪．威廉斯

亞歷山大．瓊斯

威廉．摩爾

梅拉尼．波萊爾

安娜．嘉倩娜

伊爾米娜．可帕齊斯卡

茱莉亞．托尼利

奧勃朗斯基一家斯蒂芬奧勃朗斯基公爵；莫斯科的高級政府人員，在聖彼得堡政圈人脈甚廣

多莉達麗雅．奧勃朗斯基亞公爵夫人，本姓舒伯茲卡雅

卡列寧一家阿雷西．卡列寧聖彼得堡的高級公務員

安娜．卡列妮娜本姓奧勃朗斯基；卡列寧的妻子、斯蒂芬的妹妹，後來成為佛倫斯基的情婦

塞爾蓋卡列寧夫婦的兒子

列文一家康斯坦丁．列文俄羅斯中部的地主、斯蒂芬童年時的好友

吉蒂葉卡特琳娜．列文娜，本姓舒伯茲卡雅；列文的妻子、多莉的妹妹

佛倫斯基一家阿雷西．佛倫斯基伯爵軍官及大地主，安娜．卡列妮娜的情人

佛倫斯基伯爵夫人佛倫斯基的母親

貝蒂絲．泰佛斯卡雅女伯爵安娜的朋友，是聖彼得堡時尚沙龍的寵兒

貝蒂絲女伯爵的同伴

安德烈．可斯拉克

陳偉鐘

利迪亞．伊凡諾夫娜伯爵夫人

戈利納．米哈洛瓦

梅拉尼．波萊爾

米雪．威廉斯

孔斯坦薩．佩羅塔．阿爾圖韋

「聖彼得堡社會的良知」，虔誠教徒、卡列寧家的密友，及後照顧塞爾蓋

索羅金娜公主伯爵夫人屬意佛倫斯基娶她為妻舞者及其演出角色或有更改

* 王仁曼芭蕾舞學校特邀演出

Characters

Dancers

(Matinee performances)

(Evening performances)

Stiva Prince Stephan Oblonsky; a senior official in Moscow with the best contacts in St. Petersburg government circles

Kevin Pouzou

Daniel Mulligan

Dolly Princess Darya Oblonskaya, née Shcherbatskaya

Chinatsu Sugishima

Galina Mihaylova

Alexei Karenin A high-ranking civil servant in St. Petersburg

Manuel Renard

Filipe Portugal

Anna Karenina née Oblonskaya; Karenin’s wife, sister of Stiva and later lover of Count Vronsky

Anna Khamzina

Viktorina Kapitonova

Seryozha Son of the Karenins

Rocco Ng Chun-kit*

Isaac Wong Hei*

Konstantin Levin A landowner in Central Russia and childhood friend of Stiva

Jesse Fraser

Tars Vandebeek

Kitty Ekaterina Levina, née Shcherbatskaya; Levin’s wife, sister of Dolly

Elizabeth Wisenberg

Michelle Willems

Count Alexei Vronsky An officer and large land owner, lover of Anna Karenina

Alexander Jones

William Moore

Countess Vronskaya Vronsky’s mother

Mélanie Borel

Anna Khamzina

Princess Betsy Tverskaya A friend of Anna’s and a leading figure of the sophisticated Petersburg Salon

Irmina Kopaczynska

Giulia Tonelli

Companion of Princess Betsy

Andrei Cozlac

Wei Chen

Countess Lydia Ivanovna “The conscience of St. Petersburg society”, a strictly religious confidante of the Karenins and later, carer of Seryozha

Galina Mihaylova

Mélanie Borel

Princess Sorokina Countess Vronskaya’s desired partner for her son

Michelle Willems

Constanza Perotta Altube

THE OBLONSKYS

THE KARENINS

THE LEVINS

THE VRONSKYS

Performers and their roles are subject to change

*Guest performers from the Jean M. Wong School of Ballet

分場及音樂序幕馬丁．東尼火車（一）拉赫曼尼諾夫

B 小調第三首《音樂瞬間》，作品 16 沙龍斯蒂芬．奧勃朗斯基對妻子多莉不忠，與家中的女僕有染。地主康斯坦丁．列文有意追求吉蒂．舒伯茲卡雅，特地進城。

拉赫曼尼諾夫《交響舞曲》，作品 45 第二樂章：流暢的行板（圓舞曲節奏）

抵達莫斯科安娜．卡列妮娜從聖彼得堡來到莫斯科，為斯蒂芬和多莉勸架。

魯杜斯華夫斯基

斯蒂芬在月台上迎接安娜，她的旅伴佛倫斯基伯爵夫人則由兒

給管弦樂團的小故事曲

子阿雷西迎接。安娜．卡列妮娜和阿雷西．佛倫斯基兩人初次

第一樂章：宣佈

見面，一見難忘。舞會列文向吉蒂求婚遭拒絕。吉蒂傾慕的是佛倫斯基，希望他有一

拉赫曼尼諾夫

天會向自己求婚。佛倫斯基卻一心想在舞會上與安娜重逢。安《交響舞曲》，作品 45 娜出現時，佛倫斯基的眼裏只有她，令吉蒂心痛不已。安娜知

第二樂章：流暢的行板（圓舞曲

道自己是吉蒂傷心的原因，於是離開。

節奏）

往聖彼得堡佛倫斯基跟隨安娜到聖彼得堡，途中與她更形親密。抵達聖彼得堡，安娜的丈夫阿雷西和兒子塞爾蓋前來迎接。

拉赫曼尼諾夫《帕格尼尼主題狂想曲》第十二首變奏，作品 43 馬丁．東尼火車（二）

在鄉間（一）列文求婚不遂，逃回他的莊園，孤獨地遠離社會。

拉赫曼尼諾夫《傷心的夜晚》，作品 26 之 12

貝蒂絲的沙龍安娜的朋友貝蒂絲．泰佛斯卡雅所舉辦的沙龍，聚集了聖彼得

拉赫曼尼諾夫

堡上流社會。斯蒂芬和多莉在沙龍裏繼續吵架；安娜和佛倫斯

C 小調第二鋼琴協奏曲，作品 18

基則享受着重逢。卡列寧家遭沙龍人士議論紛紛：安娜的聲譽

第三樂章：諧謔的快板

因為佛倫斯基蒙上陰影。

魯杜斯華夫斯基

上流社會開始疏遠安娜和佛倫斯基，兩人不再掩飾對彼此的激

給管弦樂團的鏈環（三）

情。佛倫斯基的愛讓安娜忘記婚姻失敗帶來的愧疚和羞恥。

第三樂章：（38）

賽馬上流社會的一次賽馬聚會，卡列寧家、奧勃朗斯基家、貝蒂絲

拉赫曼尼諾夫

和佛倫斯基伯爵夫人均有出席。安娜在佛倫斯基墮馬時尖叫，《帕格尼尼主題狂想曲》第八及第在卡列寧和在場人士面前證明了她的不忠。卡列寧要求安娜履行婚姻職責。

九首變奏，作品 43 魯杜斯華夫斯基鋼琴協奏曲第二樂章：急板

在鄉間（二）列文在鄉間幫忙收割莊稼，忘記傷痛，在勞動中找到人生的新意義。經歷轉變的吉蒂來到鄉郊，與列文變得接近。

拉赫曼尼諾夫《請別唱，美人！》，作品 4 之 4 馬丁．東尼鐮刀

卡列寧家安娜誕下佛倫斯基的女兒後性命垂危。這使得卡列寧原諒了她和情敵。佛倫斯基害怕安娜回到丈夫身邊，企圖自殺。

拉赫曼尼諾夫《帕格尼尼主題狂想曲》第十七首變奏，作品 43 魯杜斯華夫斯基鋼琴協奏曲第一樂章：速度約為 110

— 中場休息 — 前奏曲

魯杜斯華夫斯基給管弦樂團的小故事曲第一樂章：宣佈

意大利 / 俄羅斯佛倫斯基與安娜去了意大利。安娜已經把舊生活和兒子拋諸腦後，佛倫斯基也為了她放棄軍隊的仕途。這對情人生活幸福美滿，但安娜很快開始掛念兒子，佛倫斯基也懷念社會生活。他們回到俄羅斯。多莉似乎接受風流成性的斯蒂芬的不忠，繼續留在他身旁。

拉赫曼尼諾夫

C 小調第二鋼琴協奏曲，作品 18 第二樂章：持續的慢板

婚禮吉蒂與列文結婚。

京沙茲弦樂四重奏小品第五首：歌曲

塞爾蓋的生日安娜秘密探訪兒子塞爾蓋，他現在由卡列寧家的密友利迪亞．伊凡諾夫娜照顧。卡列寧和伊凡諾夫娜打斷了母子重逢。跟卡列寧的激烈爭執過後，安娜孤單一人，傷心失落。

拉赫曼尼諾夫升 C 小調第二前奏曲，作品 3 之 2

孤單（一）安娜感到絕望。她懷疑佛倫斯基不忠，試圖用吸食鴉片麻醉自拉赫曼尼諾夫己的痛苦和嫉妒。《花已凋謝》

隔絕佛倫斯基仍繼續其社交生活，安娜卻被視作淫婦，遭社會唾棄。連她以前的朋友貝蒂絲也離她而去。安娜的嫉妒和妄想漸趨嚴重，更懷疑佛倫斯基伯爵夫人為兒子挑選的結婚對象索羅金娜公主是自己的情敵。

魯杜斯華夫斯基給管弦樂團的小故事曲第二樂章：第一事件第一樂章：宣佈拉赫曼尼諾夫升 F 小調第一前奏曲，作品 23

孤單（二） / 安娜之死安娜眾叛親離。佛倫斯基也勸阻不了她步上不歸路。

巴丹拿殊維里幻想曲風協奏曲第二樂章：持續的拉赫曼尼諾夫《請別唱，美人！》，作品 4 之 4 （前奏）

Plot and Music Prologue Martin Donner Trains I Sergei Rachmaninov Moment Musical No 3 in B minor, Op 16 Salon Stiva Oblonsky is cheating on his wife Dolly with the housemaids. Kitty Shcherbatskaya is being pursued by landowner Konstantin Levin, who has come to town specifically for this purpose.

Sergei Rachmaninov Symphonic Dances, Op 45 2. Andante con moto (Tempo di Valse)

Arrival in Moscow Anna Karenina has come to Moscow from St. Petersburg where she intends to mediate between Stiva and Dolly. Stiva is waiting for Anna on the platform, while her travelling acquaintance, Countess Vronskaya, is being collected by her son Alexei. Anna Karenina and Alexei Vronsky are introduced to one another, and this first sighting remains unforgettable for both.

ÂŠ Gregory Batardon

Witold LutosĹ&#x201A;awski Novelette for Orchestra 1. Announcement

The Ball Levin asks for Kitty’s hand in marriage and she turns him down. She is infatuated with Vronsky, and is hoping he will propose to her. However, Vronsky’s only desire is to see Anna Karenina again at the ball. When Anna appears and Vronsky only has eyes for her, Kitty’s world falls apart. Anna realises that she is the reason for Kitty’s destroyed hopes and leaves.

Sergei Rachmaninov Symphonic Dances, Op 45 2. Andante con moto (Tempo di Valse)

To St. Petersburg Vronsky follows Anna to St. Petersburg. They become closer during the journey. In St. Petersburg, Anna Karenina is collected by her husband Alexei and their son Seryozha.

Sergei Rachmaninov Rhapsody on a Theme of Paganini, Variation 12, Op 43 Martin Donner Trains II

In the Country I After his refused proposal, Levin flees to the solitude of his estate and avoids society.

Sergei Rachmaninov Noch' pechal'na (The Night is Sad), No 12, Op 26

Betsy’s salon The salon of Betsy Tverskaya, a friend of Anna’s, is the meeting place of decadent St. Petersburg society. While Dolly and Stiva continue to argue here, Anna and Vronsky enjoy their reunion. When Karenin turns up to collect his wife, she refuses to go home with him. The Karenins are the subject of much discussion in the salon: A shadow has been cast over Anna’s reputation – Vronsky. As society becomes more distant, Anna and Vronsky’s passion for one another can no longer be assuaged. Vronsky’s love allows Anna to forget the feelings of guilt and shame about the breakdown of her marriage.

Sergei Rachmaninov Piano Concerto No 2 in C minor, Op 18 3. Allegro scherzando Witold Lutosławski Chain 3 for orchestra 3. (38)

Horse Racing Members of distinguished society meet at a horse race, including the Karenins, the Oblonskys, Betsy and Countess Vronskaya. The fact that Anna screams when Vronsky falls with his horse is proof of her unfaithfulness for Karenin and those present. Karenin demands the fulfilment of marital obligations from Anna.

Sergei Rachmaninov Rhapsody on a Theme of Paganini, Variations 8 and 9, Op 43 Witold Lutosławski Piano Concerto 2. Presto

In the Country II Levin takes part in haymaking, forgets his heartache and finds new meaning in life in shared work with his farmers. The transformed Kitty comes to the country, and she and Levin become closer to one another.

Sergei Rachmaninov Ne poy, krasavitsa! (Do not sing, my beauty), No 4, Op 4 Martin Donner Scythes

At the Home of the Karenins After the birth of Vronsky’s daughter, Anna is under the threat of death. This situation causes Karenin to forgive her and his love rival. Vronsky, who fears that Anna will return to her husband, attempts suicide.

Sergei Rachmaninov Rhapsody on a Theme of Paganini, Variation 17, Op 43 Witold Lutosławski Piano Concerto 1. Ca. 110

— Intermission — Prelude

Witold Lutosławski Novelette for Orchestra 1. Announcement

Italy/Russia Vronsky is in Italy with Anna. She has left her old life behind – including Seryozha. Vronsky has given up his career in the military for her. They enjoy an abundance of happiness as a pair, but soon Anna misses her son, while Vronsky misses life in society. They return to Russia. Dolly appears to have come to terms with remaining at the side of the notoriously unfaithful Stiva.

Sergei Rachmaninov Piano Concerto No 2 in C minor, Op 18 2. Adagio sostenuto

Wedding Kitty and Levin have come together and marry.

Sulkhan Tsintsadze Miniatures for String Quartet 5. Lied

Seryozha‘s Birthday In secret, Anna visits her son Seryozha, who is now being looked after by a confidante of Karenin’s, Lydia Ivanovna. Karenin and Ivanovna bring the reunion of mother and son to an abrupt end. Anna and Karenin have a heated discussion, after which Anna remains alone and shattered.

Sergei Rachmaninov Prelude No 2 in C-sharp minor, Op 3

Loneliness I Anna is devastated. She now doubts Vronsky’s faithfulness and tries to numb her pain and jealousy with opium.

Sergei Rachmaninov Uvyal tsvetok (The Flower is Withered)

Isolation While Vronsky is able to continue to take part in public life, Anna is perceived as an adulteress and is both shunned by and cut off from society. Even her one-time friend Betsy turns away from her. Her jealousy and delusions turn obsessive, and she suspects that Princess Sorokina, who Countess Vronskaya has chosen to wed her son, is a love rival.

Witold Lutosławski Novelette for Orchestra 2. First Event 1. Announcement Sergei Rachmaninov Prelude No 1 in F-sharp minor, Op 23

Loneliness II / Anna’s Death All relationships and ties have dissolved for Anna, and Vronsky is also no longer a reason for her to carry on.

Josef Bardanashvili Concerto quasi una Fantasia 2. Sostenuto Sergei Rachmaninov Ne poy, krasavitsa! (Do not sing, my beauty), No 4, Op 4 (Prelude)

ÂŠ Monika Rittershaus

《安娜．卡列妮娜》的淒美悲劇

羅佳娜

蘇黎世芭蕾舞團以《安娜．卡列妮娜》為 2 0 1 8

《安娜．卡列妮娜》常被譽為文學史上最偉大的

年香港藝術節掀開序幕，這部圍繞性愛、失敗的

小說，恢宏的故事探討多重主題，既有愛情、慾

戀愛與死亡的芭蕾舞劇，改編自托爾斯泰的俄國

望、不忠與嫉妒，也有虛偽和道德，此外還涉及

文學鉅著《安娜．卡列妮娜》，而克里斯蒂安．

宗教信仰、政治及社會議題。

施普克編排的芭蕾舞版本，不僅是一場視覺盛宴，更於 2016 年獲邀在莫斯科搬演，成為首個在當地上演的非俄裔編舞版本。

但歸根結底，它講述的是一個女子為了愛情失去所有的故事。托爾斯泰受現實中的一個悲劇事件啟發：他有一位長期當別人情婦的鄰居，名叫安

施普克擅長挑戰尖銳、複雜的主題，過往作品包

娜，當她發現自己的情人準備與別人結婚時，毅

括韋德坎德的《露露》、畢希納的《伍采克》，

然臥軌自盡。

以及喬伊斯的《尤利西斯》。《安娜．卡列妮娜》是他典型具野心的創作，表現了他慣常的風格，強調戲劇性，著重感情刻畫，以及他將古典與現代風格共冶一爐、營造強烈效果的本領。施普克可謂當今芭蕾舞壇最矚目的編舞之一，他受訓於史圖加芭蕾舞團，並於 2 0 0 1 年成為駐團編舞，這在編舞大師輩出的史圖加絕非易事。他於 2 012 年獲委任為蘇黎世芭蕾舞團藝術總監，兩年後創作了《安娜．卡列妮娜》。

這部小說因其女主角獨一無二的性格和蘊含的雙人舞潛質，曾多次被搬上舞台和銀幕，同時也有過不少芭蕾舞的改編版本。許多傑出編舞家都編過自己的《安娜．卡列妮娜》，包括波里斯．艾庫曼（曾於 2 0 1 3 年在香港上演）、瑪雅．普麗瑟斯卡雅、阿列克塞．羅曼斯基（美國芭蕾舞劇院於今屆香港藝術節上演由他編舞的《芭蕾小忌廉》），以及約翰．紐邁亞近期版本。

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大多數《安娜．卡列妮娜》的改編版本，都只著墨於女主角與其夫卡列寧及情人佛倫斯基的三角戀，而將其他主要人物淡化為可有可無的配角，且對該作的哲學層面略過不談。當然，要將長達千頁的大作化為區區兩小時的電影或舞劇，這種處理手法無可厚非，但對於如此深刻、廣博的原作，卻是一種不公。

音樂和設計另外的《安娜．卡列妮娜》芭蕾舞劇常用兩個版本的配樂，一是俄國作曲家蕭卓倫 1 9 7 1 年的譜曲（普麗瑟斯卡雅、羅曼斯基版本），一是柴可夫斯基樂曲選段（艾庫曼、紐邁亞版本）。施普克另闢蹊徑，為「浪漫」場景配以拉赫曼尼諾夫的音樂，而更為陰鬱的部分則選用魯杜斯華夫斯

施普克躊躇滿志，盡可能貼近托翁的構想。除了

基、巴丹拿殊維里及京沙茲創作的現代樂曲。其

將安娜保留為芭蕾舞的重心，他更加入故事支

中最精采的部分包括拉赫曼尼諾夫的淒美歌曲，

線，重點介紹另外兩對代表愛情與婚姻不同面向

由女中音現場演出。

的情侶。其中一對是安娜的兄長奧勃朗斯基和他的妻子多莉―這本是一段成熟、世故的婚姻，卻因奧勃朗斯基的不忠而受到威脅。多莉的妹妹吉蒂則代表天真、青春與純潔，她的追求者和日後的丈夫列文，是個理想主義者，也是托爾斯泰本人的化身（就連他的名字也是源於托翁之名「列夫」）。一如他的作者，列文放棄了自己的貴族身份，前往鄉村，想要改善農民的生活。吉蒂和列文充滿新鮮感和柔情的關係，對比安娜及佛倫斯基帶罪咎感的激情，以及多莉和奧勃朗斯基倦怠的婚姻，一切都在一系列精采的雙人舞中表達得淋漓盡致。

正如編舞和配樂，《安娜．卡列妮娜》在設計方面也融合了現代與傳統。極簡的舞台設計，配合巧妙地運用的錄像，營造出充滿電影感的畫面。愛瑪．呂奧特的瑰麗服飾則高度還原十九世紀的華貴布料及精緻細節，難怪有評論說單是欣賞服裝便已值回票價。文章原載於 2018 年之《閱藝》雜誌

The Beauty and Tragedy of Anna Karenina Sex, doomed love and death take centre stage when Ballett Zürich opens the 2018 Hong Kong Arts Festival with Christian Spuck’s visually stunning production of Tolstoy’s Anna Karenina. It’s a tribute to Spuck’s success in adapting this seminal work of Russian literature that he was invited to re-stage it in Moscow in 2016 – the first version by a nonRussian choreographer seen there. Spuck is known for taking on edgy, complex subjects like Wedekind’s Lulu, Büchner’s Woyzeck and Joyce’s Ulysses. Anna Karenina is a characteristically ambitious creation which shows Spuck’s trademark emphasis on emotion and theatre, along with his ability to combine classical and modern styles to powerful effect. One of the world’s most sought-after choreographers, Spuck trained at Stuttgart Ballet and in 2001 became resident choreographer there – no mean feat in a company famous for nurturing outstanding choreographic talent – and in 2012 was appointed Artistic Director of Ballett Zürich where he created Anna Karenina in 2014.

Natasha Rogai

Often called the greatest novel ever written, Anna Karenina is an epic work which explores a multitude of themes – love, lust, infidelity and jealousy; hypocrisy and morality; spiritual, political and social issues. Above all it’s the story of a woman who loses everything for love. The seed of the book was planted in Tolstoy’s mind by a real-life tragedy – his neighbour’s long-time mistress, a woman named Anna, threw herself under a train when she found out that her lover planned to marry someone else. Adapted numerous times for stage and screen, the story, with its tremendous female lead and opportunities for pas de deux, lends itself naturally to ballet. Choreographers who’ve tackled it include such illustrious names as Boris Eifman (whose version was seen in Hong Kong in 2013), Maya Plisetskaya, Alexei Ratmansky (who brings Whipped Cream to this year’s HKAF with American Ballet Theatre) and most recently John Neumeier.

Most adaptations focus on the love triangle between Anna, her husband Karenin and her lover Vronsky, reducing other major characters to cameos and omitting the philosophical content. Although understandable when turning a 1,000 page book into two hours of film or dance, it’s an approach which fails to do justice to the novel’s depth and scope. With admirable boldness, Spuck has set out to stay closer to Tolstoy’s vision. While keeping Anna at the heart of the ballet, he brings in the broader aspects of the story and highlights two couples who represent different aspects of love and marriage in the book. Anna’s brother Stiva Oblonsky and his wife Dolly are a mature, sophisticated pair whose union is threatened by Stiva’s infidelity. Dolly’s sister Kitty embodies innocence, youth and purity while her idealistic suitor and eventual husband Levin is based on Tolstoy himself (even his name comes from Tolstoy’s first name, Lev) and, like his creator, abandons high society to live in the country and work to improve the life of the peasants. The freshness and tenderness of Kitty and Levin’s relationship is contrasted with the turbulent, guilty passion of Anna and Vronsky and the Oblonskys’ jaded marriage, all expressed through a range of spectacular pas de deux.

Music and Design Other ballet versions of Anna Karenina have used either the score composed by Rodion Shchedrin in 1971 (Plisetskaya, Ratmansky) or selections from Tchaikovsky (Eifman, Neumeier). Spuck has taken a different path, with a score made up of Rachmaninov for the more “romantic” sequences, contrasted with modern music from Lutosławski, Bardanashvili and Tsintsadze for darker moments. Highlights include haunting songs by Rachmaninov, performed live by a mezzo-soprano. Like the choreography and music , Anna Karenina’s designs offer a dazzling combination of modernity and tradition. Minimalist, stylised sets complemented by ingenious use of video give a cinematic feel, while Emma Ryott’s gorgeous costumes (which have been described as worth the price of admission on their own) are authentically 19th century in their sumptuous fabrics and exquisite detail. This article was originally published in HKAF’s 2018 FestMag.

注入自己的美學：編舞克里斯蒂安．施普克訪談你把托爾斯泰的千頁小說《安娜．卡列妮娜》改

她要這樣做？為甚麼她要不留餘地？」有時，她

編成芭蕾舞，搬上舞台。這個故事為甚麼吸引

的行為甚至會令人反感。但我們仍不禁同情她。

你？

托爾泰斯筆下的沙皇時期俄羅斯社會全景，確實

是女主角在激情和感情裏迷失自我的過程。安

難以在舞台上一一呈現出來。荷李活電影反而比

娜．卡列妮娜放棄了在丈夫身邊的安穩生活，毫

較適合處理這方面。用芭蕾舞敘事的優勝之處，

無保留地投入一段禁戀。她不惜犧牲一切，包括

是我們能夠側重角色和他們的處境。舞蹈開拓了

社會地位、幸福家庭，甚至是自己最寵愛的兒

生動地介紹個別角色和他們的感情和矛盾的可能

子，來追求這段愛情。從某時候開始，她沉溺得

性。

無法作出任何理性決定，只盲目跟從愛情和激情所帶來的快感，最後步進深淵。我們同情她，是

棄用文字去敘述以語言為基礎的文學故事，有甚

因為她無法在 1 9 世紀的俄羅斯社會中追求屬於

麼結果？

自己的真愛。

這正是芭蕾舞最動人之處。透過細心編排選曲去

你最初怎樣接觸托爾斯泰的小說？

彌補「沒有語言」的演出，至為重要。對我來說，這是每次創作新作品時最冗長和繁複的過程。有

我在 9 0 年代末看過蘇菲．瑪索飾演安娜．卡列

了合適的音樂，我們就可以猶如在顯微鏡下一

妮娜的電影版本。我對當中的幾幕印象特別深

樣觀察角色。我決定為《安娜．卡列妮娜》找俄

刻，例如安娜被上流社會孤立，獨自坐在奢華的

羅斯音樂，並把拉赫曼尼諾夫的作品全集細聽一

家中，陷入嫉妒的漩渦。安娜對愛情的追求，不

遍。

但讓她掙脫了社會價值觀的束縛，更使她迷失在自我之中。這些都震撼了我。我其後看過改編這

拉赫曼尼諾夫的作品裏同時有着甜美感和特別的

個故事的芭蕾舞演出，大部分都著眼於安娜與兩

嚴謹，一直使我入迷。他的音樂表達了人們常

個男人之間的嫉妒關係。其實，故事還有很多值

說的「俄羅斯靈魂」重擔。然而，我很快發現拉

得探討的地方。

赫曼尼諾夫的音樂需要有力的對比。因此，我加入了魯杜斯華夫斯基的音樂。魯杜斯華夫斯基是

嘗試用僅僅兩小時的芭蕾舞演出講述如此豐富的

2 0 世紀其中一位最重要和最激動人心的波蘭作

小說故事，不是徒然的嗎？

曲家。對比之下，他的作品幾乎是拉赫曼尼諾夫

演出如果旨在完美地重現小說的每個章節和情

音樂的解構版本，驚人的深度讓觀眾可以更接近

節，就注定是失敗之作，這樣對小說建構的宏偉

角色。

世界不公允。而且，我們也志不在此。我們要演出的是改編自托爾斯泰小說的芭蕾舞。小說是大

為芭蕾舞劇選曲時還需要考慮甚麼？

綱，可是我們必須在某程度上偏離小說，這樣

所選的音樂應該是第一次用來編舞的，並成為故

演出才會有別於將故事簡單地複述。芭蕾舞這個

事的另一層次。曲目也必須揭示隱而不見的事

藝術形式讓我們在舞台上講故事，同時直接處理

情，以及無言地刻畫情緒。我聽見音樂的時候，

當中的情感交織。我特別希望演出可以表現出一

立即就要明白舞台上發生甚麼事。對我而言，音

眾主角的不同面向。以安娜一角為例，其實她有

樂是演出內容的關鍵。我通常不會在舞台意象上

些行為令人難以同情。我們問自己：「為甚麼

大造文章，因為音樂往往可以準確地描述舞台上

發生的事。相比舞步，音樂往往能夠闡述更多事

我們以一個舞廳為場景，用群舞舞者的服裝示意

情。找到切合題材和角色的音樂後，將它們整理

地點變更，觀眾會看得出場景在莫斯科、聖彼

出戲劇構作上的嚴謹次序十分重要。這意味着我

得堡、莊園之間轉換。但這裏同樣偏離了小說原

要不斷聽這些音樂，編排好後也要再細聽。關鍵

著。我希望不單是簡單地複述故事，而是去感受

在於樂曲之間的過渡。它們就像拼圖：每一塊要

這些角色。小說裏有一個重要的意象—火車。

放到恰好的位置。聆聽的時候，如果我留意到

作家納博科夫這樣描述它：「巨大、鏗鏘作響、

某部分的音樂平平無奇，我也會棄而不用。一定

噴出蒸氣的火車，運載和殺死托爾斯泰筆下的角

要有事情發生！對我來說，劇場與故事的高潮迭

色。」對我來說，這並不表示舞台上要有一列火

起和意想不到的劇情發展關係密切。這些我會

車駛過。這個問題要用另一個手法解決。抽象手

一一跟舞者一起深入發掘。我們要使衝突和對立

法意味着只留下最精煉的元素，而將事情濃縮也

來得有力。和諧美、裝飾和唯美很快就會變得沉

讓我們有機會集中講述故事最重要的部分。

悶。安娜和佛倫斯基嘗試相愛，為甚麼卻失敗了？

你使用甚麼舞蹈語言去說故事？為安娜和佛倫斯基選角所找上的兩位出色古典舞

安娜作為情婦遭到社會唾棄。但即使他們自我流

者，自然了影響舞蹈動作。我們必需加以運用，

放到意大利，想必過得很快樂，他們也沒有找到

因應角色去改編舞蹈素材。例如多莉這個角色，

真正的快樂。這種絕對的愛令他們的戀愛以失敗

不像小說裏般唯命是從，對着出軌的丈夫斯蒂芬

告終：他們渴望與社會隔絕，單憑兩人共處找到

挺身而出。我們在她的動作裏感受到某種反抗意

相愛的意義。所有隱居到孤島上的情人不消幾天

味。另一個例子列文在舞會和沙龍場景裏都是異

就會受不住對方。只有能夠放開懷抱，給予對方

類和外人，唯有在鄉郊場景才找到真正的自我形

自由和信任的伴侶，才會有真正的幸福。

象，和隨之以來的舞蹈身份。

小說的第二對戀人吉蒂和列文又是怎麼一回事？

你說過自己十分看重演出的準繩度，與古典芭蕾

他們找到幸福嗎？

的語言怎樣和諧共存？

這對戀人相較安娜和佛倫斯基當然是不同的概

這兩方面肯定不是互相排斥的。與舞團合作時，

念。吉蒂和列文不是因為一時的激情走在一起，

我試圖將編舞材料帶到演戲的層面。舞者們跟從

而是在漫長的自我發現過程後的結果。他們走在

我這套，使我非常高興。他們明白不僅需要精湛

一起的高潮發生於「粉筆字遊戲」一幕。他們透

的舞技，還要通過舞蹈演繹令人信服的角色。單

過秘密的文字遊戲，一步一步互訴愛意。他們安

是芭蕾舞蹈語言並不足夠；它必須講故事和塑

靜、小心翼翼地相戀，也不像安娜和佛倫斯基般

造角色。我必須對舞者扮演角色的每個細節，和

從熱熾的激情裏擷取力量。

他們希望表達的感情暸如指掌。

托爾斯泰的小說場景設定在莫斯科、聖彼得堡和

由米高．庫斯特和克勞斯．斯帕訪問克里斯蒂安．施普克。

鄉郊，每每藉着轉換地點和環境令故事引人入勝。在芭蕾舞台上你如何處理？

Adding Your Own Aesthetic Dimension: Christian Spuck

You are bringing Leo Tolstoy’s 1,000 page novel Anna Karenina onto the stage as a ballet. What fascinates you about this story? How in it, a woman loses herself in passion and emotions. Anna Karenina decides against a secure life at the side of her husband and falls, without any reservations, into a forbidden love. She sacrifices everything for this love – her social standing, her family, even her son whom she loves more than anything. From a certain point in time, rational decisions are no longer possible for her and she only follows the feelings of elation connected with love and passion. This path leads her into the abyss. We sympathise with her because she is not able to live out her love in 19th century Russian society. How did you first come across Tolstoy’s novel? At the end of the 90s, I saw the film version with Sophie Marceau as Anna. There are scenes in it that I never forgot, such as how this Anna, cut off from society, sits alone in her luxurious home and falls into fits of jealousy. I was impressed by the failing

of a woman with her love not just in society, but also by the fact that she loses herself. The ballet adaptions of the story that I saw afterwards mostly exhausted themselves in the depiction of a drama of jealousy between a woman and two men. But there is definitely a lot more to the story. Isn’t it a futile undertaking trying to tell the story of such a comprehensive novel in just a two hour ballet? An attempt to perfectly retell the story of the book would of course be doomed to failure, it would never be possible to do justice to the enormous universe contained in the novel. However, this also isn’t our objective. We are showing a ballet based on Tolstoy’s book. The novel is used as a basis, but it must be diverged from at a certain point so that we do not get stuck in simply retelling the story. The art form of the ballet offers the chance to tell a story like this while directly addressing the feelings involved. I am especially interested in showing the multi-faceted nature of the protagonists. In the

case of Anna in particular there are several types of behaviour with which it is difficult to sympathise. We ask ourselves: “Why is she doing this? How can she take things this far?” Sometimes she even seems to be unpleasant, but we still always feel a large amount of empathy with her. It is of course difficult to recreate the social panorama of Tsarist Russia on stage, which Tolstoy depicts in all of its variety. Hollywood cinema is better suited to this. Our storytelling forte lies in the concentrated focus on characters and situations. Dance opens up the possibility for the vivid emergence of the individual characters with whole ranges of emotion and inconsistency. What are the consequences of telling a literary story so heavily rooted in language without using words? This is ballet’s greatest strength. It is extremely important that this “lack of language” is always compensated for with a well thought-out choice of music. For me, this is always the most lengthy and complicated process for each new piece. With the right music, the characters can be observed as if under a microscope. For Anna Karenina, I looked for Russian music and listened to the complete works of Sergei Rachmaninov. The combination of sweetness and peculiar seriousness in his music has always fascinated me. In it, the often-mentioned burden of the “Russian soul” is expressed. However, I quickly noticed that Rachmaninov’s music needed a powerful contrast, which I found in the music of Witold Lutosławski, one of the most important and exciting Polish composers of the 20th century. Contrastingly, his music almost works as a deconstruction of Rachmaninov, and its disconcerting depth provides a feeling of closeness to the characters. What should also be considered when selecting the music for a story ballet? It should be music that has not yet been danced to and that acts as an inter-layer to the story. It must make the invisible visible, and wordlessly underline

emotions. When I hear the music, I need to be able to understand immediately what is happening on stage. For me, music is always the key to the content. I often leave images be, since the music often very precisely says what is happening. Music is often able to explain much more than any steps. If I have found music that fits both the subject matter and the characters, finding a dramaturgically stringent order is decisive, which means constantly listening through the pieces, and listening to them afterwards. The crucial points are the transitions. These are like a puzzle; each piece needs to be in exactly the right place. When listening, if I notice that not much is happening in this particular part, I also won’t use the music. Something must be happening! For me, theatre is always associated with heights and surprising twists, on which I work extensively with the dancers. We have to make the conflicts and contradictions powerful. Harmonies, ornamentation and pure beauty become boring after 10 minutes. Where does Anna and Vronsky’s attempt to live out their love fail? As an adulteress, Anna is shunned by society. But even when in exile in Italy (where you assume both would have been very happy), they don’t really become happy. It is the crux of absolute love that makes them fail, when they hope to find meaning in togetherness alone, isolated from society. All lovers who retreat to a lonely island together tear each other’s hair out after a few days. True happiness only arises when partners are able to let go and allow one another freedom and trust. What is the situation between Kitty and Levin, the second couple in the novel? Do they find happiness? The couple are of course an alternative concept to Anna and Vronsky. Kitty and Levin do not come together in the throes of passion, but find each other as the result of a lengthy process of selfdiscovery. The climax of their coming together is found in the fantastic “chalk game” scene. In it, they confess their love for one another, step by step, in

a secret game of characters. They come together quietly and carefully, and do not draw their energy (like in the case of Anna and Vronsky) from the fire of unbridled passion. Tolstoy’s novel is set in Moscow, St. Petersburg and in the country, and draws much excitement from the changing places and environments. How do you deal with this on the ballet stage? Our setting is a type of ballroom in which the changing locations are mostly explained by the costumes of the corps de ballet. Moscow, St. Petersburg, the estates – the change can be noticed, but here the principle of moving away from the book also applies. Not just simply retelling the story, but rather feeling the characters. An important theme in the novel is the train “great, clanging, and steaming trains that are used to transport and kill Tolstoy’s characters,” as the author Vladimir Nabokov describes it. For me, this really doesn’t mean that a train has to drive over the stage. The issue must be solved in another way. Abstraction is the reduction to the most necessary elements. Condensation also always involves the chance to tell the most important parts of the story. What kind of dance vocabulary do you use to tell the story? Filling the roles of Anna and Vronsky with two wonderful classical dancers naturally has consequences for the movement material. This must be played with, and the material adapted to their characters. Dolly, for example, defends herself from her cheating husband Stiva, unlike in the book. A protest can be felt in her movements. Levin, for example, is an alien and outsider in the ball and salon settings. He only really finds his real identity, and therefore also his dancing identity, in the country setting.

You have said that you attach great value to acting precision. Can this be harmonised with classical ballet language? These definitely do not exclude one another. When working with a company I try to bring the choreographic material into an acting dimension. The way in which dancers follow me on this path makes me extremely happy. They have understood that not only dancing virtuosity is involved, but rather a believable acting depiction through the dancing as well. The ballet language in itself cannot suffice; it must also tell a story and create characters. I must be able to understand to the last detail which characters the dancers embody, and what they want to express. Christian Spuck was interviewed by Michael Küster and Claus Spahn.

蘇黎世芭蕾舞團

Ballett Zürich

蘇黎世芭蕾舞團是瑞士最大規模的專業芭蕾舞

Ballett Zürich is Switzerland’s largest professional ballet company. Resident at Zürich Opera House, the 36-strong ensemble not only features prominently in the Opera House’s programme but its international guest performances are also regularly acclaimed. Formerly the Ballet of the Zürich City Theatre, the company was shaped by its directors Nicholas Beriozoff, Patricia Neary, Uwe Scholz and Heinz Spoerli.

團，自 2012/13 舞季起，由克里斯蒂安．施普克領導。舞團有 3 6 名團員，是蘇黎世歌劇院駐院舞團，不僅常常亮相歌劇院節目，其國際演出也廣受好評。舞團前身是蘇黎世市立劇院芭蕾舞團，歷年來由多位總監塑造，包括尼古拉斯．巴利亞索夫、柏德莉茜亞．利亞尼、烏維．肖爾茨、伯恩德．比亞納及海恩茨．斯普禮。克里斯蒂安．施普克自 2012/13 舞季起擔任舞團總監。舞團在他的領導下，繼續把創新的編舞技巧，融入傳統的敘事芭蕾中，促進傳統芭蕾舞的發展，同時發掘新的藝術路徑。舞團的舞碼中亦常有世界首演。編舞家諸如韋恩．麥葛萊格、愛德華．克勒、馬可．歌克、杜格拉斯．李及菲臘．波圖戈爾曾為舞團創作新作。2 016 年，阿列克塞．羅曼斯基更為舞團重構佩蒂巴及伊凡諾夫的《天鵝湖》原本編舞。舞團在世界各地巡演該作，備受讚譽。多位國際知名的編舞，例如：威廉．科西、伊利．季利安、漢斯．范曼倫、蘇爾．利昂／保羅．賴福特、奧赫．勒赫林、雅各普．哥丹尼、麥斯．艾克、帕翠斯．巴特及馬田．施立化都曾與舞團合作，確保舞團的舞碼風格多變。在「年輕編舞」系列中，團員自行負責舞作的藝術面向。

Since the 2012/13 season Christian Spuck has been the director of Ballett Zürich. Under his direction, the company continues to cultivate its established traditions and to tread new artistic paths, continuously developing the genre of traditional narrative ballet using innovative choreographic techniques. World premieres also play an important part. Choreographers such as Wayne McGregor, Edward Clug, Marco Goecke, Douglas Lee und Filipe Portugal have created new pieces for the company. Furthermore, Alexei Ratmansky reconstructed Petipa/Ivanov's original choreography of Swan Lake in 2016 for the company, which was critically acclaimed all over the world. Internationally renowned c horeographers suc h as William Forsythe, Jirí Kylián, Hans van Manen, Sol León/Paul Lightfoot, Ohad Naharin, Jacopo Godani, Mats Ek, Patrice Bart and Martin Schläpfer work in Zürich, ensuring that the company’s repertoire remains stylistically varied. As part of the company's Young Choreographers series, members of the ensemble assume personal artistic responsibility.

ÂŠ Monika Rittershaus

克里斯蒂安．施普克

編舞 / 舞台設計

克里斯蒂安．施普克生於德國馬堡，自 2012/13 舞季起擔任蘇黎世芭蕾舞團總監。他在史圖加舞團附屬芭蕾舞學校完成初步芭蕾舞訓練後，在楊．柳華的尼德劇團和安．德麗莎．迪姬爾斯美嘉的羅薩絲舞蹈團展開其舞蹈生涯。他在 1995 年加入史圖加芭蕾舞團，於 2001 年獲委任駐團編舞。施普克為史圖加芭蕾舞團創作的編舞作品包括《睡魔》（2006）和《絲蔻黛莉小姐之宮廷謀殺案》（2012）。

施普克亦為歐美著名芭蕾舞團編舞，作品包括佛蘭德斯皇家芭蕾舞團的《尤利西斯返鄉記》（作品隨後到愛丁堡國際藝術節表演）及奧斯陸的挪威國家芭蕾舞團的《伍采克》。他為高堤耶舞團主理的原創製作《波佩亞 / / 波佩亞》在史圖加劇院上演，獲《舞蹈歐洲》雜誌選為 2010 年十大成功舞蹈製作，同時贏得德國戲劇獎浮士德獎和意大利「舞蹈與舞蹈人」獎。施普克的舞蹈電影《瑪茜．海蒂飾佩涅羅珀》於德法公共電視台播放。施普克近年開始替音樂劇場編舞。這些作品包括格魯克的《奧菲爾與尤麗迪采》（史圖加國家劇院）、威爾第的《福斯塔夫》（威斯巴登巿立劇院），以及白遼士的《浮士德的沉淪》（柏林德意志歌劇院）。他為蘇黎世芭蕾舞團編舞作品包括《羅密歐與茱麗葉》、《萊昂瑟和萊娜》、《伍采克》及《睡魔》。《安娜．卡列妮娜》在蘇黎世首演後，已經被挪威國家芭蕾舞團、莫斯科史坦尼斯拉夫斯基劇院、韓國國家芭蕾舞團及巴伐利亞國家芭蕾舞團納入表演舞碼。2016/ 17 舞季首演作品包括與蘇黎世歌劇院聯合製作威爾第的《安魂彌撒曲》，以及在柏林德意志歌劇院上演的《漂泊的荷蘭人》。2017/18 舞季作品包括《胡桃夾與鼠王》，該作在蘇黎世及莫斯科大劇院均獲好評。

Christian Spuck

Choreography / Stage Design

Christian Spuck is a native of Marburg, Germany and director of Ballett Zürich since the 2012/13 season. After receiving his initial ballet training at the renowned John Cranko Schule in Stuttgart, he embarked on his subsequent dance career with Jan Lauwers’s Needcompany and Anne Teresa de Keersmaeker's “Rosas” ensemble. He joined the Stuttgart Ballet in 1995 and was appointed choreographer-in-residence of the Stuttgart Ballet in 2001. Choreographies for the Stuttgart Ballet include Der Sandmann (2006) and Das Fräulein von S. (2012). Spuck has produced further choreographies for several renowned ballet companies in Europe and the USA. For the Royal Ballet of Flanders he created The Return of Ulysses (with a guest performance at the Edinburgh International Festival) and Woyzeck after Georg Büchner for the Norwegian National Ballet in Oslo. His production of Poppea//Poppea for Gauthier Dance at the Theaterhaus Stuttgart was named one of the world's ten most successful dance productions of 2010 by Dance Europe magazine and also won Germany's theatre prize Der Faust (2011) as well as the Italian Danza/Danza award. His dance film Marcia Haydée als Penelope was broadcasted by ARTE. In recent years Christian Spuck has extended his artistic reach to musical theatre. After Gluck’s Orphée et Eurydice for the Staatstheater Stuttgart, he staged Verdi’s Falstaff for the Staatstheater Wiesbaden and Berlioz’s La damnation de Faust for the Deutsche Oper Berlin. His choreographies with the company include Romeo and Juliet, Leonce und Lena, Woyzeck and Der Sandmann. Anna Karenina, first performed in Zürich, has been further incorporated into the repertoires of the Norwegian National Ballet, Stanislavski Ballet, Korean National Ballet and Bayerisches Staatsballett. The 2016/17 season saw premieres of his productions of Giuseppe Verdi’s Messa da requiem (a co-production between Zürich Opera and Ballet), as well as Der fliegende Holländer for the Deutsche Oper Berlin. His productions in the 2017/18 season include Nussknacker und Mausekönig, which was critically acclaimed in Zürich and also at the Bolshoi theatre in Moscow.

約．斯連斯基

舞台設計

約．斯連斯基來自德國，自 1991 年起居住在瑞士，受訓於柏林、巴塞爾和蘇黎世。斯連斯基曾於巴塞爾巿立劇院出任執行製作，並於真正好製作公司擔任行政助理，累積不少國際戲劇製作經驗，例如伊韋爾東的 Expo.02，以及巴登的奧芬酒店上演的空間劇場。斯連斯基於瑞士傢俱品牌維特拉取得設計經驗，並擔任蘇黎世歌劇院佈景及服裝總監，與上海歌劇院合作。斯連斯基也於伯恩藝術大學任教碩士課程之外，也擔任舞台設計和佈景裝置。斯連斯基曾為多間著名機構擔任設計，包括蘇黎世歌劇院、莫斯科涅米羅維奇 - 丹欽科音樂劇院、首爾韓國國家芭蕾舞團、巴伐利亞國立歌劇院、蘇黎世室樂團、UVA 工作室等。

Jörg Zielinski

Stage Design

Jörg Zielinski is from Berlin and has lived in Switzerland since 1991. He trained in Berlin, Basel and Zürich. During his time in production management at Theater Basel and in the role of executive assistant at The Really Useful Group, Zielinski gained experience in international theatre productions. As head of scenery and costumes at the Zürich Opera House, he also worked with the Shanghai Opera House. Zielinski lectures masters students at the Hochschule der Künste Bern, he also does work designing and realising stage settings and scenic installations. Design credits include productions at the Zürich Opera House, the Nemirovich-Danchenko Theatre in Moscow, Korean National Ballet in Seoul, Bayerische Staatsoper, Zürcher Kammerorchester, United Visual Artists and other projects.

愛瑪．呂奧特

服裝設計

愛瑪．呂奧特受訓於諾丁漢特倫特理工學院，獲頒授舞台設計文學士學位。自 2003 年起，呂奧特與施普克攜手合作，為眾多芭蕾及歌劇作品擔任服裝設計，例如：史圖加的《露露》、蘇黎世、奧斯陸和莫斯科的《安娜．卡列妮娜》、蘇黎世的《羅密歐與茱麗葉》、奧斯陸和蘇黎世的《伍采克》、史圖加的《絲蔻黛莉小姐之宮廷謀殺案》、蒙特利爾、史圖加和奧斯陸的《萊昂斯和萊娜》、史圖加和蘇黎世的《睡魔》，以及高提耶舞團的《波佩亞 / / 波佩亞》和《唐吉訶德》、法蘭德斯堡皇家芭蕾舞團的《尤利西斯返鄉記》、柏林德意志歌劇院的《浮士德的天譴》、維斯巴登巿立劇院的《法斯塔夫》和史圖加國家劇院的《奧菲歐與尤麗迪采》。其他設計作品包括哥特堡的《日落大道》和《曼儂．萊斯科》；薩爾斯堡的《奧塞羅》；榮獲諾頓最佳設計獎、皇家莎士比亞劇團的《俠盜羅賓漢之心有所屬》；於倫敦皇家宮廷劇院、倫敦西區和百老匯劇院上演、湯姆．斯托帕的《搖滾》；於英國國家劇院上演、喬納森．肯特執導的契訶夫三部曲，以及 2016 年維也納新年音樂會。

Emma Ryott

Costume Design

Emma Ryott trained at Trent Polytechnic, obtaining a Bachelor of Arts in Theatre Design. She began her collaboration with Christian Spuck in 2003, and her ballet and opera costume design credits include Lulu. Eine Monstretragödie in Stuttgart, Anna Karenina in Zürich, Oslo and Moscow, Romeo and Juliet in Zürich, Woyzeck in Oslo and Zürich, Das Fräulein von S. in Stuttgart, Leonce und Lena in Montréal, Stuttgart and Zürich, Der Sandmann (Stuttgart, Zürich). Ryott also created designs for Sunset Boulevard and Manon Lescaut (Goteborg), Otello (Salzburg), The Heart of Robin Hood (Royal Shakespeare Company, Elliot Norton Award for outstanding design), Rock ‘n Roll by Tom Stoppard (London Royal Court, West End and Broadway), a Chekhov-trilogy directed by Jonathan Kent (National Theatre, London) and the New Year’s Day Concert, Vienna in 2016.

馬丁．格布哈特

燈光設計

馬丁．格布哈特於 2002 年加入蘇黎世歌劇院，參與製作眾多斯普禮和蘇黎世芭蕾舞團的作品，包括《在風之隙》、《接近一切，遠離所有》、《喬瑟夫傳奇》、《皮爾金特》、《天鵝湖》、《唐吉訶德》和《雷蒙達》。效力蘇黎世歌劇院期間，格布哈特為眾多導演設計燈光，例如：於爾根．弗里姆、格利莎．阿薩加洛夫、馬提亞斯．赫特文、大衛．普尼、莫謝爾．雷塞爾／帕翠斯．柯莉兒、達米亞諾．米伽勒托、阿希姆．弗雷爾、約翰尼斯．薩爾福，以及克里斯多夫．馬塔拉。格布哈特亦為薩爾斯堡藝術節作品擔任燈光設計，如《波希米亞生涯》和斯普禮的新版《死神與少女》。2012 年，格布哈特出任蘇黎世歌劇院燈光總監，與多位編舞家合作，包括施普克、杜格拉斯．李和馬可．歌克。

Martin Gebhardt

Lighting Design

Martin Gebhardt joined Zürich Opera House in 2002. Heinz Spoerli and Ballett Zürich production credits include In den Winden im Nichts, Allem nah, allem fern, Josephslegende, Peer Gynt, Schwanensee, Don Quixote and Raymonda. At the Zürich Opera House, he has been responsible for the lighting design of productions by Jürgen Flimm, Grischa Asagaroff, Matthias Hartmann, David Pountney, Moshe Leiser/Patrice Caurier, Damiano Michieletto, Achim Freyer, Johannes Schaaf and Christoph Marthaler. For the Salzburg Festival he designed the lighting for La bohème and a new version of Spoerli’s Der Tod und das Mädchen. In 2012, Gebhardt became head of the lighting department at the Zürich Opera House and has since regularly worked with choreographers such as Christian Spuck, Douglas Lee and Marco Goecke.

提安尼．博哈特

錄像設計

提安尼．博哈特就讀蘇黎世藝術大學，主修藝術系下的影像裝置科，作品曾亮相多個展覽及實驗電影節，例如：蘇黎世 Videoex 電影節和日內瓦運動影像雙年展。博哈特是瑞士國家電視台的自由工作者，並擔任多間電影公司的攝影及設計， 2009 年開始涉足舞台錄像製作。與蘇黎世歌劇院的合作作品包括安德烈亞斯．霍莫基執導的《漂泊的荷蘭人》、杜格拉斯．李編舞的《生命》、施普克編舞的《安娜．卡列妮娜》，以及迪文齊．策尼亞柯夫執導的《佩利亞斯與梅麗桑德》。博哈特也為策尼亞柯夫的作品設計錄像，例如：漢堡歌劇院的《不流血／藍鬍子的城堡》和巴黎歌劇院的《雪娘》。

Tieni Burkhalter

Video Design

Tieni Burkhalter studied Fine Arts at the Zurich University of the Arts and specialised in video installations. Burkhalter’s works have been shown at exhibitions as well as at experimental film festivals, such as Videoex in Zürich and the Biennale de l’image en mouvement in Geneva. He has also worked as freelancer for Swiss national TV and as a cameraman and designer for various film agencies. In 2009, he started working as a video producer for the stage. Production credits at the Zürich Opera House include Der fliegende Holländer (Director: Andreas Homoki), A-Life (Choreography: Douglas Lee), Anna Karenina (Choreography: Christian Spuck) and Pelléas et Mélisande (Director: Dmitri Tcherniakov). He also designed the video for Tcherniakov’s Senza Sangue/Herzog Blaubarts Burg (Staatsoper Hamburg) and La Fille de Neige (Opéra National de Paris).

Â© Gregory Batardon

馬丁．東尼

聲效剪輯

馬丁．東尼是作曲家、製作人和音樂家，自 1990 年代中，為不同項目和組織擔任自由身藝術家，專注電子音樂的美學和製作。東尼曾與機構「公眾行動者」合作，建立網上電子音樂庫，並在 2001 至 2 0 0 3 年於史圖加媒體工作室教授音樂製作。自 2002 年起，東尼不時為眾多劇院和芭蕾舞團製作舞台音樂，包括漢斯．科斯尼克、瑞內．波列許和施普克。

Martin Donner

Sound Collages

Martin Donner has worked as a composer, producer and musician. Since the mid-1990s, he has worked as a freelance artist in various projects and formations and concentrated on the aesthetics and production of electronic music. In cooperation with the agency “Publikmacher”, he set up a digital internet sound archive and was a lecturer in audio production at the Medienwerkstatt Stuttgart (2001-2003). Since 2002, Donner has regularly composed stage music for theatre and ballet companies, including for Hans Kresnik, René Pollesch and Christian Spuck.

米高．庫斯特

戲劇指導

米高．庫斯特來自德國，曾擔任主持人和講者，並為數個德國電台編寫古典音樂節目。2002 年，他加入蘇黎世歌劇院，出任戲劇指導，與眾多導演合作，例如：莫謝爾．雷塞爾／帕翠斯．柯莉兒、羅伯特．卡爾森和葛量衡．維克。在蘇黎世芭蕾舞團擔任戲劇指導期間，庫斯特與施普克的作品包括《羅密歐與茱麗葉》、《伍采克》、《十四行詩》、《安娜．卡列妮娜》和《胡桃夾子與鼠王》。2017 年，庫斯特與馬提亞斯．赫特文攜手於米蘭史卡拉歌劇院呈獻《魔彈射手》。

Michael Küster Dramaturg © Judith Schlosser

Michael Küster is from Germany, where he worked as a presenter, speaker and author of classical music radio programmes before joining the Zürich Opera House as a dramaturg in 2002, where he has worked together with directors such as Moshe Leiser/Patrice Caurier, Robert Carsen and Graham Vick. As a dramaturg of the Ballett Zürich he has worked closely with Christian Spuck on Romeo and Juliet, Woyzeck, Sonett, Anna Karenina, Messa da Requiem and Nussknacker und Mausekönig. In 2017 he also worked with Matthias Hartmann on Der Freischütz at Teatro alla Scala in Milan.

克勞斯．斯帕

戲劇指導

克勞斯．斯帕來自德國，於弗萊堡學習古典結他，並於慕尼黑德國新聞學院修讀新聞學。斯帕擔任戲劇指導前曾任藝術版記者和樂評人。自 2 0 1 2 / 1 3 舞季，斯帕出任蘇黎世歌劇院首席戲劇指導，與眾多導演合作，包括塞巴斯汀．鮑姆嘉敦、赫伯特．弗里奇、塔提亞娜．古爾巴卡、安德烈亞斯．霍莫基、巴瑞．科斯基，以及編舞家施普克。

Claus Spahn Dramaturg Claus Spahn is from Germany and studied classical guitar in Freiburg im Breisgau and received his training in journalism at the Deutsche Journalistenschule in Munich. Before he started working as a dramaturg, he was an arts journalist and a music critic. Since the 2012/13 season he has been chief dramaturg at the Zürich Opera House and worked with numerous directors such as Sebastian Baumgarten, Herbert Fritsch, Tatjana Gürbaca, Andreas Homoki, Barrie Kosky and also with choreographer Christian Spuck.

尚-弗朗索瓦．波農

芭蕾舞導師

尚 - 弗朗索瓦．波農出生於法國，於都爾國立音樂學院、巴黎國立高等音樂舞蹈學院及坎城高等舞蹈學校完成學業。他榮獲多個獎項，包括巴黎國立高等音樂舞蹈學院一等獎，以及 1996 年的瑪麗．維格曼獎。波農曾擔任德國萊茵歌劇院芭蕾舞團和佛蘭德斯皇家芭蕾舞團的獨舞，並擔任德累斯頓森培歌劇院芭蕾舞團和萊比錫芭蕾舞團的首席舞者。波農精於演出經典劇目，曾與眾多編舞攜手合作，例如：海恩茨．斯普禮、烏維．朔爾斯、格蘭．泰特利、漢斯．范曼倫、莫里斯．貝嘉和約翰．紐邁亞。自 2 0 0 0 / 0 1 舞季，波農擔任蘇黎世芭蕾舞團導師。 © Jos Schmid

Jean-François Boisnon

Ballet Master

Jean-François Boisnon was born in France and completed his studies at the Conservatoire National de Tours, the Conservatoire National Supérieur de Paris and the Centre International de Danse Rosella Hightower. His awards include first prize at the Conservatoire National Supérieur de Paris and the 1996 Mary Wigman Award. He has danced as a soloist at the Deutsche Oper am Rhein and with the Royal Ballet of Flanders, and as principal dancer at the Semperoper Dresden and the Leipzig Ballet. A specialist in the classical repertoire, Boisnon has collaborated with choreographers such as Heinz Spoerli, Uwe Scholz, Glen Tetley, Hans van Manen, Maurice Béjart and John Neumeier. He has been ballet master at Ballett Zürich since the 2000/01 season.

伊娃．迪威爾

芭蕾舞導師

伊娃．迪威爾在比利時出生，受訓於安特衛普皇家芭蕾舞學校，首齣舞蹈作品於多地演出，包括威斯巴登黑森州立劇院、盧塞恩劇院、哥德堡歌劇院、加爾堡芭蕾舞團和里昂歌劇院芭蕾舞團。效力佛蘭德斯皇家芭蕾舞團期間，迪威爾曾主演著名編舞家的作品，例如：海倫．皮克特、杜格拉斯．李、大衛．道森和施普克。 2012/ 13 舞季，迪威爾加入蘇黎世芭蕾舞團，同時擔任舞者及青少年芭蕾舞團導師。於蘇黎世芭蕾舞團的演出作品包括施普克《羅密歐與茱麗葉》的凱普萊特夫人、《萊昂斯和萊娜》的羅塞塔和《十四行詩》的黑衣夫人。編舞作品包括巴塞爾貝耶勒基金會美術館的費迪南．霍德勒回顧展的《俯瞰》、蘇黎世芭蕾舞團「年輕編舞家計劃」的《女士（們）》，以及青少年芭蕾舞團的《路過》。迪威爾於 2014/ 1 5 舞季獲委任為芭蕾舞導師，她帶領莫斯科斯坦尼斯拉夫斯基劇院及首爾韓國國家芭蕾舞團演出施普克的《安娜．卡列妮娜》。

Eva Dewaele

Ballet Mistress

Eva Dewaele was born in Belgium and trained at the Royal Ballet School in Antwerp. Her first professional engagements took her to the Hessisches Staatstheater Wiesbaden, the Theater Luzern, the Gothenburg Opera, the Cullberg Ballet and the Lyon Opera Ballet. For the Royal Ballet of Flanders she danced leading roles in choreographies by Helen Pickett, Douglas Lee, David Dawson and Christian Spuck. She joined Ballett Zürich for the 2012/13 season, with additional duties as ballet mistress of the Junior Ballet. On the Zürich stage she has been seen as Lady Capulet in Christian Spuck’s Romeo and Juliet, as Rosetta in his Leonce und Lena and as the Dark Lady in his Sonett. Choreographic credits include Mit Blick auf for a retrospective of Ferdinand Hodler at the Fondation Beyeler art gallery in Basel, Miss(es) under Ballett Zürich’s Young Choreographers programme and Passing By for the Junior Ballet. Since the 2014/15 season, she has been a ballet mistress at Ballett Zürich. She led the production of Christian Spuck’s Anna Karenina at the Stanislavsky Theatre in Moscow, and at the Korean National Ballet in Seoul.

丹尼爾．奧蒂夫路

芭蕾舞導師

丹尼爾．奧蒂夫路生於德國，曾於其父母的芭蕾舞學校、慕尼黑芭蕾舞學院及蒙地卡羅嘉麗斯王妃學校學習芭蕾舞。曾效力芭施普禮領導的巴塞爾芭蕾舞團、美國芭蕾舞劇院、崔拉．莎普舞團、德國萊茵歌劇院芭蕾舞團，並在英國國家芭蕾舞團擔任獨舞。奧蒂夫路演出過幾乎所有主要的古典和新古典芭蕾舞碼。在其舞蹈生涯中，曾合作過的著名編舞家及老師包括彼得．艾普、米高．巴里殊尼哥夫、麥斯．艾克、納曹．杜亞陶、娜塔莉亞．馬卡洛娃、漢斯．范曼倫、馬田．施立化及約利．華姆斯。奧蒂夫路曾於巴登卡爾斯魯厄國家大劇院、萊比錫芭蕾舞團（2009 至 2013 年的首席芭蕾舞導師）及愛沙尼亞國家芭蕾舞團擔任芭蕾舞導師。他也於國際間擔任客席導師，指導舞者演出馬可．歌克和烏維．肖爾茨的作品。奧蒂夫路由 2016/17 舞季起擔任蘇黎世芭蕾舞團的芭蕾舞導師。

Daniel Otevrel

Ballet Master

Daniel Otevrel, born in Germany, completed his ballet training at locations including his parents’ ballet school, at the Munich Ballet Academy and at the Academy Princess Grace in Monte-Carlo. He danced in the Basel Ballet under the direction of Heinz Spoerli, at the American Ballet Theatre, the Twyla Tharp Dance Company, the ballet of the Deutsche Oper am Rhein and as a soloist in the English National Ballet. He has appeared in nearly all of the ballets of the large classical and neoclassical repertories. During his dance career, he has worked with renowned choreographers and teachers, including Peter Appel, Michail Baryshnikow, Mats Ek, Nacho Duato, Natalia Makarova, Hans van Manen, Martin Schläpfer and Yours Vamos. As a ballet master, he has worked at the Baden State Theatre in Karlsruhe, at the Leipzig Ballet (First Ballet Master between 2009 and 2013) and at the Estonian National Ballet. He works internationally as a guest teacher, and mentors various works by Marco Goecke and Uwe Scholz. Since the 2016/17 season he has been a ballet master at Ballett Zürich.

基斯杜夫．巴維力

排舞導師

基斯杜夫．巴維力出生於法國，受訓於杜埃音樂學院，並於日內瓦音樂高等學院師隨高提耶教授，獲頒鋼琴深造文憑。其後，巴維力擔任多個舞團的排舞導師，包括法國北部芭蕾舞團、波爾多大劇院，並在 1981 年加入蘇黎世歌劇院。巴維力作為獨舞，曾亮相蘇黎世的表演舞台，並於科隆、倫敦和香港等地作客席演出，曲目包括拉赫曼尼諾夫的前奏曲和音畫幻想曲、法蘭．馬田的小交響協奏曲、戈雷斯基的鋼琴協奏曲、帕特的《兄弟》、布拉姆斯的《愛之歌圓舞曲》和莫扎特的鋼琴協奏曲。巴維力也於威廉．科西的《人工製品》擔任鋼琴獨奏，亮相蘇黎世和巴伐利亞國家芭蕾舞團。 © Jos Schmid

Christophe Barwinek

Ballet Répétiteur

Christophe Barwinek was born in France and received his training at the Conservatoire de Musique in Douai and under Professor Gauthier at the Conservatoire Supérieur de Musique in Geneva, where he earned his Piano Diploma. He followed this with engagements as a ballet répétiteur for the Ballet du Nord, the Grand Théâtre de Bordeaux and (since 1981) the Zürich Opera House. As a soloist he has appeared in Zürich and in guest performances elsewhere (including Cologne, London and Hong Kong) playing the Preludes and Fantaisie-Tableaux by Rachmaninov, Frank Martin’s Petite Symphonie Concertante, Górecki’s piano concerto, Arvo Pärt’s Fratres, Brahms’s Liebeslieder-Walzer and Mozart’s piano concertos. He has also performed as a solo pianist in William Forsythe’s Artifact in Zürich and at the Bavarian State Ballet.

路易吉．拉戈

排舞導師

路易吉．拉戈來自意大利那不勒斯，曾就讀薩萊諾音樂學院，師隨亞歷山大．隆奎希和阿多．契可里尼。拉戈於那不勒斯聖卡洛歌劇院任職芭蕾舞鋼琴家，同時發展音樂事業，擔任音樂伴奏和室樂家。2 0 0 1 年，拉戈加入蘇黎世芭蕾舞團，出任排舞導師至 2007 年；其後效力於阿姆斯特丹荷蘭國家芭蕾舞團，於 2009/10 舞季回歸蘇黎世芭蕾舞團。

Luigi Largo © Jos Schmid

Ballet Répétiteur

Luigi Largo hails from Naples, Italy and studied at the Salerno Conservatory, as well as under Alexander Lonquich and Aldo Ciccolini. He served as a ballet pianist at the Teatro San Carlo in Naples, while simultaneously pursuing an extensive concert career as a song accompanist and chamber musician. He first joined Ballett Zürich in 2001, and served as a répétiteur until 2007. He then moved to the Dutch National Ballet in Amsterdam, before returning to Zürich for the 2009/10 season.

亞歷山大．瓊斯

首席舞者

亞歷山大．瓊斯來自英國，於倫敦皇家芭蕾舞學校完成舞蹈訓練。2005/06 舞季，瓊斯加入史圖加芭蕾舞團，於 20 1 1 / 1 2 舞季獲提名為首席舞者。效力史圖加芭蕾舞團期間，瓊斯曾演出多部作品，包括紐邁亞《茶花女》的杜瓦、格蘭高《羅密歐與茱麗葉》的羅密歐和《奧尼金》的主角、克芬．奧黛《哈姆雷特》的主角、馬克西米利安奧．古拉《唐吉訶德》的巴西里奧，以及麥克米蘭的《大地之歌》。此後，瓊斯亮相眾多編舞家作品，例如：巴蘭欽、羅賓斯、艾斯頓、舒費斯、泰特萊、貝雅、海蒂、范曼倫、科西、李、麥葛萊格、克勒和施普克。自 2015/16 舞季，瓊斯擔任蘇黎世芭蕾舞團首席舞者，角色包括羅曼斯基《天鵝湖》（重排）的齊菲德王子、《羅密歐與茱麗葉》的羅密歐、施普克《睡魔》的拿但業，以及巴特《吉賽爾》的阿布雷希特。

Alexander Jones

Principal Dancer

Alexander Jones is from the United Kingdom and completed his dance training at the Royal Ballet School in London. During the 2005/06 season he became a member of the Stuttgart Ballet, where he was nominated as principal dancer in 2011/12. His roles in Stuttgart included Armand Duval in Lady of the Camellias (Neumeier), Romeo in Romeo and Juliet (Cranko), the title roles of Cranko’s Onegin (Cranko) and Hamlet (O’Day), as Basilio in Don Quixote (Guerra) and in Song of the Earth (McMillan). Jones has subsequently danced in choreographies by Balanchine, Robbins, Ashton, Schaufuss, Tetley, Béjart, Haydée, van Manen, Forsythe, Lee, McGregor, Clug and Spuck. Since 2015/16, Alexander Jones has been a principal dancer at Ballett Zürich. His roles have included Prince Siegfried in Swan Lake (reconstruction by Ratmansky), Romeo in Romeo and Juliet (Spuck), Nathanael in Der Sandmann (Spuck), and Albrecht in Giselle (Bart).

維多蓮娜．卡比托諾娃

首席舞者

維多蓮娜．卡比托諾娃來自俄羅斯，曾入讀喀山芭蕾舞學校和莫斯科大劇院學院，是俄羅斯青少年芭蕾獎和阿拉伯芭蕾舞大賽得主，2 0 1 0 年加入蘇黎世芭蕾舞團。舞台作品包括海恩茨．斯普禮《天鵝湖》的奧德蒂／奧黛爾、《仲夏夜之夢》的獨舞、《風起》和《哥德堡變奏曲》，以及克里斯蒂安．施普克《萊昂瑟和萊娜》的羅塞塔、《羅密歐與茱麗葉》的護士和《安娜．卡列妮娜》的主角。卡比托諾娃曾演繹眾多編舞家的作品，例如：喬治．巴蘭欽、麥斯．艾克、威廉．科西、尤里．季利安、李、韋恩．麥葛萊格和史立華。卡比托諾娃是「年輕編舞家計劃」成員，呈獻原創編舞作品《異體同心》；並與羅伯特．博列和費里德曼．沃格爾合作，於《吉賽爾》飾演吉賽爾／米爾莎。2 0 1 5 年，卡比托諾娃榮獲「蘇黎世芭蕾舞團之友舞蹈獎」，並演出羅曼斯基重排《天鵝湖》的奧德蒂／奧黛爾，以及施普克《睡魔》的奧林匹亞。

Viktorina Kapitonova

Principal Dancer

Russian Viktorina Kapitonova studied at Kazan ballet school and at the Moscow Bolshoi Theatre Academy, and is a past award winner at “The Young Ballet of Russia” and Arabesque competitions. Kapitonova has been a member of Ballett Zürich since 2010. Stage credits include Odette/Odile in Swan Lake (Spoerli), solo parts in A Midsummer Night’s Dream (Spoerli), “...und mied den Wind” and The Goldberg Variations; in Christian Spuck’s choreographies: Rosetta (Leonce und Lena), the nurse (Romeo and Juliet) and the title part in Anna Karenina. Kapitonova has also appeared in choreographies by Balanchine, Ek, Forsythe, Kylián, Lee, McGregor and Schläpfer. As part of the “Young Chorographers” series she presented her choreography Two Bodies – One Soul, and also played the part of Giselle/ Myrtha (Giselle) alongside Roberto Bolle and Friedemann Vogel. In 2015, she was awarded the “Dance Prize of the Friends of Ballett Zürich”. She danced as Odette/Odile in Swan Lake (Ratmaksy’s reconstruction), and Olympia in Der Sandmann (Spuck).

戈利納．米哈洛瓦

首席舞者

戈利納．米哈洛瓦受訓於保加利亞國立芭蕾舞學院及瑞士專業芭蕾舞學校，在校期間榮獲雷里耶夫基金會獎學金。1 9 9 9 / 2 0 0 0 舞季，米哈洛瓦加入蘇黎世芭蕾舞團，參演斯普禮的多部編舞作品。米哈洛瓦曾演出眾多角色，諸如《仙凡之戀》的艾菲、《唐吉訶德》的阿莫爾、《仲夏夜之夢》的海倫娜、《天鵝湖》的奧德蒂／奧黛爾及《雷蒙達》的亨麗埃塔；並不時與著名編舞家合作，包括威廉．科西、尤里．季利安、崔拉．莎普、烏維．朔爾斯及尤里．布貝尼切克。米哈洛瓦曾多次參演克里斯蒂安．施普克的作品，例如：《萊昂瑟和萊娜》的司儀、《羅密歐與茱麗葉》的護士、《伍采克》的瑪嘉烈和《安娜．卡列妮娜》的多莉；並亮相韋恩．麥葛萊格的《凱羅斯》和馬可．歌克的《鹿視》。

Galina Mihaylova

Principal Dancer

Bulgarian Galina Mihaylova completed her training at the Bulgarian National School of Choreography and the Swiss Professional Ballet School where she was won the Nureyev Foundation scholarship. In the 1999/2000 season she joined Ballett Zürich and danced in numerous choreographies by Heinz Spoerli. Her credits include Effie (La Sylphide), Amor (Don Quixote), Helena (A Midsummer Night’s Dream), Odette/Odile in Swan Lake and Henrietta (Raymonda). She has subsequently appeared in ballets by William Forsythe, Ji í Kylián, Twyla Tharp, Uwe Scholz and Ji í Bubeni ek. Mihaylova danced the part of the Master of Ceremonies in Christian Spuck’s Leonce und Lena, the nurse in Romeo and Juliet, Margret in Spuck’s Woyzeck and Dolly in Anna Karenina. In addition to this, she has appeared in Kairos by Wayne McGregor and Deer Vision by Marco Goecke.

威廉．摩爾

首席舞者

威廉．摩爾來自英國，於倫敦皇家芭蕾舞學校完成舞蹈訓練，2 0 0 5 年起效力史圖加芭蕾舞團，2010 獲欽點為首席舞者。著名舞台作品包括紐邁亞《茶花女》的亞蒙．杜瓦、施普克《萊昂瑟和萊娜》的萊昂瑟和《露露》的愛德華．施瓦茨、馬可．歌克《奧蘭多》的主角、格蘭高《天鵝湖》的齊格菲王子、《奧尼金》的蘭斯基和《羅密歐與茱麗葉》的賓沃里奧／麥丘提奧。 2012 年，摩爾憑施普克《絲蔻黛莉小姐之宮廷謀殺案》的角色奧利花．布魯松榮獲德國浮士德戲劇獎。自 2012/ 1 3 年舞季，摩爾擔任蘇黎世芭蕾舞團首席舞者，角色包括施普克《羅密歐與茱麗葉》的羅密歐、《萊昂瑟和萊娜》的萊昂瑟、《伍采克》的鼓樂隊隊長、《睡魔》的哥普拉和《安娜．卡列妮娜》的佛倫斯基。

William Moore

Principal Dancer

William Moore is a British dancer who completed his training at the Royal Ballet School in London. Since 2005, he has been part of the Stuttgart Ballet, where he was nominated as principal dancer in 2010. Notable stage credits include Armand Duval in Neumeier’s The Lady of the Camellias, Leonce in Christian Spuck’s Leonce und Lena, and Eduard Schwarz in Spuck’s Lulu, Eine Monstretragödie., the title role in Marco Goecke’s Orlando, Prince Siegfried in Cranko’s Swan Lake, Lenski in Cranko’s Onegin, and Benvolio/Mercutio in Cranko’s Romeo and Juliet. In 2012, Moore received the German theatre prize DER FAUST for his performance as Olivier Brusson in Spuck’s Das Fräulein von S. William Moore has been a principal dancer at Ballett Zürich since 2012/13. His roles have included Romeo in Spuck’s Romeo and Juliet, Leonce in Leonce und Lena, the drum major in Woyzeck, Coppola in Der Sandmann, Vronsky in Anna Karenina.

菲臘．波圖戈爾

首席舞者

菲臘．波圖戈爾受訓於里斯本，最先效力葡萄牙國家芭蕾舞團，其後於 2002 年加入蘇黎世芭蕾舞團，曾擔任斯普禮多部作品的獨舞，包括《灰姑娘》、《胡桃夾子》、《天鵝湖》和《唐吉訶德》。2 0 0 9 至 2 0 1 1 年，波圖戈爾是葡萄牙國家芭蕾舞團首席舞者，2011 年回歸蘇黎世芭蕾舞團，主演施普克的多部芭蕾舞作品，曾飾演《羅密歐與茱麗葉》的勞倫斯神父、《伍采克》的醫生和《安娜．卡列妮娜》的卡列寧。波圖戈爾曾參演眾多編舞家的作品，包括麥斯．艾克、尤里．季利安、漢斯．范曼倫、威廉．科西、杜格拉斯．李和馬田．史立華。波圖戈爾也活躍於編舞，與蘇黎世芭蕾舞團合作的新作包括由瑞士爵士音樂家尼克．巴什編曲的《對話》和《距離》，2014 年榮獲「蘇黎世芭蕾舞團之友舞蹈獎」。

Filipe Portugal

Principal Dancer

Filipe Portugal studied in Lisbon. His first engagement was with the National Ballet of Portugal before joining Ballett Zürich in 2002. He has danced solo parts in many choreographies by Heinz Spoerli (including Cinderella, The Nutcracker, Swan Lake and Don Quixote). Between 2009 and 2011 he was the principal dancer at the National Ballet of Portugal; in 2011 he returned to Ballett Zürich and has played leading roles in a number of ballets by Christian Spuck, including Pater Lorenzo (Romeo and Juliet), the Doctor (Woyzeck) and Karenin (Anna Karenina). Other dance credits include choreographies by Ek, Kylián, van Manen, Forsythe, Lee and Schläpfer. Portugal is also an accomplished choreographer. His latest works for Ballett Zürich include Dialogos and disTANZ. In 2014, he was awarded the “Dance Prize of the Friends of Ballett Zürich.”

安娜．嘉倩娜

獨舞

安娜．嘉倩娜來自俄羅斯，受訓於特麗莎娜和梅德維傑夫古典舞蹈學院，曾飾演《吉賽爾》和紐邁亞《美人魚》同名主角，並憑《美人魚》獲金面具獎。其他演出包括布爾麥斯特、布賴恩塞夫和拉科特的作品。嘉倩娜曾與季利安、伊羅和杜亞陶等編舞家合作。2015/16 舞季，嘉倩娜加入蘇黎世芭蕾舞團，作品包括《天鵝湖》（羅曼斯基重排版本）、《睡魔》（施普克）、《五重奏》（科西）和《另一個時刻的儀式》（哥丹尼）。

Anna Khamzina Soloist Anna Khamzina is from Russia and trained at the Natalia Trishina and Yuly Medvedev School of Classic Dance. Her previous professional solo credits included Giselle and The Little Mermaid (Neumeier, Golden Mask award), and works by Burmeister, Bryantsev and Lacotte. She has worked with choreographers like Kylián, Elo and Duato. Since 2015/16 she has been a member of Ballett Zürich. Her stage credits here have included Swan Lake (reconstruction by Ratmansky), Der Sandmann (Spuck), Quintett (Forsythe) and rituals from another when (Godani).

茱莉亞．托尼利

獨舞

茱莉亞．托尼利來自意大利，受訓於托斯卡納芭蕾舞團和維也納國家歌劇院芭蕾學院，在佛蘭德斯皇家芭蕾舞團的舞台演出包括佩蒂巴、科西、巴蘭欽、季利安、海蒂所編的獨舞。2010/11 舞季，托尼利加入蘇黎世芭蕾舞團，亮相斯普禮、歌克、麥葛萊格、李等編舞家的作品。獨舞演出的施普克編舞有：《羅密歐與茱麗葉》、《萊昂瑟和萊娜》和《安娜．卡列妮娜》。托尼利在「年輕編舞家計劃」呈獻了合編作品《思維遊戲》。她在 2013 年獲頒朱莉安娜．龐西獎。

Giulia Tonelli Soloist Giulia Tonelli is from Italy and trained at the Balletto di Toscana and at the Ballet Academy of the Vienna State Opera. At the Royal Ballet of Flanders, she has performed solo roles in choreographies by Petipa, Forsythe, Balanchine, Kylián and Haydée. She joined Ballett Zürich in 2010/11, and has appeared in ballets by Spoerli, Goecke, McGregor and Lee. Solo roles in Spuck’s choreographies include Romeo and Juliet, Leonce und Lena and Anna Karenina. At the “Young Choreographers series”, she co-presented Mind Games. She was awarded the Giuliana Penzi prize in 2013.

陳偉鐘

獨舞兼群舞

陳偉鐘來自美國，在波士頓芭蕾舞學校、馬戈．馬歇爾芭蕾舞學院、胡桃山藝術高中和侯斯頓班．史蒂文生芭蕾舞學院完成芭蕾舞訓練。陳氏曾參演巴蘭欽、波奴維利、格蘭高、道臣、科西、哥丹尼和海蒂等著名編舞家的作品獨舞。2012/13 舞季，陳氏加入蘇黎世芭蕾舞團，參演李、季利安和歌克的作品，並演出施普克《羅密歐與茱麗葉》的羅密歐、羅曼斯基《天鵝湖》的祭司和施普克《睡魔》的柯貝留斯。

Wei Chen

Soloist with group work

Wei Chen is from the US and completed his training at the Boston Ballet School, Margo Marshall’s School of Ballet, the Walnut Hill School and Houston Ballet’s Ben Stevenson Academy. Previous stage credits include solo roles in choreographies by Balanchine, Bournonville, Cranko, Dawson, Forsythe, Godani, Haydée. He has been a member of Ballett Zürich since the 2012/13 season, and performed in choreographies by Lee, Kylián and Goecke. He also danced the roles of Romeo in Romeo and Juliet (Spuck), Benno in Swan Lake (Ratmansky) and Coppelius in Der Sandmann (Spuck).

曼紐爾．雷納

獨舞兼群舞

曼紐爾．雷納生於法國瓜德羅普。他受訓於安的列斯國際舞蹈學院、艾文．艾利當代舞團及魯德拉貝嘉舞蹈學校。他曾演出由貝嘉、比貢澤蒂、杜亞陶和英格編舞的作品。雷納自 2012/ 13 舞季加入蘇黎世芭蕾舞團，曾參演下列作品的獨舞：斯普禮和羅曼斯基兩個版本的《天鵝湖》；施普克的《羅密歐與茱麗葉》、《伍采克》及《安娜．卡列妮娜》。其他演出包括科西、利昂 / 賴福特、艾克和麥葛萊格等編舞家的作品。雷納在「年輕編舞家計劃」呈獻了《天使角色》和《憤怒的我們》。

Manuel Renard

Soloist with group work

Manuel Renard was born in Guadeloupe, France. He studied at the Académie Internationale de Danse des Antilles, Alvin Ailey Dance Center and Atelier Rudra-Béjart. He has previously danced in choreographies by Béjart, Bigonzetti, Duato and Inger. Since joining Ballett Zürich in the 2012/13 season, he has danced solo roles in Swan Lake (Spoerli/Ratmansky versions); Romeo and Juliet, Woyzeck and Anna Karenina (Spuck), as well as works by Forsythe, León/ Lightfoot, Ek and McGregor. As part of the “Young Choreographers” series, Renard presented his pieces La Part des Anges and Indignons-nous.

丹尼爾．梅利根

獨舞兼群舞

丹尼爾．梅利根來自英國，受訓於倫敦皇家芭蕾舞學校，曾效力青年芭蕾舞團兩個舞季，2009/10 舞季加入蘇黎世芭蕾舞團，主演斯普禮的多部編舞作品。參演作品包括施普克《羅密歐與茱麗葉》的賓沃里奧／麥丘提奧、艾克的《睡美人》、范曼倫的《獨奏》和《室內芭蕾》、卡勒的《跳脫心靈》和《春之祭》、利昂／賴福特的《七歪八斜》、科西的《五重奏》、季利安的《天神與狗狗》、勒赫林的《減十六》、歌克的《彼得羅什卡》、波圖戈爾的《聖體》和李的作品。

Daniel Mulligan

Soloist with group work

Daniel Mulligan is from Great Britain and trained at the Royal Ballet School in London. After two seasons in the Junior Ballet, he has been a member of Ballett Zürich since 2009/10. He danced leading roles in many choreographies by Heinz Spoerli. Stage credits include Mercutio/Benvolio in Romeo and Juliet (Spuck), Sleeping Beauty (Ek); Solo, Kammerballett (Manen); Chamber Minds, Le Sacre du printemps (Clug); Skew-Whiff (León/Lightfoot); Quintett (Forsythe); Gods and Dogs (Kylián), Minus 16 (Naharin) and Petruschka (Goecke).

奇雲．普素

獨舞兼群舞

奇雲．普素來自法國，受訓於巴黎歌劇院芭蕾學校和巴黎國立高等音樂舞蹈學院， 2007 年加入柏林歌劇院芭蕾舞團，2015 年獲提名為首席獨舞。普素曾演出帕翠斯．巴特《天鵝湖》的祭司和格蘭高《羅密歐與茱麗葉》的巴黎，並亮相著名編舞家的作品，包括巴蘭欽、杜亞陶、沃爾奇、普雷祖卡、羅曼斯基、勒赫林、馬拉可夫，以及季利安。普素於 2017/18 舞季加入蘇黎世芭蕾舞團。

Kevin Pouzou

Soloist with group work

Kevin Pouzou is from France, and trained at the Ecole de Danse de l‘Opéra de Paris and at the Conservatoire National Supérieur de Musique et de Danse in Paris. In 2007 he joined Staatsballett Berlin, where he was nominated as first soloist in 2015. He has performed as Benno in Swan Lake (Bart), Paris in Romeo and Juliet (Cranko) and in choreographies by Balanchine, Duato, Welch, Preljocaj, Ratmansky, Naharin, Malakhov and Kylián. He joined Ballett Zürich in the 2017/18 season.

伊利莎白．威盛伯克

獨舞兼群舞

伊利莎白．威盛伯克來自美國，受訓於華盛頓芭蕾舞學校和加拿大國家芭蕾舞學校，得獎包括 2001 年美國 YAGP 大賞青少年組銅獎及 2003 年全國青年芭蕾舞比賽銀獎。2006 至 2015 年，威盛伯克效力史圖加芭蕾舞團，參演名家編舞角色包括格蘭高《奧尼金》的奧爾加、施普克《萊昂瑟和萊娜》的萊娜和聆案官、沃爾彼《鬼磨坊》的卡倫貝格，還有紐邁亞、巴蘭欽、舒費斯、麥克米蘭、季利安、海蒂和歌克的作品。2015/16 舞季，威盛伯克加入蘇黎世芭蕾舞團，演出角色包括施普克的《羅密歐與茱麗葉》的茱麗葉和《睡魔》的克拉娜。

Elizabeth Wisenberg

Soloist with group work

Elizabeth Wisenberg is from the US, and studied at the Washington School of Ballet and at the National Ballet School of Canada. Her awards include the Youth America Grand Prix (Juniors) (bronze, 2001) and National Youth Ballet Competition (silver, 2003). At the Stuttgart Ballet between 2006 and 2015, she appeared as Olga in Onegin (Cranko), Lena and the court master in Leonce und Lena (Spuck) and Kantorka in Krabat (Volpi). She has danced in choreographies by Neumeier, Balanchine, Schaufuss, McMillan, Kylián, Haydée and Goecke. She joined Ballett Zürich in the 2015/16 season, where she danced in Spuck’s Romeo and Juliet as Juliet and Der Sandmann as Clara.

梅拉尼．波萊爾

群舞兼獨舞

梅拉尼．波萊爾來自法國，受訓於馬賽國家高等舞蹈學校和巴黎歌劇院芭蕾學校，曾效力波爾多國家歌劇院芭蕾舞團，並於 2 0 0 5 至 2 0 0 8 年效力丹麥彼德．舒費斯芭蕾舞團。波萊爾 2008/ 09 舞季加入蘇黎世芭蕾舞團擔任獨舞，參演莎普、斯普禮和艾克等編舞家的作品。最近合作的編舞家包括歌克、李、季利安、麥葛萊格和史立華。波萊爾曾演出施普克《萊昂瑟和萊娜》的管家，並參演巴蘭欽《四種氣質》的「易怒的變奏」。

Mélanie Borel

Group with solo work

Mélanie Borel is from France. She studied at the École Nationale Supérieure de Danse in Marseille and the École de Danse de l’Opéra de Paris. She completed engagements at the Ballet de l’Opéra National de Bordeaux and the Peter Schaufuss Ballet in Denmark. She joined Ballett Zürich in 2008/09, and danced solo parts in choreographies by Tharp, Spoerli and Ek. Other recent dance credits include choreographies by Goecke, Lee, Kylián, McGregor and Schläpfer, the chamberlain in Leonce und Lena (Spuck) and the “choleric” variation in The Four Temperaments (Balanchine).

安德烈．可斯拉克

群舞兼獨舞

安德烈．可斯拉克出生於羅馬尼亞，就讀布加勒斯特編舞高中和蘇黎世舞蹈學院，曾三次贏得羅馬尼亞全國舞蹈比賽，曾在柏林國際奧林匹克舞蹈大賽暨舞蹈節、赫爾辛基國際芭蕾舞比賽贏得獎項。可斯拉克曾效力蘇黎世青年芭蕾舞團兩個舞季，自 2016/ 17 舞季起加入蘇黎世芭蕾舞團，於「年輕編舞家計劃」呈獻《迎難而上，主公們》和《千絲萬縷》。參演作品包括《鹿視》（歌克）、《吉賽爾》（巴特），以及《天鵝湖》（羅曼斯基重排版本）。

Andrei Cozlac

Group with solo work

Andrei Cozlac was born in Romania, and studied at the Bucharest Choreography High School and the Zürich Dance Academy. A three-time winner of the Romanian National Dance Competition, he also won awards at the Berlin Tanzolymp and the Helsinki International Ballet Competition. Graduating the Junior Ballet, he joined the main Ballett Zürich company in the 2016/17 season. He has presented Midst Mettle, Milord(s) and Knotty Twine in the Young Choreographers programme; and his dance credits include Deer Vision (Goecke), Giselle (Bart) and Swan Lake (reconstruction by Ratmansky).

杰西．弗雷澤

群舞兼獨舞

杰西．弗雷澤出生於加拿大，受訓於皇家溫尼伯芭蕾舞學校，2010/11 舞季加入史圖加芭蕾舞團，參演著名編舞家的作品，包括格蘭高、麥美倫、施普克、海蒂、紐邁亞。弗雷澤於諾維爾協會「年輕編舞家計劃」呈獻編舞作品《來回往返》和《第二自我／自拍》，並於 2015 / 1 6 舞季加入蘇黎世芭蕾舞團。參演作品包括施普克的《羅密歐與茱麗葉》的巴黎和《安娜．卡列妮娜》的列文、馬可．歌克的《彼特羅什卡》，以及哥丹尼和范曼倫的作品。

Jesse Fraser

Group with solo work

Jesse Fraser was born in Canada. Trained at the Royal Winnipeg Ballet School, he joined the Stuttgart Ballet in 2010/11. There, he danced in choreographies by Cranko, MacMillan, Spuck, Haydée, Neumeier and others. In the Noverre Society’s “Young Chorographers” series, he choreographed Back and Forth and Second Self(ie). He joined Ballett Zürich in the 2015/16 season, where his stage credits include Paris in Romeo and Juliet (Spuck), Levin in Anna Karenina (Spuck), Petruschka (Goecke) as well as in choreographies by Godani and van Manen.

孔斯坦薩．佩羅塔．阿爾圖韋

群舞兼獨舞

孔斯坦薩．佩羅塔．阿爾圖韋來自意大利，受訓於布宜諾斯艾利斯哥倫布劇院高等藝術學院和米蘭史卡拉歌劇院芭蕾舞學院，最先效力哥倫布劇院芭蕾舞團和維托．烏拉特芭蕾舞團，2009/10 舞季加入蘇黎世芭蕾舞團。參演作品包括麥斯．艾克《睡美人》的綠仙女、威廉．科西的《再次入睡》、《工作中工作》和《在空中，懸浮着》，以及尤里．季利安的《落凡天使》和《天神與狗狗》。

Constanza Perotta Altube

Group with solo work

Italian Argentinian Constanza Perotta Altube studied at the Higher Institute of Art of the Teatro Colón in Buenos Aires and at the La Scala Theatre Ballet School in Milan. After initial engagements with the ballet of Teatro Colón and in the Victor Ullate Ballet, she joined Ballett Zürich in the 2009/10 season. Her performances here included the emerald fairy in Mats Ek’s Sleeping Beauty, and choreographies by William Forsythe (New Sleep, workwithinwork, In the Middle, Somewhat Elevated) and Ji í Kylián (Falling Angels, Gods and Dogs).

伊爾米娜．可帕齊斯卡

群舞兼獨舞

伊爾米娜．可帕齊斯卡出生於波蘭，受訓於波茲南波蘭國家芭蕾舞學校，曾榮獲波蘭全國芭蕾舞比賽多個獎項，2 0 0 8 年亮相於羅馬編舞大賽及洛桑國際芭蕾舞比賽。可帕齊斯卡曾效力青年芭蕾舞團兩個舞季，自 2 0 1 1 / 1 2 舞季起加入蘇黎世芭蕾舞團。演出角色包括麥斯．艾克《睡美人》的銀仙子、施普克《安娜．卡列妮娜》的貝蒂斯，以及施普克《羅密歐與茱麗葉》的護士。可帕齊斯卡也與著名編舞家合作，例如：威廉．科西的《在空中，懸浮着》、馬田．史立華和尤里．季利安。

Irmina Kopaczynska

Group with solo work

Irmina Kopaczynska was born in Poland. She studied at the National Ballet School of Poland in Poznan. She has won multiple awards at the National Polish Ballet Competition and competed in Premio Roma and Prix de Lausanne in 2008. After two seasons at the Junior Ballet she joined Ballett Zürich in the 2011/12 season. She danced the silver fairy in Sleeping Beauty (Ek), Betsy in Anna Karenina (Spuck) and the nurse in Romeo and Juliet (Spuck). She has furthermore been seen in choreographies by Forsythe (including In the Middle, Somewhat Elevated), Schläpfer and Kylián.

塔斯．范德比克

群舞兼獨舞

塔斯．范德比克出生於比利時，受訓於安特衛普法蘭德斯堡皇家芭蕾舞學院，曾榮獲比亞里茨國際舞蹈比賽金獎和比亞里茨市獎，其後為戛納青年芭蕾舞團和高提耶舞團演出。范德比克效力青年芭蕾舞團一年後，於 2 0 1 4 / 1 5 舞季加入蘇黎世芭蕾舞團，參演舞團的多部作品，包括馬可．歌克的《鹿視》、施普克《安娜．卡列妮娜》的列文，以及施普克《伍采克》和威廉．科西《五重奏》的主角。

Tars Vandebeek

Group with solo work

Tars Vandebeek was born in Belgium, and studied at the Royal Ballet School of Antwerp. He won a gold medal at the International Competition of Dance in Biarritz, also earning the Biarritz City Award, and went on to perform for the Cannes Jeune Ballet and Gauthier Dance. After one year with the Junior Ballet of Ballett Zürich, he joined the main company for the 2014/15 season. His Zürich stage appearances include Deer Vision (Goecke), Levin in Anna Karenina (Spuck), the title role in Woyzeck (Spuck) and Quintett (Forsythe).

米雪．威廉斯

群舞兼獨舞

米雪．威廉斯來自法國，受訓於莫斯科大劇院芭蕾學院和瑞士洛桑魯德拉貝嘉舞蹈學校，曾效力青年芭蕾舞團兩個舞季，自上個舞季起加入蘇黎世芭蕾舞團。參演作品包括《吉賽爾》的農民雙人舞、《天鵝湖》四隻小天鵝的三人舞、施普克《安娜．卡列妮娜》的吉蒂、威廉．科西的《五重奏》和《在空中，懸浮着》。

Michelle Willems

Group with solo work

Michelle Willems is French. She studied at the Bolshoi Ballet Academy and at Atelier RudraBéjart in Lausanne. After two seasons in the Junior Ballet, she has been a member of Ballett Zürich since last season. Her performances have included Giselle (farmers pas de deux) and Swan Lake (pas de trois, 4 little swans). She appeared as Kitty in Christian Spuck’s Anna Karenina, in Forsythe’s Quintett and In the Middle, Somewhat Elevated.

杉島知奈津

群舞兼獨舞

杉島知奈津是日本人，曾受訓於東京的大塚禮子芭蕾舞工作室及慕尼黑芭蕾舞學院，並在日本埼玉全國舞蹈比賽中獲第二名。杉島曾以實習舞者身份加入巴伐利亞國立芭蕾舞團；她效力蘇黎世芭蕾舞團青年團一年後，於 2 0 1 4 / 1 5 舞季正式加入芭蕾舞團。曾演出舞碼包括《在空中，懸浮着》（科西）和《吉賽爾》的農民雙人舞。

Chinatsu Sugishima

Group with solo work

Chinatsu Sugishima is Japanese. She studied at the Reika Otsuka Ballet Studio in Tokyo and at Munich’s Ballet Academy, and won second prize at the National Dance Competition in Saitama, Japan. She danced as a trainee with the Bavarian State Ballet; after a year with the Junior Ballet she joined the main Ballett Zürich company for the 2014/15 season. She has been seen in Forsythe’s In the Middle, Somewhat Elevated and in the farmers’ pas de deux in Giselle.

石琳

女中音

石琳來自中國山東省，畢業於德國慕尼黑音樂及表演藝術大學及柯蒂斯音樂學院。她曾贏得第四屆德國 Gut Immling 國際聲樂比賽冠軍及入圍第四屆瑞士伯恩國際聲樂比賽。石氏於 2012 年獲選為法國艾克斯普羅旺斯藝術節歐洲音樂學院匯豐桂冠音樂家。最近演出劇目包括《阿琪娜》、《假女園丁》、《女人心》（音樂會演出）、《女低音狂想曲》、《曼儂．萊斯科》及《布塞爾王子》同名主角。石氏是蘇黎世芭蕾舞團國際歌劇工作室成員。

Lin Shi Mezzo-soprano © Carlo Schüller

Lin Shi is from Shandong, China. She graduated from the Munich University of Music and Performance Arts and the Curtis Institute of Music. She won the Fourth International Singing Competition Gut Immling and was a finalist in the fourth Swiss International Singing Competition. Shi was also an HSBC Laureate of the Academie Europeenne de Musique in 2012. Shi’s recent repertoire includes Alcina, La finta giardiniera, Cosi fan tutte (concert version), Alto Rhapsody, Manon Lescaut and Prinz Bussel. She is a member of the International Opera Studio in Opernhaus Zürich.

Â© Gregory Batardon

蘇黎世芭蕾舞團 Ballett Zürich

首席舞者 Principal Dancers Yen Han, Alexander Jones, Viktorina Kapitonova, Galina Mihaylova, William Moore, Filipe Portugal, Elena Vostrotina, Katja Wünsche 獨舞 Soloists Anna Khamzina, Giulia Tonelli 獨舞兼群舞 Soloist with group work Jan Casier, Wei Chen, Francesca Dell'Aria, Matthew Knight, Tigran Mkrtchyan, Daniel Mulligan, Kevin Pouzou, Manuel Renard, Elizabeth Wisenberg 群舞兼獨舞 Group with solo work Mélanie Borel, Andrei Cozlac, Jesse Fraser, Mark Geilings, Pornpim Karchai, Irmina Kopaczynska, Mélissa Ligurgo, Meiri Maeda, Christopher Parker, Constanza Perotta Altube, Alba Sempere Torres, Dominik Slavkovský, Chinatsu Sugishima, Lucas Valente, Tars Vandebeek, Michelle Willems 群舞 Group Aurore Lissitzky 青年芭蕾舞團 Junior Ballet Luca Afflitto, Cohen Aitchison-Dugas, Emma Antrobus, Iacopo Arregui, Belle Beasley, Deia Cabalé, Gustavo Ferreira Chalub, Yeonchae Jeong, Marjolaine Laurendeau, Riccardo Mambelli, Michelle Pinelis, Gaetano Maria Signorelli, Adrià Vilar Algueró, Giuditta Vitiello

（以下按姓氏排列 The following in alphabetical order ）

兒童舞蹈員 Child Dancers 伍鎮傑、黃曦（王仁曼芭蕾舞學校特邀演出） Rocco Ng Chun-kit, Isaac Wong Hei (from the Jean M. Wong School of Ballet)

本地群戲演員 Local Extras 陳君浩、張寧鋒、Jason Clark、盧子陶、鄧浩炯、唐浩山、楊家豪、葉大偉 Chan Kwan-ho, Cheung Ning-fung, Jason Clark, Lo Tsz-to, Tang Ho-kwing, Michael Tong, Yeung Ka-ho, David Yip

ÂŠ Monika Rittershaus

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

•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 •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