Estonian National Symphony Orchestra and Estonian National Male Choir 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

The Estonian National Symphony Orchestra and Estonian National Male Choir 愛沙尼亞國家交響樂團及愛沙尼亞國家男聲合唱團 3 月 Mar

香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre 演出長約 2 小時，包括一節中場休息 Running time: approximately 2 hours including one interval 節目資料 p23 for programme details

3 月 Mar

香港大會堂音樂廳 Concert Hall, Hong Kong City Hall 演出長約 1 小時 25 分鐘，不設中場休息 Running time: approximately 1 hour and 25 minutes with no interval 節目資料 p44 for programme details

謹以這兩場表演慶祝愛沙尼亞共和國成立一百週年 These two performances are dedicated to the 100th anniversary of the Republic of Estonia 香港藝術節感謝馬哥孛羅香港酒店提供酒店住宿支持 Hong Kong Arts Festival wishes to thank Marco Polo Hongkong for providing accommodation support for this programme 封面照片 Cover photograph of choir: © Jaan Krivel

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

愛沙尼亞國家交響樂團愛沙尼亞國家交響樂團於 1 9 2 6 年創立，最初為

愛沙尼亞國家交響樂團坐鎮於塔林市的愛沙尼亞

小型的電台附屬管弦樂團。歷年來，樂團已經蛻

音樂廳。樂團過去的巡演達五十場之多，當中包

變成愛沙尼亞的管弦樂團大使，近數十年間在歐

括於意大利（2003）、美國（2009 及 2013 年）

洲更是鋒芒畢露。蜚聲國際的指揮家尼米．約菲

及中國（2 0 1 6 年），每次為期三周。樂團定期

在 1963 年至 1979 年間擔任愛沙尼亞國家交響樂

於歐洲國家演出，曾經亮相於科隆、維羅納、日

團的首席指揮，並於 2 0 1 0 年起出任樂團的首席

內瓦、慕尼黑、斯德哥爾摩等城市的音樂節。愛

指揮暨藝術總監。樂團與來自世界各地的著名指

沙尼亞國家交響樂團的曲目遍及巴羅克及現代作

揮家和獨奏家合作，當中固然包括愛沙尼亞的頂

品，亦經常為本國作曲家的作品舉行首演，計有

尖音樂家。

帕特、都爾及圖賓的管弦樂作品。

愛沙尼亞國家交響樂團的錄音（包括 Chandos、

愛沙尼亞國家交響樂團在 2016/17 樂季為慶祝樂

BIS、Erato、世界和聲、ECM 及維珍古典等品牌）

團成立九十週年舉辦國際音樂日。觀眾可以欣賞

備受多份權威音樂雜誌讚揚，曾獲格林美獎及多

六個系列，合共五十場的音樂會。此外，樂團又

個古典音樂獎項。樂團除了為愛沙尼亞電台作廣

特別為兒童和年輕聽眾安排不同活動及項目。樂

播演出外，亦曾於 Mezzo 古典音樂電視頻道錄影

團於 2016 年 12 月在克里斯蒂安．約菲帶領下首

演出。

赴中國演出。樂團又以慶祝尼米．約菲八十大壽的特別音樂會系列作為樂季壓軸演出。

Estonian National Symphony Orchestra The Estonian National Symphony Orchestra (Eesti Riiklik Sümfooniaorkester or ENSO) started out in 1926 as a small-scale radio orchestra. Over the years, it has become the most prominent orchestral ambassador for Estonia abroad, greatly increasing its international scope, particularly in recent decades. Since 2010, the orchestra’s principal conductor and artistic director has been Neeme Järvi, who also served as its principal conductor from 1963 until 1979. The orchestra performs with renowned conductors and soloists from around the world, naturally including Estonian musicians of the highest calibre.

The orchestra’s home venue is the Estonia Concert Hall in Tallinn, but it has also undertaken more than 50 concert tours, most notably three-week tours of Italy in 2003, the USA in 2009 and 2013 as well as China in 2016. In addition, the ENSO has regularly given concerts in European countries, appearing at many prestigious festivals in Cologne, Verona, Genova, Munich, Stockholm and other cities. With a repertoire ranging from the Baroque period to the present, the orchestra has also given premiere performances of symphonic works by almost every Estonian composer, including Arvo Pärt, Erkki-Sven Tüür and Eduard Tubin.

Its recordings on CD (Chandos, BIS, Erato, Harmonia Mundi, ECM and Virgin Classics among others) demonstrate a quality recognised by many prestigious music magazines, having won several prizes, including a Grammy Award. In addition to broadcast performances on Estonian Public Broadcasting, ENSO has also been aired on the television channel Mezzo.

During the 2016/17 season, the ENSO celebrated its 90th anniversary year. Audiences could choose from six concert series and a total of almost 50 performances, in addition to numerous projects aimed at children and young people and events for the International Music Day. The orchestra also had its first tour to China with Kristjan Järvi in December 2016. The anniversary season finally culminated with special concerts in celebration of Neeme Järvi’s 80th birthday.

愛沙尼亞國家男聲合唱團由愛沙尼亞合唱音樂傳奇指揮及作曲家古斯塔

拿、奧也、雅領、烏列奧、素特斯、普年殊等人。

夫．恩聶薩克斯創立的愛沙尼亞國家男聲合唱

愛沙尼亞國家男聲合唱團的演唱曲目泛及文藝復

團，於 2018 年踏入七十四週年。合唱團早年大

興以至近代作品。合唱團除了替愛沙尼亞本土作

部分演唱均無伴奏，來到今天成為世界知名的專

曲家首演合唱作品外，亦曾參與蜚聲國際的作曲

業合唱團，經常演出大型交響作品。

家的作品首演，例如：蕭斯達高維契、格魯吉亞

愛沙尼亞國家男聲合唱團經常為愛沙尼亞公共廣播錄音，合作過的唱片品牌包括德意志留聲機唱

作曲家塔克塔奇舒維利、英國作曲家布萊爾及意大利作曲家博拿圖。

片公司、索尼、Finlandia、GB 倫敦、Alba 唱片以

愛沙尼亞國家男聲合唱團歷史悠久，曾經在愛

及維珍古典等。

沙尼亞及前蘇聯各地演出，又曾於歐洲各國亮

愛沙尼亞國家男聲合唱團於 2 0 0 4 年奪得格林美最佳合唱團演出獎，是首次有愛沙尼亞音樂團體奪得該獎（該專輯收錄了由帕佛．約菲指揮愛沙尼亞國家交響樂團，聯同艾勒海因女子合唱團演出西貝流士的清唱劇）。近年，愛沙尼亞國家

相，足跡遍及以色列、加拿大及美國。合唱團在 2 0 1 5 年先後到訪俄羅斯（聖彼得堡）、以色列（特拉維夫、耶路撒冷）、法國（沙托魯）、加拿大、德國（漢諾威）和中國（上海、北京）舉辦無伴奏合唱及與樂團合作演出。

男聲合唱團推出了四張新專輯，其中名為《在天

愛沙尼亞國家男聲合唱團 2016 年曾經在聖彼德堡

國》的專輯收錄了愛沙尼亞女作曲家格果耶娃的

著名的合唱音樂廳演出，又先後於亞美尼亞首都

作品。合唱團在 2015 年憑這張專輯獲得愛沙尼

葉里溫、瓦納佐爾，以及格魯吉亞的第比利斯亮

亞最佳古典唱片的榮譽。合唱團最新的專輯由挪

相。合唱團又於同年 8 月的合唱之夜音樂節中演

威格拉柏公司發行，收錄了挪威作曲家奧德格特

出。愛沙尼亞國家男聲合唱團及其總監烏列奧於

的作品。

2 0 1 5 年獲頒授愛沙尼亞國家文化獎，以表揚合

米克．烏列奧自 2011/2012 年樂季開始身兼愛沙尼亞國家男聲合唱團指揮及藝術總監兩職。歷年來曾經與合唱團合作的指揮計有烏爾博、約菲

唱團的卓越表演。

Estonian National Male Choir Celebrating its 74th birthday in 2018, the Estonian National Male Choir (also known as RAM) was established by Estonian choral music legend, conductor and composer Gustav Ernesaks. Having sung mostly a cappella during its early years, RAM has grown into a world-famous professional choir that often performs large symphonic compositions. The Estonian National Male Choir frequently records for Estonian Public Broadcasting and has collaborated with such labels as Deutsche Grammophon, Sony, Finlandia, Alba Records, GB Records and Virgin Classics. In 2004 RAM was awarded the Grammy Award for Best Choral Performance, a first for Estonia (the recording featured Sibelius’ cantatas in collaboration with the Ellerhein Choir, the Estonian National Symphony Orchestra and conductor Paavo Järvi). In recent years the choir has released four CDs, including In Paradisum with compositions by Galina Grigorjeva, which won the 2015 award for the best classical album in Estonia. One of the Choir’s recent CDs was released by Grappa and includes music by Norwegian composer Henrik Ødegaard.

From the 2011/2012 season onwards, the Estonian National Male Choir has been led by chief conductor and artistic director Mikk Üleoja. The Choir’s list of previous conductors includes Harald Uibo, Uno Järvela, Olev Oja, Kuno Areng, Ants Üleoja, Ants Soots, Kaspars Putni š and others. The choir’s repertoire spans from the Renaissance to the contemporary. Besides numerous Estonian composers, RAM has also premiered compositions by such luminaries as Dmitri Shostakovich, Otar Taktakishvili, Gavin Bryars and Giovanni Bonato. During its long history the Estonian National Male Choir has performed all over Estonia and the former Soviet Union, as well as in many European countries, Israel, Canada and the USA. In 2015 the choir sung a cappella and with orchestras in Russia (St. Petersburg), Israel (Tel Aviv, Jerusalem), France (Chateauroux), several Canadian cities, Germany (Hannover) and China (Shanghai, Beijing). In 2016 concerts took place in St. Petersburg’s famous Cappella concert hall, Armenia (Vanadzor, Yerevan) and Georgia (Tbilisi). In August of that year the choir sung at the Nuits de Choeurs Festival. In 2015 the Estonian National Male Choir and Mikk Üleoja were awarded the Estonian State Cultural Award, marking the choir’s remarkable performances.

萊夫．薩格士譚

指揮

集指揮、作曲家、小提琴家及鋼琴家四職於一身

蘭電台交響樂團的常任指揮。薩格士譚在 1 9 8 3

的萊夫．薩格士譚，是北歐最多才多藝的音樂奇

年至 1 9 8 9 年間出任萊茵蘭 - 普法爾茨邦國家愛

才之一。他於 1952 年至 1963 年間就讀於芬蘭西

樂樂團音樂總監一職，其後成為該團的終身名譽

貝流士音樂學院，取得小提琴及指揮文憑。薩格

客席指揮。他在 1988 年至 1995 年間擔任丹麥國

士譚於 1965 年前往茱莉亞音樂學院深造指揮專

家交響樂團的首席指揮，現任該團榮譽指揮；又

業，隨後三年出任芬蘭國家歌劇院指揮。

於 1995 年至 2007 年間出任赫爾辛基愛樂樂團的

1968 年，薩格士譚受聘於斯德哥爾摩皇家歌劇院，先後擔任指揮及藝術總監。他在七十年代開始與柏林德國歌劇院及芬蘭國家歌劇院合作。此

常任指揮，並於卸任後以終身首席指揮身份與樂團繼續合作。薩格士譚自 2 0 1 2 年起成為芬蘭圖庫爾愛樂樂團的首席指揮。

外，薩格士譚又曾經為大都會歌劇院、英國皇家

薩格士譚與不同樂團合作、為數可觀的錄音為他

歌劇院、米蘭史卡拉歌劇院、慕尼黑歌劇院、漢

奠定國際地位。他創作了超過三百首作品，當中

堡歌劇院、科隆歌劇院及薩爾斯堡音樂節擔任客

包括交響曲、小提琴、鋼琴以及其他樂器的協奏

席指揮。薩格士譚於八十年代分別到維也納國家

曲，另外還有大量的室樂和聲樂作品。

歌劇院及哥本哈根皇家歌劇院作客。他多年來於芬蘭薩翁林納歌劇節中亮相，並且在 1 9 9 5 年至 2 000 年間擔任斯德哥爾摩皇家歌劇院的首席指揮。薩格士譚亦為瑞典馬爾默歌劇院的前首席指揮，後於 2015 年被委任為榮譽指揮。

薩格士譚由 1997 年秋季至 2013 年春季於母校西貝流士音樂學院任職指揮系代理教授。薩格士譚於 1 9 9 9 年獲北歐音樂委員會頒發獎項，表揚他努力推動斯堪的納維亞音樂的熱誠。他於 2 0 0 3 年初獲瑞典文化基金嘉許，並於其後兩年先後獲

薩格士譚經常於世界各地樂團以客席指揮身份

得芬蘭國家音樂大獎和意義重大的西貝流士勳

演出。他在 1975 年至 1982 年間以及 1977 年至

章。芬蘭總統在 2 0 1 4 年向薩格士譚授予教授名

1 987 年間，分別擔任奧地利電台交響樂團及芬

銜。

Leif Segerstam Leif Segerstam, conductor, composer, violinist and pianist, is one of the most versatile musical talents from the Nordic countries. He studied at the Sibelius Academy between 1952 and 1963 and completed diplomas in violin and conducting. After completing a degree in conducting at Juilliard Music Academy in New York in 1965, Segerstam spent three years conducting the Finnish National Opera. Segerstam continued his career at Stockholm’s Royal Opera in 1968, first as a conductor and after a couple of years as the artistic director. At the beginning of the 1970s he also worked with the German Opera in Berlin and with the Finnish National Opera. He was a guest conductor at the Metropolitan, Covent Garden and La Scala as well as at Munich, Hamburg and Cologne Opera and at the Salzburg Festival. The 1980s also saw engagements with the Vienna State Opera and Copenhagen’s Royal Opera. Segerstam has conducted for many years at the Savonlinna Opera Festival in Finland, and he worked as the chief conductor at Stockholm’s Royal Opera from 1995 to 2000. Acknowledged opera work has continued as Malmö Opera’s former chief conductor and as honorary conductor from 2015. Segerstam appears regularly as a guest conductor with symphony orchestras around the world. Between 1975 and 1982 he was the chief conductor of the Austrian Radio Symphony Orchestra, between 1977 and 1987 the chief conductor of the Finnish Radio Symphony Orchestra and between 1983 and 1989 Generalmusikdirektor of the Staatsphilharmonie Rheinland-Pfalz, later becoming the orchestra’s lifetime “Ehren Gastdirigent”. Between 1988 and 1995 Segerstam worked as chief conductor of the Danish National Symphony Orchestra and is now the orchestra’s honorary conductor. He was the 11th chief conductor of the Helsinki Philharmonic Orchestra between 1995 and 2007, and continues collaboration with the orchestra as its Emeritus Chief Conductor. Since 2012 Segerstam has worked as the chief conductor of Turku Philharmonic Orchestra.

Conductor The numerous recordings by Leif Segerstam with different orchestras have received wide international reputation. His large-scale composing career includes over 300 symphonies, violin concertos, piano concertos and various other instrumental concertos and a large amount of chamber music and vocal music. From autumn 1997 to spring 2013 Segerstam was Acting Professor of Conducting at the Sibelius Academy. The Nordic Music Committee awarded Segerstam the 1999 Nordic Council Music Prize for his work as a tireless champion of Scandinavian music. In spring 2003 Segerstam received Svenska Kulturfonden’s prize for his meritorious action in the field of music. In 2004 Segerstam was awarded the annual State Prize for Music in Finland and in 2005 the highly esteemed Sibelius Medal. In 2014 the President of Finland granted Segerstam the title of Professor.

米克．烏列奧

愛沙尼亞國家男聲合唱團首席指揮

米克．烏列奧 1997 年自愛沙尼亞音樂學院畢業，

唱團指導。烏列奧自 2011/2012 年樂季開始身兼

主修合唱團指揮，師隨安茲．烏列奧教授。烏列

愛沙尼亞國家男聲合唱團常任指揮及藝術總監兩

奧其後隨契坦教授深造，於 2 0 0 4 年取得音樂碩

職。

士學位。烏列奧本身亦是一位歌唱家，曾經是世界青年合唱團（1989- 1992）、愛沙尼亞國家男聲合唱團（1994- 1996）、愛沙尼亞愛樂室樂合唱團（1996-2000）及愛沙尼亞之聲（1998-2011）的團員。

烏列奧合共灌錄了五張專輯，當中包括 2 0 0 5 年指揮塔林查理教堂音樂會合唱團演出的《我從天堂來》，當中收錄愛沙尼亞作曲家克瑞克的作品。另外，烏列奧又曾經帶領愛沙尼亞愛樂室樂合唱團於 2007 年及 2009 年灌錄名為《詩歌不從

烏列奧曾經指揮愛沙尼亞的聖彌額爾童聲合唱

風中來》專集以及雷恩維尼的《安魂曲》，前者

團，以及馬托內室樂合唱團；他亦是塔林查理

收錄了愛沙尼亞作曲家薩爾的合唱作品，並被選

教堂音樂會合唱團的常任指揮。烏列奧在塔爾

為年度最佳合唱專輯。烏列奧以此獲得愛沙尼亞

圖大學維爾揚迪文化學院教授指揮。他在 1 9 9 8

文化基金的年獎。烏列奧於 2 0 1 4 年初與愛沙尼

至 2011 年間擔任愛沙尼亞愛樂室樂合唱團的合

亞國家男聲合唱團推出名為《在天國》的專輯，當中收錄了愛沙尼亞女作曲家格果耶娃的作品。

Mikk Üleoja Mikk Üleoja graduated from the Estonian Academy of Music in 1997 as a choir conductor (in the class of Prof Ants Üleoja) and received his Master’s degree in Music in 2004 (supervised by Prof Toomas Siitan). As a vocalist, he has been a member of the World Youth Choir (1989-1992), Estonian National Male Choir (1994-1996), Estonian Philharmonic Chamber Choir (1996-2000) and the Gregorian ensemble Vox Clamantis (1998-2011). Üleoja has conducted the St. Michael’s Boys’ Choir and the chamber choir Mattone; he has also been the chief conductor of Kaarli Church Concert Choir and has taught conducting at the University of Tartu Viljandi Culture Academy. Between 1998 and 2011 Üleoja worked as choirmaster of the Estonian

Chief Conductor, Estonian National Male Choir Philharmonic Chamber Choir. From the 2011/2012 season onwards Üleoja has held the positions of chief conductor and artistic director of the Estonian National Male Choir. Five CDs have been recorded under Üleoja’s direction, including the 2005 album Ma tulen taevast ülevalt (I Am Coming from Heaven Above), featuring the works of Cyrillus Kreek performed by the Kaarli Church Concert Choir. Together with the Estonian Philharmonic Chamber Choir he recorded the 2007 album Luule, see ei tule tuulest (Poetry, It Doesn’t Come from the Wind) featuring the choral works of Mart Saar, as well as Jüri Reinvere’s Requiem in 2009. Üleoja received the 2007 Annual Award from the Cultural Endowment of Estonia for the Mart Saar recording, while the album was also named as the year’s best choral record. In spring 2014, Üleoja recorded Galina Grigorjeva’s In paradisum.

亞沃．利布爾

愛沙尼亞國家交響樂團首席小提琴

亞沃．利布爾是古典樂界認可的小提琴獨奏家和室樂演奏家，他亦是愛沙尼亞國家交響樂團的樂團領隊。利布爾於愛沙尼亞全國小提琴比賽中兩度奪冠，又屢於國際賽事中得獎。他憑出色的獨奏表演以及對塑造愛沙尼亞國家交響樂標誌性音色的功勞，先後獲得國內外獎項，包括 2005 年由愛沙尼亞音樂委員會頒發的演繹大獎及 2008 年荷蘭王國奧倫治 - 拿素勳章。此外，為表揚利布爾對愛沙尼亞音樂活動和弦樂發展的重要貢獻，他又於 2015 年獲政府頒授文化基金的年度獎。

利布爾多次以獨奏身份與愛沙尼亞的頂尖樂團演出，當中包括愛沙尼亞國家交響樂團、塔林室樂團（與該團於 2005 年赴日本巡演）、塔爾圖市維納繆交響樂團、哈普沙盧室樂團、霍爾德斯．穆斯克斯古樂團，以及荷蘭和芬蘭的各個樂團。自 1990 年代起，利布爾開始與阿姆斯特丹新小交響樂團（現名為阿姆斯特丹小交響樂團）合作。他於 1995 年擔任荷蘭交響樂團領隊。2 0 0 1 年，利布爾出任愛沙尼亞國家交響樂團領隊，並且獲邀擔任荷蘭海牙愛樂管弦樂團、荷蘭交響樂團、荷蘭電台愛樂樂團、荷蘭交響樂團及塔林室樂團以客席領隊。利布爾曾以獨奏家和室樂家身份到歐洲各地演出。他灌錄的獨奏專輯《歐洲菁英》收錄了布爾、柯里尼、巴格尼尼、維尼亞夫斯基，以及俄羅斯作曲家靳多斯堅和當代愛沙尼亞作曲家庫堡克的作品。利布爾又與鋼琴家努美申合作灌錄愛沙尼亞作曲家圖賓的小提琴作品專輯，並由 BIS 唱片發行。

Arvo Leibur

Principal Violin, ENSO

Arvo Leibur is a recognised violin soloist, chamber musician and leader of the Estonian National Symphony Orchestra (ENSO). He is a two-time prize winner of Estonia’s State Violin Competition and is a laureate of several international violin competitions. He has been awarded the Estonian Music Council’s Interpretation Prize for his input in shaping ENSO's sonority and his outstanding work as a soloist (2005), the Orange-Nassau Order of The Kingdom of the Netherlands (2008), and the Annual Prize from the Cultural Endowment of Estonia for Music for his significant contribution to musical life and the development of string playing in Estonia (2015). Leibur has performed as a soloist with Estonia’s leading orchestras, encompassing many appearances with ENSO, regular appearances with the Tallinn Chamber Orchestra (including a 2005 tour of Japan) as well as appearances with the Vanemuine Symphony Orchestra, Haapsalu Chamber Orchestra, Hortus Musicus Academic Orchestra and various orchestras in Holland and Finland. In the 1990s Leibur began his collaboration with the Nieuw Sinfonietta Amsterdam orchestra (now known as the Amsterdam Sinfonietta). In 1995 he became the leader of the Holland Symfonia and in 2001 the Leader of ENSO. He has been invited to be a guest leader of The Hague Residentie Orkest, Holland Symfonia, Netherlands Radio Philharmonic Orchestra, Netherlands Chamber Orchestra and Tallinn Chamber Orchestra. Leibur has performed as a soloist and chamber musician throughout all of Europe. He has recorded a solo CD album entitled European Virtuosi with music by Corelli, Paganini, Khandoshkin, Kuulberg, Bull and Wieniawski. Together with the pianist Vardo Rumessen, he has recorded an album of Tubin’s violin compositions on the BIS label.

Die Konzertisten 音樂總監楊欣諾駐團指揮劉卓熙 Die Konzertisten 是香港最享負盛名的室內合唱團之一，不時受邀與本地及海外知名藝術家合作。近期參與的香港藝術節節目包括 2017 年閉幕歌劇、盛宗亮的《紅樓夢》和 2014 年翩娜．包殊與烏珀塔爾舞蹈劇場演出、葛路克作曲的舞蹈歌劇《死而復生的伊菲格尼》。Die Konzertisten 展示了本地優秀合唱人才，同時是本地樂壇的代表。

男高音 Tenors 鍾智樂 David Chung Chi Lok* 蔡佑杰 Donald Choi 黃俊銘 Ernest Wong* 廖梓丞 Jason Liu* 甘家耀 Gary Kam Ka Yiu* 王詠國 Keith Wong* 林浚逸 Kenny Lam 李謙信 Andy Li Him Shun * 李璟旻 Jacky Li King Man* 凌霄志 Tony Ling Siu Chi* 潘天偉 Pat Poon* 潘浚然 Timothy Poon Chun Yin* 韓年偉 Raymond Han 方樂知 Roger Fong* 劉卓熙 Sanders Lau 鄧可風 Tang Ho Fung* 謝文瀚 Simon Tse Man Hon* 楊凱源 Yang Hoi Yuen*

* 客席成員 Guest members

Music Director Felix Yeung Resident Conductor Sanders Lau Recognised as one of Hong Kong’s foremost chamber choirs and with regular invitations to collaborate from eminent artists and organisations locally and abroad, Die Konzertisten (DK) have appeared in recent HKAF programmes such as the 2017 Festival Finale opera, Bright Sheng’s Dream of the Red Chamber and Gluck’s dance-opera Iphigenia in Tauris with Tanztheater Wuppertal Pina Bausch in 2014. DK showcases some of the finest choral talent in Hong Kong while also representing the region’s musical community.

男低音 Basses 沈凜聰 Alvance Sim* 吳昌穎 Boris Ng* 黎永堃 Brian Lai* 陳承禧 Chan Shing Hei* 鄭宏中 Cheng Wang Chung* 張嘉笙 Artus Cheung Ka Sang 趙顥謙 Chiu Ho Him* 梁智昭 Danny Leung* 鄧百佑 Jason Tang 梁晉豪 John Leung 袁永軒 Caleb Yuen* 譚智楊 Keith Tam* 黎穎駿 James Lai Wing Chun* 黎宇翹 Anthony Lai Yu Kiu* 劉愷信 Adrian Lau Hoi Shun* 柳思行 Lau Sze Hang* 劉奕朗 Lau Yik Long 李子夏 Li Tsz Ha 吳井然 Napoleon Ng* 伍文輝 Alston Ng* 吳峻諺 Ng Tsun Yin* 葉永茂 Pasu Yip* 潘人豪 Poon Yan Ho* 蕭浩朗 Siu Ho Loong* 劉天智 Solomon Lau 譚志豪 Herbert Tam Chi Ho 鄧梓翱 Geoffrey Tang Tsz Ngo* 湯皓堯 Tong Ho Yiu* 呂韜 Tony Lui* 謝燿廷 Tse Yiu Ting 黃鎮國 Jamie Wong Chun Kwok* 余翱延 Yu Ngo Yin*

24.3.2018 藝術節閉幕演出 Festival Finale 香港文化中心 Hong Kong Cultural Centre Arvo Pärt (1935-)

帕特

Cantus in memoriam Benjamin Britten

《紀念布列頓之歌》

Richard Wagner (1813-1883)

華格納

Das Liebesmahl der Apostel, WWV69*

《使徒的愛筵》，WWV 69*

— 中場休息 Interval —

圖賓

Eduard Tubin (1905-1982)

《愛沙尼亞舞曲旋律組曲》

Süit eesti tantsuviisidest (Suite on Estonian Dance Tunes)

〈老圓舞曲〉

Vana valss (Old Waltz)

〈牧羊人的號角曲〉

Külakarjase sarvelugu (Shepherd's Horn Piece)

〈康特雷琴手〉

Kanneldaja (The Kantele Player)

〈羊角號曲〉

Sikusarve lood (Goathorn Pieces)

小提琴：亞沃．利布爾

Arvo Leibur violin

華格納

Richard Wagner

水手合唱，選自《漂泊的荷蘭人》， WWV 63

Sailors’ Chorus from Der fliegende Holländer, WWV63

古諾

Charles Gounod (1818-1893)

軍人合唱，選自《浮士德》

Soldiers’ Chorus from Faust

華格納

Richard Wagner

朝聖者合唱，選自《唐懷瑟》， WWV 70

Pilgrims’ Chorus from Tannhäuser, WWV70

* 聯合演出 With Die Konzertisten 是晚演出曲目及次序或有更改 Pieces and their order of performance are subject to change

樂曲介紹 Programme notes 帕特《紀念布列頓之歌》 1 968 年，愛沙尼亞作曲家帕特對以往自己在作品中使用的現代主義表達手法感到不滿意，進入了一段休養生息的時期，專注於研究中世紀和文藝復興時期的音樂，而不是作曲。他對遙遠過去的探索，最終開花結果，在 1 976 年發展出一種簡單卻嚴謹的、奧爾加農似的二聲部對位法，稱之為「鐘鳴作曲法」。同年年底，英國作曲家布列頓去世，帕特十分難過：「我剛剛為自己發現了布列頓。就在他逝世前，我開始體會到其音樂裏罕見的純淨—我曾於（1 4 世紀作曲家）馬蕭的歌謠中感受過同樣的純淨。而且，我久已希望親自與布列頓見面—如今這不會發生了。」 1977 年，帕特寫下《紀念布列頓之歌》，演出起用弦樂團和一個 A 音的鐘。三下極微弱的鐘聲響起之後，弱音第一小提琴分成兩個聲部，示範了「鐘鳴作曲法」：一個聲部從高 A 音開始，徐徐開展 A 小調下行音階；另一個聲部同時奏出僅低於該音的 A 小調三和弦音。第一小提琴開始後，沒有裝上弱音器的第二小提琴、中提琴、大提琴和低音提琴依次加入，每一組樂器都進行類似上述的音階開展過程，而每一組都比前一組低八度和慢一半。音量逐漸增至極強，每個弦樂組隨後陸續到達其音階下降終點的 A 小調三和弦音，並將此音延長至樂曲最後一個小節。不時響起的鐘聲，在音樂過了約三分二之時已經消失；可是，於所有弦樂戛然而止之際，喪鐘再輕輕敲響了一下。這一敲別具匠心：曲目最後的聲音，遂為因鐘繼續震動而縈迴未散的餘韻。

Arvo Pärt Cantus in memoriam Benjamin Britten In 1968, the Estonian composer Arvo Pärt became dissatisfied with the modernist means of expression that he had been employing in his works, and entered a fallow period in which he focused on the study of medieval and Renaissance music rather than on composing. This exploration of the distant past bore fruit in the form of a simple yet rigorous organum-like technique of two-part counterpoint that he developed in 1976 and christened tintinnabuli. At the end of that year, he was deeply saddened when the British composer Benjamin Britten died: “I had just discovered Britten for myself. Just before his death I began to appreciate the unusual purity of his music – I had had the impression of the same kind of purity in the ballads of [14th-century composer] Guillaume de Machaut. And besides, for a long time I had wanted to meet Britten personally – and now it would not come to that.” In 1977, Pärt wrote Cantus in memoriam Benjamin Britten for string orchestra and a bell on the note A. After three pianississimo bell strokes, the muted first violins, divided into two parts, illustrate the tintinnabuli technique: as one part gradually unfolds an A-minor scale descending from a high A, the other part sounds the note of the A-minor triad just below that of the descending scale at any given moment. The first violins having commenced, the second violins, violas, cellos and basses, all unmuted, enter in that order, and each of these sections engages in a similar scale-unfolding process an octave lower than – as well as at half the speed of – the section before it. The volume eventually grows to fortississimo; subsequently, each string section, at the end of its descent, reaches its destination note of the A-minor triad and sustains it until the last bar. In what is literally a master stroke, the bell, its periodical ringing having ceased about two-thirds into the piece, is softly knelled at the juncture where the strings all suddenly stop playing, such that the final sound is that which lingers on as the bell continues to vibrate.

華格納《使徒的愛筵》，WWV 69 今晚節目裏的三首華格納作品，都是在薩克遜

接下來的樂段最具戲劇性。在微弱隆隆鼓聲的背

王國首都德累斯頓首演；作曲家與妻子緬娜於

景下，樂器漸次加入：顫音的大提琴、高音弦樂

1842 年移居該市。翌年，華格納掌理男聲合唱

和奏起長音的巴松管、高音木管⋯⋯直至整個樂

協會「德累斯頓歌會」不久，便需創作一首長半

團都奏着最強音。在這音量逐步增強，底下響着

小時的曲目，供全國所有此類協會的合唱團攜手

持續屬音的時候，門徒大表驚訝：「甚麼在空氣

演出。他寫成的作品，標題為《使徒的愛筵》，

中呼嘯？何等響亮，何等鏗鏘！我們所在之處，

所指的是根據聖經《使徒行傳》第二章所描述耶

不是整個在震動嗎？」他們隨後呼喊「迎接我

穌的追隨者在五旬節聚集。曲目亦有副題曰〈聖

們，上主的靈啊」之時，正是最後一件樂器加入、

經場景〉，實為對「他們就都被聖靈充滿」此一

終於到達主調的一刻。樂團究竟於何時開始演

事件的戲劇化處理。

奏，欣賞首演的聽眾大概無從得知，因為它藏

非一般的場合需要非一般的演出人員編制：那麼，作品首演時動員的約一千二百個合唱團成員，該怎樣運用才好？（那是《聖經》記載的與

身在人數眾多的合唱團後面。使徒的鼓勵令門徒充滿勇氣，音樂於是益發生動，直到得勝似的結尾。

會人數的十倍呢。）華格納將其分為三組。十二使徒的話語，就由這個數目的男低音唱出。四十名團員代表「從上而來的聲音」；他們在首演時被安置到聖母教堂的小圓頂裏。其餘則再被分為三個四聲部合唱團，好讓門徒之間有些對唱效果。樂團要待音樂過了三分之二才加入；首演時，百名樂師位於門徒身後。音樂開首的三分之一為門徒所唱。他們正身處危機之中：耶穌已經離去，他們面對的迫害加劇，前景堪憂。其後，使徒著他們團結起來，堅持下去，卻沒有帶來好消息：他們以耶穌之名傳道，生命因而受到威脅。眾人懇求天父差遣聖靈，使他們可以傳道而無所畏懼。帶來安慰和力量的聲音，隨即從天上傳來。

19 世紀晚期的德累斯頓聖母教堂 Dresden's Frauenkirche in the late 19th century

Richard Wagner Das Liebesmahl der Apostel, WWV 69 All three works by Wagner on this evening’s programme had their premieres in the Saxon capital of Dresden, where the composer and his wife Minna made their home in 1842. The following year, Wagner assumed leadership of the Dresdner Liedertafel male choral society, and he was soon asked to write a work, half an hour long in length, that was to be performed by the combined forces of all such societies in Saxony. The title of the resulting composition, Das Liebesmahl der Apostel (The Love-meal of the Apostles), refers to the gathering of Jesus’s followers at the Feast of Pentecost as described early in Acts of the Apostles. Subtitled Eine biblische Szene (A Biblical Scene), the work is a dramatisation of the particular event in which “they were all filled with the Holy Ghost”. The extraordinary occasion of the premiere called for extraordinary scoring: what was Wagner to do with the roughly 1,200 singers who were to perform? (A number 10 times as large a throng as the one, the Bible reports, participating in the Feast!) Wagner’s score divides the vocal forces into three groups. The words of the Twelve Apostles are sung by that very number of basses; 40 singers represent “Voices from on high”. At the first performance, these were stationed in the cupola of the Frauenkirche (Church of Our Lady). The remainder are in turn split into three four-part choirs, an arrangement that allows for antiphonal effects among the Disciples. The orchestra does not enter until two-thirds into the music; a hundred strong at the premiere, it was then placed behind the Disciples.

The Disciples have the first third of the music. They are in a moment of crisis: now that Jesus has left them, they are uncertain of their future in the face of increasing persecution. At length the Apostles are heard, adjuring them to unite and persevere, while bringing no good news: they have received death threats for teaching and speaking in the name of Jesus. The full chorus then entreats the Heavenly Father to send down to them his Holy Spirit, so that they may preach without fear. Voices of both solace and strength are thereupon heard from on high. A most dramatic passage ensues. To the sound of a pianissimo drum roll is gradually added the quiver of tremolando cellos, then upper strings and sustained bassoons, followed by upper woodwinds, and so forth, until the full orchestra is playing fortissimo. During this long crescendo over a dominant pedal, the Disciples express their amazement: “What roaring fills the air? What tones, what clanging! Isn’t the whole place, where we are standing, moving?” When they next exclaim, “Greet us, Spirit of the Lord” , that is the point at which the last instrument joins in and the tonic is reached. It seems unlikely that the audience at the first performance could tell just when the orchestra entered, hidden from view as it was behind the huge chorus. As the Disciples are newly emboldened by the Apostles’ encouraging words, the music gets more and more animated up until the triumphant close.

圖賓《愛沙尼亞舞曲旋律組曲》有點像丹麥的尼爾遜，愛沙尼亞的圖賓出身寒

〈老圓舞曲〉以樂團響亮的重複八度開始，引人

微，卻成為了一位多產的作曲家，死後卻在國際

注意；組曲用上的許多愛沙尼亞民間旋律之一，

上名聲日隆，被譽為同代最主要交響曲作曲家之

即以獨奏小提琴奏出。跟着樂團奏起這個旋律，

一。他在 1905 年出生於塔爾圖縣卡拉斯泰附近

溫婉的優雅便變成了鄉土的活力。此旋律後來與

的一個村莊（當時仍為俄羅斯帝國的一部分），

歌曲〈婚禮之樂〉結合起來。獨奏者在〈牧羊人

少時幹過各種各樣的農活。於愛沙尼亞被捲入兩

的號角曲〉開始時奏起得意洋洋的舞曲，隨後

場戰爭之間的獨立時期（1918 至 1940 年），圖

又奏出號角聲。充滿懸疑並有持續低音的漸強樂

賓多在塔爾圖市發展其音樂事業。1 9 4 4 年，他

段過後，起首的旋律與號角聲同時重現。悠閑的

身處在第二次世界大戰的恐怖之中，當蘇聯和納

結尾教人意外。在〈康特雷琴手〉，豎琴模仿標

粹德國輪番蹂躪其祖國時，他出逃到中立國瑞

題所指的齊特琴；撥奏小提琴與木琴卻出人意表

典，其下半生也就在那裏度過。

地奏起俏皮的音樂，把夢幻的氣氛打斷了。這音

從寫給小提琴和鋼琴的四樂章《愛沙尼亞舞曲旋律組曲》的歷史，可以看到上世紀中葉的動蕩不定。組曲於 1943 年德國佔領期間在塔爾圖市創作和首演；這首樂曲的樂譜跟很多圖賓的樂譜一樣，在他翌年逃往斯德哥爾摩時未及帶走。首演這首樂曲的小提琴家是作曲家的好友，則在不久後被蘇聯流放到西伯利亞去。首三個樂章於 1 952 年出版時，圖賓要把它們默寫出來；終樂章則要等到六十年代、愛沙尼亞寄來樂譜後才得以出版。作曲家在 19 7 4 年將完整的組曲改編給小提琴和樂團演奏，而這就是我們今晚聽到的作品版本。

樂又與一個小調版本的〈婚禮之樂〉交替出現，後者現在變得緩慢而沉抑，為此樂章帶來更多對比。小提琴在結尾的縹緲泛音，令人入迷。〈羊角號曲〉裏的三個舞曲旋律，聽來彷彿都自信滿滿的，這與伴奏一直堅定的節奏不無關係。第一和第三個旋律皆先由小提琴奏出，第二個則初現於巴松管，後者的一個動機將音樂推至高潮，尤如第一樂章的收尾，整首作品結束時也重現了組曲開首的重複八度。

Eduard Tubin Süit eesti tantsuviisidest (Suite on Estonian Dance Tunes) Somewhat like Denmark’s Carl Nielsen before him, Estonia’s Eduard Tubin rose from humble origins to become a prolific composer and has posthumously earned an international reputation as a major symphonist of his day. Born in 1905 in a village near Kallaste in Tartu County, which was then part of the Russian Empire, Tubin did all sorts of farm work in his youth. For much of the interwar period of Estonia’s independence (1918-40), he developed his musical career in the city of Tartu. In 1944, amidst the horrors of the Second World War, when the Soviet Union and Nazi Germany took turns to ravage his homeland, he fled to neutral Sweden, where he was to live the second half of his life. The turmoil of this period is reflected by the history of the four-movement Süit eesti tantsuviisidest (Suite on Estonian Dance Tunes) for violin and piano. The work was composed and premiered in 1943 in Tartu during the German occupation, and was one of the many scores Tubin left behind when he escaped to Stockholm the year after – a close friend of the composer’s, the violinist who gave its first performance would soon be deported by the Soviets to Siberia. For the publication of the first three movements in 1952, he had to write them out again from memory; the last movement was not published until he had received a copy from Estonia the next decade. The complete suite was arranged by the composer in 1974 for violin and orchestra, and this is the version we hear this evening.

Vana valss (Old Waltz) begins with loudly repeated attention-grabbing octaves in the orchestra, before the solo violin plays the first of the many Estonian folk melodies used in this suite. Gentle elegance turns into rustic vigour as the orchestra takes up this tune, which is later combined with the song Pulmalust (Wedding Bliss). The soloist presents a perky dance at the start of Külakarjase sarvelugu (Shepherd’s Horn Piece), and subsequently introduces a horn call. After a suspenseful crescendo over a pedal point, the first tune and the horn call simultaneously reappear. The leisurely ending is a surprise. In Kanneldaja (Kantele Player), the harp imitates the zither referred to in the title, but the dreamy atmosphere is interrupted by the unexpectedly playful music on pizzicato violin and xylophone. Further contrast is provided by the alternation of this music with a slow and pensive minor-mode variant of Pulmalust. In the final bars, one is lost in reverie with the soloist’s ethereal harmonics. Three dance tunes are presented in Sikusarve lood (Goathorn Pieces), all quite assertive in character, thanks in part to the general rhythmic insistence in the accompaniment. Whereas the first and the third tunes are introduced by the violin, the second is initially heard in the bassoon. It is with a motif from the latter that the music builds to a climax, after which the suite concludes – as the opening movement did – with a recall of the repeated octaves at the very beginning.

華格納

Richard Wagner

水手合唱，選自《漂泊的荷蘭人》， Sailors’ Chorus from Der fliegende Holländer, WWV 63 WWV 63 是晚演出的三段歌劇合唱，均選自主題為贖罪或得救的作品。而且，華格納的兩部歌劇裏，女人的愛都令自我中心的、有罪的男人得到救贖。在《漂泊的荷蘭人》裏，主角的褻瀆話語換來了咒詛：他將永遠流浪海上，直至他找到一個願意對其忠貞至死的女人為止，而他每七年方可上岸一次，去尋覓此人。歌劇於 1 843 年初在德累斯頓首演。在 1 8 4 0 年夏天或更早前，華格納已寫了一些音樂，當中包括第三幕開始後不久的水手合唱。水手被荷蘭人的鬼船上的海員嚇跑前一會兒，飲酒蹈歌，好不熱鬧。此合唱效果甚為寫實。據作曲家說，其創作靈感來自他與妻子緬娜（還有他們的寵物狗）上一年從里加—他們自 1837 年起所居之地—潛逃至倫敦的驚險旅程；因債台高築而「漂泊」的這對夫婦，護照早已被沒收了。情況儘管如此，他寫道：「船員拋下錨、收起帆，同時在歌唱。當懸崖的花崗岩壁傳來回聲，我便充滿無以名狀的幸福感覺。他們的呼聲有尖銳的節奏，它印在我心上，像一個好兆頭，很快便轉化為我的《漂泊的荷蘭人》裏面水手合唱的主題 ⋯⋯」

The three operatic choruses performed this evening are all excerpted from works that centre on the theme of redemption or salvation. More specifically, both Wagner operas concern the redemption of an egoistic, sinful man by the love of a woman. In Der fliegende Holländer (The Flying Dutchman), a curse has been laid on the title character for his blasphemous words: he is to roam the seas indefinitely, until he finds a woman who will be faithful to him till death, a search he is allowed to make on land once every seven years. The opera received its premiere in Dresden in early 1843. Wagner had written the first music for it by the summer of 1840, and this includes the Sailors' Chorus near the beginning of Act Three. A boisterous, footstomping affair, this music is sung by drinking and dancing seamen shortly before they are frightened off by the crew of the Dutchman’s ghost ship. The effect is highly realistic. According to the composer, it drew inspiration from the dangerous journey he had surreptitiously made the previous year with his wife Minna (and their dog) from Riga, where they had lived since 1837, to London; the passports of the “flying” couple, who were badly in debt, had been confiscated. Despite the circumstances: “A feeling of indescribable well-being came over me as the granite walls of the cliff echoed the chantings of the crew as they cast anchor and furled the sails. The sharp rhythm of their call stuck with me as an omen of good fortune and soon resolved itself into the theme of the sailors’ chorus in my Der fliegende Holländer…”

古諾

Charles Gounod

軍人合唱，選自《浮士德》

Soldiers’ Chorus from Faust

歌德認為詩歌包含了哲學，此想法在他自己的詩

Goethe’s idea that philosophy is contained in poetry is powerfully borne out by his own verse drama Faust, whose complex panorama of and penetrating insight into all aspects of human life has held generations of readers in awe. Among the many operatic adaptations it has inspired, Gounod’s is by far the best-known. Premiered in Paris in 1859, it is largely a love story between the title character and Marguerite (Gretchen). This has invited considerable criticism especially from Germans, who see a demeaning of their national treasure by the French. Those attending this evening’s concert may wish to know that Wagner, for instance, thought the opera a “repellent, sweetly vulgar, affected concoction, with the music of an inferior talent who would like to achieve something and, in his anguish, grasps at any means”. But no matter: it went on to become the world’s most popular opera until the middle of the last century.

劇《浮士德》得到有力的印證：它對人生每個方面複雜的觀察和深入的洞見，教每一代的讀者都心生敬畏。受其啟發而寫的眾多歌劇之中，古諾的作品遠較別的有名。它在 1859 年於巴黎首演，基本上是主角和瑪嘉蕾特之間的愛情故事。這引起了不少批評，德國人尤其覺得法國人貶低了他們的國寶。舉個例說，今晚音樂會的聽眾也許會想知道，華格納認為此歌劇是一件「討厭的、甜膩得鄙俗的、矯揉的製品。其音樂乃才華不足的人所寫，他想取得一些成果，在痛苦中不擇手段」。但那又如何？它將會成為世上最受歡迎的歌劇，直至上世紀中葉為止。第四幕軍人合唱的音樂，原本是為另一部歌劇《恐怖伊凡》而寫，可是這個計劃流產了。拿破崙三世在 1858 年初幾乎遭到暗殺；此後，一部關於行刺沙皇的歌劇，立即變得不合時宜。從該歌劇移植到來的這首歌曲裏，軍人慶祝他們得到祖先保佑，從戰場平安歸來。進行曲般的音樂振奮人心，回家的歡樂卻將與接下來的悲劇形成強烈對比：其中一名士兵隨即便會發現，他不在的時候，其妹妹瑪嘉蕾特已經懷有浮士德的骨肉，且被他拋棄了。

The music of the soldiers’ chorus from Act Four was originally written for another operatic project, Ivan le terrible (Ivan the Terrible), which never came to fruition – an opera revolving around a plot to take the Tsar’s life seemed malapropos in the wake of an assassination attempt on Napoleon III in early 1858. In the transplanted song, warriors celebrate their return from battle under the protection of their ancestors. The joy of homecoming in this rousing march-like music contrasts sharply with the tragedy to follow: one of these soldiers will next find out that his sister Marguerite, in his absence, has been impregnated and deserted by Faust.

華格納

Richard Wagner

朝聖者合唱，選自《唐懷瑟》， WWV 70

Pilgrims’ Chorus from Tannhäuser, WWV 70

華格納《唐懷瑟》的劇本和音樂，皆寫於他在德

Wagner wrote both the text and the music for Tannhäuser at the start of his seven-year period in Dresden, where the work premiered in 1845. As suggested by its full title, Tannhäuser und der Sängerkrieg auf Wartburg (Tannhäuser and the Singers’ Contest on the Wartburg), two medieval legends are conflated here. The minstrel Tannhäuser of one legend indulges in sensual pleasures at Venusberg, the realm of the pagan goddess of love, then feels remorse and travels to Rome to seek absolution of his sins from the Pope. In the opera, however, he has no plans to make this pilgrimage until, by revealing his recent dealings with Venus, he has scandalised everyone at a song contest at the Wartburg castle in Thuringia, a contest that originates from another legend.

累斯頓的七年時期之初，作品在 1 8 4 5 年於該市首演。正如其完整標題《唐懷瑟與華爾特堡歌唱比賽》所示，兩個中世紀傳說於此混合在一起。其中之一的主角吟遊詩人唐懷瑟，沉迷異教愛神之域維納斯堡的肉欲享樂，悔恨不已而前往羅馬，祈求教皇赦免他的罪過。然而，在歌劇裏，他並沒有打算踏上這朝覲之旅，直至他在脫靈根華爾特堡的一場歌唱比賽中，透露他最近與維納斯的交往，使舉座為之震恐—而關於這場比賽的情節，其實源於另一個傳說。第三幕裏年長朝聖者的合唱，出現於唐懷瑟料已從羅馬返來之時。華格納寫道：「我們可以聽見回程的一群朝聖者走近故鄉的謐靜山谷，他們的歌聲正虔誠且快樂地宣布自己得救，注滿每個人的心房，驅使他們與四面八方的每個罪人分享這種喜悅。」懺悔者的歌聲最初從遠處傳來，沒有管弦樂伴奏；隨著他們慢慢走近，其歌聲便越發嘹亮及激昂。讚美上帝的高潮過後，朝聖者的身影與歌聲也漸漸消失。此音樂代表精神而非肉體，華格納以它開始序曲並結束整部歌劇，頗有意味。樂曲介紹：尹莫違

One hears the chorus of the older pilgrims in Act Three when Tannhäuser is supposed to have returned from Rome. In Wagner’s own words, “The returning flock of pilgrims can be heard approaching the peaceful valley of their homeland, their song now piously and joyfully announcing their salvation, filling every breast, moving them to share this joy with every sinner, far and wide.” The penitents initially sing from afar and without orchestral accompaniment; as they gradually draw near, their song builds up in volume and fervour. Praise is given to God at the climax, before the strains fade away as the pilgrims slowly disappear from view. Significantly, it is with this music, which represents the spiritual as opposed to the carnal, that Wagner opens the Overture and also rounds off the entire opera. Programme notes by Ernest Wan

華格納 Richard Wagner 《使徒的愛筵》，WWV 69

Das Liebesmahl der Apostel, WWV 69 Ganzer Chor der Jünger: Gegrüßt seid, Brüder, in des Herren Namen! Seid gegrüßt! Im Namen des Herrn, der uns zum Mahl in Eintracht hier vereinet, damit inbrünstig Seiner wir gedenken, der von uns schied, den unser Herz beweint.

Combined Choirs of Disciples: Greetings, brethren, in the name of the Lord! Greetings! In the name of the Lord, who unites us here at this time in harmony, whom we fervently remember, who has departed from us, for which our hearts weep.

三組門徒合唱：你好，弟兄們，我們奉主的名互相問候！你好！我們奉主的名互相問候─ 是主令大家這時在此團結和睦，是主令我們切切的想念，但主離開了我們，使我們心中流淚。

Chor I: Kommt her, ihr, die ihr hungert, die ihr dürstet, zu stärken euch, opfert' Er sein Fleisch und Blut: was wollen wir nun zagen? was wollen wir nun schmachten? Da solche Labung uns erquicken soll?

Choir I: Come here, you who hunger, you who thirst, strengthen yourselves, [for] He offers up his flesh and blood: what can scare us, what can make us languish? if such refreshment quickens us?

門徒合唱一：來吧，飢餓的人，口渴的人！令自己剛強起來吧，［因為］祂獻出自己的肉與血：有甚麼能令我們懼怕？有甚麼能令我們衰弱？要是主的血肉能令我們恢復生氣？

Chor II: Wir sind bedrückt, es droht der Mächt'gen Haß, gewitterschwer steh'n Wolken über uns! Die heute wir versammelt, wer kann wissen, wo morgen wir getrennt und traurig schmachten? Wer kann wissen!

Choir II: We are oppressed, threatened by a powerful hatred, heavy storm-clouds loom over us! Today we are gathered, [but] who can know where we will languish tomorrow, isolated and sad? Who can know!

門徒合唱二：我們被逼迫，被強大的仇恨脅迫，暴風雨臨近了！今日我們聚集在一處，［但］誰知道明日我們會在哪裏受苦，孤單又哀傷？誰知道！

Chor III: O faßt Vertrau'n! Mehrt sich von Tag zu Tag in Kraft und Glaubennicht der Treuen Schaar?

Choir III: O trust held fast! Don't we increase from day to day the strength and faith of the faithful?

門徒合唱三：牢牢的倚靠主！我們不是日復一日加添信徒的力量和信心嗎？

Chor II: In gleichem Maaß wächst auch der Haß der Feinde; macht Einigkeit uns stark, kann sie uns auch verderben. Ein Jeder trag' den Erlöser im Herzen, auf daß, wenn auch verstreut, wir einig bleiben! Wahrlich, es dränget uns die Zeit mit Not! Der Mächt'gen Späh'n verfolgt uns überall!

Choir II: To the same extent, the hate of our enemies grows; unity makes us strong, it can also destroy us. Each carries the Saviour in his heart, so that even if we are scattered, we remain united! Truly, time pushes on towards a crisis! The powerful spy follows us everywhere!

門徒合唱二：只是仇敵的怨恨也同樣與日俱增，團結能堅強我們，也能毀滅我們。救主在每個人心中，因此即使我們分開、離散，仍然團結一致！的確，危機臨近了！那厲害的密探在跟蹤我們，無處不在！

Chor III: Die wir einmüthig, sollten uns den trennen? Des liebsten Trostes sollten wir entbehren? Nach unsres Tages Last und Noth nicht mehr beim Mahl ein Herz und eine Seele sein?

Choir III: Should we be unanimous, [or] should we part ways? Should we set aside our preference for comfort? After the burden and hardship of our day, will we no longer be of one heart and soul at the Feast [of Pentecost]?

門徒合唱三：我們應當一起，［還是］應當分開？我們應當捨棄安逸嗎？經過現今的重擔與危難，到了五旬節，我們就不再同心合意了嗎？

Chor I: Kommt her, ihr, die ihr hungert, die ihr dürstet! Zu stärken euch, opfert' Er sein Fleisch und Blut. Was wollen wir nun zagen? Was wollen wir nun schmachten? Was wollen wir nun zagen, warum schmachten? Da solche Labung uns erquicken soll? Was nun zagen? Warum schmachten?

Choir I: Come here, you who hunger, you who thirst! Strengthen yourselves, [for] He offers up his flesh and blood. What will scare us, what will make us languish? Should such refreshment quicken us? What will scare us? What will make us languish?

門徒合唱一：來吧，飢餓的人，口渴的人！令自己剛強起來吧，［因為］祂獻出自己的肉與血：有甚麼能令我們懼怕？有甚麼能令我們衰弱？主的血肉能令我們恢復生氣麼？有甚麼能令我們懼怕？有甚麼能令我們衰弱？

Die Apostel: Seid uns gegrüßt, ihr lieben Brüder! Seid versammelt ihr im Namen Jesu Christ's?

The 12 Apostles: Greet us, your dear brethren! Are you gathered in the name of Jesus Christ?

十二使徒：各位，我們是你們親愛的弟兄，迎接我們吧！你們都奉耶穌基督之名聚集嗎？

Ganzer Chor der Jünger: Wir sind versammelt im Namen Jesu Christ's.

Combined Choirs of Disciples: We are gathered in the name of Jesus Christ.

三組門徒合唱：我們都奉耶穌基督之名聚集。

Die Apostel: Gesegnet seid, die ihr versammelt hier im Namen Jesu Christ's!

The 12 Apostles: Blessed are you, who are gathered in the name of Jesus Christ!

十二使徒：奉耶穌基督之名聚集的人哪，你們有福了！

Ganzer Chor der Jünger: Preis seinem Namen! Wir harrten eurer lang' in Sorg' und Bangen!

Combined Choirs of Disciples: Praise his name! We have waited for you through grief and dread!

三組門徒合唱：頌讚基督聖名！我們經歷悲傷與恐懼，就等著你們到來！

Die Apostel: Ihr Männer, lieben Brüder! Einig seid im Herzen und im Glauben! Die Verfolgung erhebt ihr Haupt, es nahen all' die Leiden, die ihr ertragen sollt um seines Namens Willen!

The 12 Apostles: You men, dear brethren! Be united in heart and faith! Persecution rears its head, Suffering approaches us, we shall endure for His name's sake!

十二使徒：親愛的弟兄們！大家要同心合意！逼迫來了，苦難臨到了，為了主的名，我們要堅忍！

Ganzer Chor der Jünger: Welch' neues Droh'n ist euch widerfahren?

Combined Choirs of Disciples: What new threat is upon you?

三組門徒合唱：有甚麼新的恐嚇臨到你？

Die Apostel: Da wir, im Tempel lehrend, Wunder wirkten, im Glauben an den Herrn, erweckten wir wie nie zuvor den Haß der mächt'gen Feinde. Da wir nun kräftig Rede ihnen standen, und sie der Missetat bezüchtigten, die an Marias Sohne sie verübt: ihr Zorn entbrannte da, und sie geboten mit hartem Drohen uns, nicht mehr zu lehren noch zu reden im Namen von Jesu von Nazareth bei Todesstrafe!

The 12 Apostles: We, by teaching in the temple, performing miracles, by our faith in the Lord, [we] arouse as never before the hate of powerful enemies. We directed powerful rhetoric to them, and they bred the wrongdoing that was committed against Mary's son: their anger was kindled, and they presented us with a harsh threat: not to teach nor to speak in the name of Jesus of Nazareth on pain of death!

十二使徒：我們在聖殿裏講道，行神蹟，我們對主的依靠，惹來強大仇敵前所未有的怨恨。我們雄辯滔滔，他們就心生惡念─ 也就是他們對瑪利亞之子所作的：他們的怒氣被燃點，狠狠的恐嚇我們：不要再講道，不要再奉拿撒勒人耶穌之名說話，違者必死！

Ganzer Chor der Jünger: Ach! Bei Todesstrafe!

Combined Choirs of Disciples: Oh! On pain of death!

三組門徒合唱：啊！違者必死！

Chor: Allmächtger Vater, der du hast gemacht Himmel und Erd' und alles was darin! Der zur Verheißung deines Schutzesden theuren Sohn zu uns herab gesandt! Sieh an das Droh'n der Mächtigen der Erde, mit dem sie schrecken deine Gläubigen, sieh an ihr Droh'n, mit dem sie uns schrecken! Daß wir mit Freudigkeit dein Wort nun reden, send' uns Unmünd'gen deinen heil'gen Geist! Sende uns deinen heil'gen Geist!

Full Choir (all four groups): Almighty Father, who has made heaven and earth and everything in it! We promise to protect your precious son, whom You sent to us! Regard the threat of the powerful of the earth, with which they frighten Your faithful, Regard their threats, with which they frighten us! So that we may now speak Your word with boldness, send us disciples Your Holy Spirit! Send us Your Holy Spirit!

全體合唱﹝四組同唱﹞：全能的天父，創造天地萬物的天父！我們信守諾言，保護祢寶貴的兒子─ 祢差遣給我們的主！看哪，那在地上有權柄的恐嚇我們，令祢忠誠的信徒懼怕，看哪，那恐嚇令我們懼怕！為了讓我們大膽述說祢的話語，請祢讓聖靈臨到我們，請聖靈臨到祢的門徒！求祢差遣聖靈吧！

Stimmen aus der Höhe: Seid getrost, ich bin euch nah, und mein Geist ist mit euch! Machet euch auf! Redet freudig das Wort, das nie in Ewigkeit vergeht! Machet euch auf!

Voices from Above: Be consoled, I am with you, and my Spirit is with you! Rise up! Joyfully speak the Word [of God], that will never fade through eternity! Rise up!

從上而來的聲音：我與你們同在，你們必得安慰，我的靈也與你們同在！起來！歡欣地述說［上帝的］聖道，那恆久不滅的聖道！起來！

Chor der Jünger: Welch Brausen erfüllt die Luft? Welch Tönen, welch Klingen! Bewegt sich nicht die Stätte,wo wir stehen? Gegrüßt sei uns, du Geist des Herrn, den wir erfleht, du heil'ger Geist! Dich fühlen wir das Haupt umweh'n, mächtig erfüllst Du unsre Seele!

Combined Choirs of Disciples: What roaring fills the air? What tones, what clanging! Isn't the whole place, where we are standing, moving? Greet us, Spirit of the Lord, we implore you, Holy Spirit! We feel you rushing by our leaders, you powerfully fill our souls!

三組門徒合唱：甚麼在空氣中呼嘯？何等響亮，何等鏗鏘！我們所在之處，不是整個在震動嗎？迎接我們，上主的靈啊，聖靈，我們懇求你！我們感覺你在我們當中，在我們的領袖身邊經過，強大的聖靈充滿了我們的靈魂！

Die 12 Apostel: Kleinmütige! Hört an, was jetzt der Geist zu künden uns gebeut! Laßt droh'n die Menschen, laßt droh'n sie wider euch! Ihr werdet sie besiegen mit dem Worte! Höret an! Die in Verzagtheit ihr euch trennen wolltet, geht auseinander, um voll Siegesmuth ein Jeder seine Bahn zu wallen! Ist denn Jerusalem die Welt? Blickt doch um euch! Seht die unzähl'gen Völker dieser Erde, die der Verkündigung des Wortes harren! Seht die Beherrscherin der Welt, seht Rom! Dort wird dem Worte Macht, die ganze Welt gleich einem Lichtstrahl zu durchdringen!

The 12 Apostles: O, ye faint-hearted! Listen to what the Spirit has commanded you to proclaim! Let men threaten you! You will defeat them with [your] words! Listen! The plans to separate you and make you despondent fall apart; each should pursue his own path to a full and courageous victory! So is the whole world Jerusalem? Just look around you! Behold the innumerable peoples of the world, waiting for the proclamation of the Word! Behold the Mistress of the world, behold Rome! There is the power of words to penetrate the whole world with a beam of light!

十二使徒：膽怯的人啊！聽聽聖靈命令你們要傳講的是甚麼！任由世人恐嚇你們吧！你們要以話語戰勝他們！聽啊！有人要你們離散，令你們沮喪，這計謀失敗了；每個人都要追尋自己的道路，勇敢得勝！耶路撒冷就是整個世界嗎？看看你們周圍！看看世上無數的族群，在等待上帝的道！那在地上稱霸的國，看哪！羅馬，看哪！話語的威力，令一線光也能照亮全世界！

Ganzer Chor der Jünger: So sei's! Gott will es so!

Combined Choirs of Disciples: So be it! God's will be done!

三組門徒合唱：就這樣吧！上帝的旨意將要成就！

Die 12 Apostel: Seid einig denn, wo ihr euch trefft! Gemeinsam sei euch Hab und Gut! Und freudig zeuget aller Welt von eures Heilands Wundertat!

The 12 Apostles: Be unified then, wherever you meet! Hold your property and possessions in common. And joyfully testify throughout the world about your Saviour's miracle!

十二使徒：那麼你們無論在何地相見，都要團結一致！舉凡財產家業，一律公用。歡欣地向世界見證救主的神蹟！

Gazer Chor: Der uns das Wort, das herrliche, gelehret Gibt uns den Mut, es freudig kund zu tun. Wir sind bereit, in alle Welt zu ziehen, kräftig zu trotzen jeder Schmach und Not! Das Wort des Herrn soll allen Völkern werden, damit sein Preis in allen Zungen tön! So will es Gott, der seinen Sohn uns sandte, der uns beschieden seinen heiligen Geist! Denn ihm ist alle Herrlichkeit von Ewigkeit zu Ewigkeit!

Combined Choirs of Disciples: The magnificent Word, as taught to us, gives us the courage to joyfully make it known. We are ready to show the whole world that we will strongly withstand any shame and hardship! The Word of God should go to all people, therefore sound his praise in all tongues! As God wills, who sent us his Son, who granted us his Holy Spirit! As God wills, who sent us his Son, who sent us his Holy Spirit! So [we give] to him all glory forever and ever!

三組門徒合唱：那傳授予我們的輝煌聖道，讓我們勇敢歡欣地向世人傳講。我們準備好令全世界知道，任何屈辱與危難我們都剛強地承受！上帝的道要遍佈全地，以萬國的語言讚美祂吧！那是上帝的旨意─差遣兒子給我們，讓聖靈降臨我們！那是上帝的旨意─ 差遣兒子給我們，讓聖靈降臨我們！因此 [ 我們 ] 將一切榮耀歸與上帝，永無窮盡！

華格納 Richard Wagner Sailors’ Chorus from Der fliegende Holländer, WWV63

水手合唱，選自《漂泊的荷蘭人》， WWV 63 〈水手合唱〉

Steuermann, lass’ die Wacht!

Steersman, leave your watch!

Die Norwegischen matrosen

The Norwegian sailors

挪威水手

Steuermann, lass’ die Wacht! Steuermann, her zu uns! Ho! He! Je! Ha! Hisst die Segel auf! Anker fest! Steuermann, her! Fürchten weder Wind noch bösen Strand, wollen heute ‘mal recht lustig sein! Jeder hat sein Mädel auf dem Land, herrlichen Tabak und guten Branntewein!

Steersman, leave your watch! Steersman, join us! Ho! Hey! Ye! Ha! Hoist the sails! Anchor fast! Steersman, here! We fear no wind nor treacherous coast. Today we'll be right merry! Each has his girl ashore, grand tobacco and good brandy!

舵手，別再守望！舵手，快下船艙！呵！嗨！唷！哈！收下船帆！拋定船錨！舵手，快來！海礁再險風暴更狂，我們也無懼今夜我們要歡樂一番！姑娘們馬上就要來到熏香的煙草、芬芳的美酒！

Hissassa, he! Klipp’ und Sturm draus, Jollohohe! lachen wir aus! Hussassa, he! Segel ein! Anker fest! Klipp’ und Sturm lachen wir aus!

Hussassahey! Rocks and storms outside – yollohohey! we laugh at them! Hussassahey! Furl sails! Anchor fast! Rocks and storms we laugh at them!

嚯嚓嚓嗨！風暴暗礁唷囉呵嗨！我們嘲笑它嚯嚓嚓嗨！收下船帆！拋定船錨！我們嘲笑風暴暗礁！

Steuermann, lass’ die Wacht! Steuermann, her zu uns! Ho! He! Je! Ha! Steuermann, her! trink’ mit uns! Ho! He! Je! Ha! Klipp’ und Sturm, he! sind vorbei! Hussahe! Hallahe! Hussahe! Steuermann! Ho! Her! Komm’ und trink’ mit uns!

Steersman, leave your watch! Steersman, join us! Ho! Hey! Ye! Ha! Steersman, drink with us! Ho! Hey! Ye! Ha! Rocks and storms, hey! are over, hey! Hussahey! Hallohey! Hussahey! Steersman! Ho! Here, come and drink with us!

舵手，別再守望！舵手，快下船艙！呵！嗨！唷！哈！舵手，快來一起暢飲！呵！嗨！唷！哈！風暴暗礁，嗨！過去了，嗨！嚯嚓嗨！哈囉嗨！嚯嚓嗨！舵手！呵！來吧，快來一起暢飲！

古諾 Charles Gounod 軍人合唱，選自《浮士德》

Soldiers' Chorus from Faust Gloire immortelle De nos aïeux, Sois-nous fidèle Mourons comme eux!

Immortal glory Of our ancestors, Be loyal to us, Let's die as they did!

不滅的光榮屬於我們祖先，效忠我們，我們學像他們陣亡吧！

Et sous ton aile, And under your protection, Soldats vainqueurs, As victorious soldiers, Dirige nos pas, enflamme nos cœurs! Direct our steps, kindle our hearts!

在你的庇佑下成為得勝士兵，請指引我等，燃亮我心雄火！

Vers nos foyers hâtons le pas! On nous attend; la paix est faite! Plus de soupirs! ne tardons pas! Notre pays nous tend les bras! L'amour nous rit! l'amour nous fête!

我們快快回家去！有人等候我們，干戈已停息。別再嘆息！我們趕路吧！祖國向我們張開手臂！愛眷顧我們，我們是愛的寵兒！

Let us hasten back to our homes! We are awaited, peace is now made. No more sighing! Let us hurry! Our country holds out its arms to us! Love smiles on us, we are love's darlings!

Et plus d'un cœur frémit tout bas And more than one heart flutters silently Au souvenir de nos combats! At the memory of our battles! L'amour nous rit! l'amour nous fête! Love smiles on us, we are love's darlings!

追憶戰役時，不只得一顆心靜靜顫抖！愛眷顧我們，我們是愛的寵兒！

Et plus d'un cœur frémit tout bas Au souvenir de nos combats! Gloire immortelle.

追憶戰役時，不只得一顆心靜靜顫抖！光榮不滅。

And more than one heart flutters silently At the memory of our battles! Immortal glory.

華格納 Richard Wagner

華格納 Richard Wagner Pilgrims’ Chorus from Tannhäuser, WWV70

朝聖者合唱，選自《唐懷瑟》， WWV 70

Beglückt darf nun dich, o Heimat, ich schauen, Und grüßen froh deine lieblichen Auen; Nun lass' ich ruhn den Wanderstab, Weil Gott getreu ich gepilgert hab'

Blest, I may now look on thee, oh, my native land, And gladly greet thy pleasant pastures; Now, I lay my pilgrim's staff aside to rest, For, faithful to God, I have completed my pilgrimage.

蒙福的我舉目看本族的地，滿心歡恩的迎接令人愉悅的青草地；我現在放下朝聖的權杖，因為我對上帝虔誠，並已完成朝聖。

Durch Sühn' und Buß' hab' ich versöhnt Den Herren, dem mein Herze frönt, Der meine Reu' mit Segen krönt, Den Herren, dem mein Lied ertönt.

Through penance and repentance I have propitiated The Lord, whom my heart serves, Who crowns my repentance with blessing, The Lord to whom my song goes up.

我藉着懺悔和贖罪與我一心事奉的上主和解，祂祝福我的悔過，我為上主獻上歌聲。

Den Herren, dem mein Lied ertönt.

The Lord to whom my song goes up.

我為上主獻上歌聲。

Der Gnade Heil ist dem Büßer beschieden, Er geht einst ein in der Seligen Frieden.

The salvation of pardon is granted the penitent, He will one day walk in the peace of the blessed.

懺悔者獲賜寬恕救贖，他終得享蒙福者的平安。

Vor Höll' und Tod ist ihm nicht bang, Hell and death do not appall him, Drum preis' ich Gott mein Lebelang. Therefore will I praise God my life long.

上帝不畏懼地獄和死亡，所以我此生都要讚頌祂。

Halleluja, Halleluja, In Ewigkeit, in Ewigkeit.

哈利路亞，哈利路亞直到永遠，直到永遠。

Hallelujah, Hallelujah, Eternally, eternally.

25.3.2018 香港大會堂 Hong Kong City Hall 加莉娜 ‧ 格果耶娃〈夜曲〉，選自《生命之夜》西貝流士《庫勒沃》，作品 7

Galina Grigorjeva (1962- ) Nocturno from the cycle Nox Vitae Jean Sibelius (1865-1957) Kullervo, Op 7

序曲（中庸的快板）

Introduction (Allegro moderato)

青年庫勒沃（莊板）

Kullervo's Youth (Grave)

庫勒沃和妹妹（活潑的快板）

Kullervo and His Sister (Allegro vivace)

庫勒沃上戰場（進行曲風格）

Kullervo Goes to Battle (Alla marcia)

庫勒沃之死（行板）

Kullervo's Death (Andante)

女中音：莫妮卡 - 依芙蓮．莉芙

Monika-Evelin Liiv mezzo-soprano

男低音：羅恩勞．艾普

Rauno Elp baritone

是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

樂曲介紹 Programme notes 加莉娜．格果耶娃〈夜曲〉，選自《生命之夜》加莉娜 ‧ 格果耶娃生於烏克蘭，早年在辛菲羅波爾音樂學校及奧德薩音樂學院求學， 1991 年畢業於聖彼得堡音樂學院作曲系，師隨尤利 ‧ 法力克教授。她的作品深深植根於俄羅斯文化、俄羅斯精神面貌、古老的俄羅斯民間傳說，以及東正教聖樂。她的音樂充滿坦率、激烈的斯拉夫聲音，但織體卻充滿現代派的結構，非常精準。格果耶娃的作品大多隱含有關心靈的訊息；此外由於她的作品非常仔細精確，因此通常被視為廣義的極簡主義作品。她作品中的聲音世界以透明為本，對每個音程、每個音色都非常注意。〈夜曲〉選自合唱曲《生命之夜》。《生命之夜》根據俄羅斯詩人恩納肯蒂 ‧ 安恩斯基（1855 至 1909）的詩作寫成，全曲分為五大部分。安恩斯基與另外幾位詩人安娜．阿赫瑪托娃、尼古拉 ‧ 古米廖夫、謝爾蓋．戈羅德茨基和奧斯普 ‧ 曼德斯坦塔姆都是阿克梅詩派的代表人物，追隨二十世紀初俄羅斯的象徵派詩歌運動。對這幾位詩人來說，他們人生中的每一刻、每件事，都流露出生而為人的疑問與悲哀。安恩斯基詩作中既憂鬱又痛苦的心理狀態，也為《生命之夜》提供了方向。聲音柔和但色彩豐富的和聲彷如支柱一樣，無論在和聲之上還是和聲內部，都有旋律在開展，效果既活潑又戲劇化。〈夜曲〉裏，人孤獨地佇立在夜的黑暗和時間無可挽回的流逝之中。整體來說，樂曲思索的課題還包括人類的孤寂，以及大自然與愛情的奧妙。

Galina Grigorjeva Nocturno from the cycle Nox Vitae Galina Grigorjeva was born in Ukraine and studied at the Simferopol Music School and Odessa Conservatoire before graduating in 1991 from Professor Yuri Falik’s composition class at the St. Petersburg Conservatory. Her works are deeply rooted in Russian culture and sprituality, Old Russian folklore and Orthodox sacred music. An open and vehement Slavonic soul finds its voice in her music, but the texture of its sound is both modernistically structured and precise. Grigorjeva’s works mostly convey a suggestive spiritual message, and due to their detailed precision, her compositions may conventionally, in the broad sense of the word, be considered those of a minimalist. The sound world of her works is transparent in nature, with attention paid to each single interval and timbre. Nocturno is the first part of Grigorjeva’s Nox Vitae (Night of the Life), a five-part choir cycle based on the Russian poems of Innokenty Annensky (1855-1909). Annensky, together with other notable poets – Anna Akhmatova, Nikolay Gumilev, Sergey Gorodetsky and Osip Mandelstam – represented the Acmeist poetic school, which followed the Russian symbolist poetry movement of the early 20th century. For these poets, the wonder and the tragedy of being human found expression in each single moment and event of their lives. Annensky’s poems, where a melancholic state of mind intermingles with the painful, also give direction to the music of Grigorjeva’s choir cycle. Within and above its soft, but fully coloured, columns of harmony, there are animated and dramatic melodic progressions. In Nocturno, man stands alone in the middle of the darkness of night, and the irrefutable course of time. The five-part cycle as a whole contemplates further themes of human solitude and the mysteries of nature and love.

西貝流士《庫勒沃》，作品 7 1809 年，原屬瑞典的芬蘭被俄羅斯納入其版圖，

交響曲的第一、第二和第四樂章只用純樂演奏，

當地民族史詩《卡萊華拉》其後出版，對 1 9 世

帶出比較抽象的氣氛。第三和第五樂章加入了敘

紀芬蘭國族運動的發展影響甚鉅，最終促成它脫

述故事的男聲合唱。此外，在規模龐大的第三樂

離俄羅斯而獨立。有如其他一些說瑞典語的芬蘭

章，男中音唱出庫勒沃的說話；在他途上遇見的

人，西貝流士積極探索芬蘭語世界，以尋找國族

三位姑娘的說話，則由女中音唱出。獨唱者的對

和文化身分。他在二十多歲時開始這種探索，很

白和獨白佔了樂章的後半部分，這幾乎可以是歌

自然便重讀了《卡萊華拉》，且對它推崇備至：

劇裏的一個場景。首演時，合唱團和弦式、每每

「在我聽來，這是純淨的音樂、主題與變奏。」

同聲齊唱的朗讀風格，以及獨唱者較為自由的對

1891 年底，他拜訪過一位聲名顯赫的詩篇歌者，

話風格，都立即被奉為妥切地道的芬蘭語入樂之

以了解這類詩文的傳統唱法。西貝流士研究芬蘭

法。

民間音樂，嘗試在自己的作品中顯現其神髓，而不喜直接引用民間旋律。

E 小調的首樂章以奏鳴曲形式寫成，為故事敘述前的引子。喁喁噥噥的弦樂背景下，響起了一個

同年較早的時候，西貝流士已在維也納開始寫作

暗淡無光、沉鬱頓挫的管樂主題，此小調主題改

一首交響曲，並指它「徹底表現芬蘭精神」。樂

寫自一首大調芬蘭民歌的旋律。彷彿斷斷續續的

曲講述《卡萊華拉》裏悲劇英雄庫勒沃的故事：

B 小調第二主題，輪廓和節奏都像詩篇旋律。這

他無意中與失散多年的妹妹發生了亂倫關係。交

個主題於再現部以主調重現時，變得肅穆非常；

響曲在一年後完成，共有五個樂章，動用兩位獨

第一主題在布魯克納風格強烈的尾聲重現時亦

唱者、男聲合唱團與管弦樂團，其所呈現的雄心

然。

壯志，遠超西貝流士以前的任何作品。報章裏有關這首「大型本土音樂作品」的消息，使人對其於赫爾辛基的首演期望甚殷，而它並沒有令人失望。雖然交響曲的音樂明顯受到俄羅斯作曲家以至華格納和布魯克納的影響，但它的表達手法驚人的創新，使芬蘭文與瑞典文的報章皆認為它標誌着芬蘭音樂的新時代。縱然首演大獲成功，樂評家以至西貝流士自己不久便對此曲感到不滿；多演出了數次之後，他便把作品撤回：直到他死後，全曲方得以再次奏出，而樂譜方得以出版。的確，《庫勒沃》欠缺他後來認為交響曲應有的精練和嚴謹—他後來有時寧可稱這首早期作品為交響詩—可是，它無疑是一首非常大膽且想像力豐富的樂曲，以任何標準而言，這位二十六歲的作曲家的成就都使人驚歎。它不僅是西貝流士個人的突破，也著實是芬蘭的突破。

第二樂章描繪庫勒沃的早年。甫開始，不祥的搖籃曲即預示了嬰兒悲慘的一生；撫養他的叔叔及其族人，已經殘殺了嬰兒父親的部族。好些年後，叔叔把姪兒賣給一個鐵匠當奴僕，鐵匠的妻子以折磨這孩子為樂。田園音樂的片段，教人想起庫勒沃替她放牛的工作，但反覆出現的搖籃曲的發展更引人注目：其重複和弦最終變得暴烈，表現了少年對鐵匠妻子和叔叔報復之心。原來庫勒沃的家人依然活着，全家都團聚了，只是還有一個妹妹失蹤。第三樂章開始時的音樂神氣揚揚：他剛替家人繳過地租，乘雪橇回家去。途中，他三次遇上少女並勾搭之，每次都被拒卻。但他隨後拿出一些貴重物品，便得逞了。在接下來的純器樂段落裏，小提琴奏起耽溺迷醉的長長旋律，小號與之呼應，低音樂器同時發出推進的節奏。第二天早上，少女和庫勒沃問起彼此的來歷，發現兩人實為失散已久的兄妹。她恨不得在剛過去的晚上之前已經死掉，旋即投河自

盡，此刻只有木管奏出一個高音的持續和弦。同

到了庫勒沃奏凱而歸之時，他的家人全都已經死

樣，庫勒沃也只希望自己從未出生。妹妹的哀歎

了。重返 E 小調的終樂章，以幽暗詭異的顫音開

淒涼落寞，哥哥的卻怒氣沖霄。

始。家犬帶他進入森林，竟走到他曾與妹妹過夜的地方去，那裏的花草不是在哭泣，就是不再生

庫勒沃不理母親的哀求，決意為其部族報仇並死

長；第一樂章的第二主題重現，現在顯得哀愁多

於戰場上。作品首演時，聽眾獲發一份單張，上

了。然後，音樂變得越來越激動：庫勒沃與他的

有《卡萊華拉》的選段，為第四樂章作說明：「引

寶劍對話，繼而把自己刺死。接著的葬禮進行曲

吭高歌去打仗，／歡歡喜喜赴沙場，／途經沼澤

再次用上那哀愁的主題。當首樂章的第一主題壯

仍吹奏，／喊聲迴蕩荒原上」。這首進行曲似的

偉地重現，合唱團即宣告英雄之死。關於交響曲

諧謔曲，假若不是常有可怖的震音及隆隆鼓聲的

樸素的結尾，作曲家寫道：「此後，我甚麼也沒

話，聽起來大概真的會頗為愉快。最後，庫勒沃

有，沒有總結或者任何一些甚麼。」

成功把他叔叔的部族殄滅。樂曲介紹：尹莫違

《卡萊華拉》的其中一個故事場景，由芬蘭藝術家厄西里．嘉蘭 - 卡萊拿所繪 A scene from the Kalevala, painted by Finnish artist Akseli Gallen-Kallela

Jean Sibelius Kullervo, Op 7 The publication of the Kalevala, the Finnish national epic, contributed in no small measure to the growth of nationalism in 19th century Finland that eventually led to its independence from Russia, which had annexed it from Sweden in 1809. Like some other Swedish-speaking Finns, Sibelius came to explore the Finnish language world in the search for a national and cultural identity. For him this began in his mid-twenties, and naturally involved a rereading of the Kalevala, which he now held in reverence: “To my ears it is pure music, themes and variations.” Late in 1891, he visited a legendary rune (“poem”) singer to find out just how such texts were traditionally sung; the composer looked into Finnish folk music, but sought in his own works to capture its essence without directly quoting folk melodies. Earlier that year in Vienna, Sibelius had begun writing a symphony which he then characterised as “thoroughly Finnish in spirit”; it featured a programme based on a tale from the Kalevala, namely, that of the tragic hero Kullervo, who has an unwittingly incestuous encounter with his longlost sister. The resulting work, completed a year later, was a five-movement symphony for vocal soloists, men’s choir and orchestra, and was by far his most ambitious creation to date. Information in newspapers on this “huge native composition” built up high expectations for its première in Helsinki, and it did not disappoint. Even though the work shows the influences of the Russian masters, as well as Wagner and Bruckner, its awesome originality of expression struck the Finnish – and Swedish – language press alike as heralding a new era in Finnish music. Its spectacular initial success notwithstanding, critics and Sibelius himself soon became dissatisfied with the symphony, and the composer withdrew it after several more performances: it was not to be

heard again in its entirety, or published, until after his death. It is true that Kullervo does not have the tautness and rigour that he would later think a symphony should – he would sometimes call this early composition a symphonic poem instead – but it remains a work of tremendous boldness and imagination, and an astonishing achievement by any standard for a 26-year-old, a breakthrough not just for himself but indeed for Finland. The first, second and fourth movements of the symphony are instrumental and evoke general moods. The third and fifth movements employ a male chorus that narrates the story. Additionally, in the massive third movement a baritone delivers the lines of Kullervo; a mezzo-soprano sings those of the three maidens he comes across. The dialogue and monologue of the soloists take up the movement’s second half, which could be a scene from an opera. At the first performance, the declamatory style of the chordal, often unisonal, choral writing and the freer, conversational style of the solos were instantly regarded as idiomatic for the Finnish language. The E-minor opening movement, in sonata form, serves as an introduction to the narrative. Against a backdrop of murmuring strings, wind instruments introduce a dark, brooding theme that is a minormode adaptation of a Finnish folk song in the major. The seemingly disjointed subordinate theme in B minor has the contour and rhythm of a rune melody. In the recapitulation, the return of this theme in the home key acquires an air of great solemnity, as does that of the first theme in the very Brucknerian coda. The early years of Kullervo are depicted in the second movement. The ominous lullaby at the outset hints at a tragic future for the infant, raised by his uncle whose clan has destroyed that of

Kullervo’s father’s. Years later, this uncle sells him as a slave to a smith whose wife enjoys tormenting the boy. Sections of pastoral music are evocative of Kullervo’s work for her as a cowherd, but the recurring cradle song undergoes more remarkable development: its repeated chords eventually turn violent, an indication of the youth’s vengefulness towards both the smith’s wife and his uncle. Kullervo is later reunited with his immediate family, who turn out to be still alive, except that a sister is missing. The ebullient music that begins the third movement suggests the hero’s homeward sledge ride after he has paid his family’s taxes. Thrice on his way he encounters a maiden, tries to seduce her, and is rebuffed. But when he shows the third maiden the fine fabrics and silver he is carrying in his sledge, he gets his way. In the purely orchestral passage that follows, a long, ecstatic melody in the violins is echoed by trumpets, while lower instruments produce propulsive rhythms. The next morning, the girl and Kullervo enquire of each other about their origins, and she is revealed to be his long-lost sister. Wishing she had died before the previous night, she drowns herself in the river, a moment marked only by a single high sustained chord in the woodwinds. Likewise, Kullervo wishes he had never been born, and his lament is as irate as his sister’s is forlorn.

By the time Kullervo returns home, everyone in his family is dead. Back in E minor, the final movement begins with eerie tremolos in muted strings as the family dog leads him into the forest. When he happens upon the spot where he spent that fateful night with his sister, where grasses and flowers either weep or refuse to grow, a doleful version of the opening movement’s second theme is heard. The music becomes increasingly agitated as Kullervo talks with his sword, then impales himself on it. The doleful theme is used once again in the funeral march that ensues. At the majestic reappearance of the first movement’s principal theme, the chorus proclaims the hero’s death. “After that,” the composer wrote of the symphony’s stark close, “I have nothing, no summary or anything.” Programme note by Ernest Wan

Despite his mother’s pleas, Kullervo then resolves to take revenge on his clan’s enemies and die at war. At the work’s première, the audience was provided with a handout containing an excerpt from the Kalevala that explains the fourth movement: Kullervo “Went with music forth to battle, / Joyfully he sought the conflict, / Playing tunes through plains and marshes, / Shouting over all the heathland”. This march-like scherzo would sound quite merry indeed, were it not frequently punctuated with menacing trills and drum rolls. In the end, Kullervo succeeds in wiping out his uncle’s clan. 西貝流士 Jean Sibelius

加莉娜．格果耶娃 Galina Grigorjeva 〈夜曲〉

Nocturno Темную выбери ночь и в поле, Безлюдном и голом, В мрак окунись... Пусть ветер, провеяв, утихнет, Пусть в небе холодном Тусклые звезды, мигая, задремлют... Сердцу скажи, чтоб ударов оно не считало...

Choose a dark night and on a field Deserted and naked Dive into the gloom... Let the passing wind calm down, Let the dim stars In the cold sky, blinking, fall asleep... Tell your heart not to count the beats...

挑選一個黑夜，在田野裡在杳無人煙，冷冷清清田野裡撲向黑暗…… 讓掠過的風都冷靜下來…… 讓暗淡的星宿在寒冷的天空裡閃爍，沉沉睡去…… 吩咐你的心靈，別管那拍子了……

Шаг задержи и прислушайся! Ты не одинь... Точно крылья птицы, Намокшие тяжно, Плывут средь тумана. Слушай... это летит хищная, властная птица, Время ту птицу зовут, И на крылях у ней твоя сила, Радости сон мимолетный, Надежд золотые лохмотья...

Stop and listen! You are not alone... It’s as if a bird’s wings, Heavily soaked, Were swimming in the fog. Listen... it’s a predator, a mighty bird, Its name is Time, And its wings have your strength, The sleep of transitory joy, Golden tatters of hope...

停下，聽啊！你並不孤單…… 恍如鳥兒雙翼都濕透了，在迷霧裡游過似的。聽啊……那是掠奪者，這頭猛禽名叫「時間」，牠雙翼上載著你的體力、載著睡夢中短暫的喜悅、還有一堆金色的破布─ 也就是，「希望」……

歌詞：恩納肯蒂．安恩斯基 Text: Innokenty Annensky

西貝流士 Jean Sibelius 《庫勒沃》，作品 7

Kullervo, Op 7 III. Kullervo and his Sister

III. 庫勒沃與妹妹

Chorus

合唱

Kullervo, Kalervon poika, Sinisukka äijön lapsi, Hivus keltainen korea, Kengän kauto kaunokainen läksi viemähän vetoja, Maajyviä maksamahan.

Kullervo, Kalervo's offspring, With the very bluest stockings And with yellow hair the finest, And with shoes of finest leather, Went his way to pay the taxes, And he went to pay due land-dues.

卡勒沃的兒子庫勒沃，穿着藍得非凡的長筒襪，頭上是最好看的金頭髮，腳踏上等皮鞋，外出去交稅，外出去交地租。

Vietyä vetoperänsä, Maajyväset maksettua. Rekehensä reutoaikse Kohennaikse korjahansa; Alkoi kulkea kotihin, Matkata omille maille.

When he now had paid the taxes, And he also paid the land-dues, In his sledge he quickly bounded, And upon the sledge he mounted, And began to journey homeward, And to travel to his country.

他交過稅，又交過地租，迅速登上了雪橇，在上面坐好，踏上歸家的旅途，前往他的祖國。

Ajoa järyttelevi Matkoansa mittelevi Noilla Všiinön kankahilla, Ammoin raatuilla ahoilla.

And he drove, and rattled onward, And he travelled on his journey, Traversing the heath of Vaino, And his clearing made aforetime.

他驅車顛簸前進，繼續旅途，穿過華彥努的荒原，和他以前開墾的空地上。

Neiti vasrahan tulevi, Hivus kulta hiihtelevi Noilla Väinön kankahilla, Ammoin raatuilla ahoilla.

And by chance a maiden met him, With her yellow hair all ﬂowing, There upon the heath of Vaino, On his clearing made aforetime.

他遇到一個少女，她的金頭髮飄逸，就在華彥努的荒原上，在他以前開墾的空地上。

Kullervo, Kalervon poika, Jo tuossa piättelevi, Alkoi neittä haastatella, Haastatella, houkutella:

Kullervo, Kalervo’s offspring, Checked the sledge upon the instant, And began a conversation, And began to talk and wheedle:

卡勒沃的兒子庫勒沃，立刻勒停了雪橇，開始跟她談話，開始哄騙她：庫勒沃

Kullervo Nouse, neiro korjahani, Taaksi maata taljoilleni!

Come into my sledge, o maiden, Rest upon the furs within it.

妹妹

Sister Surma sulle korjahasi, Tauti taaksi taljoillesi!

少女，登上我的雪橇吧，在裏面的毛皮上歇息。

In thy sledge may Death now enter, On thy furs be Sickness seated.

願死亡登上你的雪橇，願疾病在裏面的毛皮上歇息。合唱

Chorus Kullervo, Kalervon poika, Sinisukka äijön lapsi, Iski virkkua vitsalla, Helähytti helmivyöllä.

Kullervo, Kalervo’s offspring, With the very bluest stockings, With his whip then struck his courser, With his beaded whip he lashed him.

卡勒沃的兒子庫勒沃，穿着藍得非凡的長筒襪，他用馬鞭鞭策駿馬，用穿珠的馬鞭鞭打牠。

Virkku juoksi, matka joutui, Tie vieri, reki rasasi.

Sprang the horse upon the journey, Rocked the sledge, the road was traversed.

駿馬邁步繼續旅途，使雪橇搖擺，在路上走。

Neiti vasrahan tulevi, Kaurokenkä kaaloavi Selvällä meren selällä, Ulapalla aukealla.

And by chance a maiden met him, Walking on, with shoes of leather O’er the lake’s extended surface, And across the open water.

他遇到一個少女，她穿着皮鞋，走過廣闊的湖泊水面，在水上行走。

Kullervo, Kalervon poika, Hevoista piättelevi, Suutansa sovirtelevi, Sanojansa säätelevi:

Kullervo, Kalervo’s offspring, Checked his horse upon the instant, And his mouth at once he opened, And began to speak as follows:

庫勒沃

Kullervo Tule korjahan, korea, Maan valo, matkoihini!

Come into my sledge, o fair one, Pride of earth, and journey with me.

美人，登上我的雪橇吧，這片土地引以為榮的你，與我同行吧。妹妹

Sister Tuoni sulle korjahasi, Manalainen matkoihisi!

卡勒沃的兒子庫勒沃立刻勒停了馬，他立刻開口，這樣說：

In thy sledge may Tuoni seek thee, Manalainen journey with thee.

願死神追尋你的雪橇，願從死亡屬地來的與你同行。合唱

Chorus Kullervo, Kalervon poika, Sinisukka äijön lapsi, Iski virkkua virsalla, Helähytti helmivyöllä. Virkku juoksi, matka joutui, Reki vieri, tie lyheni.

Kullervo, Kalervo’s offspring, With the very bluest stockings, With the whip then struck his courser, With his beaded whip he lashed him, Sprang the horse upon his journey, Rocked the sledge, the way was shortened.

卡勒沃的兒子庫勒沃，穿着藍得非凡的長筒襪，他用馬鞭鞭策駿馬，用穿珠的馬鞭鞭打牠。駿馬邁步繼續旅途，使雪橇搖擺，趕上了路。

Neiti vasrahan tulevi, Tinarinta riioavi Noilla Pohjan kankahilla, Lapin laajoilla rajoilla.

And by chance a maiden met him, Wearing a tin brooch, and singing, Out upon the heaths of Pohja, And the borders wide of Lapland.

他遇到一個少女，她穿着皮鞋，戴着錫造的別針，一邊唱歌，一邊走過玻雅的荒原，和拉普蘭遼闊的邊境。

Kullervo, Kalervon poika, Hevoista hillirsevi, Suutansa sovirtelevi, Sanojansa säärelevi:

Kullervo, Kalervo’s offspring, Checked his horse upon the instant, And his mouth at once he opened, And began to speak as follows:

卡勒沃的兒子庫勒沃立刻勒停了馬，他立刻開口，這樣說：庫勒沃

Kullervo Käy, neito rekoseheni, Armas, alle vilrtieni, Syömäliän omeniani, Puremahan päähkeniä!

Come into my sledge, O maiden, Underneath my rug, my dearest, And you there shall eat my apples, And shall crack my nuts in comfort.

妹妹

Sister Sylen, kehno, kelkkahasi, Retkale, rekoseliesi! Vilu on olla viltin alla, Kolkka korjassa eleä.

At your sledge I spit, O villain, Even at your sledge, O scoundrel! Underneath your rug is coldness, And within your sledge is darkness. Kullervo, Kalervo’s offspring, With the very bluest stockings, Dragged into the sledge the maiden, And into the sledge he pulled her, And upon the furs he laid her, Underneath the rug he pushed her.

卡勒沃的兒子庫勒沃，穿着藍得非凡的長筒襪，他把少女強拖進雪橇裏，把她拉進雪橇裏，把少女放在毛皮上，把她推到毛氈下。妹妹

Sister Päästä pois minua tästä, laske lasta vallallensa Kunnotointa kuulemasta Pahalaista palvomasra, Tahi potkin pohjan puhki, Levirrelen liistehesi, Korjasi pilastehiksi, Rämaksi re'en retukan!

惡人，我唾棄你的雪橇，你的雪橇也如是，流氓！你的毛氈下是冰冷的，你的雪橇裏是黑暗的。合唱

Chorus Kullervo, Kalervon poika, Sinisukka äjjön lapsi, Koppoi neion korjahansa, Reualti rekosehensa, Asetteli taljoillensa, Alle viltin vierierteli.

少女，登上我的雪橇吧，我親愛的，來我的毛氈下，你可以在裏面吃我的蘋果，舒適地敲開我的堅果。

From the sledge at once release me, Leave the child in perfect freedom, That I hear of nothing evil, Neither foul nor filthy language, Or upon the ground I’ll throw me, And will break the sledge to splinters, And will smash your sledge to atoms, Break the wretched sledge to pieces!

立即從雪橇上釋放我，把自由身還給孩子，我不願聽見邪惡的話，也不願聽髒言穢語。不然我就自己滾到地上，這會毀了你的雪橇，把它撞個粉碎，把這輛該死的雪橇撞個稀巴爛！

合唱

Chorus Kullervo, Kalervon poika, Sinisukka äijön lapsi, Aukaisi rahaisen arkun, Kimahurti kirjakannen, Näyrteli hopäitansa, Verkaliuskoja levitteli, Kultasuita sukkasia, Vöitänsä hopeapäjtä.

Kullervo, Kalervo’s offspring, With the very bluest stockings, Opened then his hide-bound coffer, Clanging raised the pictured cover, And he showed her all his silver, Out he spread the choicest fabrics, Stockings too, all gold-embroidered, Girdles all adorned with silver.

卡勒沃的兒子庫勒沃，穿着藍得非凡的長筒襪，打開他用毛皮覆蓋的金庫噹啷的打開上面有畫的蓋子，給她看自己所有的銀塊，攤開最華美的布料，還有繡上金線的長筒襪，和串上白銀的腰帶。

Vera: veivät neien mielen, Raha muutti morsiamen, Hopea hukuttelevi, Kulta kuihaurtelevi.

Soon the fabrics turned her dizzy, To a bride the money changed her, And the silver it destroyed her, and the shining gold deluded.

這些布料很快使她頭暈目眩，金錢令她變成了新娘，銀塊毀了她，閃閃的金塊讓她上了當。妹妹

Sister Mistblet sinä sukuisin, Kusta, rohkea, rotuisin? Lienet suurtaki sukua, Isoa isän aloa.

Tell me now of your relations, What the brave race that you spring from, From a mighty race it seems me, Offspring of a mighty father.

告訴我你有甚麼家人，你似乎來自勇猛的家族，那想必是偉大的家族，父親想必很偉大。庫勒沃

Kullervo En ole sukua suurta, Enkä suurta enkä pientä. Olen kerran keskimmäistä:

No, my race is not a great one, Not a great one, not a small one. I am just of middle station:

不，我的家族並不偉大，不偉大，也不渺小。我只是中間的：

Kalervon kacala poioka. Tuhma poika tuiretuinen, Lapsi kehjo keiretyinen. Vaan sano oma sukusi, Oma rohkea rorusi, Jos olet sukua suurta, Isoa isän alaa'

Kalervo’s unhappy offspring, Stupid boy and very foolish, Worthless child, and good for nothing. Tell me now about your people, And the brave race that you spring from. Perhaps from a mighty race descended, Offspring of a mighty father!

卡勒沃的不快樂的兒子，一個一無是處的笨男孩。你的家人呢？告訴我他們是甚麼人，你來自哪個英勇的家族？也許是偉大的家族，父親也許很偉大！妹妹

Sister En ole sukua suurta, Enkä suurra enkä pientä, Olen kerran keskimmäistä:

No, my race is not a great one, Not a great one, not a small one, I am just of middle station:

不，我的家族並不偉大，不偉大，也不渺小。我只是中間的：

Kalervon katala tyttö, Tyhjä tyttö tuiretuinen, Lapsi kehjo keireryinen. Ennen lasna ollessani Ernon ehtoisen eloilla, Iäkson marjahan metsälle, Alle vaaran vaapukkahan.

Kalervo’s unhappy daughter, Stupid girl and very foolish, Worthless child and good for nothing. When I was a little infant, Living with my tender mother, To the wood I went for berries, ‘Neath the mountain sought for raspberries.

我是卡勒沃的不快樂的女兒，一個一無是處的笨女孩。當我還是個幼兒時，我跟溫柔的母親同住，我到樹林採集野莓，在山腳下採集山莓。

Poimin maalta mansikoita, Alta vaaran vaapukjoita Poimin päivän, yön Iepäsin.

On the plains I gathered strawberries, Underneath the mountain, raspberries, Plucked by day, at night I tested.

我在平原上採集草莓，在山腳下採集山莓，白天採，晚上試吃。

Poimin äivän, poimen toisen: Päivällapa klmannella En tiennyt kotihin tietä:

Plucked for one day and a second, And upon the third day likewise But the pathway home I found not:

我採了一天、兩天，第三天也在採集，但找不到回家的路。

Tiehyt metsiihän Veteli, Ura saateli salolle.

In the woods the pathways led me, And the footpaths to the forest.

我跟着樹林裏的路，來到了森林。

Siinä istuin, jotta itkin, Itkin p vän, jotta toisen;

There I stood and burst out weeping, Wept for one day and a second;

我站在那裏，哭泣起來，哭了一天、兩天；

Päivänapä kolmantena Nousin suurelle mäelle, Korkealle kukkulalle.

And at length upon the third day Then I climbed a mighty mountain, To the peak of the highest.

第三天哭了很久。接着，我攀上一座高山，去到山巔。

Tuossa huusin, hoilaelin.

On the peak I called and shouted.

我在山巔上大聲呼叫。

Salot vastahan saneli, Kankahat kajahtelivat:

And the woods made answer to me, And the heaths re-echoed likewise:

樹林回答了我，荒原也一樣有回聲：

“Elä huua, hullu tyttö, Elä mieletöin, melua! Ei se kuulu kumminkana, Ei kuulukotihin huutol”

“Do not call, O girl so senseless, Shout not, void of understanding! There is no one who can hear you, None at home to hear your shouting.”

「無知的女孩，不要再呼叫，你全然不明白，不要再喊叫！沒有人聽見你的呼叫，沒有人家聽見你的喊叫。」

Päivän päästä kolmen, neljän, Viien, kuuen viimeistäki Kohenihin kuolemahan, Heitihin katoamahan, Enkä kuollut kuittenkana, En mä kalkinen kaonnut!

Then upon the third and fourth days, Lastly on the fifth and sixth days, I to take my life attempted, Tried to hurt me to destruction, But by no means did I perish, Nor could I, the wretched, perish!

過了第三、第四天，去到第五、第六天，我試過了斷自己的性命，嘗試傷害、毀掉自己，但我就是無法毀掉自己，我就是毀不掉自己。

Oisin kuollut, kuja raukka, Oisin katkennut, katala, Äsken tuossa toisna vuonna, Kohta kolmanna kesänä Oisin heinänä helynnyt, Kukoistellut kukkapäänä, Maassa marjana hyvänä, Punaisena puolukkana, Nämä kummat kuulemma, Haukeat havaisematta.

Would that I, poor wretch, had perished, Hapless one, had met destruction, That the second year thereafter, Or the third among the summers, I had shone forth as a grass-blade, As a lovely ﬂower existed, On the ground a beauteous berry, Even as a scarlet cranberry, Then I had not heard these horrors, Would not now have known these terrors.

要是我這可憐的人已經死去，我這不幸的人已經遭逢滅亡，在之後第二年、或是第三年的夏天，我會像一根草閃閃生輝，成為一朵可愛的花，成為地上美麗的野莓，甚至是猩紅的山莓，那麼我就不會聽見這個惡耗，不會得知這種可怕。庫勒沃

Kullervo Voi, poloinen, päjviäni, Voipa, kurja, kummiani, Kun pilin sisameni, Turmelin emoni tuoman!

Woe my day, O me unhappy, Woe to me and all my household, For indeed my very sister, I my mother’s child have outraged!

慘哉，我傷心欲絕，可憐我和我的一家，因為我惹怒的是我妹妹，是我母親的孩子！

Voi isoni, voi emoni, Voi on valtavanhempani!

Woe my father, woe my mother, Woe to you, my aged parents!

可憐我的父親，可憐我的母親，可憐你們，我年邁的雙親！

Minnekä minut loitte Kunne kannoitte katalan?

To what purpose have you reared me, Reared me up to be so wretched?

你為甚麼要養育我，養育得如此邪惡？

Parempiolisi ollut Syntymättä, kasvamatca, Ilmahan sikeämättä, Maalle tälle tätymättä.

Far more happy were my fortune Had I ne’er been born or nurtured, Never in the air been strengthened, Never in this world had entered.

要是我從未誕生，或未受哺育，從未在風中受磨練，未曾得入這個世界，命途會快樂得多。

Eikä surma suorin tehnyt, Tauti oikein osannut, Kun ei tappanu minua, Kaottanut kaltsiöisnä.

Wrongly I by death was treated. No disease has acted wisely, That they did not tell upon me, And when two nights old destroy me.

死亡對我不公平。疾病並不明智，它們沒有在我剛出生兩晚大的時候取了我的命。

V. Kullervo’s Death

V. 庫勒沃之死

Chorus

合唱

Kullervo, Kalervon poika, Otti koiransakeralle, Läksi tietä telkkimähän, Korpehen kakoamahan.

Kullervo, Kalervo’s offspring, 卡勒沃的兒子庫勒沃， At his side the black dog taking, 身旁有一頭黑犬 Tracked his path through trees of forest, 牠在森林的深處追蹤他。 Where the forest rose the thickest.

Kävi matkoi vähäsen, Astui tietä jikkaraisen; Tuli tuolle saarelcelle, Tuolle pailalle tapahtui, Kusšoli piian pillannunna, Turmellutemonsa tuoman.

But a short way had he wandered, But a little way walked onward, When he reached the stretch of the forest, Recognized the spot before him, Where he had seduced the maiden, And his mother’s child dishonoured.

他遊蕩了一小段路，他繼續走了一小段路，來到森林的一處，認出了前面的地方，在他引誘少女、玷污母親的孩子的地方

Siin'itki hana nurmi, Aho armihin valitti, Nuoret heinät helliteli, Kuikutti kukat kanervan Tuota päan pillamusta, Ernon tuoman mtmelusta.

There the tender grass was weeping, And the lovely spot lamenting, And the young grass was deploring, And the flowers of heath were grieving For the ruin of the maiden, For the mother’s child’s destruction.

軟軟的青草在那裏哭泣，那一處在悼念，嬌嫩的青草在痛斥，荒原上的花感到悲痛，為着少女被引誘，為着母親的孩子被毀掉。

Eikä moussut nuori heinä, Kasvanut kanervan kukka, Ylennyt sijalla sillä, Tuolla paikalla pahalla, Kuss'oli piian pillannunna, Emon tuoman turmellunna.

Neither was the young grass sprouting, Nor the ﬂowers of heath expanding, Not the spot had covered over, Where the evil thing had happened, Where he had seduced the maiden, And his mother’s child dishonoured.

嫩草不再發芽，荒原的花不再開，就是不在那一處，在惡事發生的地方，在他引誘少女、玷污母親的孩子的地方。

Kullervo, Kalervon poika, Tempasi terävä:: miekan,

Kullervo, Kalervo’s offspring, 卡勒沃的兒子庫勒沃 Grasped the sharpened sword he carried. 抓起磨得鋒利的佩劍。

Katselevi, kääntelevi, Kyselevi, tietelevi, Kysyi mieltä miekaltaxisa, Tokko tuon tekisi mieli Syoä syylistä lihoa. Viallisra verta juoa.

Looked upon the sword and turned it, And he questioned it and asked it, And he asked the sword's opinion, If it was disposed to slay him, To devour his guilty body, And his evil blood to swallow.

他看着佩劍，把劍轉來轉去，他叩問佩劍，它可要殺死他，可要噬食痛飲他邪惡的血肉。

Miekka mietti miehen mielen, Arvasi uron pakinan, Vastasi sanalla tuolla:

Understood the sword his meaning, Understood the hero’s question, And it answered him as follows:

劍明白他的用意，明白英雄問的問題，它這樣回答：

“Miksen söisi mielelläni, Söisi syylistä lihoa, Viallista vertajoisi? Syön lihoa syyttömänki, Juon verta viattomanlti."

“Wherefore at my heart’s desire Should I not thy ﬂesh devour, And drink up thy blood so evil? I who guiltless flesh have eaten, Drank the blood of those who sinned not?”

「我吃過無辜者的肉、喝過無罪者的血，又如何能夠不按照心願噬食痛飲你邪惡的血肉？」

Kullervo, Kalervon poika, Sinisukka äijön lapsi, Pään peltohon sysäsi, Perän painoi kankahasen, Kären käänti rintahansa, Itse iskihe kärelle.

Kullervo, Kalervo’s offspring, Wearing the very bluest stockings, On the ground the haft set ﬁrmly On the heath the hilt pressed tightly, Turned the point against his bosom, And upon the point he threw him.

卡勒沃的兒子庫勒沃穿着藍得非凡的長筒襪，把劍柄牢牢插在地上，把劍柄緊緊插在荒原上，把劍鋒指向胸前，對準尖鋒刺了下去。

Siihen surmansa sukesi, Kuolemansa kohtaeli.

Thus he found the death he sought for, Cast himself into destruction.

他是這樣如願尋死，這樣步進滅亡。

Se oli surma nuoren miehen, Kuolo Kullervo urohon, Loppu ainakin urosta, Kuolema kovaosaista.

And so the young man perished, Thus died Kullervo the hero, Thus the hero’s life was ended, Perished thus the hapless hero.

於是這個年青人就此喪生，英雄庫勒沃就此死了英雄的一生就此完結了，不幸的英雄就此喪生。

莫妮卡 -依芙蓮．莉芙

女中音

愛沙尼亞女中音莫妮卡 - 依芙蓮．莉芙是英國皇家歌劇院傑特．帕克年輕藝術家計劃（JPYAP）2007 年至 09 年成員，曾演唱角色包括《熊》的波普娃夫人、《茶花女》的弗洛拉、《魔笛》的第二侍女、《卡門》的梅賽德斯、《艾蕾克特拉》的第二侍女、《遊吟詩人》的伊妮絲及《露露》的女藝術家。她後來加入皇家歌劇院，在《伊底帕》中飾演喬卡絲塔和梅若佩替角，參與西貝流士 1 5 0、華格納／威爾第星期一午間音樂會、在英國萊伊和海格特舉行的 J P YA P 音樂會等活動，並為皇家歌劇院於英國瑟羅克和法國的教育及公眾參與計劃獻唱威爾第的《安魂曲》。莉芙就讀國立愛沙尼亞音樂戲劇學院時師從馬提．龐姆，其後於立陶宛音樂學院師隨茜古提．史東尼特。她參與伊雲娜．嘉瓦利羅維克、瑪麗亞．婭克達、拉麗莎．喬治艾娃、赫特穆特．賀爾、弗拉德米爾．亞特蘭托夫、傑夫瑞．戈爾德貝格的大師班，並與馬克．艾爾達、菲利普．赫斯奇夫、卡洛．里齊、安東尼奧．帕帕諾、約翰．安德魯、施迪芬諾．蘭扎尼、凱莉 - 琳．威爾森等著名指揮家合作。莉芙曾贏得美聲工作室歌唱比賽第二名和馬薩爾歌唱比賽第三名。她曾演出的歌劇角色包括《蝴蝶夫人》的鈴木、《阿依達》的安妮莉絲、《費加羅的婚禮》的凱魯比諾、《尤金．奧尼金》的奧爾嘉、《凱撒大帝》的主角和康涅莉亞，以及《里納爾多》的主角。莉芙的演唱曲目包括普羅科菲夫的《亞歷山大．涅夫斯基》和與哥斯達黎加國家交響樂團合作演出的莫札特《安魂曲》。她贏得 2 0 1 3 年愛沙尼亞年度戲劇獎及 2015 年愛沙尼亞文化基金會獎。

Monika-Evelin Liiv

Mezzo-soprano

Estonian mezzo-soprano Monika-Evelin Liiv was a member of the Royal Opera House’s Jette Parker Young Artists Programme (JPYAP) from 2007 to 2009, singing Madame Popova in The Bear, Flora in La traviata, Second Lady in Die Zauberflöte, Mércèdes in Carmen, Second Maid in Elektra, Ines in Il trovatore and Lady Artist in Lulu. She has since returned to the Royal Opera House as cover for Jocasta and Merope in Oedipe, Sibelius150 and Wagner/Verdi Monday lunchtime recitals, JPYAP recitals in Rye and Highgate and the Verdi Requiem for the Royal Opera House’s Learning and Participation programme in both Thurrock and France. Liiv studied at the Estonian Academy of Music and Theatre under Mati Palm and the Lithuanian Music Academy under Siguté Stonyté, and has participated in masterclasses with Irina Gavrilovic, Maria Acda, Larissa Gergieva, Hartmut Höll, Vladimir Atlantov and Jeffrey Goldberg. She has worked with many well-known conductors, such as Mark Elder, Philip Hesketh, Carlo Rizzi, Antonio Pappano, John Andrew, Stefano Ranzani and Keri-Lynn Wilson. Competition successes include second prize in the Studio Bel Canto Vocal Competition and third prize in the Mart Saar Song Competition. Her opera repertory also includes Suzuki in Madama Butterfly, Amneris in Aida, Cherubino in Le nozze di Figaro, Olga in Eugene Onegin, the title role and Cornelia in Julius Caesar and the title role in Rinaldo. Liiv’s concert work includes Prokofiev’s Alexander Nevsky and the Mozart Requiem with the Costa Rica National Symphony Orchestra. Liiv won the Annual Estonian Theatre Award in 2013 and the Estonian Cultural Endowment Award in 2015.

羅恩勞．艾普

男中音

羅恩勞．艾普自 1992 年起在愛沙尼亞國家歌劇團擔任獨唱。他是備受追捧的藝術家，曾演出多個愛沙尼亞及國際歌劇作曲家的男中音角色，包括《唐喬望尼》的同名主角、艾瑪維法伯爵（《費加羅的婚禮》）、古列爾摩（《女人心》）、杜卡馬拉和貝爾柯雷（唐尼采第的《愛情靈藥》）、威爾第的《弄臣》、普契尼的萊斯科（《曼儂．萊斯科》）、斯加比亞（《托斯卡》）、馬切洛（《波希米亞人》）、華格納的荷蘭人（《漂泊的荷蘭人》）、安佛塔斯（《帕西法爾》）、庫威諾《崔斯坦與伊索德》、胡夫拉姆（《唐懷瑟》）及羅德里克（亨德密爾的《漫長的聖誕晚餐》）。他在愛沙尼亞歌劇的主要角色包括坦貝格的《大鼻子情聖》和圖爾《華倫堡》的主角、醫生（肯戈的《心》）、西奧多／哈姆雷特（特魯．哥拉費茲的《蝴蝶》）、約根（圖賓的《芭芭拉．馮．提爾遜荷森》）。艾普曾參與的大型表演包括魯道夫．托拜爾斯《約拿的佈道》、馬勒的第八交響曲和布拉姆斯的《德意志安魂曲》。他曾在奧盧市劇院、土耳其國家歌劇院及拉脫維亞國家歌劇院擔任客席獨唱。艾普曾贏得多個獎項，包括 1993 年及 1 9 9 7 年提狄．古釋音樂比賽冠軍、威爾斯年度國際歌唱新人大賽（1994）亞軍及佐治．奧切斯獎（2 0 0 7），後者表揚他專業的歌劇及音樂會演出。艾普曾獲 2006 年愛沙尼亞華格納協會獎學金。他在亨德密爾的歌劇《卡迪拉克》中飾演主角，澎湃而令人信服的演繹為他贏得 2016 年愛沙尼亞年度戲劇獎。

Rauno Elp Baritone Rauno Elp has been a soloist with the Estonian National Opera since 1992. He is a soughtafter artist, whose repertoire includes various baritone roles from both Estonian and international opera composers. Elp’s repertoire includes numerous roles such as the title role in Don Giovanni, Count Almaviva (Le nozze di Figaro) and Guglielmo (Così fan tutte), Dulcamara and Belcore (Donizetti’s L’elisir d’amore), Verdi’s Rigoletto, Puccini’s Lescaut (Manon Lescaut), Scarpia (Tosca), Marcello (La bohème), Wagner’s Holländer (Der fliegende Holländer), Amfortas (Parsifal), Kurwenal (Tristan und Isolde) and Wolfram (Tannhäuser), as well as Roderick (Hindemith’s The Long Christmas Dinner). His most important roles in Estonian operas are the title roles in Tamberg’s Cyrano de Bergerac and Tüür’s Wallenberg, the Doctor (Kangro’s Heart), Theodor/Hamlet (Tõnu Kõrvits’ Butterfly) and Jürgen (Tubin’s Barbara von Tisenhusen). Elp has also participated in the performances of large scale works including Des Jona Sendung by Rudolf Tobias, Mahler’s Symphony No. 8 and Brahms’s German Requiem. Elp has also been a guest soloist at Oulu City Theatre, Turkish State Opera and Latvian National Opera. He has received several awards, including first prize at the Tiit Kuusik Competition in 1993 and 1997, second prize at the International Young Singer of the Year Competition (1994) in Wales and the Georg Ots Prize (2007) for his skilfully performed opera roles and concert performances. In 2006 he won a scholarship from the Estonian Richard Wagner Society and in 2016 he won the Annual Estonian Theatre Award for his powerful and convincing interpretation of the title role in Hindemith’s opera Cardillac.

愛沙尼亞國家男聲合唱團 Estonian National Male Choir CHIEF CONDUCTOR Mikk Üleoja CHOIRMASTERS Igor Nikiforov Kuldar Schüts FIRST TENORS Aleksander Arder Aivar Kaldre Aivar Kaseste Andrus Kirss Jaan Krivel Mart Kroon Priit Lehto Lennart Mängli Valnar Neidre Madis Reinsoo Karel Tohv Mati Valdaru SECOND TENORS Arvo Aun Priidu Aardam Reio Blond Mikk Dede Ero Esko Olev Koit Grigori Rutškin Kuldar Schüts Erkki Targo Kaarel Telgmaa Margus Vaht Margus Vellmann Rihards Zari š

BARITONES Peeter Hillep Hanno Hint Ott Indermitte Rene Keldo Taavi Kendra Kristjan-Jaanek Mölder Hideyuki Nishimura Igor Nikiforov Andrus Poolma Alo Rammo Ants Reinhold Andrus Siimon BASSES Andres Alamaa Jüri Eensoo Rasmus Erismaa Arno Jürjens Taavi Kivi Ülo Krigul Aare Kruusimäe Geir Luht Mait Männik Juss Tamm Roland Viilukas ADMINISTRATION Indrek Umberg (Manager) Anu Huntsaar (Manager Assistant-editor) Rene Keldo (Administrator) Ülo Krigul (Stage Manager)

愛沙尼亞國家交響樂團 Estonian National Symphony Orchestra PRINCIPAL CONDUCTOR AND ARTISTIC DIRECTOR Neeme Järvi FIRST VIOLINS Arvo Leibur (Principal) Triin Ruubel (Principal) Kätlin Ivask Nina Kawaguchi Kristiina Kungla Kirti-Kai Loorand Astrid Muhel Hanna-Liis Nahkur Tõnis Pajupuu Merje Roomere Piret Sandberg Kaiu Talve Andrus Tork Tarmo Truuväärt Liis-Helena Väljamäe

SECOND VIOLINS Kaido Välja (Principal) Kadi Vilu (Associate Principal) Eeva-Liisa Ehala-Tammiku Johanna Marie Kork Miina Laanesaar Egert Leinsaar Kristjan Nõlvak Varje Remmel Urmas Roomere Mail Sildos Mari-Katrina Suss Marlis Timpmann

VIOLAS Rain Vilu (Principal) Liina Žigurs (Associate Principal) Helena Altmanis Mall Help Kaja Kiho Julija Makarina Martti Mägi Juhan Palm-Peipman Toomas Veenre Kristiina Välja

CELLOS Theodor Sink (Principal) Levi-Danel Mägila (Associate Principal) Riina Erin Joosep Kõrvits Katrin Oja Lauri Toom Margus Uus Maris Vallsalu

DOUBLE BASSES Mati Lukk (Principal) Janel Altroff Imre Eenma Madis Jürgens Xiaonan Nie Ants Õnnis

FLUTES Mihkel Peäske (Principal), Mari-Liis Vihermäe (Associate Principal), Linda Vood

TROMBONES Peeter Margus (Associate Principal) Väino Põllu Johannes Kiik

OBOES Aleksander Hännikäinen (Associate Principal) Heli Ernits Tõnis Traksmann

TUBA Madis Vilgats

CLARINETS Signe Sõmer (Principal) Soo-Young Lee Meelis Vind BASSOONS Peeter Sarapuu (Principal) Kaido Suss HORNS Kalervo Kulmala (Principal) Ye Pan (Principal) Kalmer Kiik Tõnu Künnapas Valdek Põld TRUMPETS Indrek Vau (Principal) Erki Möller (Associate Principal) Istvàn Baràth Ivar Tillemann

HARP Assia Cunego PERCUSSION Madis Metsamart (Principal) Rein Roos (Associate Principal) Kaspar Eisel Vambola Krigul Gertrud Leopard ADMINISTRATION Kristjan Hallik (General Manager/Member of the Board) Daily Trippel (Production Manager) Marko Metsaru (Orchestra Manager) Anastassia Dratšova (Sales and Communications Manager) Jüri Korjus (Stage Manager)

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

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

嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member

怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

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

青銅會員 Bronze Members

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

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

•Pro Helvetia •Spanish Ministry of Culture

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

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

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

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

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

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

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

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

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

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

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

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

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

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•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

MORE THAN GREAT PERFORMANCES!

演出以外，更多精采！

FAMILY FUN DAY 家庭同樂日

EDUCATION PROJECT 教育項目

BACKSTAGE TOUR 後台參觀

PRE-PERFORMANCE TALK 演前講座 WORKSHOP 工作坊

ARTIST SALON 藝術家沙龍

POST-PERFORMANCE MEET-THE-ARTIST 演後藝人談 MASTERCLASS 大師班

And many more...

及更多精采活動……

hk.artsfestivalplus.org

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