Monteverdi’s Il Ritorno d’Ulisse (The Return of Ulysses)- 51st Hong Kong Arts Festival

第五十一屆香港藝術節隆重舉行，可 喜可賀。

逾半個世紀以來，藝術節每年均呈獻 多姿多彩的文藝節目，由古典音樂、 歌劇、戲劇，以至舞蹈、多媒體項 目等，包羅萬有，令觀眾大飽眼福。

今屆藝術節以《收音機與茱麗葉》及 《春之祭》芭蕾舞表演揭開序幕，兩 齣經典作品經由著名編舞家愛德華· 克魯格重新編排，加上斯洛文尼亞 國家歌劇院馬里博爾芭蕾舞團傾力演 出，萬眾矚目；約五星期後，歐洲頂 尖交響樂團—德國班貝格交響樂團將 登台獻技，為今年藝術節畫上圓滿句 號。其間上演的焦點節目還有： 國 際星級女高音安娜·涅翠柯與丈夫男 高音尤西夫·伊瓦佐夫聯袂表演的音 樂會；由藝術家威廉·肯特里奇精心 製作、南非木偶劇團和比利時里切卡 爾古樂團奇妙演繹的蒙特威爾第歌劇 《尤利西斯歸鄉記》；由芭蕾天后娜塔 麗亞·奧斯波娃領銜主演的芭蕾巨 星之《「世」不可擋》及傳奇舞姬之 《趾尖》；以及國際鋼琴大賽冠軍劉曉 禹的演奏會。

藝術節向來十分重視本地演藝人才， 致力讓他們一展才華。今屆藝術節亦 會上演多個粵劇節目，包括《竹林愛 傳奇》、「毛俊輝．粵劇情」、《畫皮》 (精新版)，以及「短篇粵劇—戲說 八德」； 並帶來其他本地作品，包括 《飯戲攻心》踏台版、《末戀．無愛合 約》、舞蹈歌劇《兩生花》等等，定 必精彩萬分，不容錯過。

大眾還可通過藝術節，體驗繽紛的藝 術魅力。法國食蟻獸沉浸式藝術工作 室創作的《第一步》，會邀請觀眾互 動共舞；在大館舉行的一系列免費藝 術科技節目，以及「無限亮」計劃， 亦會讓公眾參與其中。「無限亮」計 劃由本地和海外不同能力的藝術家擔 綱演出，鼓勵青少年衝破界限，探索

行政長官的話 MESSAGE FROM THE CHIEF EXECUTIVE

I would like to congratulate the Hong Kong Arts Festival on the organisation of its 51st edition.

For more than half a century now, the Arts Festival has enthralled audiences with a superb annual programme of arts and culture performances embracing classical music and opera, theatre, dance, multimedia and a great deal more.

This year’s Arts Festival programme opens with the Slovene National Theatre Maribor’s ballet performances of Radio and Juliet and Le Sacre du Printemps, two classics re-imagined by celebrated choreographer Edward Clug. It closes, nearly five weeks later, with a concert by Germany’s Bamberg Symphony, one of Europe’s greatest orchestras. Other highlights include Anna Netrebko, one of the world’s great sopranos, performing with her husband, tenor Yusif Eyvazov; artist William Kentridge’s remarkable production of Monteverdi’s opera, Il Ritorno d’Ulisse, brought to life by South Africa’s Handspring Puppet Company and Belgium’s Ricercar Consort periodinstrument ensemble; Ballet Superstars’ Force of Nature and Legendary Ballerina

新知。「香港藝術節青少年之友」計 劃同樣以豐富年輕人的體驗為目標， 籌備了多場學校巡演、演前工作坊和 特備節目。「加料節目」的創意活動 則把全港觀眾與藝術家連繫起來，讓 藝術文化遍及社區。

我感謝香港藝術節盡心竭力推廣藝術 文化，協助推動香港發展為中外文 化藝術交流中心。我亦感謝一眾贊 助商和捐款人慷慨襄助，令藝術節精 彩紛呈。

今年的藝術盛宴每場表演均可貴可 喜，大家定能盡情享受，樂在其中。

in Two Feet featuring supreme ballerina Natalia Osipova; and concerts by the international award-winning piano virtuoso Bruce Liu.

As always, the Festival shines a spotlight on standout artists from Hong Kong. This year’s Cantonese opera offerings include Love in the Bamboo Grove, Cantonese Opera Classics Circa 2023, The Painted Skin (Refined Edition) and Virtues and Morality—Four Cantonese Operas. Local productions including Table For Six on Stage, Loveless Romance and Love Streams are sure to be among this year’s Festival highlights.

Several programmes invite public participation as well, including the First Steps participatory dance performances staged by France’s Tamanoir Immersive Studio, as well as Tai Kwun’s free series of arts tech productions and the Festival’s No Limits programme, led by local and international artists of varying abilities. No Limits’ offerings emphasise youth exploration, as does the Young Friends of the Hong Kong Arts Festival with its school tours, preperformance workshops and special programming. And then there is the Festival PLUS creative activities that bring artists and audiences together in communities throughout Hong Kong.

I am grateful to the Hong Kong Arts Festival for its inspired commitment to the arts and to Hong Kong’s continuing rise as an East-meets-West centre for international cultural exchange. My thanks, as well, to the Festival’s many generous sponsors and donors.

I know you will treasure every performance, every moment, of this year’s Hong Kong Arts Festival.

John KC Lee Chief Executive Hong Kong Special Administrative Region

歡迎閣下蒞臨第 51 屆香港藝術 節。隨着香港走出疫情的陰霾，藝 術節再度匯聚本地及世界各地的頂 尖藝術家，呈獻一連串精采的現場 表演。儘管網絡世界無遠弗屆， 親身觀賞演出的體驗依然是無可取 替。今日，我很高興能夠與大家 聚首一堂，共同體驗現場表演的 震撼力。

藝術節得以順利舉辦，有賴社會各 界的慷慨支持。我在此感謝香港 特別行政區政府透過康樂及文化事 務署的年度恆常撥款，為藝術節的 長遠工作奠下根基。我亦非常感 激香港賽馬會慈善信託基金的持續 支持，以及一眾企業贊助、慈善基 金會和個人捐助者的貢獻。我更要 向參與藝術節的藝術家表達由衷謝 意，尤其是早前因疫情而無奈取消 演出、但於今屆願意再度與我們合 作的藝術家。

另外，過去三年，藝術節團隊在充 滿不確定因素的環境下努力不懈， 克服種種難關，繼續為觀眾送上線 上線下的精采節目。我在此向團隊 的每一位成員致謝。

觀眾的支持及參與對藝術節至關重 要。感謝您前來欣賞今日的演出， 希望藝術節的節目能夠為您帶來喜 悅與希望。

主席的話 MESSAGE FROM THE CHAIRMAN

I am delighted to welcome you to the 51st edition of the Hong Kong Arts Festival. As the city recovers from the disruption of the pandemic, the Festival is returning with an array of live performances featuring top-notch artists from Hong Kong and across the world. Despite the boundless possibilities offered by the internet, attending performances in person remains an irreplaceable experience. It gives me great pleasure to share this collective experience with you today.

The Festival is made possible by the generosity of our supporters.

I wish to thank the HKSAR Government, via the Leisure and Cultural Services Department, for the annual subvention which underpins our long-standing work. I am also grateful for the ongoing contributions from The Hong Kong Jockey Club Charities Trust, as well as corporate sponsors, charitable foundations and individual donors. My sincere thanks go

to the participating artists for their dedication to bringing the best to our audiences, especially those returning after previous cancellations due to the pandemic.

I also want to thank the dedicated staff of the Festival who have worked extremely hard to overcome numerous challenges during the uncertainties of the past three years. Last but not least, the Festival counts on the support and participation of each member of the audience. Thank you for joining us at today’s performance. I hope that our programmes will bring you much joy and hope for the future.

Victor Cha Chairman Hong Kong Arts Festival

香港藝術節主席 查懋成

我謹代表藝術節團隊，歡迎閣下蒞 臨第 51 屆香港藝術節。

經歷了過去幾年疫情的影響，今年 藝術節以「回賞．前行」為題，表 達了我們隆重回歸舞台的決心。憑 着五十年來的努力，香港藝術節成 為了地區首屈一指的文化盛事，確 立了在國際間的重要地位。我們很 榮幸能夠繼往開來，並繼續在多方 面力求進步，與時俱進。在第 51 屆藝術節中，我們全新演繹大師傑 作、建立跨界合作、委約原創作 品，進一步發掘新的創作視野。這 些嘗試都展現了表演藝術的維度和 無限可能性，讓我們在探索的旅途 中向前邁進。

除了出色的表演，藝術節亦舉辦 了一系列「加料節目」，令觀眾對 演出作品有更深入的認識，豐富觀 賞體驗。我們亦繼續大力投資於 藝術教育，希望透過多元的外展活 動，以高質素的表演啟發香港的年 輕一代。

藝術節正式踏入第二個五十年，我 們將抱持樂觀的態度和更大的勇氣 面對未來的各種挑戰。希望您能夠 與我們同行，並喜歡藝術節為您準 備的節目。

行政總監的話

On behalf of the Festival team, I would like to extend to you a heartfelt welcome to the 51st Hong Kong Arts Festival.

Our theme this year, “Coming Back, Moving Forward”, represents our determination to come back in full force after several years of uncertainties caused by the pandemic. After five decades of hard work and dedication, the Festival has established itself as a premier arts event in the region and an important international arts festival. We are honoured to carry this legacy forward, while advancing our multifaceted work to stay relevant in the present. In the 51st edition, we discover creative voices through new renditions of masterpieces, cross-disciplinary collaborations and commissioned productions— all of which showcase the breadth and endless possibilities of the performing arts, taking us one step

forward in this journey of exploration. Beyond exceptional performances, we are also offering a series of auxiliary PLUS programmes to enhance audience engagement and provide deeper insights into our programmes. Our strong commitment to arts education is seen in the extensive outreach activities aimed at inspiring the younger generation of Hong Kong through promoting quality arts.

The Festival steps into the second half of its first centenary with both optimism and renewed courage to bravely face the great challenges ahead. I hope you will stay close with us and be inspired by what the Festival has to offer.

香港藝術節資助來自：

The Hong Kong Arts Festival is made possible with the funding support of:

Flora Yu

Executive Director

Hong Kong Arts Festival

MESSAGE FROM THE EXECUTIVE DIRECTOR

香港藝術節 HONG KONG ARTS FESTIVAL

扎根香港的國際藝壇盛事 聯繫中國與世界

An International Arts Festival in Hong Kong Connecting China and the World

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，2022/ 23 財政年度預計收

入（包括第 51 屆香港藝術節及 2023 年「無限亮」）約港 幣一億五千萬，當中香港特區政府的年度撥款佔總收入約 18%，另外約 24%需來自票房收入，約 43%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 下的約 15%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、萊比錫歌劇院、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、趙成 珍、古斯塔沃 • 杜達美、菲力普 • 格拉斯、馬友友、 丹尼斯 • 馬祖耶夫、安娜 • 涅翠柯、詹安德列亞 • 諾 斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿迪 • 羅傑 斯特汶斯基、譚盾、湯沐海、克里斯蒂安 泰利曼、倫 敦交響樂團、NHK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

• 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、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團—約 翰．紐邁亞、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

• 戲劇：彼得 • 布祿克、羅伯特．利柏殊、蜷川幸雄、羅 柏特 • 威爾遜、柏林劇團、中國國家話劇院、皇家莎士 比亞劇團

• 大型特備節目：《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，並致力為新進藝術 家提供展示才華的平台。藝術節至今委約及製作逾 250 套 本地全新創作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈 作品，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《鼠疫》、《陪着你走》、《百花亭贈劍》、《香 港家族》三部曲、《世紀

The 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.

The HKAF is a non-profit organisation. The total estimated income for FY2022/23 (including the 51st Hong Kong Arts Festival and 2023 “No Limits”) is approximately HK$150 million. Current Government annual funding accounts for around 18% of the Festival's total income. Around 24% of the Festival’s income needs to come from the box office, and around 43% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:

• Western opera: Bavarian State Opera, Oper Leipzig, 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, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK 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, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

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

• Large-scale special events: World of Wearable Art, Zingaro

• Outdoor events: Power Plant, Super Pool, Chorus

The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.

The 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

香港》、《炫舞場》、《大同》、 《金蘭姊妹》、《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 30 年來，已為逾 810, 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。

香港藝術節亦銳意將共融藝術理念拓展到社區每一角落。 由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限

2019 年正式開展，透過一系列的演出及多元的 教育及社區外展節目，「無限亮」致力創造共融空間，讓不 同能力人士均可以一同欣賞、參與、擁抱藝術。

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 co-commissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

The HKAF invests heavily in arts education for young people. Over the past 30 years, our “Young Friends” scheme has reached over 810,000 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.

The 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.

The HKAF actively promotes inclusiveness and understanding via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.

The HKAF officially launched the Hong Kong Arts Festival Foundation in 2022 to provide greater financial security and longterm sustainability for the Festival. Donations to the Foundation will help the Festival to present large-scale projects which its annual budget cannot cater for. (2023

香港藝術節為創造更穩健的財政環境以及確保藝術節的長期 可持續性，於 2022 年成立香港藝術節基金會，旨在讓藝術 節得以在未來進行年度預算以外的大型特別項目。

*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 https://w2.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2021.html

誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。

To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.

香港藝術節協會 2022 ／ 23 年度預計收入來源（約港幣一億五千萬）

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

Estimated Income Sources for Hong Kong Arts Festival Society in FY 2022/ 23 (Approximately HK$150 Million)

香港藝術節

HONG KONG ARTS FESTIVAL

感謝 would like to thank

贊助 for sponsoring

The 10 Mar Performance of Monteverdi's

Il Ritorno d'Ulisse (The Return of Ulysses) as part of

The Hong Kong Jockey Club Series

「香港賽馬會藝粹系列」之 蒙特威爾第

蒙特威爾第 《尤利西斯歸鄉記》

MONTEVERDI’S

IL RITORNO D’ULISSE

(THE RETURN OF ULYSSES)

10-12.03.2023

10-11.03.2023 / 07:45pm

12.03.2023 / 02:45pm

香港文化中心大劇院

Grand Theatre, Hong Kong Cultural Centre

演出長約 1 小時 40 分鐘，不設中場休息

Approximately one hour and 40 minutes with no interval

敬請關掉所有響鬧及發光裝置

Please switch off all sound-making and light-emitting devices

本場刊採用環保紙張印刷

This programme is printed on environmentally friendly paper

所有作品內容均由主辦單位/ 創作團隊獨立製作，並不代表贊助機構之立場或意見。

請勿擅自攝影、錄音或錄影

Unauthorised photography or recording of any kind is strictly prohibited

如不欲保留本場刊，請於完場後放入場地的回收箱

If you don't wish to keep this booklet, please return it at the admission point

The content of all works is independently produced by the organiser/creative team, and does not reflect the views or opinions of the Sponsor.

封面照片 Cover Photograph ©John Hodgkiss

© Alfonso Salgueiro

蒙特威爾第《尤利西斯歸鄉記》 Monteverdi’s Il Ritorno d’Ulisse (The Return of Ulysses)

作曲

Composer

蒙特威爾第 Claudio Monteverdi

導演及動畫師

Director and Video Animator

威廉．肯特里奇

William Kentridge

復排助理導演 Assistant Director of the Revival

盧克．狄．維特 Luc de Wit

燈光設計及技術總監

Lighting Designer and Technical Director

衛斯理．法蘭斯 Wesley France

動畫助理

Animation Assistants

安妮．麥伊萊雲 Anne McIlleron 妮娜．加布爾 Nina Gebauer

歌唱家 Singers

富里奧．扎拿士（男高音）

飾 尤利西斯/ 人性的脆弱

Furio Zanasi (Tenor) as Ulisse (Ulysses) / L'humana fragilità (Human Frailty)

哈馬絲特倫（女中音）

飾 潘妮洛佩

Kristina Hammarström (Mezzosoprano) as Penelope

安娜．贊德（女中音）

飾 命運 / 安菲諾摩斯/ 梅蘭朵

Anna Zander (Mezzo-soprano) as Fortuna (Fortune)/ Anfinomo (Amphinomus) / Melanto (Melantho)

文本 Librettist

賈科莫· 巴杜阿羅（改編自荷馬史詩《奧德賽》） Giacomo Badoaro, after Homer

音樂總監及編曲

Music Director and Music Arranger

菲臘．皮爾洛 Philippe Pierlot

舞台設計 Set Designers

威廉．肯特里奇 William Kentridge

阿德里安．哥勒（南非木偶劇團） Adrian Kohler from Handspring Puppet Company

木偶及服裝設計

Puppet and Costume Designers

阿德里安．哥勒（南非木偶劇團）

Adrian Kohler from Handspring Puppet Company

圖像及錄像研究

Picture and Video Research

蓋爾．貝伊曼 Gail Behrmann

諾威利（男高音）

飾 鐵雷馬科斯/ 比桑特

Jean-François Novelli (Tenor) as Telemaco (Telemachus) / Pisandro (Peisander)

安東尼奧‧亞比底（男低音)

飾 時間 / 安提諾斯/ 涅圖羅（波賽

頓）

Antonio Abete (Bass) as Tempo (Time) / Antinoo (Antinous) / Nettuno (Poseidon)

漢娜．芭尤迪- 赫特（女高音）

飾 愛情/ 密涅瓦（雅典娜)

Hanna Bayodi-Hirt (Soprano) as Amore (Love) / Minerva (Athena)

維托．索多（男高音）

飾 尤米特/ 祖斐（宙斯）

Victor Sordo (Tenor) as Eumete (Eumaeus) / Giove (Zeus)

監製 Executive Producer

巴司．瓊斯（南非木偶劇團） Basil Jones from Handspring Puppet Company

錄像剪接 Video Film Editor

凱瑟琳．梅博 Catherine Meyburgh

樂師 Musicians

里切卡爾古樂團

The Ricercar Consort

菲臘．皮爾洛 古提琴及音樂總監

Philippe Pierlot

Viola da gamba and Musical Director

安娜．勒徹伊 古提琴

Anna Lachegyi Viola da gamba

喬凡娜．佩西 巴羅克豎琴

Giovanna Pessi Baroque harp

上村かおり 古提琴

Kaori Uemura Viola da gamba

克樂蔓斯．舒爾茲 古提琴

Clémence Schiltz Viola da gamba

丹尼爾．扎比高 大魯特琴

Daniel Zapico Theorbo

帕布路．扎比高 大魯特琴和結他

Pablo Zapico Archlute and guitar

木偶師 Puppeteers

南非木偶劇團

Handspring Puppet Company

勃思．祖古法

Busi Zokufa

魏道揚

Enrico Dau Yang Wey

舞台監督及影像控制 Stage Manager and Video Operator 藝蓮．謝普特 Erin Shepherd

中文字幕翻譯 Chinese Surtitles Translation 曾偉奇 Ricky Tsang

藝術節加料節目

展覽 Exhibition

歌劇《尤利西斯歸鄉記》製作解碼 The Making before The Return

01-19.03.2023 (9AM-11PM)

香港文化中心大堂展覽場地 E3 Foyer Exhibition Area E3, Hong Kong Cultural Centre

加比埃利．馬尚

Gabriel Marchand

喬恩．瑞斗伯格

Jon Riddleberger

瑞秋．里奧納

Rachel Leonard

舞台監督 Stage Manager

赫爾曼．索盧斯 Herman Sorgeloos

字幕控制 Surtitles Operator

鍾穎琛 Chung Wing-sum

講座 Talk

呼吸，讓木偶栩栩如生 Breathing brings Puppets to Life

12.03.2023 12PM-1PM

香港文化中心平台工作室 Podium Workshop, Hong Kong Cultural Centre

講者：阿德里安‧哥勒、巴司‧瓊 斯

Speakers: Adrian Kohler and Basil Jones

巡演經理 Tour Manager 羅薩妮‧甘佩魯 Roxani Kamperou

講座 Talk

演唱蒙特威爾第 About Singing Monteverdi

11.03.2023 11:30AM-12:30PM

香港演藝學院演奏廳

Recital Hall, The Hong Kong Academy for Performing Arts

講者：菲利普‧皮爾洛及歌唱家漢 娜．芭尤迪- 赫特

Speaker: Philippe Pierlot and singer, Hanna Bayodi Hirt

更多節目詳情

獨家贊助 Solely Sponsored by

故事大綱 Synopsis

序幕

場景設於 20 世紀中葉的約翰內斯堡，尤利西斯 不再在伊薩卡。他躺在約翰內斯堡醫院的病床上 回憶過往，等待死亡的到來。一眾醫生和賓客圍 繞手術室正中央輪床上的病人，代表着時間、命 運和愛情，他們左右和影響這人的生命，調侃着 人性的脆弱。

Prologue

Set in mid-20th-century Johannesburg, Ulisse (Ulysses) is no longer in Ithaca. Instead, he lies reminiscing in a hospital bed in Johannesburg before death comes greet him. Doctors and their guests gather around a patient on a gurney in the centre of the theatre. Representing Time, Fortune and Love, they taunt Human Frailty with their power and influence over this human life.

第一幕

獨居在伊薩卡宮殿的潘妮洛佩，是一個哀傷而孤 獨的王后。二十年來，她一直等待着丈夫尤里 西斯的歸來。當年特路伊人拐走海倫，尤里西 斯離開潘妮洛佩，向特洛伊人尋仇。離鄉遠赴 特洛伊的丈夫尤利西斯歸來。她祈求眾神把夫婿 帶回家。

眾神在爭論着尤利西斯的命運。海神涅圖羅（波 賽頓）不斷阻撓尤利西斯返回伊薩卡，而祖斐 （宙斯）則比較寬大為懷。

床上的男人輾轉反側。不知是死是活的病人嘗試 站起來，但又倒下去。

女神密涅瓦（雅典娜）來護佑尤利西斯，讓他別 忘了忠貞的妻子潘妮洛佩，並說她會把尤利西斯 變成一個乞丐，好讓他回到伊薩卡。

重新獲得力量後，這個「幸運的」尤利西斯，站 起來，走出醫院，走到故里群山之中。

潘妮洛佩正在編織掛毯，也請求眾神如她的願。

梅蘭朵嘗試說服主母，說尤利西斯已死，只有在 眾多追求者中選一人，才會獲得新的愛情。王后 向追求者許諾，說織好掛毯後，便會考慮再婚。

但她每日都會毁掉剛織好的掛毯。

牧羊人尤米特遇到化身為蹣跚老者的尤利西斯。

他告訴尤米特尤利西斯還在生，並很快會再現大 眾眼前。

Act 1

Penelope, alone in the palace on Ithaca, is a sad and lonely queen. For 20 years she has waited for her husband, Ulisse, who left her to avenge the abduction of Helen by the Trojans.

The Gods are in dispute over Ulisse’s fate. Neptune (Poseidon) has repeatedly prevented him from landing back on Ithaca, while Giove (Zeus) takes a more conciliatory position.

The man on the bed stirs. Unsure of whether he is dead or alive, the patient attempts to stand up but collapses.

The goddess Minerva (Athena) arrives to protect him. She reminds him of faithful Penelope and says she will land him on Ithaca disguised as a beggar.

With renewed strength, the man, now “fortunate” Ulisse, rises and walks out of the hospital and into the hills of home.

Penelope is weaving a tapestry and asks the Gods to satisfy her desires. Melanto (Melantho) tries to convince her that Ulisse is dead and that new love will come only if she chooses one of her many suitors. The queen has promised her suitors that she will consider marriage once her tapestry is finished. Then she destroys it again, as she does every day.

Eumete (Eumaeus), the shepherd, meets Ulisse in the guise of a hoary old man. He tells Eumete that he knows Ulysses is alive and will re-appear soon.

第二幕

潘妮洛佩與尤利西斯的兒子鐵雷馬科斯，乘着密 涅瓦的飛天馬車，回到家鄉伊薩卡。

尤米特喜見鐵雷馬科斯平安歸來。鐵雷馬科 斯離開後，尤米特帶着滿腹懷疑的尤利西斯回 家休息。

尤利西斯暫時卸下他的偽裝，讓鐵雷馬科斯相 信眼前人就是他的父親。在尤利西斯變回老人 前，兩父子快樂團圓。他送鐵雷馬科斯回宮去 見母親。

梅蘭朵對追求者說，鐵石心腸的潘妮洛佩不會 理會追求者。

三位追求者安提諾斯、比桑特和安提諾斯勸潘妮 洛佩接受愛情，不要再愁苦獨活。潘妮洛佩逐個 對他們說，她不能再去愛人。苦痛和悲哀是愛情 的敵人。

一眾追求者擔心，若果尤利西斯回來，他們對潘 妮洛佩的心意會傳到他的耳中。

尤利西斯為眾神站在他的一方而高興，雅典娜說 她會把比試招親的念頭，放進潘妮洛佩心中，這 樣便可收拾一眾追求者。

尤米特向尤利西斯宣告，宮中已經盛傳他將出現 大眾眼前，令一眾追求者十分恐慌。

一眾追求者向潘妮洛佩獻上禮物，潘妮洛佩欣 然接受，並提出將下嫁能為尤里西斯的良弓上 弦之人。

尤利西斯到場，輕易為弓上弦，然後殺死所有 追求者。

Act 2

Telemaco (Telemachus), son of Penelope and Ulisse, returns home to Ithaca on Minerva’s airborne chariot.

Eumete rejoices at his return. Telemaco exits and Eumete brings Ulisse, full of doubt, to rest at his home.

Ulisse momentarily drops his disguise to prove to Telemaco that he is his father. A joyful reunion takes place before Ulisse disguises himself once more. He sends Telemaco to his mother at the palace.

Melantho reports that Penelope has a heart of stone and will not budge with regard to the suitors.

Suitors Antinoo (Antinous), Pisandro (Peisander) and Anfinomo (Amphinomus) try to persuade Penelope to consider love as an alternative to sad solitude. Penelope repeats to each that she cannot love. Affliction and grief are the enemies of love.

The suitors are worried that their affection for Penelope might somehow reach the ears of Ulisse if he returns.

Ulisse relishes the fact that heaven is on his side and Minerva says she will plant the idea of a game in Penelope’s mind that will lead to the downfall of the suitors.

Eumete announces to Ulisse that news of his possible appearance has spread to the palace. The suitors are in a panic.

The suitors bring gifts to Penelope which she graciously accepts and then proposes the game. Penelope declares that whomever can string Ulisse's mighty bow will be her husband.

Ulisse arrives and strings it with ease, then he kills the suitors.

第三幕

即使尤米特和鐵雷馬科斯不斷保證，潘妮洛佩 依然抱有懷疑，不能相信這個陌生人就是尤 利西斯。

潘妮洛佩在宮中遇到尤利西斯，但不容他接近， 指斥他是一個術士、巫師。隨着尤利西斯說出 只有他知曉的事——潘妮洛佩床單上繡的是女神 戴安娜，潘妮洛佩終於確認眼前人真的是尤利西 斯。在夫妻團圓擁抱之時，躺在醫院病床上的 那個男人也就死了。

Act 3

Penelope is wracked with doubt despite assurances from Eumete and Telemaco that the stranger is Ulisse.

Penelope encounters Ulisse in the palace bur she won’t let him near her, calling him a magician and an enchanter. But at last she recognises him because he knows what no other man knows, that the image woven on her bedspread is the Goddess Diana. As they embrace, the man on the hospital bed below them dies.

阿德里安・哥勒

《尤利西斯歸鄉記》的 1998 年版本由比利時皇家

鑄幣局劇院聯同南非木偶劇團、維也納藝術節以 及比利時布魯塞爾藝術節共同製作，並獲得法蘭 德斯政府慷慨支持。

2016 年版本則由巴黎第四紀創意代理監製，並在 南韓國立亞洲文化殿堂藝術劇場、紐約林肯中心 白光音樂節以及德國波茲坦無憂宮音樂節支持下 重新上演。

The 1998 version of Il Ritorno d'Ulisse was produced by La Monnaie/De Munt (Brussels, Belgium), Handspring Puppet Company (Cape Town, South Africa), Wiener Festwochen (Vienna, Austria), Kunsten FESTIVAL des Arts (Brussels, Belgium) with generous support of the Flemish Government.

The 2016 version was produced by Quaternaire/Paris and restaged with the support of Asia Culture CenterAsian Arts Theatre (Gwangju, South Korea), the Lincoln Center’s White Light Festival (New York City, USA) and Musikfestspiele Sanssouci und Nikolaisaal (Potsdam, Germany).

©Adrian Kohler, 2023.

在我的創作中，我繪畫和使用 不同身體顯影技術的圖片一段 時間了。這些技術包括 X 光、 電腦斷層和聲納掃描，還有磁 力共振成像。 雖然圖像不是它 們出現的電影或劇場作品的主 題，但它們都是這些作品中重 要的一部份。

這些圖片有兩處來源，對我來 說，都一樣的平常、沉悶。 它們在我家中俯拾皆是，就 在我太太的教科書和醫學期刊 當中。我並沒有主動去尋找 它們，而都是剛巧碰到的現 成事物。

第二樣同樣的沉悶的是，它們 具有吸引人繪畫的能力。它們 與繪畫的過程半途接軌。這些 圖像都是半畫好的，只剩黑與 白或不同調的灰色。X 光圖片 中灰濛濛的變化，聲納掃描的 細微記號、磁力共振成像如圖 像般的一目了然等等。不能說 是不費吹灰之力，但都可自然 而然的以紙和碳重現。碳筆鈍 而短小的刻畫，可以造出聲納 的記號、碼點和線條； 一抺碳 粉，則直接重現了 X 光圖片。 若是用油彩、筆墨去做的話， 反而會失真。

尤利西斯：序幕 歌劇《尤利西斯歸鄉記》忠於 荷馬史詩原著，講述尤利西斯 在特洛伊戰爭後還鄉，在伊薩 卡宮殿驅逐纏繞妻子潘妮洛佩 的一眾追求者，最後和潘妮洛 佩夫妻重聚的故事。蒙特威爾 第和他的作詞人巴杜亞羅為故

事新添了一齣序幕，其中人性 的脆弱、時間、命運和愛情的 化身，正為尤利西斯的命運起 爭執。正正就是序幕的中心主 題和形象——人是脆弱的，而 不是英雄蓋世的，吸引了我去 執導這齣歌劇。歌劇中無論文 字還是音樂，都在尤利西斯會 戰勝一切的樂觀主義，和一切 將難以克服的悲觀主義之間搖 擺。序幕為歌劇定調，亦建立 起以身體為主題的意像，它們 在歌劇中會一再出現。

這齣歌劇的製作過程大約歷時 一年，其中八個月用來繪圖和 電影剪接。同一時間，南非木 偶劇團的阿德里安．科勒負責 設計和雕刻木偶，菲臘・皮爾 洛和我則着手剪輯歌劇，集中 減少木偶師需要控制木偶的時 間，以及突出人類的脆弱與英 雄主義的主題。接下來便是數 個月在約翰內斯堡與木偶師的

綵排，以及全體人員在布魯塞 爾的綵排。

我們認識的和我們見到的 在製作《尤》時，我有一次帶 着五歲的外甥去照胸腔 X 光 片。孩子站在 X 光儀器前面， 儀器旁邊的錄影屏幕可以用來 檢查姿勢。屏幕上可以看到孩 子在移動的骨骼： 那樣幼細的 鎖骨、起伏的脊椎，下顎中不 僅看到孩子的乳齒，還有他骨 頭中等待面世的恆齒。

成長的脆弱性，以及其進程， 都在持續轉化。這些我們都知 道。屏幕做到的，是把我們 知道的東西顯影出來。錄像顯 影的不獨是身體的內部結構， 而是一連串看不到的過程與聯 想。（我們看到的與我們知道 的，兩者之間的游移，對我來 說正是藝術家和電影製作人的 創作所在。)

©Alfonso Salgueiro

尤利西斯：被繪畫與被割裂的身體

在歌劇序幕重新出現的身體影 像，這些聲納、X 光、磁力共 振、電腦斷層掃描圖像，與身 體的外觀圖象和解剖繪畫，或 是身體的解剖相片都不一樣。 它們的特性讓它們始終是內在 圖像。無論你解剖得再深，你 永遠都不能找到聲納得出的影 像，因為它本來就已是一個譬 喻。它是內在的訊息，我們或 者能夠理解它，但永遠不能掌 握它。它與外界隔絕，就像從 遙遠與未知的地方而來的報告。

相對來說，一年前由火星傳 送回地球的相片卻是那麼的熟 悉。這火星的風光我見過，就 在約翰內斯堡和開普敦中間， 科爾斯堡外邊的乾燥台地。我 曾經畫過這道風景。火星令人 驚奇的是，它與我們附近的地 方是那麼相似。但我們的體內 世界，卻如遙遠的星球一般， 是我們的目光所不熟悉的。 我們不能使用熟悉的世界的攝 影圖像，而需要透過密碼去理 解。這使得一切更加遙不可 及，（這亦可能是成像儀器技術 的效果，但這不是這篇文章要 討論的部份）這點對我來說， 倒是更為準確和合宜地表現我 們與身體之間的關係的方法。

牧養一頭頑牛

我們與身體有着不自在的關 係。約翰‧厄普代克說我們是 「自己身體的牧人，我們的身體 是像牛一般，又鈍又禿又討厭 的野獸。」我們推它們前行，希 望它們不會突然自己離去、跳 過柵欄、遊蕩到高速公路之上。

他們是屬於我們的，但亦是 他者。馬查多‧德‧阿西斯 在他的傑作《小勝利者的墓誌 銘？》中，便用上不同的方式 去形容。正在老去的英雄正在 派對之中。

我回到舞廳中，跳着波爾卡 舞，在燈光、鮮花、明眸和 低聲細語中沉醉着。我再次變 得年輕。但半個小時後，當我 在凌晨四點離開舞會時，你覺 得在我的馬車中等着我的是什 麼？我那五十年的歲月。它們 就在那裏，不請自來，不是因 為寒冷或風濕而無知覺，而是 因為疲憊而打盹，想要回家、 想要睡覺。

體內的閃電

製作準備的其中一部份，包 括觀看一系列 醫學錄影。手 術、鋇餐、胃鏡、心臟血管造 影、關節鏡等等。對我來說其 中一樣最特別的，是心臟血管 造影： 染料被泵進血心臟附近 的血管的 X 光圖像。隨着一下 心跳、一下脈動，染料瀰漫血 管，把那參差的血管枝節都染 黑。我一直以為血管會符合流 體力學地彎曲，或者至少在設 計上更符合人體工學。

但我們的器官就是如此不規 則、枝椏是如此參差。這段錄 影一直在塵封在剪接房一隅， 等待它的時機。在這部歌劇， 很早便用上了它。眾神之王祖 斐（宙斯) 插手尤利西斯的事和 命運時，就在歌者唱到：「我放 出雷霆閃電」之時，我們便投 影這段如一道閃電般的影像，

但其實這是心臟血管造影，是 一道在身體內劃過的閃電。

向眾神奠酒

這就是我們現今的狀況。我們 不再敬畏希臘諸神，但仍然被 影響我們的力量左右。對於我 們控制之外的世界，若想要得 到庇佑，我們必須奉上犧牲、 致奠祭酒，現在這些都成了內 在的事。在發明避雷針後，我 們再沒以前那樣害怕祖斐（宙 斯) 的閃電，但仍然活在體內 閃電的陰影之下，我們盡力 去避免心臟病或其他內在的病 變。我們當然可以嘗試去安撫 五內，但最後我們都聽任它們 發落，亦會被他們摧毁。

因此我們不再在神殿焚香祭 奠，而是每日虔誠地去健身房 敬拜跑步機或踏步機（又或者 索性不去，惹眾神發怒）。我 們吞服我們的奉獻，我們的鈣 片、抗氧化劑； 我們齋戒： 不 吃牛油、不吃紅肉、不吸煙 （又或者索性不戒口，自找滅 亡、讓世界聲討撻伐這褻瀆神 靈的人）。

我們無論內外，都暴露在危險 之中。內外也是難分。內外閃 電那微細的分界線，到底在哪 裏呢？這個吊詭的問題成為了 這次創作的主題，在這重脆弱 性的對立面，便是尤利西斯與 一眾神話英雄神話般的勇氣。

威廉．肯特里奇

寫於 2003 年 10 月

For some time now I have been drawing and using in my films, pictures based on different body imaging techniques. These range from X-rays to CAT- and sonar scans, and magnetic resonance images. While these images themselves have not been the subject of the films or pieces of theatre they have appeared in, they have been central to them.

The origin of the images is twofold and I think twofold banal. The images were around the house, present in the textbooks and medical periodicals of my wife. They were not hunted out, rather stumbled over as found objects.

But secondly, equally dumbly, was their appeal to be drawn. They met the drawing process halfway. These images are already halfdrawings, the reduction to black and white, and tones of grey. The smoky transitions in X-rays, the discrete marks of a sonar scan, the diagrammatic clarity of an MRI all translate if not effortlessly, then certainly naturally into charcoal and paper equivalents. The blunt stubby marks of a stick of charcoal makes of itself the marks, codes dots and dashes of a sonar, a brush of charcoal dust is an immediate transliteration of an X-ray. To do the same in oil paint, or pen and ink, would be an act of dissimulation.

Ulisse: a prologue

The opera Il Ritorno d’Ulisse follows Homer closely and recounts Ulisse’s return after the Trojan war, his routing of

the suitors who have besieged Penelope in the palace on Ithaca, and his reuniting with Penelope. What Monteverdi and his librettist Badoaro added was a prologue in which the attributes of Human Frailty, Time, Fortune and Love dispute over what will happen to Ulisse. It was this prologue with its central theme and image of the human as vulnerable rather than heroic that brought me to do the opera. Throughout the opera there is constant shifting both in the words and in the music between Ulisse’s optimism that he will prevail and a fatalism that everything will be too hard. The prologue set a tone and established a central set of images of the body which found their way through the opera.

The process of making the opera took approximately a year–eight months of making drawings and editing animation film. Over the same period of months Adrian Kohler of the Handspring Puppet Company designed and carved puppets, Philippe Pierlot and I worked to edit down the opera both in terms of the length of time the puppeteers could hold the puppets and to focus on the themes of vulnerability and heroism that were central to the production. This was followed by months of rehearsals with puppeteers in Johannesburg and with the whole company in Brussels.

What we know and what we see

While working on Ulisse I had occasion to take my five year-old

nephew for a chest x-ray. The child was stood at the machine and positioned using a video screen next to the X-ray machine. On the video screen you could see the moving skeleton of the child, the incredibly fine and fragile collarbones, the thin pylon of the spine and in the jaw not just the child’s teeth, but also the adult teeth still on the bone, waiting to erupt.

The vulnerability and the process of growth as the continuous act of transition. These are all things we know. What this video screen did was make apparent these things we know. What the video showed was not just an inside of a body but also a series of generally invisible processes and associations. (This moving between what we see and what we know seems to me the area in which visual artists, filmmakers, operate.)

These images of the body that were re-prompted by the prologue of the opera, sonar, X-ray, MRI, CAT-scan, are different from either external images of the body or even anatomical paintings or photographs of dissections revealing a body. They are, by their very nature, internal images. Dissect as deep as you like and you will never find the mimetic reference of the sonar. They are already a metaphor. They are messages from an inside we may apprehend but can never grasp. In their separation from the apparent they come as reports from a distant and unknown place.

Ulisse: the body drawn and quartered

By contrast, for example, the photographs sent back to earth from Mars a year ago are quite remarkable for their familiarity. I know Mars, it is outside Colesburg in the Karoo, midway between Johannesburg and Cape Town. I’ve drawn that landscape. The astonishing thing about Mars was how local it was. But our insides on the other hand are a planet far further off. Far less familiar to our gaze. We can’t use a familiar photographic translation of image to the world, but have to work through a further code. And it is this further distancing (which may be the result of the technology of the imaging devices–that is not the point here) which seems to me to be an accurate and appropriate way of elucidating our relationships to our bodies.

Herding a reluctant ox

We have an uneasy relationship to our bodies. John Updike refers to us as “the herders of our bodies, which are beasts as dumb and bald and repugnant as cattle”. We prod them along, hoping they will not suddenly go off on their own, leap a fence, wander onto the highway. They are ours, but also other. Machado de Assis in his wonderful book, Epitaph of a Small Winner? describes it somewhat differently. The ageing hero is at a party.

I returned to the salon, danced a polka, intoxicated myself with the lights, the flowers, the beautiful eyes, and the light hum of conversation. And I became

young again. But half an hour later when I left the ball at four o’clock in the morning, what do you think was waiting for me in my carriage? My 50 years. There they were, uninvited–not benumbed with cold nor rheumatic, but dozing off their weariness, eager for home and bed.

The internal lightning bolt

Part of this preparation involved looking through a series of medical videos. These were of operations, barium meals, gastroscopies, angiograms, arthroscopy, and so on. One of the most remarkable for me was an angiogram–an X-ray image of dye being pumped into arteries around the heart. As the dye is released in one heart beat, in one pulse, it suffuses and turns black a jagged tracery of the arteries. I had always assumed these to be gently curving aerodynamically, or at least ergonomically designed.

But the vessels are stepped, jaggedly forked. This piece of film was put aside and sat as it were on the editing room shelf waiting to find its place. It was used early on in the opera. The god Giove comes to take a hand in the affairs and fortunes of Ulisse and as the singer sang the lines "I release thunderbolts" we projected an image of what appears a lighting strike, but in fact is this angiogram, a lightning strike inside the body.

A libation to the gods

Which is where we are today. Not directly in awe of the Greek gods but still at the mercy of forces

about us. The world which is beyond our control, and to protect which sacrifices and libations must be made, is now internal. The fear of Giove’s lightning bolt is lessened by the invention of the lightning conductor, but we still live in fear of the internal lightning bolt, the heart attack or other calamitous internal failure which we can at best, try to avoid. We can try to placate our insidesbut ultimately of course we are at their mercy and will be destroyed by them.

So instead of burning oil in the temple we make daily devotions to the treadmill or stair machine at the gym (or don’t, and invite the wrath of the gods). We ingest our offerings, our calcium, antioxidants, we give up for lent, for good, butter, red meat, cigarettes (or don’t, and invite both the risk of doom and the opprobrium due the blasphemer).

We are at risk internally and externally. Both are other. What then is the extremely thin line between the external and internal lightning bolts which we feel to be our own? This paradox and question became the guiding theme for the production; and set against this vulnerability, the utopian courage of Ulisse and all mythic heroes.

William Kentridge October 2003

樂曲介紹 Programme Notes

蒙特威爾第《尤利西斯歸鄉記》

Il Ritorno d'Ulisse– Claudio Monteverdi

蒙特威爾第是 17 世紀上半葉歐 洲音樂界的翹楚，1567 年生於 意大利克里蒙納，1643 年逝世 於威尼斯，按那個年代來說可 謂得享高壽。他的音樂生涯很 早就開始，第一部作品《神怪 小曲集》發表時才 15 歲。在這 套作品中，他自稱「馬克‧安 東尼奧‧英席奈尼的門徒」。 此人正是當時克里蒙納大教堂 的樂長——蒙特威爾第在接下來 的四套出版作品中繼續這樣介 紹自己。年輕的他還學會了唱 歌和演奏古提琴。

蒙特威爾第的第一份正式差事 是在曼圖亞公爵文森佐·岡薩 加的宮廷任職。由 1590 年（或 作 1591 年）起，他在宮廷樂隊 工作，樂隊由傑出音樂家澤齊 士‧迪維特領導。由低做起的 蒙特威爾第最終於 1601 年獲公 爵任命為宮廷樂長。此時，他 又出版了幾部令他聲名大噪的 作品，讚譽遠及北歐。然而， 他與另外幾位作曲家的音樂引 起了一位保守的音樂理論家的 注意： 神職人員阿圖西撰寫了 一篇論著，抨擊他們使用「不 正規的不協和音和運用調式不 當」。帕萊斯特里那等人在創作 音樂時是有遵守由教會制定的 規則的，包括適當地預備不協 和音，以及不同調式中組成適 當的終止式。其時音律系統尚 未取代調式的應用。為此，蒙 特威爾第在他第五冊《牧歌集》 的後記中作出回應，提出了兩 種「應用主張」： 一種是「文字 為主，音樂為輔」，另一種則是 「音樂為主，文字為輔」。在前

者的應用上，作曲家大概應該 遵從既有規則； 然而後者則應 容許作曲家作某程度的變通， 以求將文字的意義表達出來。 當然，兩種應用可以並存。雖 然阿圖西並不完全滿意這個說 法，他的批評卻變得沒那麼激 烈了。對於當時一眾受舊規則 所限、無法自由表達靈感的作 曲家來說，這個構想也是他們 脫困的絕佳方法。

1613 年，蒙特威爾第開始在威 尼斯聖馬可大教堂任職，一做 便長達 30 年，並為教會創作 了大量出色的音樂。然而，狂 歡節期間需要大量奢華的娛樂 活動； 為了配合這種需求以及 其他場合的需要，蒙特威爾第 製作了許多芭蕾舞劇和歌劇， 有些留在威尼斯演出，有些則 提供予舊時的贊助人曼圖亞公 爵。《尤利西斯歸鄉記》便是在 1639-40 年的威尼斯狂歡節期 間首演。

歌劇劇本與唱詞由支持推廣樂 劇的知識分子、威尼斯詩人賈 科莫·巴杜阿羅創作。眾所周 知，荷馬是尤利西斯故事的原 著者，而巴杜阿羅的劇本與唱 詞也緊扣荷馬的原版。然而， 歌劇是從尤利西斯被沖上伊薩 卡島的那刻開始： 他本於伊薩 卡稱王，約 20 年前離開，加入 對抗特洛伊的戰爭。他常被指 是發明特洛伊木馬的人。尤利 西斯戰後返回伊薩卡，途中不 但受到海神的極大阻撓，更經 歷了各種奇遇，以至於回到祖 國時，他已經不在妻子 潘妮洛

佩身邊整整 20 年。巴杜阿羅 的劇本著重於尤利西斯回歸的 過程，以及糾潘妮洛佩多年的 三位追求者。他們詭計多端， 堅持要她放棄不可能還在生的 尤利西斯，改嫁他們。在他們 而言，她自然是人人志在必得 的無價寶。尤利西斯在眾神的 幫助下回歸，而潘妮洛佩則設 下比拼： 誰能挽動尤利西斯的 弓，她便下嫁。三位追求者 自然無一能為，只有尤利西斯 成功勝出，而喬裝的他亦得以 重證其真實身份。接著他將對 手了結。

正如一位評論家所言，這部作 品「包含足夠多的性、血腥和 壯觀場面來打動威尼斯的音樂 劇場贊助人」，因此大獲成功。 這是蒙特威爾第輝煌事業接近 尾聲的時候，他完全清楚自己 正用音樂來做些什麼，並能輕 鬆地掌控觀眾的情緒。作為一 位作曲家，他窮一生之力以圖 最大程度地牽動聽眾的情感。 每套作品都是他獲取成功的明 證。順帶一提，《尤利西斯歸鄉 記》是蒙特威爾第睽違歌劇舞 台 30 年回歸的第一部作品。

17 世紀的歌劇自然與威爾第等 後輩的作品大相逕庭。後者總 有陣容鼎盛的管弦樂團伴奏和 既定的詠嘆調，而早期歌劇卻 只有小樂隊伴奏，編制只限約 五名弦樂手以及其他通奏低音 樂器——其中原因部分是出於成 本的考慮。此外，歌唱部分現 在聽起來更像宣敘調而非詠嘆 調； 但是，若然現代聽眾適應

了這種風格，便能體會其高度 表現力。這部作品不但在首演 後多次重演，甚至在翌年的狂 歡節再次上演，可見它令劇院 觀眾著迷如斯。這樣重演在當 時來說可謂絕無僅有。

這部作品自早年的這些演出後 便被束之高閣，直到 1925 年的 巴黎重演方才重見天日。此劇 能再流行起來，應拜 20 世紀中 期興起一股以復古手法演出巴 羅克和早期作品的風潮所賜， 尤其是 1970 年代在維也納和格 蘭特堡的演出，奠定了作品常 青的地位。不論以何種製作呈 現，這部歌劇揉合了蒙特威爾 第富有感染力的音樂和張力十 足的故事，肯定會令觀眾難忘。

A towering figure in the musical world of Europe in the first half of the 17th century, Claudio Monteverdi was born in Cremona in 1567. He lived a long life for that era, dying in Venice in 1643. He began his career early, publishing his first compositions in a book titled Sacrae catiunculae at the age of 15. In this he acknowledges himself "a disciple of Marc’Antonio Ingegneri", the maestro di cappella at the cathedral in Cremona at the time, and Monteverdi continues to describe himself as such for the next four of his publications. The young man also learned singing and to play the viol and viola da braccio

Monteverdi’s first regular employment was at the court of the Duke of Mantua, Vincenzo Gonzaga. In 1590, or 1591 he began to work with the band of musicians there headed by a fine musician, Giaches de Wert. Monteverdi, having started in a modest position, was eventually appointed maestro della musica by the duke in 1601. By this time he had produced several more publications, and through these his fame had begun to spread as far as northern Europe. His music, along with others, had also attracted the attention of a conservative music theorist, the canon Artusi, who wrote a treatise criticising their use of “irregular dissonances and modal improprieties”. The music of such as Palestrina had been

composed according to rules laid down through the church as to the proper preparation of dissonances, and the appropriate cadential formulations within the various modes. The tonal system had not yet replaced the use of the modes. Monteverdi answered in the postface to his fifth book of madrigals, in which he postulated two “practices”. In the first music is the mistress of the oration and in the second oration is mistress of the music. In the first approach the composer would presumably adhere to the old rules, whereas in the second he would take a certain licence in his effort to bring out the expression in the text. The two practices could, of course, coexist. This, while not completely satisfying Artusi, nevertheless caused him to become less fierce in his criticisms. This idea was also a splendid way of getting out of the difficulties faced by composers of that time when finding themselves constrained by the old rules from giving free expression to their inspiration.

Monteverdi began work at St. Mark’s in Venice in 1613, and stayed in that position for the next 30 years, producing a great deal of magnificent music for the church. However, the Carnival season demanded large numbers of extravagant entertainments, and for this, and other occasions, Monteverdi produced many ballets and operas, sometimes

撰文：紀大衛 教授

for performance in Venice and sometimes for his old patron, the Duke of Mantua. Il Ritorno d’Ulisse was first performed during the 1639-40 Carnival in Venice.

The libretto was by Giacomo Badoaro, who was a poet in Venice, and one of a group of intellectuals supporting the promotion of musical theatre. Of course, the original story of Ulysses was written by Homer, and Badoaro’s libretto closely follows Homer’s story. The opera begins, however, at the moment when Ulysses is washed up on the island of Ithaca, of which he was King, before about 20 years ago having left to join in the war against Troy. He is sometimes credited with the idea of the Trojan horse. After the war Ulysses was greatly impeded on his journey back to Ithaca by the god of the sea, and also had various other adventures on his way, so that by the time he returned to his homeland, his wife, Penelope, had been without him for 20 years. Badoaro’s libretto concentrates on the manner in which Ulysses returns, and on the wiles and stratagems of the three suitors who have been importuning Penelope over the years, insisting she give Ulysses up for dead and marry again. She was, of course, a great prize. With help from the gods, Ulysses returns and eventually proves who he really is, having been in disguise, by being the winner in a contest set by Penelope, that she will marry anyone who can string Ulysses’

bow. This the three suitors fail to do, and, of course, Ulysses succeeds. He then dispatches his opponents.

“Containing enough sex, gore and spectacular scenes to move the Venetian patrons of musical theatre,” as one commentator put it, the work was highly successful. It came towards the end of Monteverdi’s illustrious career, by which time he knew exactly what he was doing with his music, and was able to play on the emotions of his audience with ease. His main objective as a composer all his life had been to move the emotions in his listeners to the maximum, and every one of his pieces gives ample evidence of the amount to which he succeeded. Incidentally, Il Ritorno d’Ulysse in patria was Monteverdi’s first opera for 30 years.

Operas in the 17th century were very different affairs from those by such as Verdi later, with their sumptuous orchestras and set piece arias. Partly for financial reasons the instrumental accompaniment would be confined to a small band of about five string players along with other continuo instruments. Also the vocal parts sound often more like recitative than arias to our ears, but, once the style becomes familiar to the modern ear it shows itself to be highly expressive. The fact that the work was repeated several times after the first performance, and was even revived for the following Carnival season shows

how it had fascinated theatregoers. Such a revival was highly unusual.

After these initial performances the work was not heard again until a revival in Paris in 1925. The opera’s modern popularity began after the interest in authentic performance of works from the Baroque and earlier periods arose in the mid 20th century. Its longevity became assured with performances in Vienna and at Glyndebourne in the 1970s. The strength of Monteverdi’s music and the force of the story itself will certainly ensure that it is never forgotten, in whatever kind of production it may appear.

Text: Prof. David Gwilt

當意大利歌劇遇上木偶戲 Monteverdi with strings attached

以革新傳統見稱的南非木偶劇團在木偶藝術上推陳出新，為香港藝術節帶來一場技驚四座的舞台奇 觀—— 17 世紀歌劇經典《尤利西斯歸鄉記》。

South Africa's Handspring Puppet Company has revolutionised the art of stage puppetry. Its production of 17thcentury opera Il Ritorno d'Ulisse brings the company's genius to Hong Kong.

© Eric Devillet

本劇雖為歌劇，但與閣下耳熟 能詳的表演形式迥然不同。《尤 利西斯歸鄉記》是意大利作曲 家蒙特威爾第（ 1567-1643 ） 晚年的精心傑作，自十七世紀 一度失傳，幸得後世音樂家重 整，得以保存，演繹無數。

是次製作，除了一衆歌劇聲樂 家，還有多具真人大小的木 偶，連同全程亮相的木偶師同 台獻技，與炭筆畫動畫、影像 投射等視覺媒介共冶一爐。

蒙特威爾第創作的《尤利西斯 歸鄉記》（ 1640 ）故事源自荷

馬史詩《奧德賽》的中後段， 講述特洛伊戰爭後伊薩卡國王 尤利西斯漂泊返鄉的遭遇。尤 利西斯得知妻子潘妮洛佩受三 名惡棍威逼利誘，得借兒子 鐵 雷馬科斯及諸神之力奮勇搏 鬥，最終剪惡除奸，與妻團圓。

蒙特威爾第帶領由文藝復興過 渡至巴羅克時期的音樂創作風 格，他是作曲家，亦曾任宮廷 樂長和牧師。其創作生涯漫 長，晚年更見驚人，寫下連本 劇在內最重要的歌劇巨著。

為巴羅克音樂帶來新意

本劇主腦南非當代藝術家威 廉．肯特里奇多才多藝，涉 獵極廣，創作涵蓋油畫、水彩 畫、動畫、壁毯、雕塑、壁畫 以及海納百川的藝術形式—— 歌劇。

此劇有別於巴羅克音樂的傳統 配器，省卻銅管等樂器，將樂 隊縮減為七件弦樂器。故事背 景方面，尤利西斯從古希臘跳 進 20 世紀中葉的約翰內斯堡， 在醫院病榻上奄奄一息。舞台 上，聲歌家與木偶師透過木偶 表演向觀眾表達故事情節，巧

妙呈現三者間的互動。

台上奇詭生動的木偶一律來自 南非木偶劇團。自 1980 年代初 至今，劇團不斷試煉革新，創 下許多異想天開的偶戲奇跡。

「我們的表演技巧源自日本傳統 人形劇（木偶戲），木偶師操作 木偶的過程在台上一覽無遺， 令表演錦上添花。」南非木偶 劇團的聯合創辦人阿德里安． 科勒續說：「既然觀眾明知木偶 不是自動機械，那倒不如揭開 面紗？觀眾可換取角度，走近 角色的隱喻層面。我們大膽把 三個截然不同的崗位合體，拋 出一個不符常規的奇怪處境。 觀眾選擇接受，成爲實驗的共 謀，成功開闊想像。觀眾與 表演者，因而產生一種奇妙的 聯繫。我們何以對木偶深感着 迷？因爲它是激發觀眾反應的 靈藥。」

同步呼吸

南非木偶劇團的成名作，是 1985 年的《復活節起義》。故事 講述一對白人女同性戀者意外 成為南非反種族隔離鬥爭的一 段插曲。劇團與肯特里奇的合 作長達三十年，始於 1990 年代 的《烏比與真相和解委員會》， 此作關於南非種族隔離結束後 成立的真相與和解委員會，屬

荒誕主義作品。劇團在 1996 年首次踏足香港，演出肯特里 奇執導的《高原上的胡錫》， 把十九世紀德國劇作家布克納 筆下一名精神失常的士兵移師 二十世紀中葉的約翰內斯堡。

這次演出的《尤利西斯歸鄉 記》在 1998 年首演，其後多 次重演。劇目最初由肯特里奇 執導，其後則由著名歌劇導演

呂．德．維特操刀，自 2005 年 起二人合作無間。

「早在 1998 年，當我們首次面 對歌劇聲樂家，實在舉步維 艱。」劇團另一位聯合創辦人 巴素．鍾斯續說：「我們必須迎

合他們，同時他們也必須迎合 我們。這可謂是史無前例。與 聲樂家溝通成爲一大難題。他 們就像賽馬用的高級純種馬， 與我們格格不入。我猜想，他 們對合作帶有質疑。」

「直到某一刻，我們開始意識到 彼此的交流方式呼吸。木偶與 聲樂家同呼、同吸。打開大家 交談隔閡的，原來並非語言， 而是微小動作。那儼然是當頭 棒喝。從前根深蒂固的常識告 訴我們，觀衆慣被龐大、誇張 的東西吸引，無視毫釐之物。 但其實隱約如僅距五毫米的呼 吸，即使你坐在劇院後排，還 是一覽無遺。這是一種不說自 明，但秘而不宣的語言。」

「木偶與聲樂家的呼吸節奏完全 一致。於是我們團隊上下必須 學習歌劇的意大利原文。對木 偶師來説，過程殊不簡單，爲 此我們竭盡心力。我不得不承 認，時至今日，南非木偶劇團 的呼吸技巧經已主導業界。我 們不以它為獨門絕活，樂於公 諸同好。當你努力引發觀眾超 乎想像的洞察力，你定會如願 以償。」

撰文：Richard Lord 原文刊登於香港藝術節 2023 年之 《閱藝》雜誌

This, ladies and gentlemen, is very far from your typical opera. Yes, it's a production of Il Ritorno d'Ulisse, a 17thcentury opera by Claudio Monteverdi (1567-1643). But joining the singers onstage are life-size puppets representing the characters, as well as their puppeteers, who are fully visible to the audience, alongside animated charcoal drawings and projections.

Taken from the second half of Homer's Odyssey, Monteverdi's opera Il Ritorno d'Ulisse (1640) tells the story of the homecoming of Ulysses, king of Ithaca, following the Trojan War. He discovers that three villainous suitors are trying to woo his wife, Penelope, and vanquishes them with the aid of a cast of characters that takes in everyone from his son, Telemaco, to a range of mythological gods.

Monteverdi (1567-1643), a fascinating figure who stood at the crossroads of the Baroque and Renaissance periods, was a composer and at various times a court musician and a priest. He enjoyed a dramatic burst of creativity towards the end of his life that included his important operas, including Il Ritorno d’Ulisse.

A new take on baroque

This production was conceived by South African contemporary artist William Kentridge, a formidable renaissance man whose work has also taken in

paintings, drawings, animated films, tapestries, sculptures and murals—and operas that tend to break all the rules.

This one, for a start, departs from Baroque music traditions, dispensing with instruments such as brass to strip the instrumented parts down to seven string instruments. Then there's the setting, relocated from classical Greece to mid20th-century Johannesburg, where Ulysses is dying in a hospital ward. And finally, there's that staging, which involves the singer performing to the audience through the intermediary of the puppet,

while still being physically on stage, alongside the puppeteer—dramatically upending the usual dynamics between the various parties.

The puppets are the work of South Africa's Handspring Puppet Company, which has been creating wildly innovative puppetry performances since the early 1980s.

"We learned the technique, of course, from classical Japanese puppetry, which revealed that manipulation adds something to the performance," says Handspring co-founder Adrian Kohler. "The audience

©John Hodgkiss

knows that the puppet isn't an automaton, so why not include that? It allows the audience to approach the metaphorical nature of the figure in a different way. You make a pact, really, with the audience, when you do something as odd as this, with three people creating one character—and they buy into it. It's a leap of imagination. That creates a kind of magical connection between the audience and the performers. It's why we love puppets: you have to provoke the audience into responding."

The power of breath

Handspring's numerous wellknown productions began with 1985's Episodes of an Easter Rising, which told the story of a white lesbian couple who accidentally become part of South Africa's anti-apartheid struggle. The company has had a 30-year association with Kentridge, which began in the 1993 with Ubu and the Truth Commission, an absurdist take on the proceedings of South Africa's post-apartheid Truth and Reconciliation Commission. They first came to Hong Kong in the 1996 with their production Woyzeck on the Highveld, another collaboration with Kentridge, which relocated Georg Büchner's 19th-century tale of an emotionally damaged soldier to the 1950s.

They first performed  Il Ritorno d'Ulisse in 1998, but it's been revived on numerous occasions since. Originally directed by

Kentridge, for the latest revival the reins are taken by Luc de Wit, himself a renowned opera director who has worked extensively alongside Kentridge since 2005.

"At first, in 1998, we had a huge challenge with the singers," says Kohler's fellow co-founder, Basil Jones. "We had to work with them and they had to work with us. This had never really been done before. We didn't know how to communicate with them. They're like racehorses: they're highly pedigreed beings, on a different level from us. I think they were distrustful of working with us.

"At a certain point, we started to understand that the way to communicate with them was through breathing: our puppets breathing with and through them. We immediately started to find a way of talking with them that wasn't about words, but micro-movements. It was a complete revolution in our understanding. We'd always worked on the understanding that in theatre, you make it big—that people wouldn't recognise anything small. But with a 5mm breath, you could still see it from the back of the theatre. It's a language we all know that's unspoken, secret, unacknowledged."

Text: Richard Lord Originally published in the HKAF’s 2023 FestMag

WILLIAM KENTRIDGE

導演、動畫及舞台設計 Director, Video Animator and Set Designer

威廉．肯特里奇（ 1955 年生於 南非約翰尼斯堡），以畫作、 電影、劇場和歌劇馳譽國際。

他的手法融匯繪畫、書寫、電 影、行為藝術、音樂、劇場和 協作，創作出深植於政治、科 學、文學和歷史的藝術創作， 同時仍保有矛盾與不確定性 的空間。

肯特里奇的創作自 90 年代以 來，便在世界各地的藝術館和 畫廊展出，其中包括紐約現代 美術館、維也納阿爾貝蒂娜博 物館、巴黎羅浮宮美術館、倫 敦白教堂畫廊、哥本哈根路易 斯安那美術館、馬德里蘇菲亞 皇后美術館、巴塞爾藝術館， 以及開普敦的蔡茨當代藝術博 物館，和諾威爾基金會。他亦 多次參與卡塞爾文獻展和威尼 斯雙年展。

他的歌劇導演作品包括莫扎特 的《魔笛》、蕭斯達哥維契的 《鼻子》和阿爾班‧貝爾格的 歌劇《露露》和《伍采克》，作 品曾經在紐約大都會歌劇院、 米蘭史卡拉歌劇院、倫敦英國 國家歌劇院、里昂歌劇院、阿 姆斯特丹歌劇院、悉尼歌劇院 和薩爾斯堡音樂節等公演。

肯特里奇的劇場製作亦在世界 各地的劇場和藝術節上演，其 中包括《拒絕時間》、《冬日 之旅》、《紙上音樂》、《頭與 負擔》、《原始奏鳴曲》和《等 待女先知》，與南非木偶團合 作創作的作品包括《烏布與 真相委員會》、《浮士德在非

洲！》、《尤利西斯歸鄉記》和 《高原上的胡錫》。

William Kentridge (born in Johannesburg, South Africa, in 1955) is internationally acclaimed for his drawings, films, theatre and opera productions.

His method combines drawing, writing, film, performance, music, theatre and collaborative practices to create works of art that are grounded in politics, science, literature and history, yet maintain a space for contradiction and uncertainty.

Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, the Kunstmuseum in Basel and Zeitz MOCAA and the Norval Foundation in Cape Town. He has participated a number of times in Documenta in Kassel and the Venice Biennale.

His opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose, and Alban Berg’s operas Lulu and Wozzeck, and have been seen at opera houses including the Metropolitan Opera in New York, La Scala in Milan, the English National Opera in London, Opera de Lyon, Amsterdam opera, the Sydney Opera House

and the Salzburg Festival.

Kentridge’s theatrical productions, performed in theatres and at festivals across the globe, include Refuse the Hour, Winterreise, Paper Music, The Head & the Load, Ursonate and Waiting for the Sibyl, and in collaboration with the Handspring Puppet Company, Ubu & the Truth Commission, Faustus in Africa!, Il Ritorno d’Ulisse and Woyzeck on the Highveld.

© Norbert Miguletz

里切卡爾古樂團 RICERCAR CONSORT

里切卡爾古樂團名稱中的 「 Ricercar 」一字，意大利語原 意為「追尋」。這亦一直是里切 卡爾古樂團的座右銘。樂團於 1985 年以巴赫的《音樂的奉獻》 作的首個巡迴演出。樂團自此廣 受好評，特別以其德國巴羅克清 唱劇和器樂演奏的錄音而馳名。

今日，在菲臘．皮爾洛的領導 下，里切卡爾古樂團繼續探索巴 羅克時期，由室樂到歌劇和神劇 等曲目，以既深厚又澎湃的演出 瘋魔樂迷。

樂團為觀照製作（ Mirare Productions ）灌錄的錄音包括：

巴赫的《尊主頌》和《聖誕清 唱劇》、《意大利古提琴和女高 音音樂》、彼高利斯的《聖母悼 歌》、布克斯特胡德的《我們的 耶穌聖體》以及與根特聲樂合唱 團及樂團合作，重新灌錄的巴赫 清唱劇。樂團在 2022 年初受邀 與一眾獨唱家、合唱團和弦樂 家，一同在雷尼・馬丁監製的南 特熱狂之日音樂節表演舒伯特的 多首傑作。

Ricercar (Italian for “to seek”) has been the underlying motto of the Ricercar Consort since its foundation. It was in 1985, with J. S. Bach’s Musical Offering, that the ensemble made its first concert tour, having already acquired a solid international reputation with its recordings, notably of German Baroque cantatas and instrumental music.

Today, under the direction of Philippe Pierlot, the Ricercar Consort continues to explore the Baroque repertoire, from chamber music to opera and oratorio, and to enthral music lovers with performances that are both profound and rigorous.

The ensemble’s recordings for Mirare Productions include Bach’s Magnificat, Christmas Cantatas, Italian Consort Music for Viols and Soprano, Pergolesi’s Stabat Mater, Buxtehude’s Membra Jesu Nostri, and a new recording of Bach’s cantatas with orchestra and the participation of Collegium Vocale Gent. The ensemble has been invited to perform some Schubert masterpieces with soloists, choir and strings, beginning in 2022 for La Folle Journée de Nantes (launched by René Martin).

里切卡爾古樂團獲比利時法語區文化部 （ Fédération Wallonie-Bruxelles ）支持

The Ricercar Consort is supported by the French speaking Community of Belgium, Ministry of Culture (Fédération WallonieBruxelles)

南非木偶劇團 HANDSPRING PUPPET COMPANY

南非木偶劇團成立於 1981 年， 總部設於開普敦，匯聚一眾台柱 表演者、設計師、劇場藝術家 和技術人員，劇團是他們的藝舍 與專業基地。

南非木偶劇團由阿德里安．哥 勒及巴司．瓊斯領軍，以創作 兒童劇目起家，首部成人作品 《復活節起義》（ 1985 ）讓其蜚

聲國際。劇團作品在 30 多個國 家公演，曾與一眾著名導演合 作，包括艾絲特·雲·里斯威

克 、馬克·弗萊什曼、馬爾科 姆·珀基、巴尼·西蒙和威廉·

肯特里奇，還與非洲其他國家的 藝術團體合作，包括索格隆木偶

劇團（馬里）及高菲·高高舞蹈 團（貝寧），並與來自歐洲、英 國和美國的團體聯合創作表演， 包括湯姆·莫里斯、尼爾·巴奈 特和凱弗拉·伯恩斯。

除了自家劇目，南非木偶劇團還 為同業 18 部作品製作木偶，其 中包括全球公演的英國國家劇院

劇目《戰馬》。《戰馬》贏得多項 殊榮，包括特別東尼獎、奧利 維爾獎，以及戲劇台、外部評

論家圈、洛杉磯戲劇評論家圈及 納萊迪獎。

Handspring Puppet Company was founded in 1981. Based in Cape Town, it provides an artistic home and professional base for a core group of performers, designers, theatre artists and technicians.

Handspring is headed by Adrian Kohler and Basil Jones. Originally the creators of children’s shows, Handspring’s first adult production, Episodes of an Easter Rising (1985), gained the company exposure internationally: Handspring’s work has been presented in more than 30 countries and has included collaborations with many notable directors, including Esther van Ryswyk, Mark Fleishman, Malcolm Purkey, Barney Simon and

William Kentridge. The Company has also collaborated with artists from other parts of Africa, including the Sogolon Puppet Troup (Mali) and Koffi Koko (Benin), and developed works with creative partners from Europe, the United Kingdom and America, including Tom Morris, Neil Bartlett and Khephra Burns.

In addition to its own projects, Handspring has created puppets for 18 productions by other companies, including the British National Theatre’s War Horse, which has been presented worldwide. War Horse has earned the company many awards including a Special Tony Award, an Olivier Award, as well as the Drama Desk, Outer Critics Circle, LA Drama Critics Circle, and Naledi Awards.

www.handspringpuppet.co.za

劇目

《步行／小阿瑪爾》（ 2021 ），藝術總監 ： 阿米．尼薩．殊亞比

《麥可‧ K 的生命與時代》( 2020)，導演 ： 拉華・闊

《烏布與真相委員會》( 2014) ，導演 ： 威廉．肯特里奇

《仲夏夜之夢》( 2013) ，導演 ： 湯姆‧莫里斯

《當你呼吸時我愛你》( 2011)，導演 ： 傑森·波特吉特

《或者你可吻我》( 2011) ，導演 ： 尼爾·巴奈特

《黑猩猩計劃》(重演，2010)，導演 ： 阿德里安．哥勒

《高原上的胡錫》(重演，2008)，導演 ： 威廉．肯特里奇

《戰馬》( 2007)，導演 ： 瑪麗安·埃利奧特及湯姆·莫里斯

《高馬》( 2004) ，導演 ： 馬蒂努斯·巴松

《季諾的告白》( 2002) ，導演 ： 威廉．肯特里奇

《凌晨四點的季諾》( 2001)，導演 ： 威廉．肯特里奇

《黑猩猩計劃》( 2000)，導演 ： 阿德里安．哥勒

《尤利西斯歸鄉記》( 1998)，導演 ： 威廉．肯特里奇

《烏布與真相委員會》( 1997)，導演 ： 威廉．肯特里奇

《浮士德在非洲！》( 1995) ，導演 ： 威廉．肯特里奇

《高原上的胡錫》( 1992) ，導演 ： 威廉．肯特里奇

《星光閃爍》( 1990) ，導演 ： 巴尼西蒙

《竭盡全力》( 1989) ，導演 ： 馬爾科姆．珀基

《仲夏夜之夢》( 1988)，導演 ： 艾絲特·雲·里斯威克 (巴斯特)

《復活節起義》( 1985)，導演 ：

Repertoire

艾絲特·雲·里斯威克

The Walk/Little Amal (2021) - Artistic. Director: Amir Nizar Zuabi

Life and Times of Michael K (2020) - Director Lara Foot

Ubu and the Truth Commission (2014) — Director: William Kentridge

A Midsummer Night's Dream (2013) — Director: Tom Morris

I Love You When You’re Breathing (2011) —Director : Jason Potgieter

Or You Could Kiss Me (2011) — Director: Neil Bartlett

The Chimp Project (Revival, 2010) — Director: Adrian Kohler

Woyzeck on the Highveld (Revival, 2008) — Director : William Kentridge

War Horse (2007) — Directors: Marianne Elliot and Tom Morris

Tall Horse (2004) — Director: Marthinus Basson

Confessions of Zeno (2002) — Director: William Kentridge

Zeno at 4am (2001) — Director: William Kenrtidge

The Chimp Project (2000) — Director: Adrian Kohler

Il Ritorno d’Ulisse (1998) — Director: William Kentridge

Ubu and the Truth Commission (1997) — Director: William Kentridge

Faustus in Africa! (1995) — Director: William Kentridge

Woyzeck on the Highveld (1992) — Director: William Kentridge

Starbrites (1990) — Director: Barney Simon

Tooth and Nail (1989) — Director: Malcolm Purkey

Midsummer Night’s Dream (1988) — Director: Esther van Ryswyk (Baxter)

Episodes of an Easter Rising (1985) — Director: Esther van Ryswyk

南非木偶劇團由莎拉．福特（第四紀創意代理）擔任全球代理 Handspring Puppet Company is represented by Quaternaire worldwide

編創人員簡介

Creative Team Profiles

林黑貝爾劇院及墨爾本藝術節 等場地公演）、馬蘭・馬雷的 《塞默勒》和巴赫的《聖馬可受 難曲》。

他最近期的古提琴錄音，是為 他與同仁創辦的 Flora CD 灌 錄，向 17 世紀音樂家聖科倫布 致敬的《聖科倫布的女兒們》 和《沉思曲》。

作為音樂總監，皮爾洛的最新 動向包括在巴黎公演的《聖約 翰受難曲》（與抒情天才古樂團 和卡利斯托・彼耶多合作）。他 亦常與約迪・薩巴爾和赫斯佩 里翁 20 世紀古樂團合作（《日 出時讓悲傷終結》），並為家鄉 的年輕音樂家舉行大師班和其 他活動。

He has edited and revived a number of operas, including Monteverdi’s Il Ritorno d’Ulisse (given at the Théâtre de la Monnaie in Brussels, Lincoln Center in New York, the HebbelTheater in Berlin and the Melbourne Festival, among other venues), Sémélé of Marin Marais, and Bach’s St. Mark Passion.

菲臘．皮爾洛生於比利時列 日。他善於彈奏結他與魯特 琴，後來轉而專治古提琴，並 師從維蘭德・庫伊肯。作為里 切卡爾古樂團的音樂總監，他 全心投入 17 世紀曲目，為公眾

提供一個發現不少作曲家和具 高超藝術成就的作品的機會。

他的曲目亦包括當代作品，其 中一些更是特別為他創作。他 亦是少數能彈奏巴里通琴的演 奏家。雖然這種樂器鮮為人 知，但海頓便為它創作了超過

150 首作品。皮爾洛為巴里通琴 編曲的作品包括《舒伯特之友》 （與尤里安・珮嘉狄安合作）和 《貝多芬： 愛爾蘭歌曲》（與瑪 莉亞・基歐漢合作）。

皮爾洛亦曾整理及復排不少歌 劇，包括蒙特威爾第的《尤利 西斯歸鄉記》（在比利時皇家鑄 幣局劇院、紐約林肯中心、柏

Philippe Pierlot was born in Liège, Belgium. Proficient on the guitar and the lute, he later turned his attention to the viola da gamba, which he studied with Wieland Kuijken. He is the director of the Ricercar Consort and devotes most of his work to the 17th-century repertoire, offering the public a chance to discover many composers and works of great artistic value. His repertoire also includes contemporary works, a number of which have been dedicated to him, and he is one of the few performers to play the baryton, a little-known instrument for which Haydn composed nearly 150 works. His arrangements for the instrument include a Schubertiade (with Julian Pregardien) and Beethoven: Irish Songs (with Maria Keohane).

His most recent recordings on the viola da gamba have been devoted to St. Colombe (Les Filles de Ste Colombe) and Meditation for Flora CD, the label he created with colleagues. As a director, his most recent activities include Johannes Passion in Paris (Talens Lyriques/Calixto Bieito). He regularly collaborates with Jordi Savall and Hesperion XXI (Tous les Matins du Monde), and organises masterclasses and other events for young musicians in his hometown of Spa.

菲臘．皮爾洛 Philippe Pierlot 音樂總監及編曲 Music Director and Music Arranger

© Dominique Coune

盧克．狄．維特是一位演員、 導演和戲劇導師。他以演員身

份入行，後來日漸趨向舞台導 演的工作，並自 1995 年起專注 執導歌劇。

他亦經常在劇場和音樂劇場學 院任教，並為演員、歌唱家和 導演舉行工作坊。他現時於布 魯塞爾拉薩德國際劇場學校講 學。狄．維特自 2005 年起擔 任威廉．肯特里奇的聯名導 演，在世界各地歌劇院及劇場 復排肯特里奇的製作。它們包 括《魔笛》（比利時皇家鑄幣局 劇院 ，以及世界各地多個歌劇 院）和《尤利西斯歸鄉記》。

他是肯特里奇製作的《鼻子》 的副導演，該劇最先於 2010 年 在紐約大都會歌劇院公演，並 於 2013 年在當地復排。在 2012 年，他與肯特里奇和作曲家 菲臘・米勒共同創作室樂歌劇

《拒絕時間》。在 2015 年，狄． 維特和肯特里奇在《露露》一 劇再度攜手，該劇由紐約大都 會歌劇院、阿姆斯特丹的荷蘭 國家歌劇院、羅馬歌劇院和英 國國家歌劇院聯合製作。

在 2017 年，狄．維特與肯特里 奇於薩爾斯堡音樂節，聯袂執 導他們與悉尼歌劇院、大都會 歌劇院和巴黎歌劇院聯合製作 的《伍采克》。他最近為肯特里 奇《頭和負擔》擔任副導演和 演員，作品曾在倫敦泰特現代 藝術館、魯爾三年藝術節、紐 約公園大道軍械庫、阿姆斯特 丹和邁亞密公演，並將於

2023 年四至五月在約翰內斯堡上演。

Luc De Wit is an actor, director and drama teacher. He began his career as an actor, but has worked increasingly as a stage director and since 1995 has focused mainly on directing operas.

He also teaches regularly at theatre and music theatre colleges, and has given workshops for actors, singers and directors. He currently teaches at the Lassaad International School of Theatre in Brussels. De Wit has worked as a co-director with William Kentridge since 2005, and often revives Kentridge's productions in international opera houses and theatres. These productions include The Magic Flute(Opera La Monnaie/De Munt, Brussels and revived in many opera houses) and Il Ritorno d’Ulisse.

He was associate director of

Kentridge's production of The Nose, originally seen at the Metropolitan Opera House (Met) in New York in 2010 and revived there in 2013. In 2012 he worked with Kentridge and composer Philip Miller on the chamber opera Refuse the Hour In 2015 De Wit and Kentridge again worked together on Lulu, a co-production between the Met, the Dutch National Opera in Amsterdam, the Rome Opera and the English National Opera.

And In 2017, De Wit was codirector with Kentridge for Wozzeck at the Salzburger Festspiele in co-production with Sydney Opera, the Met and l'Opéra de Paris. He recently worked with Kentridge as associate director and actor on The Head & The Load, which performed at the Tate Modern London, The Ruhrtriennale Festival and the Park Avenue Armory in New York City, Amsterdam, Miami and in April/ May 2023 in Johannesburg.

Luc De Wit 復排助理導演

Assistant Director of the Revival

南非木偶劇團 阿德里安．哥勒

Adrian Kohler from Handspring Puppet Company

舞台、木偶、服裝設計及木偶

阿德里安．哥勒被譽為世界數 一數二的木偶戲大師。他從父 母身上習得木工和可動人偶創 作技藝，為其創作奠下堅實基 礎。他的母親是業餘木偶師， 父親則是一位遊艇及櫥櫃工匠。

他於開普敦大學修讀美術，畢 業後於太空劇院就業一年。那 是當時開普敦唯一的非種族歧 視場所。他其後在伯明翰的佳 能山藝術中心和韋爾德社區藝 術中再工作一年，往後三年主 理博茨瓦納全國大眾戲劇項目。

他為南非木偶劇團製作的木偶 屢獲展出。他曾在位於開普敦 的南非國家美術館舉辦個人回 顧展，他的多組作品曾在倫敦

的巴比肯藝術畫廊及位於紐約 的非洲藝術博物館展出。他的 木偶成為世界各地公營機構及 私人收藏家的藏品，包括約翰 內斯堡的南非憲法法院、慕尼 黑城市博物館和倫敦的耆衞保 險公司藝術收藏。

他於 2006 年獲得茨瓦內大學 頒發終身成就獎，並於 2012 年獲得開普敦大學文學榮譽博 士學位。

Adrian Kohler is noted as one of the world’s leading masters of puppetry. He gained a firm grounding in woodwork and the creation of moving figures from his parents — his mother was an amateur puppeteer and his father was a yacht builder and cabinet maker.

After graduating in Fine Art from the University of Cape Town he spent a year at The Space Theatre, at that time the only non-racial venue in Cape Town. Following another year working at the Canon Hill Arts Centre and Weld Community Arts Centre, Birmingham, he ran Botswana’s National Popular Theatre Programme for three years.

His puppets for Handspring have been widely exhibited: he has been the subject of a solo retrospective at the South African National Gallery, Cape Town, and groups of his works have been shown at the Barbican Art Gallery, London, and the Museum for African Art, New York. His puppets are held in public and private

collections worldwide, including the Constitutional Court of South Africa in Johannesburg, the Munich Stadtmuseum and the Old Mutual Art Collection, London.

He received a lifetime achievement award from Tshwane University in 2006 and an honorary doctorate in literature from the University of Cape Town in 2012.

南非木偶劇團

巴司．瓊斯

Basil Jones from Handspring Puppet Company

監製 Executive Producer

巴司．瓊斯就讀於開普敦大 學，在學時認識阿德里安．哥 勒。 1990 年，他成立了非營 利的南非木偶劇團信託基金， 製作創新的多媒體科學教育電 視、廣播節目和漫畫系列《蜘

Set, Puppet, Costume Designer and Puppet Construction

©Fiona MacPherson

©Fiona MacPherson

蛛之地》，且屢獲殊榮，主要對 象為清貧年輕學生。基金還支 持一些城鎮和農村地區項目， 利用木偶戲作教育用途，為青 年充權，並藉街頭巡遊和表演 將社區人士匯聚。

他又設立木偶戲獎項，表彰行 內出色的設計者，推動南非木 偶戲發展，讓木偶戲不論設 計、導與演都更上一層樓。

他多次以木偶戲為題演講及撰 文，並致力讓南非國內的物件 戲劇與國際連線。他於 2006 年獲茨瓦內大學頒發終身成就 獎，並於 2012 年獲開普敦大學 頒發納勒迪執行導演獎及文學 榮譽博士學位。

Basil Jones studied at the University of Cape Town, where he met Adrian Kohler. In 1990 he set up the not-forprofit Handspring Trust, which produced the award-winning Spider’s Place, an innovatory multi-media science education series for television, radio and comic aimed at young learners from disadvantaged backgrounds; it is involved in a number of projects in urban township and rural areas, using puppetry as a means of educating and empowering youth and bringing communities together through street parades and performance.

He set up the Handspring Awards for Puppetry, which recognize and encourage puppet design, direction and performance in South Africa. He speaks and writes on the subject

of puppetry and is working to grow an international dialogue on the theatre of objects. He received a lifetime achievement award from Tshwane University in 2006, and the Naledi Executive Directors Award and an honorary doctorate in literature from the University of Cape Town in 2012.

續和一眾友好共事。

Wesley France has more than 35 years’ experience in lighting design and technical coordination for the performing arts in the international arena. During the 1980s he was Senior Production Manager at the Market Theatre, Johannesburg, and has since served as a freelance lighting designer and technical production coordinator for numerous local and international productions. He has worked extensively with the Handspring Puppet Company and William Kentridge, among others, and is happy to be continuing the relationship with this current production.

衛斯理．法蘭斯

Wesley France

技術總監及燈光設計

Technical Director and Lighting Designer

衛斯理．法蘭斯有超過 35 年的 國際演藝燈光設計及技術統籌 經驗。在 80 年代，他曾擔任約 翰內斯堡市場劇院的高級製作 經理，之後以獨立燈光設計師 及技術製作統籌者身份，參與 南非當地及國際的不同創作。 他與南非木偶團和威廉．肯特 里奇合作無間，樂於在此劇繼

歌唱家 Singers

劇院、巴黎加尼葉歌劇院、奧 斯陸挪威劇院、巴伐利亞國立 歌劇院、悉尼歌劇院、阿根基 利隆歌劇院和里昂歌劇院。他 也時常參與唱片製作，合作的 音樂品牌有樂滿地、維珍、阿 利亞霍斯、山度士、拿索斯、 作品 111 和奈芙等。

富里奧．扎拿士

Furio Zanasi

男高音 Tenor

飾 尤利西斯/ 人性的脆弱

As Ulisse (Ulysses) / L'humana

fragilità (Human Frailty)

扎拿士生於羅馬，曾在多位指 揮的棒下獻唱，包括雷尼．雅 各斯、荷迪．薩巴爾、加迪 那、亞倫．寇帝斯、阿歷山德 里尼、加列度、迪馬其、法比 奧． 比昂迪、奧塔維奧．丹通 尼、艾弗．博爾頓、赫爾維格 和沙爾。

他在世界各大音樂節和演奏廳 演出，如羅馬聖西西利亞學 院、安博奈音樂節、博訥巴羅 克音樂節、卡內基音樂廳、烏 特勒支古樂節、薩爾斯堡音樂 節、巴黎愛樂音樂廳、東京紀 尾廳、維也納音樂廳、阿姆斯 特丹皇家音樂廳、布魯塞爾博 薩藝術中心和巴塞隆那音樂廳。

扎拿士也參與多個歌劇院的節 目，包括羅馬歌劇院、史卡拉 歌劇院、比利時皇家鑄幣局歌 劇院、林肯中心、巴塞隆那利 塞奧大劇院、馬德里薩蘇拉歌

Furio Zanasi was born in Rome. He has sung with conductors Including Rene Jacobs, Jordi Savall, Sir J. E. Gardiner, Alan Curtis, Rinaldo Alessandrini , Gabriel Garrido, Alessandro De Marchi, Fabio Biondi, Ottavio Dantone, Ivor Bolton, Philippe Herrewege and R. Chailly.

He has appeared at the world’s leading music festivals and concert halls including Accademia Santa Cecilia, Ambronay, Beaune, Carnegie Hall, Utrecht, the Salzburg Festival, Philharmonie de Paris, Tokyo’s Kioi Hall, Konzerthaus Wien, Amsterdam Royal Concertgebouw, Bozar and the Barcelona Auditorium.

Zanasi has also performed in opera theatre programmes at venues including Opera di Roma, La Scala, La Monnaie, Munich, the Lincoln Centre, Liceu di Barcelona, Zarzuela de Madrid, Opera Garnier, Norske Opera, Bayerische Staatsoper, the Sydney Opera House, Teatro Colon and Opera de Lyon. He also records regularly, and can be heard on labels including Harmonia Mundi, Virgin, Aliavox, Chandos and Naxos.

哈馬絲特倫

Kristina Hammarström

女中音 Mezzo-soprano

飾 潘妮洛佩 as Penelope

瑞典裔的哈馬絲特倫是各大歌 劇院演出的常客，包括米蘭 史卡拉劇院、維也納國家歌劇 院、巴黎國家歌劇院、比利 時皇家鑄幣局歌劇院和柏林國 家劇院。

與她經常合作的指揮家有馬 林．阿爾索普、布隆斯泰特、 威廉．克利斯提、洛佩斯．科 沃斯、亞當．費雪、亞倫． 吉伯特、艾瑪妞爾．阿伊姆、 雷尼．雅各斯、法比奧．路 易西、安德烈．馬孔、明考夫 斯基、阿拉爾孔、約翰．尼爾 遜、尼澤-塞岡、約瑟．龐斯 和克里斯多夫．羅塞特。

哈馬絲特倫是一位備受追棒的 歌唱家，常在歐亞的音樂廳和 音樂節現身； 她的拿手曲目包 括白遼士的《夏夜》、馬勒的 《亡兒之歌》、《呂克特詩歌》、 《大地之歌》、布拉姆斯的《女 低音狂想曲》、艾爾加的《海之

©Pietro Spagnoli ©Emelie Kroon

景》、孟德爾頌的《以利亞》和 伯恩斯坦的第一交響曲。

她的近期演出包括在巴黎國家 歌劇院、柏林國家劇院和阿 姆斯特丹音樂廳擔演史卡拉第 《首宗謀殺事件》的該隱； 在 薩爾斯堡音樂節演韓德爾《阿 爾辛娜》中的布拉達曼特； 跟 利物浦皇家愛樂樂團合演巴赫

《 B 小調彌撒曲》，和在巴黎夥 拍島嶼古樂團上演巴赫《聖約 翰受難曲》。

Swedish-born Kristina Hammarström frequently appears at opera houses such as Teatro alla Scala Milan, Staatsoper Wien, Opéra National Paris, Théâtre de La Monnaie Brussels and Staatsoper Berlin.

She regularly works with conductors such as Marin Alsop, Herbert Blomstedt, William Christie, Jesús López Cobos, Adam Fischer, Alan Gilbert, Emmanuelle Haim, René Jacobs, Fabio Luisi, Andrea Marcon, Marc Minkowski, Leonardo Garcia Alarcon, John Nelson, Yannick Nézet-Séguin, Josep Pons and Christophe Rousset.

She is a much sought-after concert singer and regularly appears in concert halls and festivals throughout Europe and Asia. Her repertoire includes Berlioz’ Les nuits d'été, Mahler’s Kindertotenlieder, Rückert-Lieder and Das Lied von der Erde, Brahms’ Alto Rhapsody, Elgar’s Sea Pictures, Mendelssohn’s

Elias and Bernstein’s Symphony No. 1.

Her recent performances include Caino in Scarlatti’s Il primo Omicidio at Opéra National de Paris, Staatsoper Berlin and at the Concertgebouw Amsterdam, Bradamante in Handel’s Alcina at the Salzburg Festival, concerts of Bach’s Mass in B minor with the Royal Liverpool Philharmonic, and a staged version of Bach’s St. John Passion in Paris with Insula orchestra.

安娜．贊德

Anna Zander

女中音 Mezzo-soprano

飾 命運 / 安菲諾摩斯/ 梅蘭朵

As Fortuna (Fortune)/ Anfinomo (Amphinomus) / Melanto (Melantho)

安娜．贊德是位具深厚音樂根 底的歌唱家。她自幼在不同的 瑞典合唱團與聲樂組合演唱， 同時亦以獨唱家身份表演。 在皇家斯德哥爾摩大學學習聲 樂時，她以一位巴羅克時期作 品的歌唱家身份，在奧地利布 倫德爾巴羅克音樂家比賽中勝 出。在畢業後，她在歐洲、亞 洲和北美各地演唱。

雖然專注於早期音樂，但贊 德亦有演唱古典和浪漫主義時 期，以及不少當代的作品。 她的歌劇劇目包括莫扎特、珀 塞爾、蒙特威爾第和格魯克 的作品。

作為歌唱家，她熱衷在音樂會 以獨唱家身份與管弦樂團，又 或是在室樂編制下現場表演。

Anna Zander is a singer with great musical depth. From a very young age, she sang in various Swedish choirs and vocal ensembles, as well as a soloist. During her singing studies at the Royal University of Stockholm, she profiled as a baroque singer, and winning a competition for baroque musicians (in Brunnenthal, Austria) after graduating led to her working throughout Europe, and in Asia and North America.

Although she focuses on early music, Zander also sings music from the Classic and Romantic periods, and a lot of contemporary music. Her opera repertoire contains works by Mozart, Purcell, Monteverdi and Gluck.

Her greatest passion as a singer is to perform music live in concert, as a soloist with an orchestra or in smaller chamber musical constellations.

法國男高音諾威利曾贏得法國 音樂大賽，並在索邦大學取 得音樂學碩士，他自此鍾情古 樂，熱情一直未減，在他三十 多個唱片錄音及錄影中，合作 夥伴包括菲臘．皮耶洛、克里 斯多夫．羅塞特、謝雷特．蘭 斯尼和哈菲．尼格； 他又為樂 團「月亮人」當總監達十年之 久，都可見證他對古樂的投入。

他近來的演出包括在威尼斯鳳 凰劇院演出《卡門》的雷蒙達 多、在意大利巡迴演出《西班 牙鐘錶店》的多凱馬達（巡演 布雷西亞、科莫、克雷莫納和 帕維亞等地）、在聖依天歌劇院 演出高達《但丁》中的使者並 在巴勒莫馬斯摩劇院及凡爾賽 皇家劇院演出《尤利西斯歸鄉 記》的鐵雷馬科斯暨比桑特。

他的最新唱片《你的紀念品》

於 2023 年 2 月發行，他藉此作

French tenor Jean-François Novelli, winner of the Concours Général and holder of a Master’s degree in Musicology from the Sorbonne, turned quite naturally to early music, which he still focuses on with great passion. His 30 or so recordings and DVDs with the likes of Philippe Pierlot, Christophe Rousset, Gerard Lesne and Hervé Niquet, or with the Lunaisiens, an ensemble he co-directed for 10 years, bear witness to this. His recent engagements include the roles of Remendado (Carmen) at the Teatro la Fenice in Venice, Torquemada (L’heure espagnole) on tour in Italy (at the opera houses of Brescia, Como, Cremona and Pavia), the Herald (Dante de Godard) at the Opera of Saint-Etienne, and Telemaco and Pisandro (Il Ritorno d’Ulisse) at the Opera Massimo in Palermo and at the Royal Theatre of Versailles.

His latest album, Vous souvenezvous?, released in February 2023, is a tribute to the works of the first re-discoverers of early music, from the beginning of the 20th century to the present day.

諾威利

Jean-François Novelli 男高音 Tenor 飾 鐵雷馬科斯/比桑特 as Telemaco (Telemachus) / Pisandro (Peisander)

向二十世紀初至今的早期音樂 創作人致敬。

©Florence Levillain

More than Great Performances!

2023 FESTIVAL PLUS PROGRAMME 藝術節加料節目

3/2

五 Fri

5/2

日 Sun

12/2

日 Sun

13/2 Mon

18/2 六 Sat

19/2 日 Sun

跨越界限——陳詠燊談劇本創作

Sunny Chan on Screenwriting and Playwriting

說說管風琴•說說巴赫

Tracing the Organ Music of Bach

廣陵情長——粵劇編寫竹林七賢傳奇

Writing Cantonese Opera for the Legendary Seven Sages of the Bamboo Grove

「禹•見」鋼琴大師

Masterclasses and Meet Bruce Liu

「短篇粵劇──戲說八德」演後藝人談

Virtues and Morality—Four Cantonese Operas

Post-Performance Meet-the-Artist

杜國威經典作品選映——《虎度門》

Hu Du Men

Collection of Raymond To’s Classics 杜國威經典作品選映——《劍雪浮生》

A Sentimental Journey Collection of Raymond To’s Classics

22/2 三 Wed 杜國威經典作品選映——《南海十三郎》

The Mad Phoenix Collection of Raymond To’s Classics

24/2 五 Fri 米歇爾．梵德阿《水之書》演後藝人談

The Book of Water Post-Performance Meet-the-Artist

香港藝術節加料節目 X 大館對談：

古董鋼琴與現代鋼琴

27/2 Mon

28/2

二 Tue

1 - 19/3

三 - 日 Wed - Sun

3/3

五 Fri

5/3

日 Sun

HKAF PLUS x Tai Kwun Conversations: Early Piano Vs. Modern Piano 盛原——古董鋼琴獨奏會

Antique Piano Recital by Yuan Sheng 韓德兩地的音樂旅途

A Music Journey between Two Cultures –Esme Quartet in Korea and in Germany

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

歌劇《尤利西斯歸鄉記》製作解碼展覽

The Making before The Return Exhibition

《超真實》裝置音樂會演後藝人談 Hyperreality—an installation concert

Post-Performance Meet-the-Artist

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

「笙世界 音樂會」演後藝人談

Sheng World Music— Kevin Cheng & Friends

Post-Performance Meet-the-Artist

長笛的進化史──從巴羅克到現代時期 Evolution of Flute from the Baroque to Modern Periods 8/3

Wed 古鋼琴大師班

Fortepiano Masterclass 10/3 五 Fri

沉浸式歌劇《小狐狸》舞台參觀及公開彩排 Into the World of Silent Opera - Vixen Stage Tour & Open Rehearsal 「毛俊輝•粵劇情」演後藝人談

Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

「長笛三次方——曾逸豪在繆思的庭院」 演後藝人談 Triptych for Flute—Tsang Yat-ho in Le jardin des muses

Post-Performance Meet-the-Artist

演唱蒙特威爾第 About Singing Monteverdi 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

呼吸，讓木偶栩栩如生 Breathing brings Puppet to Life 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

巴赫與我 All I Need is Bach

《末戀•無愛合約》演後藝人談 Loveless Romance Post-Performance Meet-the-Artist

以樂器之王為經典默片配樂 Writing Music for Silent Film – Tips from the Organist

傑出文化領袖講座系列（10） 與班貝格交響樂團行政總裁暨 藝術總監馬庫斯•魯道夫•阿克斯對談 Distinguished Cultural Leadership Series (10)

In Conversation with Marcus Rudolf Axt Chief Executive and Artistic Director, Bamberg Symphony 《狂人派對》演後藝人談 Dance Me to the End of Night Post-Performance Meet-the-Artist

傑出文化領袖講座系列（10） 與金像獎最佳編劇杜國威對談—戲畫人生 Distinguished Cultural Leadership Series (10)

From Stage to Ink: In Conversation with Award-winning Playwright and Screenwriter Raymond To Kwok-wai

安東尼奧．亞比底

Antonio Abete

男低音 Bass

飾 時間/ 安提諾斯/ 涅圖羅 as Tempo (Time) / Antinoo (Antinous) / Nettuno (Poseidon)

安東尼奧．亞比底專注於巴羅 克曲目，曾合作的指揮家有阿 歷山德里尼、安東尼尼、艾 弗．博爾頓、法比奧．比昂迪 和威廉．克里斯提。

他曾數次參與雷尼．雅各斯製 作的巴羅克歌劇，繼有： 在柏 林國家歌院演出佩里的《尤里 迪斯》、佛羅倫斯五月音樂節上 演蒙特威爾第的《奧菲歐》、和 在薩爾斯堡演卡瓦利的《卡里 斯托》。

與荷迪．薩巴爾的合作則有： 在巴黎音樂城演出蒙特威爾第 的《聖母晚禱》、維也納音樂廳 和薩爾斯堡復活節音樂節的巴 赫 B 小調彌撒曲、還有蒙特威 爾第《勇士和戀人的牧歌》和 卡瓦列里《靈肉現形記》。

和費雷堡巴羅克古樂團的合 作，包括夥拍艾弗．博爾頓獻

唱韋華第《賽納河慶典》、由

克雷莫尼西指揮羅西尼《絲梯》 中演巴蘭薩克； 在日內瓦大劇 院，他亦在克雷莫尼西棒下演 出《尤利西斯歸鄉記》。

Antonio Abete has devoted himself to the Baroque repertoire, working with conductors including Rinaldo Alessandrini, Giovanni Antonini, Ivor Bolton, Fabio Biondi and William Christie.

He has sung in several Baroque opera productions with René Jacobs: Euridice by Peri at Staatsoper in Berlin, Monteverdi’s L’Orfeo at Maggio Musicale in Florence, and La Calisto by Cavalli at Sterfestspiele in Salzburg.

He also worked with Jordi Savall on productions including Vespro della Beata Vergine by Monteverdi at Cité de la Musique in Paris, Bach’s Mass in B minor at Wiener Konzerthaus and Osterfestspiele in Salzburg, Madrigali guerrieri et amorosi by Monteverdi and Rappresentazione di Anima, et d’ Corpo by Cavalieri.

With the Freiburger Barockorchester he has sung La Senna festeggiante by Vivaldi with Ivor Bolton and La Scala di seta/Blansac by Rossini with Attilio Cremonesi, with whom he also sang Il Ritorno d’ Ulisse in the Geneva Grand Théâtre.

漢娜．芭尤迪-赫特

Hanna Bayodi-Hirt

女高音 Soprano

飾 愛情/ 密涅瓦 as Amore (Love) / Minerva (Athena)

法國和摩洛哥裔的芭尤迪-赫特 的歌唱事業，始於巴黎香榭麗 舍劇院，在克里斯多夫．羅塞 特的指揮下演出夏邦泰的《聖 誕牧歌》； 此後她參與歌劇和聖 樂演唱，與多位巴羅克樂團總 監合作，有威廉．克利斯蒂、 艾瑪妞爾．阿伊姆和柯恩-阿 肯尼； 她又在著名的場地和藝 術節演出，例如阿姆斯特丹皇 家音樂廳、荷蘭歌劇院、巴黎 皮勒耶音樂廳、夏特雷劇院和 紐約布魯克林音樂學院。

她的歌劇角色包括： 在倫敦巴 比肯中心演出韓德爾《大力神》 的伊奧莉、在雅典音樂廳和東 京文化村果園音樂廳演出拉莫 《遊俠騎士》的妮蓮、在馬德里 皇家劇院演出由克利斯蒂指揮 蒙特威爾第的歌劇三部曲。

作為炙手可熱的神劇歌唱家， 芭尤迪-赫特受薩巴爾之邀，

在韓德爾的《復活》中演唱瑪 德蓮娜、巴赫和韋華第的《聖 母頌》、CPE 巴赫的《以色列人 在沙漠》和彼高利斯的《聖母 悼歌》。

French-Moroccan soprano Hanna Bayodi-Hirt began her career singing La Pastorale de Noël by Marc-Antoine Charpentier, conducted by Christophe Rousset at the Théâtre des Champs-Elysées in Paris. Since then she has been working as an opera and oratorio singer with numerous baroque ensemble directors, such as William Christie, Emmanuelle Haïm and Patrick CohenAkénine, and has performed in the most prestigious venues and festivals such as Royal Concertgebouw Amsterdam, Nederlandse Opera, Salle Pleyel and Théâtre du Châtelet in Paris, and the Brooklyn Academy of Music of New York.

Her opera roles include Iöle in Handel’s Hercules at the Barbican Centre of London, Nérine in Les Paladins by Rameau at the Megaron in Athens and the Bunkamura Orchard Hall in Tokyo as well as Monteverdi’s Trilogy at the Teatro Real in Madrid and conducted by William Christie. Also a much sought-after oratorio singer, Bayodi-Hirt has been invited by Jordi Savall to sing Maddalena in Händel’s Resurrezione, Bach’s and Vivaldi’s Magnificat, Carl Philipp Emanuel Bach’s Die Israeliten in der Wüste and Pergolesi’s Stabat Mater.

樂團、喜悅學院古樂團、古格 樂團、阿南迪晚禱樂團和以色 列圍牆合唱團； 至於現代樂團 方面，就有馬德里社區管弦樂 團、艾達管弦樂團、卡達克斯 管弦樂團和埃斯特雷馬杜拉管 弦樂團。

維托．索多

Víctor Sordo

男高音 Tenor

飾 尤米特/祖斐 as Eumete (Eumaeus) / Giove (Zeus)

生於西班牙巴達霍斯，索多受 過多元的音樂教育，包括鋼 琴、合唱團指揮和聲樂； 他在 各專業領域都活躍，例如聲樂 指導、鋼琴演奏、合唱團指揮 甚至音響工程。

過去十年他專注鑑古聲樂演 唱，尤其是十九世紀之前創作 的早期樂曲。他的聲樂老師包 括林柏特．克萊蒙、凡．埃爾 薩克、露意莎．查娃、范德維 格和米高．貝爾納。曾合作的 樂團有 根特聲樂合唱團 、哥倫 賓納合唱團、新光樂團、雅斯 勃艮第合唱班、吉斯勒里合奏 團、和風樂合唱團等； 合作的 指揮有赫爾維格、法蘭斯．布 魯根和約瑟．卡布列。

最近他為很多專注古樂的樂團 和合奏團作獨唱，包括國家古 樂合奏團、 赫斯佩里翁 20 世 紀古樂團 、里切卡爾古樂團、 撤離合奏團、北方巴羅克管弦

Born in Badajoz, Spain, Víctor Sordo’s multidisciplinary musical education includes the piano, choir conducting and singing. He has been professionally active in different fields such as vocal coaching, playing the piano and choir conducting, and also as a sound engineer.

During the past 10 years, he has focused on historical singing, specialising in early music written before the 19th century. As a singer, he has been instructed by the likes of Lambert Climent, Jan Van Elsacker, Ana Luisa Chova, Bart Vandewege and Miguel Bernal. He has performed with Collegium Vocale Gent, La Colombina, Novalux, Arsys Bourgogne, Ghislieri Consort, Ensemble Zefiro and more, working with conductors including Phillipe Herreweghe, Frans Brüggen and Josep Cabré. More recently he has sung as a soloist with many important specialist orchestras and ensembles including Le Concert des Nations, Hesperion XXI, Ricercar Consort, La Ritirata, Orkester Nord, Accademia del Piacere, Forma Antiqua, Vespres d’Arnadí and Barrocade Israeli, and with modern orchestras such as Orcam, ADDA Orchestra, Orquesta de Cadaques and Orquesta de Extremadura.

Musicians

安娜．勒徹伊在歐洲的古樂界 是活躍一員，精於古提琴和大 提琴。她生於匈牙利，現居荷 蘭，在海牙皇家音樂學院獲得 碩士； 她參與獨奏、室樂和樂 團演出，和比利時利恰卡爾古 樂團等知名樂團合作。

Anna Lachegyi is an active member of the early music scene in Europe , both as a viola da gamba and cello player She was born in Hungary and currently lives in the Netherlands , where she obtained her Master’s degree at the Royal Academy of Music in The Hague She divides her time between solo , chamber music and orchestral playing in renowned ensembles such as Ricercar Consort (Belgium).

喬凡娜．佩西在巴塞爾出生及 成長，自七歲起習豎琴，在瑞 士巴塞爾古樂學院學習鑑古演 奏； 她是挪威華倫羅德合奏團 成員，多年來用巴羅克豎琴演 奏當代音樂。 她的錄音繁多， 古樂及現代音樂均有涵蓋。

Giovanna Pessi was born and raised in Basel. She has played the harp since she was seven and studied historical harp and historical performance practice at the Schola Cantorum Basiliensis in Swizterland. As a member of the Norwegian Christian Wallumrød Ensemble, Pessi has been performing contemporary music on the baroque harp for many years. She has participated in numerous CD recordings of both early and contemporary music.

上村かおり

上村かおり是來自日本的古 提琴手，自三歲起習小提琴， 十一歲起習古提琴，在東京上 野學園大學畢業後，到布魯塞 爾皇家音樂學院進修。作為室 樂演奏家，她深獲同行信賴， 在日本和歐洲皆炙手可熱，作 為獨奏家，她最近推出的獨奏 唱片《優》大獲好評。她自 2021 年九月於布魯塞爾皇家音樂學 院任教。

Kaori Uemura is a viola da gamba player from Japan who started to play the violin at the age of three and started to play the viola da gamba at the age of 11. After graduating from Ueno Gakuen University in Tokyo, she studied at the Royal Conservatory of Brussels. She is trusted deeply by her peers as a chamber musician, and is very in-demand in Europe and Japan. She performs also as a soloist, and recently her solo CD Yuu has been highly acclaimed. From September 2021, she has been teaching at the Royal Conservatory of Brussels.

© Andreas Ulvo

克樂蔓斯．舒爾茲

Clémence Schiltz

古提琴

Viola da gamba

舒爾茲自幼已對古大提琴著 迷，六歲起在巴黎開始學習， 後來也涉獵巴羅克大提琴和古 提琴； 她時常參與管弦樂團、 巴羅克室樂合奏和古提琴樂團 的演出，合作的樂團包括里切 卡爾古樂團、巴赫裴路斯古樂 團、哈托爾古樂團； 她曾在歐 亞各場地和音樂節演出； 最近 她與里切卡爾古樂團合作錄製 了三張唱片，由鏡像唱片發 行； 她尤其喜歡與不同範疇的 藝人合作，包括演員和木偶師。

As a young child, Clémence Schiltz was intrigued by the viola da gamba and started lessons at the age of six in Paris. She later started playing the baroque cello as well as the viol. She performs regularly with orchestras, baroque chamber ensembles and in viol consort, with groups such as Ricercar Consort, BachPlus and Hathor Consort. She has performed at numerous venues and festivals throughout Europe and Asia. Recently, she recorded three CDs with Ricercar Consort for the label Mirare. She is particularly interested in collaborating with

artists in other fields, including actors and puppeteers.

丹尼爾‧扎比高出生於西班 牙阿斯圖里亞斯，早年就專心 學習古樂，在近期的獨奏專輯 《於世》，親自操刀把法國巴羅 克音樂編成大魯特琴，贏得一 致好評； 他創立古式古樂團， 常巡迴世界演出； 他和年奴． 利斯訥攜手，創作出一套為大 魯特琴編寫的小型歌劇《不朽 之舟》。

Daniel Zapico was born in Asturias, Spain, and from an early age he focused on the field of early music. Au monde, his recent solo album with his own transcriptions for theorbo of French Baroque music, won widespread acclaim from critics. As a founding member of Forma Antiqva, Zapico has performed around the world.

帕布路．扎比高

帕布路．扎比高是知名的古樂 演奏家，專長大魯特琴、高音 魯特琴和巴羅克結他；他畢業於 加泰羅尼亞高等音樂學院，並於 2012 年在巴塞隆拿大學完成音 樂學和古樂闡釋碩士課程。 他創辦了著名巴羅克古樂團 Forma Antiqva，但仍繼續與歐 洲主要樂團合作和擔當獨唱；也 錄製過 30 多張唱片。

Pablo Zapico is a renowned performer in the field of early music, a specialist in the theorbo, archlute and Baroque guitar. He is a graduate of the Escola Superior de Música de Catalunya and completed his Master's degree in Musicology, Musical Education and Interpretation of Early Music at Autonomous University of Barcelona in 2012.

He is a co-founder of the prestigious Baroque group Forma Antiqva, and remains a soloist and collaborator with the most important European groups and orchestras. He has recorded more than 30 albums.

©AL Montezuma

©Charles A. Englebert

木偶師 Puppeteers

並於國際巡演，並在威廉· 肯特里奇執導的《尤利西斯歸 鄉記》中演出，同年被提名為 Shoprite Checkers 年度女性。

Busi Zokufa trained as a teacher, actress, singer, language advisor, puppeteer, storyteller and writer. She taught at the Lesedi Early Learning Centre in Daveyton and sang as a vocalist with various bands between 1986 and 1990.

勃思．祖古法

Busi Zokufa

木偶師飾 梅蘭朵/ 比桑特/ 尤米特

Puppeteer of Melanto/Pisandro/ Eumete

勃思．祖古法接受過教師、 演員、歌手、語言顧問、木 偶戲演員、說書人和作家的培 訓。她在大衛頓的萊西迪學前 教育中心任教，並在 1986 年 至 1990 年期間擔任不同樂隊 的主唱。

她在南非木偶劇團接受木偶戲 培訓，並參演了由巴尼西蒙執 導，在英國巡迴演出的木偶劇 《星光閃爍》。 1992 年，她參演 了蘇萊曼·西塞執導的法國電 影《時間》，並與南非木偶劇團 到多國巡演《高原上的胡錫》。

她於芝加哥舉行的紐約國際藝 術節開幕首演亮相，也在澳 洲、法國和以色列演出。她再 次跟南非木偶劇團公司 (1995–96) 作國際巡演，並於 1998 年 獲得維塔獎最佳女主角提名。

她參演《烏布與真相委員會》

She trained as a puppeteer with Handspring Puppet Company and starred in Starbrites, directed by Barney Simon, which toured the UK. In 1992 she was involved in a French Film Waati, directed by Souleymanne Cisse, and toured internationally with Handspring’s Woyzeck on the Highveld.

She appeared in the opening act at the New York International Festival in Chicago, and also in Australia, France and Israel. She once again toured internationally with Handspring Puppet Company (1995–6) and was nominated for a Vita Award as Best Actress in 1998. She toured internationally with Ubu and the Truth Commission and appeared in Il Ritorno d’Ulisse, directed by William Kentridge, and was nominated as the Shoprite Checkers Woman of the Year.

魏道揚

Enrico Dau Yang Wey

木偶師飾 安提諾斯/ 床上的尤利西斯

Puppeteer of Antinoo/Ulisse in bed

魏道揚來自台灣，自 2004 年以 來一直是南非木偶劇團成員， 曾在《戰馬》和《高馬》等作 品中演出。他亦曾擔任德語作 品《戰馬》（ 2013 ）的常駐木 偶導演和《步行／小阿瑪爾》 （ 2021 ）的木偶劇導演，兩個 作品曾在國際巡演，包括美國 的 Danspace Project、西班牙的 CA2M、Conde Duque 等空間， 以及曼哈頓下城文化委員會等 等。他正在與「步行製作」共 同開發獨奏演出及其他計劃。

Enrico Wey hails from Taiwan and has been a member of Handspring Puppet Company since 2004 performing in productions like War Horse and Tall Horse. He served as the Resident Puppetry Director for the German-language production of War Horse (2013)

© Brett Ruphin

and Puppetry Director for The Walk/Little Amal (2021). Their performance works have been on view internationally at such venues as Danspace Project (USA), CA2M, Conde Duque (ES) and for the Lower Manhattan Cultural Council. They are developing solo performance work and projects with The Walk Productions.

Gabriel Marchand 木偶師飾 安菲諾摩斯/ 鐵雷馬科斯 Puppeteer of Anfinomo/Telemaco

加比埃利．馬尚是一名木偶 師和演員，過去十一年參與了 南非木偶劇團多個演出，包括 《高原上的胡錫》、《烏布與真 相委員會》、《奧羅波若蛇》和 《當你呼吸時我愛你》。他還是 枕頭城堡製作公司的聯合創始 人兼木偶戲導演，該公司為五 歲以下幼童創作木偶劇場，並 協助屢獲殊榮的電視節目《木 偶國》攝製木偶戲。

Gabriel Marchand is a puppeteer and actor who has worked on various Handspring shows for the last 11 years including Woyzeck on the Highveld, Ubu and the Truth Commission, Ouroboros and I Love You When You're Breathing. He is also co-founder and puppetry director for Pillow Fort Productions which makes puppet theatre for under fives and puppeteers for the multi award-winning TV production, Puppet Nation.

喬恩．瑞斗伯格

Jon

Riddleberger

木偶師飾 尤利西斯

Puppeteer of Ulisse

喬恩．瑞斗伯格是居住在紐約 的演員、木偶師和教師。他自 2016 年加入《尤利西斯歸鄉 記》的演員陣容。他首次為南 非木偶劇團參演，是在北美和 日本參與《戰馬》的巡迴演出。

值得注目的作品包括： 激光喙 人與阿格斯（死偶協會）、飛 走（德里克福特朱爾和尼克勒 漢）、《赤 BIG 靈靈狗》、開心 娜娜和月亮寶寶（英國廣播 公司）、《買個好明天》(Apple TV+)，等等。

其得獎電影《回憶交易》由手 作木偶夢的木偶師海瑟漢臣製 作，並在世界各地電影節上 映。他目前正籌備一套名為 《朋友》的新木偶劇。他亦是 基萊·吉普森新劇《惡魔》的 木偶戲導演，今年春天，他 將於紐約的藝術表演劇場 The Bushwick Starr 舉行首演。他於 紐約大學帝勢藝術學院任兼職 教師，教授戲劇學生木偶戲。

加比埃利．馬尚

Jon Riddleberger is a New York based actor, puppeteer, filmmaker, director, and teacher. He has toured with Il Ritorno d’Ulisse since 2016 Riddleberger first started working with Handspring Puppet Company in the North American and Japanese tour of War Horse.

Some notable credits include: Laser Beak Man and Argus (Dead Puppet Society), Fly Away (Derek Fordjour and Nick Lehane), Clifford the Big Red Dog feature film, Moon and Me (The BBC), Hello Tomorrow! (Apple TV+), among others.

His award-winning film The Memory Trade was produced by Heather Henson’s Handmade Puppet Dreams and has been seen in festivals around the world. He is currently in development for a new puppet series titled Friend. He is the director of puppetry for Keelay Gipson’s new play Demons premiering at The Bushwick Starr in NYC this spring. He is an adjunct teacher at NYU Tisch School of the Arts where he teaches puppetry to the drama students.

www.jonriddleberger.com

1994 年，瑞秋．里奧納獲得倫 敦著名木偶劇院—小天使的實 習機會，從此展開多姿多彩的 木偶藝術探索之旅。她隨後赴 笈海外到駁船木偶劇場進修。

現時她與眾多出色的劇場製作 人合作，並擔任好奇木偶學校 的導師。

她參與的戲劇作品包括南非木 偶劇團和好機會劇團的《步行／ 小阿瑪爾》（作品透過木偶小阿 瑪爾從敘利亞行走到英國，以 支持難民事務，小阿瑪爾現正 繼續宣揚對難民的關注，並已 成為人權的國際象徵）、南非木 偶劇團及英國國家劇團的《戰 馬》、霓海劇團的《噗》和《巨 翅老人》、小天使木偶劇院的 《北極熊的逃家計劃》、《林中睡 美人》、《安吉洛》、《小美人魚》 等，以及盲頂劇團的 2012 奧運 會開幕典禮。

In 1994 Rachel Leonard secured a traineeship at London’s renowned puppet theatre: The Little Angel Thereby setting forth on an exhilarating path of puppetry discovery She further trained aboard The Puppet Theatre Barge

Now she has collaborated with many of our great theatre makers and is also a tutor at The Curious School of Puppetry. Theatre credits include: For Handspring and Good Chance Theatre: The Walk, with Little Amal. A walk from Syria to the UK in support of refugees. Little Amal continues to spread awareness and has become an international symbol for human rights. For Handspring and The National: War Horse. For Kneehigh: Fup and A Very Old Man With Enormous Wings. For The Little Angel: The Journey Home, Sleeping Beauty In The Wood, Angelo, The Little Mermaid and many more. For Blind Summit: The 2012 Olympic Opening Ceremony.

瑞秋．里奧納

Rachel Leonard

木偶師飾 潘妮洛佩 Puppeteer of Penelope

鳴謝

ACKNOWLEDGEMENTS

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:

香港藝術節基金會贊助人

Hong Kong Arts Festival Foundation Patrons

首席創始贊助人 Lead Founding Patrons

陳俊豪先生 Mr Thomas Chan

黃廷方慈善基金 Ng Teng Fong Charitable Foundation

電訊盈科 PCCW

九龍倉集團 The Wharf Group

主要創始贊助人 Major Founding Patrons

萬通保險國際有限公司 YF Life Insurance International Ltd

眾安銀行 ZA BANK

創始贊助人 Founding Patrons

陳煒文博士, JP Dr Raymond Chan, JP

丹斯里拿督邱達昌 Tan Sri Dato’ David Chiu

曹其鋒先生 Mr Silas Chou

霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok

馮氏基金有限公司 E.M. Fung Foundation Limited

何超瓊女士, SBS , JP Ms Pansy Ho, SBS, JP

科勁國際（控股）有限公司 King’s Flair International (Holdings) Limited

梁婉玲博士 Dr Elina Leung

孫漢明博士 Dr Stephen Suen

包陪麗女士, BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari

其他贊助人 Other Patrons

羅嘉瑞基金 KS & Feili Lo Foundation

孫大倫博士, BBS , JP Dr Dennis T L Sun, BBS, JP

慶祝香港藝術節五十周年晚宴之贊助人

Sponsors of the Hong Kong Arts Festival 50th Anniversary Gala Dinner

鑽石席 – 宴桌 Diamond Table Sponsors 香港上海匯豐銀行有限公司 上海商業銀行

洪祖杭博士, GBM , GBS , JP

鄭慕智博士, GBM , GBS , JP James Houghton 先生, 黃穎灝先生及梅慶堯先生 雍景欣女士

The Hongkong and Shanghai Banking Corporation Limited

Shanghai Commercial Bank

Dr the Hon Albert Hung Chao-hong, GBM, GBS, JP

Dr the Hon Moses Mo-chi Cheng, GBM, GBS, JP

Mr James Houghton, Mr Isaac Wong & Mr Arthur Mui

Ms Jingxin Yong

鑽石席 – 宴位 Diamond Seat Sponsors 呂元祥博士及夫人

譚允芝女士, SBS , SC , JP 龐維新先生及夫人 崇光(香港)百貨有限公司

黃金席 – 宴桌 Gold Table Sponsors 鄭阮培恩女士, 吳來盛先生及夫人 中美國際集團有限公司

華國強先生夫人 太古地產有限公司 卡地亞

黃金席 – 宴位 Gold Seat Sponsors 何苗春暉女士

林梅若梅女士

鄭馮亮琪女士

Janana Suleymanli Pasha 女士 鄭惠貞女士

張利平先生

Dr and Mrs Ronald Lu

Ms Winnie Tam Wan-chi, SBS, SC, JP

Mr and Mrs Wilson Pong

Sogo Hong Kong Company Limited

Mrs Betty Cheng, Mr and Mrs Emil Ng

Chung Mei International Holdings Limited

Mr Granger and Mrs Miriam Hwa

Swire Properties Limited

Cartier

Ms Joanna Hotung

Mrs Lavina Lim

Mrs Fina Cheng

Ms Janana Suleymanli Pasha

Ms Margaret Cheng

Mr Zhang Liping

鳴謝 ACKNOWLEDGEMENTS (續 con' t)

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

其他支持機構 Other Supporters

加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

實物支持機構 In - kind Supporters

大亞國際集團 Altaya Group

香港愉景灣酒店 Auberge Discovery Bay Hong Kong

香港君悦酒店 Grand Hyatt Hong Kong

虎豹樂圃 Haw Par Music

藝術節捐助計劃 Festival Donation Scheme

鉑金捐款者 PLATINUM DONOR

HK$140,000 或以上 OR ABOVE

孫大倫博士, BBS , JP Dr Dennis T L Sun , BBS , JP

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

瑞安集團 Shui On Group

Dr Patrick Tong

文藝女士 Ms Wen Yi

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

無名氏 Anonymous

陳求德醫生及夫人 Dr & Mrs KT Chan

Ms Leung Wai Yee Candice

馬美域女士 Ms Yvette Therese Ma

Dr Stephen Suen

楊傳亮先生, BBS , JP Mr Charles Yang , BBS , JP

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 ( 2 ) Anonymous ( 2 )

Mr & Mrs Jeffrey & Helen Chan

Mr Edmond Huang

Dr Peter and Nancy Thompson

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Mrs Linda Wang

Mr & Mrs YS Wong

純銀會員 Silver Members 太古集團慈善信託基金

The Swire Group Charitable Trust

上海商業銀行有限公司

Shanghai Commercial Bank Limited

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Consulate of the Kingdom of the Netherlands in Hong Kong and Macau

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無名氏( 3 ) Anonymous ( 3 )

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青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

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AWORKS DESIGN

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鍾雅妍博士 Dr Fiona Chung

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Dr Alfred Lau

Apple Lee

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San Miguel Brewery Hong Kong Ltd .

Mr A . Smith

The Brandon Centre Limited

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朱玉迎女士 Ms Zhu Yuying

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HK$140,000 或以上 OR ABOVE

無名氏( 2 ) Anonymous ( 2 )

馬振玉慈善基金會有限公司

CYMA Charity Fund Ltd

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

Mrs Purviz R Shroff , MH and

Late Mr Rusy M Shroff , BBS , MBE

田家炳基金會 Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

Mr Roger and Mrs Lina Lui

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黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

Ms Cheng Wai Ching Margaret

Dr Chung See Yuen

天智合規顧問 CompliancePlus Consulting

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C H Mak

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HK$6,000 – HK$11,999

新作捐助計劃 New Works Scheme

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 Anonymous

劉仰澤先生 Mr Lau Yeung Chak

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

凌霄志醫生 Dr Tony Ling

無名氏 ( 2 ) Anonymous ( 2 )

區燊耀先生 Mr Au Son Yiu

Mr & Mrs Jeffrey & Helen Chan

Dr Chan Wan Tung

Mr & Mrs Norman Chui

Mrs Margaret Hamilton

Miss Jenny Hodgson

Mr Iain Bruce

麥禮和醫生 Dr Mak Lai Wo

Mr Vernon Zhang

陳穎儀與黃乃正

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 ( 3 ) Anonymous ( 3 )

Mr & Mrs Herbert Au - Yeung

Cynthia Cheng & Aaron Chan

Ms Kit Fung Cheung

Dr Alan Chiang

馮兆林先生太太 Mr & Mrs Fung Shiu Lam

Ms Maureen Leung

Ms Regina Lo

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Mrs Anna Chan Sheh

Mr So Kin Man

文娛慈善基金 The Elementary Charitable Foundation

余德銘先生 Mr Desmond Yu

殷和順先生劉善萍夫人

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

Ms Judith Ling

Ms So Wing Yin

網上藝術教育捐助計劃 Digital Arts Education Scheme

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

HK CT Alumni Association

支持及協助 SUPPORT AND COOPERATION

教育局藝術教育組

Arts Education Section, Education Bureau

香港展能藝術會

Arts with the Disabled Association Hong Kong

香港愉景灣酒店

Auberge Discovery Bay Hong Kong

澳洲駐香港及澳門總領事館 Australian Consulate-General Hong Kong and Macau

奧地利駐香港總領事館 Austrian Consulate General

Hong Kong

樺利廣告有限公司 Avanny Advertising Co Ltd

宏基國際賓館 Bishop Lei International House

BRICK LANE

英國文化協會 British Council

英國駐香港總領事館 British Consulate General Hong Kong

百老匯院線 Broadway Circuit burgundy etc

CAMPSITE

粵劇發展基金 Cantonese Opera Development Fund

牛棚藝術村 Cattle Depot Artist Village

周生生集團國際有限公司

Chow Sang Sang Jewellery Co. Ltd

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

思聯設計有限公司 CL3 Architects Ltd

比利時駐港澳總領事館

Consulate General of Belgium in Hong Kong and Macau 加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

法國駐港澳總領事館

Consulate General of France in Hong Kong and Macau

西班牙駐香港總領事館

Consulate General of Spain in Hong Kong 瑞士駐香港總領事館

Consulate General of Switzerland in Hong Kong

荷蘭駐港總領事館

Consulate General of the Kingdom of Netherlands in Hong Kong and Macau

大韓民國駐香港總領事館

Consulate General of the Republic of Korea in Hong Kong

俄羅斯駐香港總領事館

Consulate General of the Russian Federation in the Hong Kong SAR, PRC

Die Konzertisten

拔萃女書院 Diocesan Girls' School

愛普生香港有限公司 Epson Hong Kong Limited

香港港威酒店 Gateway Hotel, Hong Kong

德國駐香港總領事館

German Consulate General Hong Kong

六國酒店 Gloucester Luk Kwok Hong Kong

香港歌德學院 Goethe-Institut Hong Kong

香港君悅酒店 Grand Hyatt Hong Kong

青苗琴行 Greenery Music

香港恒生大學

Hang Seng University of Hong Kong

學生事務處 Student Affairs Office

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快達票香港有限公司 HK Ticketing

香港文聯 HKL&A

香港藝術行政人員協會 Hong Kong Arts Administrators Association

香港藝術中心 Hong Kong Arts Centre

香港浸會大學 Hong Kong Baptist University

音樂學院 Academy of Music

拉闊文化 Cultural Literacy Programme

英國語言文學系 Department of English Language and Literature

香港大會堂 Hong Kong City Hall

香港文化中心 Hong Kong Cultural Centre

香港電影資料館 Hong Kong Film Archive

香港黃金海岸酒店 Hong Kong Gold Coast Hotel

香港管弦樂團 Hong Kong Philharmonic Orchestra

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香港旅遊發展局 Hong Kong Tourism Board

斯洛文尼亞駐港總領事館 Honorary Consulate of Slovenia in Hong Kong

香港都會大學

Hong Kong Metropolitan University

學生事務處 Student Affairs Office

登臺 Hotel Stage

宜必思香港中上環

ibis Hong Kong Central and Sheung Wan

工銀亞洲 ICBC (Asia)

入境事務處 Immigration Department

香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices

Outside Hong Kong

海景嘉福洲際酒店

InterContinental Grand Stanford Hong Kong

高山劇場 Ko Shan Theatre

九龍木球會 Kowloon Cricket Club

Kubrick

葵青劇院 Kwai Tsing Theatre

駐香港韓國文化院

Korean Cultural Center in Hong Kong

康樂及文化事務署

Leisure and Cultural Services Department

牧羊少年與他的浮萍 Lemna of the alchemist

中央人民政府駐香港特別行政區聯絡辦公室 Liaison Office of the Central People's Government in the HKSAR

嶺南大學 Lingnan University

黃炳禮音樂及演藝部

Wong Bing Lai Music and Performing Arts Unit

馬哥孛羅香港酒店 Marco Polo Hongkong Hotel

Maxibit HK/China

MCL K11 Art House

中華人民共和國文化和旅遊部

Ministry of Culture and Tourism, PRC 循道衛理聯合教會國際禮拜堂

Methodist International Church Hong Kong Mission Production Company Ltd

李鏡輝先生 Mr Alpha Li

黃月妙小姐 Ms Kitty Wong

黃宇軒先生 Mr Sampson Wong

音樂事務處 Music Office

北區大會堂 North District Town Hall

One Minden Tapas Kitchen

橙天嘉禾娛樂集團 Orange Sky Golden Harvest

Entertainment Group

柏斯琴行 Parsons Music Limited

奧華酒店 中環 Ovolo Central

卓滙達有限公司 Patsville Company Ltd

Performing Arts Fund NL

電訊盈科 PCCW Pixellent

犇華企業服務有限公司 Primasia Corporate Services Limited

鄭新文教授 Prof Tseng Sun-man

富豪酒店國際 Regal Hotels International

香港瑰麗酒店 Rosewood Hong Kong

皇家太平洋酒店 Royal Pacific Hotel

Russian Club in Hong Kong

沙田大會堂 Sha Tin Town Hall

上環文娛中心 Sheung Wan Civic Centre

聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin

Secondary School

南非駐香港總領事館

South African Consulate General Hong Kong SAR & Macao SAR, PRC

Southgate Design

香港西班牙商會

Spanish Chamber of Commerce in Hong Kong

事必達推廣有限公司 Speedy Promotion Limited

春天舞台劇製作有限公司 Spring-Time Stage Productions Limited

辰衝圖書有限公司 Swindon Book Co. Ltd.

香港瑞士商會有限公司 Swiss Chamber of Commerce in Hong Kong Limited

大館 Tai Kwun

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

香港八和會館 The Chinese Artists Association of Hong Kong

香港中文大學 The Chinese University of Hong Kong

聯合書院 United College

藝術行政主任辦公室 The Office of the Arts Administrator

文化及宗教研究系 Department of Cultural and Religious Studies

香港城市大學 The City University of Hong Kong

文化薈 Cultural Exchange Oasis

商務印書館（香港）有限公司 The Commercial Press (Hong Kong) Limited

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

灣景國際 The Harbourview

梅夫人婦女會 The Helena May

香港演藝學院 The Hong Kong Academy for Performing Arts

戲曲學院 School of Chinese Opera 戲劇學院 School of Drama

音樂學院 School of Music

舞蹈學院 School of Dance

電影電視學院 School of Film and Television

學生事務處 Student Affairs Office

表演場地管理部 Venue Performance Unit

場地技術部 Venue Technical Unit

香港兒童合唱團 The Hong Kong Children’s Choir

香港理工大學 The Hong Kong Polytechnic Universit

文化及設施推廣處 Culture Promotion and Events Office

香港科技大學 The Hong Kong University of Science and Technology

藝術中心 Center for the Arts

The Swiss Chamber of Commerce in Hong Kong Limited

香港大學 The University of Hong Kong

音樂系 Department of Music

香港大學美術博物館 University Museum and Art Gallery Cultural Management Office

學生發展及資源中心 Centre of Development and Resources for Students

港青 - 香港基督教青年會

The Salisbury – YMCA of Hong Kong

通利琴行 Tom Lee Music Company Ltd

三角關係 Trinity Theatre

荃灣大會堂 Tsuen Wan Town Hall

屯門大會堂 Tuen Mun Town Hall

城市售票網 URBTIX

市區重建局 Urban Renewal Authority

同流黑盒劇場 WeDraman Black Box Theatre

進富印刷公司 Wealthy Step Printing Co.

西九文化區管理局

West Kowloon Cultural District Authority

粵海華美灣際酒店 Wharney Hotel

艾希妮網絡公關有限公司 X Social Group Limited

油麻地戲院 Yau Ma Tei Theatre

元朗劇院 Yuen Long Theatre

赤豚事務所 Zhu Graphizs

贊助人 李家超先生, GBM SBS PDSM PMSM

永遠名譽會長 邵逸夫爵士 (1907-2014)

執行委員會

主席 查懋成先生

副主席 盧景文教授

義務司庫 范高廉先生

委員 鄭阮培恩女士 鄭惠貞女士 馮愉敏先生 何苗春暉女士 文肇偉先生 孫大倫博士 姚潔莉女士 楊　光先生

節目委員會

主席 盧景文教授

委員 白諾信教授 紀大衛教授 羅志力先生 毛俊輝教授 約瑟．施力先生+ 譚榮邦先生 姚　珏女士

財務委員會

主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生 發展委員會

主席 鄭阮培恩女士

副主席 雍景欣女士 委員 馮愉敏先生 龐心怡女士 孫林宣雅女士 文藝女士 姚祖輝先生

顧問 夏佳理先生 鮑　磊先生 陳祖澤博士 陳達文博士 霍　璽先生 李業廣先生 梁紹榮夫人 李國寶博士 名譽法律顧問 甘乃迪女士（孖士打）

核數師 羅兵咸永道 會計師事務所

PATRON

HONORARY LIFE PRESIDENT

EXECUTIVE COMMITTEE

Chairman

Vice-Chairman

Honorary Treasurer

Members

電話 TEL 2824 3555

傳真 FAX 2824 3798 / 2824 3722

電子郵箱 Email afgen@hkaf.org

節目查詢熱線 2824 2430

Programme

Enquiry Hotline

地址 ADDRESS 香港灣仔港灣道 2 號 12 樓 1205 室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

The Hon. John KC Lee, GBM SBS PDSM PMSM

The Hon. Sir Run Run Shaw, GBM CBE (1907-2014)

Mr Victor Cha

Prof. Lo King-man, SBS MBE JP

Mr Colin Farrell

Mrs Betty Yuen Cheng

Ms Margaret Cheng

Mr Michael Fung

Ms Joanna Hotung

Mr Sebastian Shiu-wai Man

Dr Dennis T L Sun, BBS JP

Ms Miriam Yao

Mr Sunny Yeung

PROGRAMME COMMITTEE

Chairman

Members

Prof. Lo King-man, SBS MBE JP

Prof. Giorgio Biancorosso

Prof. David Gwilt, MBE

Mr Peter C L Lo

Prof. Fredric Mao, BBS

Mr Joseph Seelig +

Mr Wing-pong Tam, SBS JP

Ms Jue Yao, JP

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

Mr Colin Farrell

Ms Margaret Cheng

Mr Nelson Leong

Mrs Betty Yuen Cheng

Ms Jane Yong

Mr Michael Fung

Ms Samanta Sum-yee Pong

Mrs Helen Lin Sun

Ms Yi Wen

Mr Andrew Yao

ADVISORS

The Hon. Ronald Arculli, GBM GBS

Mr Martin Barrow, GBS CBE JP

Dr John C C Chan, GBS CBE LVO JP

Dr Darwin Chen, SBS ISO

Mr Angus H Forsyth

The Hon. Charles YK Lee, GBM GBS OBE JP

Mrs Mona Leong, SBS BBS MBE JP

Dr The Hon Sir David KP Li, GBM GBS OBE JP

HONORARY SOLICITOR

AUDITOR

Ms Gabriela Kennedy, Mayer Brown

PricewaterhouseCoopers

職員

行政總監 余潔儀

行政總監助理 何丹蓉

節目

節目總監 梁掌瑋 蘇國雲

高級節目經理 梁偉然

節目經理 陳曉彤 * 鄭佩群 * 廖國穎 * 馬筠婷 * 司徒頌欣 * 短期節目經理 游慧姿 *

副節目經理 杜以樂 *

節目統籌 林穎茵 *

藝術行政見習員 容諾行 *

行政

節目經理 (行政) 蘇雪凌

節目主任 (行政) 林穎妍 *

物流

物流及接待經理 金學忠 *

技術

製作經理 梁雅芝 *

助理製作經理 陳梓衡 *

出版

編輯 陳詠恩 * Adam Wright*

助理編輯 陳劭儀 * 李芷晴 *

外展

外展經理 林嘉敏 *

助理外展經理 李萬祺 * 潘穎詩 *

外展主任 張凱柔 *

外展助理 馬曉瑩 *

藝術行政見習員 馮樂程 *

市場推廣

市場總監 鄭尚榮

副市場總監 盧伯全

副市場經理 陳靄婷 * 張予心 * 黃頴儀 *

助理項目經理 李穎軒 * 譚懿諾 *

助理市場經理 許樂欣 * 曾諾怡 *

市場主任 林培生 *

票務

市場經理(票務) 梁彩雲

票務主任 殷嘉駿 *

發展

發展總監 黃美儀

特別發展協理 蘇啟泰 *

發展經理 林思穎 * 吳綺菁 * 譚樂瑤

發展主任 鄒穎妮 * 譚尹晴 *

藝術行政見習員 梁詠熙 *

短期發展助理 潘藹怡 *

行政事務

財務總監 鄺敬婷

會計

會計經理 杜詩麗 *

會計主任 顏悅恩 *

人力資源及行政

人力資源及行政經理 楊美君 *

接待員/初級秘書 李美娟

助理 黃國愛

資訊科技

資訊科技經理 陳啟明 *

無限亮

項目總監 錢 佑 *

節目及外展經理 鍾美琼 * 何敏凝 * 節目及外展統籌 何敬堯 * 潘詠汶 *

市場經理 黃嘉欣 *

副市場經理 廖愷瀅 *

助理製作經理 張詠宜 *

高級會計主任 鍾巧明 * 香港藝術節@大館

項目經理 鄺為立 * 公關及宣傳統籌 楊佩雯 *

STAFF

Executive Director

Assistant to Executive Director

PROGRAMME

Programme Directors

Senior Programme Manager

Programme Managers

Temporary Programme Manager

Deputy Programme Manager

Programme Coordinator

Arts Administrator Trainee

ADMINISTRATION

Programme Manager (Admin)

Flora Yu

Connie Ho

Grace Lang So Kwok-wan

Ian Leung

Kristen Chan* Cathy Cheng*

Sophie Liao* Katie Ma*

Samantha Szeto*

Janet Yau*

Tobe To*

Lilian Lam*

Ryan Yung*

Shirley So

Programme Officer (Admin) Michelle Lam*

LOGISTICS

Logistics Manager

TECHNICAL

Production Manager

Elvis King*

Shirley Leung*

Assistant Production Manager Jacob Chan*

PUBLICATIONS

Editors

Assistant Editors

OUTREACH

Outreach Manager

Assistant Outreach Managers

Outreach Officer

Outreach Assistant

Arts Administrator Trainee

MARKETING

Marketing Director

Associate Marketing Director

Deputy Marketing Managers

Assistant Project Managers

Assistant Marketing Managers

Marketing Officer

TICKETING

Marketing Manager (Ticketing)

Ticketing Officer

DEVELOPMENT

Development Director

Special Development Associate

Development Managers

Development Officers

Arts Administrator Trainee

Temporary Development Assistant

CORPORATE SERVICES

Finance Director

ACCOUNTS

Account Manager

Accounting Officer

HR & ADMINISTRATION

HR and Admin Manager

Receptionist/Junior Secretary

General Assistant

INFORMATION TECHNOLOGY

Information Technology Manager

NO LIMITS

Project Director

Programme and Outreach Manager

Programme and Outreach Coordinators

Marketing Manager

Deputy Marketing Manager

Assistant Production Manager

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

Eugene Chan* Adam Wright*

Shao yi Chan* Rebecca Lee*

Carman Lam*

Kelvin Li* Renee Poon*

Hazel Cheung*

Queena Ma*

Crystal Fung*

Katy Cheng

Eugene Lo

Tobie Chan* Stephanie Cheung*

Joey Wong*

Hill Li* Hades Tam*

Sally Hui* Margaret Tsang*

Billy Lin*

Eppie Leung

Cyrus Yan*

Angela Wong

Alex So*

Sharon Lam* Joey Ng*

Lorna Tam

Chau Wing-ni* Linda Tam*

Kirstie Leung*

Carol Pun*

Teresa Kwong

Connie To*

Stephany Ngan*

Janet Yeung*

Virginia Li

Bonia Wong

Derek Chan*

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Carly Wong*

Kaitlyn Liu*

Jess Cheung*

Catherine Chung*

Kwong Wai Lap*

PR and Marketing Coordinator Wind Yeung*

Coordinators

Production Officer Pang Ka Tat*

Technical Coordinators Rachel Au*, Tony Choi*, Cherry Fung*, Mandy Lai*, Martin Lai*, Lawrence Lee*, Joyi Tsang*