Richard Strauss’ Ariadne auf Naxos - Bayerische Staatsoper - 52nd Hong Kong Arts Festival

拿索斯島的亞莉安妮 巴伐利亞國立歌劇院 李察．史特勞斯

Festival Opening 藝術節開幕演出

獻辭 MESSAGE

第五十二屆香港藝術節隆重舉行，可喜可賀。

歷經五十餘年，香港藝術節已成為享譽國際的文化盛 事。今屆藝術節續放異彩，雲集約1,400名本地及海 外藝術家，帶來逾150場不同類型的表演，由音樂、 歌劇、戲曲，以至戲劇、舞蹈、跨媒體藝術和大型特 備節目等，必定是另一場令人難忘的藝術盛宴。

今屆藝術節以李察．史特勞斯的《拿索斯島的亞莉安 妮》揭開序幕，由巴伐利亞國立歌劇院獻上這齣莊諧 並重的精妙劇作，令人期待。個多月後，上海芭蕾舞 團將呈獻中國與法國聯合製作的《花樣年華》，作為 藝術節的閉幕表演。這齣精彩絕倫、中西協作的芭蕾 舞劇，正好反映香港獨特的中西創意文化根源，並彰 顯我們作為中外文化藝術交流中心的重要地位。今年 藝術節匯聚全球各地佳作，包括別具一格的「聚焦當 代阿拉伯」系列，更形豐富多采。

我對香港的文藝創意事業前景充滿信心。政府銳意竭 盡所能，鼓勵本地藝術家奮發向上，並確保他們獲 得所需和應得的表演機會。正如我在《施政報告》所 述，新成立的文創產業發展處每年會推動60個業界考 察團、海外展覽及其他文化展演活動；「電影發展基 金」和「創意智優計劃」共獲注資43億元，以支持本 港電影業；「重點演藝項目計劃」亦即將推出，協助 本地大型表演藝術創作，以及培育代表香港的國際文 化品牌。

政府會繼續與各界攜手合作，積極推動文化藝術及創 意業界的發展。

我感謝香港藝術節團隊一直堅持不懈，為藝術奉獻心 力；並感謝各贊助商和善長鼎力支持，令藝術節異彩 紛呈。

今年藝術節會為香港帶來絢麗多姿、賞心悅目的文化 藝術世界。希望大家盡情投入，享受每個璀璨時刻。

I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 52nd edition.

Over this past half century and more, the Hong Kong Arts Festival has grown into a celebrated international cultural event. This year promises to be another memorable Festival, featuring about 1,400 overseas and local artists in more than 150 performances across multiple genres, from music, opera and Chinese opera to theatre, dance, multi-arts and large-scale special events.

This year’s Festival opens with the Bayerische Staatsoper’s presentation of Richard Strauss’ Ariadne auf Naxos, a bravura mingling of high art and comedy. It closes, more than a month later, with the Sino-French coproduction of the Shanghai Ballet’s A Sigh of Love. This inspired East-West collaboration reflects Hong Kong’s singular East-West creative and cultural roots and our growing role as an East-meets-West centre for international cultural exchange. Indeed, this year’s Festival is rife with performances from all over the world, including a special Arab Arts Focus series.

I believe in Hong Kong’s creative promise, and my Government is determined to do all it can to encourage our local artists and ensure that they have the performance access they need and deserve. As I mentioned in my Policy Address, our newly established Cultural and Creative Industries Development Agency will promote 60 industry missions, overseas exhibitions and other cultural showcases annually; a total of $4.3 billion will be injected into the Film Development Fund and the CreateSmart Initiative to support our film industry; and the Signature Performing Arts Programme Scheme will be launched to assist largescale, local performing arts productions and nurture the development of Hong Kong cultural brands internationally. The Government will continue to work hand in hand with relevant sectors to proactively promote the development of arts, culture and creative industries.

I am grateful to the Hong Kong Arts Festival for its longstanding commitment to the arts, and to the Festival’s many sponsors and donors for their generous support.

A world of arts and cultural spectacle and entertainment awaits Hong Kong. I know you will enjoy every dazzling moment of this year’s Hong Kong Arts Festival.

John KC LEE Chief Executive Hong Kong Special Administrative Region

獻辭 MESSAGE

歡迎閣下蒞臨第52屆香港藝術節。在我們慶祝今屆全

面回歸之際，我由衷地感謝您在疫情期間及過後依舊

堅定不移地支持我們。面對着瞬息萬變的環境，我們

致力促進藝術的未來發展，為推廣及傳承藝術發掘更 多機遇。因此，我特別珍惜今天與大家聚首一堂欣賞 表演藝術的機會，並希望向所有為藝術發展作出貢獻 的人士致以崇高的敬意。

我衷心感謝香港特別行政區政府透過康樂及文化事務 署提供年度恆常撥款，為香港藝術節的長遠發展奠下 基石。此外，我亦非常感激香港賽馬會慈善信託基金 以及一眾企業贊助機構、慈善基金會和個人捐助者的 慷慨貢獻，鼓勵我們繼續為城市增添文化藝術氣息。

我向所有參與藝術節的藝術家深表謝意。香港藝術節 很榮幸能夠呈獻精采紛呈的國際頂尖演出、培育本地 人才和委約新作品。我也格外感激藝術節團隊一直以 來的默默奉獻，令藝術節得以順利進行。

最後，我再次感謝您今天前來欣賞演出。香港藝術節 非常重視每一位觀眾的支持和參與。希望這個節目能 夠為您帶來無限喜悅、共鳴和靈感。

I warmly welcome you to the 52nd Hong Kong Arts Festival. Thank you for your staunch support, especially during and after the tumultuous period brought by the pandemic. With the Festival now back in full swing, we cherish this opportunity to come together once again and appreciate the arts with you. As we celebrate the Festival’s full-scale comeback and contemplate the development of the arts in this ever-changing environment, I would like to express my gratitude to everyone who has played a critical role in nurturing and sustaining the performing arts scene.

I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, which has graciously provided an annual subvention that serves as the bedrock of our ongoing efforts. The unwavering support from The Hong Kong Jockey Club Charities Trust, as well as other corporate sponsors, charitable foundations and individual donors, has encouraged us to further our work and continue enriching the community through the arts.

My sincere thanks go to all participating artists. It is truly an honour for us to present such a diverse range of exceptional performances, nurture local talent and commission new works. I would also like to thank the Festival staff, whose dedication has been indispensable in bringing this Festival to life.

Above all, I extend my heartfelt appreciation to you for joining us at today's performance. The Festival deeply values and relies on your support and engagement. May this programme bring you immense joy, resonance and inspiration.

香港藝術節主席 查懋成

Victor Cha Chairman Hong Kong Arts Festival

前言 FOREWORD

走過半世紀的香港藝術節，一直為國際與本地最優秀

的表演者搭建舞台，積極促進中外文化交流。經歷了

三年疫情的洗禮，藝術節終於在第52屆再度迎來「花

樣年華」，在全面復常的狀態下再度為本地觀眾與遊 客獻上今天和明日的經典，不單讓大家可以從眾多音 樂、舞蹈、戲劇、戲曲和多媒體作品中重新細賞遺世 瑰寶，更邀來多位重量級中外大師坐鎮，陣容鼎盛、 豐富多元，足以滿足不同觀眾群體的喜好。

今屆我們繼續支持本地藝術發展，為香港的藝術家提 供創作土壤，更連結國際及本地精英聯手開闢藝術新 境界。同時鼓勵藝術家善用創新科技融合創意，為觀 眾帶來耳目一新的體驗。

此外，香港藝術節亦繼續大力投放資源於藝術教育與 觀眾拓展，培育青少年對藝術的興趣與認識，因為我 們相信，文化藝術是一個城市生命力的最重要來源之 一。啟迪下一代，方能讓香港藝術發展生生不息，繼 續創造今明經典。

藝術節團隊與我們的藝術家同儕都會竭盡所能，為觀 眾帶來優質的藝術體驗。希望您會喜歡本屆香港藝術 節為您精心準備的這一場演出。

For more than half a century, the Hong Kong Arts Festival has provided a stage for the most outstanding local and international performers, and actively enhanced cultural exchanges between China and the rest of the world. After three years of the pandemic, we are delighted to come back in full force and present to local audiences and overseas visitors treasured classics of today and tomorrow. Our programme features an eclectic lineup of music, dance, theatre, Chinese opera and multimedia productions, with a range of Chinese and international legends set to command the stage. With such a rich and diverse programme, there is something to delight everyone.

This year, our ongoing support for the development of local artists provides opportunities for them to flex their creative muscles through collaborations with leading artists from all over the world. At the same time, we also empower artists to innovate through the power of technology and create refreshing experiences for our audiences.

What’s more, we have continued investing heavily in arts education and audience development, encouraging younger audiences to cultivate an interest in the arts. At the Festival, we believe that the arts are a vital source of life in Hong Kong’s urban landscape. By nurturing the next generation’s passion and appreciation for the arts, we can propel the city’s artistic development sustainably.

Together with all artists, the Festival team is committed to delivering exceptional artistic experiences to you. We hope that you will enjoy the programme that we have specially curated for you today.

香港藝術節行政總監

余潔儀

香港藝術節資助來源：

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

Flora Yu Executive Director Hong Kong Arts Festival

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，2023/24財政年度預 計收入（包括第52屆香港藝術節及2024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12%，另外約25%需來自票房收入，約48% 則須依賴來自各大企業、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、劉曉 禹、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、班貝格交響樂團、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 納愛樂樂團

•爵士樂及世界音樂：波比 麥非年、尤蘇 恩多爾、 艾斯佩蘭薩 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼

•舞蹈：米高 巴里殊尼哥夫、蕭菲 紀蓮、艾甘 漢、 娜塔麗亞 奧斯波娃、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《飯戲攻心》踏台 版、《末戀 無愛合約》、《我們最快樂》、《鼠疫》、 《陪着你走》、《百花亭贈劍》、《香港家族》三部曲、

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 FY2023/24 (including the 52nd Hong Kong Arts Festival and 2024 “No Limits” programme) is approximately HK$150 million. Current Government annual funding accounts for around 12% of the Festival’s total income. Around 25% of the Festival’s income needs to come from the box office, and around 48% from sponsorship and donations by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching grant 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: Bayerische Staatsoper, 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, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, 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, Natalia Osipova, 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 WearableArt, 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 more than 250 local productions across various 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 Table for Six on Stage, Loveless Romance, We Are Gay, 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.

《世紀． 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》、香港 藝術節與三藩市歌劇院聯合製作的《紅樓夢》、香港 藝術節與芬蘭國家歌劇院及芭蕾舞團聯合製作的《拉 娜》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31年來，已為逾820,000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「無限亮」計劃於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。

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， 香港藝術節基金會 於2022年成立，旨在讓藝術 節在未來進行年度預算以外的大型特別項目。

（2023年12月更新 Updated December 2023）

*有關香港藝術節的過往節目，可參考以下網頁

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

The HKAF invests heavily in arts education for young people. During the past 31 years, our “Young Friends” scheme has reached more than 820,000 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 halfprice 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 inclusion 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.

To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future large-scale projects which its annual budget cannot cater for.

Details of past HKAF programmes can be found at https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2023.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.

電郵 Email: dev@hkaf.org

直綫 Direct Lines: (852) 2828

4911/12

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香港賽馬會主席 利子厚先生 JP

Mr. Michael T H Lee , JP

香港賽馬會主席利子厚先生獻辭

Message by Mr. Michael T H Lee Chairman of The Hong Kong Jockey Club

半個多世紀以來，香港藝術節致力綻放文化藝術之美，匯聚各地精彩節 目，觸動無數市民，同時吸引海外遊客參與。香港賽馬會很榮幸自香港 藝術節創辦初期，便一直捐助支持這項盛事，把世界級表演帶到香港， 並透過交流計劃培育本地演藝人才。

香港藝術節今年邁向疫後全面復常，並以「花樣年華獻今明經典」為 主題，帶來一系列永恆經典和創意傑作。其中，「香港賽馬會藝粹系列」

將會呈獻三個極盡視聽之娛的節目：巴伐利亞國立歌劇院在港首演的李 察．史特勞斯歌劇《拿索斯島的亞莉安妮》、波羅的海愛樂樂團演繹古 典與重金屬音樂交匯的《重金屬交響曲》，以及米蘭史卡拉歌劇院芭蕾 舞團演出的舞劇《海盜》，觀眾定必翹首以待。

除此之外，為了緊貼最新藝術發展及創意趨勢，馬會慈善信託基金亦獨 家贊助荷蘭室內合唱團上演的《心動梵高》。這個別開生面的演出將為 觀眾帶來畫中有聲、聲中有畫的視聽盛宴，呈現藝術的無限可能。

為積極推動藝術多元發展，令藝術更為普及，「香港藝術節@大館」項 目在「大館——古蹟及藝術館」室內及戶外不同角落，舉行場域特定的沉 浸式藝術表演，刺激觀眾想像。我們同時透過「香港賽馬會學生專享節 目」，讓來自不同背景的學生都有機會接觸藝術。

馬會對香港藝術節的長期支持，正好反映我們不遺餘力地推動藝術、文 化和保育發展，為社會注入藝術文化活力，豐富大眾生活及推動創意共 融，貫徹其致力建設更美好社會的宗旨。這有賴馬會獨特的綜合營運模 式，透過提供世界級賽馬運動及娛樂，將博彩需求轉化為社會效益，從 而創造就業機會，同時帶來重要的稅款和慈善捐款，回饋香港。

展望未來，馬會將繼續支持各類型藝術文化項目，弘揚中華優秀傳統文 化，提升業界水平。馬會期望為香港特區政府推展《文藝創意產業發展 藍圖》出一分力，並在國家「十四五」規劃下，支持香港發展成為中外文 化藝術交流中心的願景。

在此衷心感謝香港藝術節協會對推廣文化藝術的熱誠和堅持，以及一眾贊 助和合作夥伴的踴躍支持。祝願各表演者演出成功，觀眾們盡興而歸。

CHAIRMAN, THE HONG KONG JOCKEY CLUB

For over half a century, the Hong Kong Arts Festival has showcased the very best of arts and culture from around the world, both delighting local residents and proving a valuable draw for overseas visitors. The Hong Kong Jockey Club is honoured to have supported the Festival since its inception, providing funding to bring several world-class ensembles to our city each year whilst also helping to nurture local talent.

This year’s edition of the Festival marks a much-anticipated return to full-scale programming following the pandemic. Under the theme of “Years in Bloom”, it will offer festival-goers a panoply of local and international productions ranging from enduring masterpieces to innovative contemporary creations. Highlights include the Hong Kong premiere of Richard Strauss’s opera Ariadne auf Naxos by the renowned Bayerische Staatsoper; the Baltic Sea Philharmonic’s performance titled Bright & Black, a captivating collision of classical music and heavy metal; and Le Corsaire by the internationally-acclaimed Teatro alla Scala Ballet Company. These productions comprise “The Hong Kong Jockey Club Series” and are sure to be among the most sought-after programmes.

While supporting these three pillar productions, we are keeping abreast of the latest trends in artistic development and creativity. The Club’s Charities Trust will be sole sponsor of the Netherlands Chamber Choir’s mesmerising production Van Gogh in Me – an audiovisual feast that makes paintings audible and sounds visible, expanding the infinite possibilities of art.

The Festival also provides another opportunity to realise our commitment to diversity and accessibility. Through the “HKartsFestival@TaiKwun” initiative, we are curating site-specific immersive art performances in every nook and cranny of Tai Kwun – Centre for Heritage and Arts, designed to stimulate audiences’ imagination. In addition, we shall be providing students from all backgrounds with valuable opportunities to engage with the arts through The Hong Kong Jockey Club Student Matinee Programme.

Our long-standing support for the Festival exemplifies the Club’s dedication to fostering local development of arts and culture, through which we seek to build a culturally vibrant Hong Kong, enrich lives and promote social inclusion. It also underlines our purpose of acting continuously for the betterment of society. The Club’s contributions are made possible by its unique integrated business model through which it provides world-class racing sport and entertainment while channelling wagering demand for community benefit in the form of significant tax contributions, charity donations as well as through providing employment.

Moving forward, the Club will continue to support a wide range of arts and cultural initiatives citywide, championing the rich heritage of traditional Chinese culture and enhancing the industry’s capacity. In doing so, we aim to contribute to the Government’s implementation of its Blueprint for Arts and Culture and Creative Industries Development, as well as help Hong Kong develop into an East-meets-West centre for international cultural exchange, in alignment with the National 14th Five-Year Plan.

I extend my heartfelt gratitude to the Hong Kong Arts Festival Society for its unwavering passion and commitment to promoting arts and culture, as well as to all sponsors and partners for their enthusiastic support. May I wish all performers a resounding success, and all audiences a truly memorable and enjoyable experience.

香港藝術節

HONG KONG ARTS FESTIVAL

感謝 would like to thank

贊助 for sponsoring

二月二十二日之 藝術節開幕演出

「香港賽馬會藝粹系列」之 巴伐利亞國立歌劇院

李察．史特勞斯《 拿索斯島的亞莉安妮 》

The 22 Feb Festival Opening Performance of Bayerische Staatsoper (Bavarian State Opera) Richard Strauss’ Ariadne auf Naxos as part of The Hong Kong Jockey Club Series

香港賽馬會藝粹系列

The Hong Kong Jockey Club Series

李察．史特勞斯《拿索斯島的亞莉安妮》

Richard Strauss’ Ariadne auf Naxos 巴伐利亞國立歌劇院

Bayerische Staatsoper (Bavarian State Opera)

General Director Serge Dorny

22.02.2024 / 7:30pm

24.02.2024 / 2:30pm

香港文化中心大劇院

Grand Theatre, Hong Kong Cultural Centre 演出長約2小時15分鐘，不設中場休息

Approximately two hours and 15 minutes with no interval

德語演出，附中、英文字幕

Performed in German with Chinese and English surtitles 適合15歲或以上觀眾欣賞

Recommended for ages 15 and above 本節目有吸煙場面、煙霧及強光效果

This production contains smoking scenes, smoke and strong light effects

封面照片 Cover photograph

Rachel Willis-Sørensen © Olivia Renaud

Brenda Rae © Kristin Hoebermann

Tara Erraught © Christian Kaufmann

Clay Hilley © Suzanne Vinnik

※演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生 光線，影響表演者及其他觀眾

任何情況下，捐助機構皆不會對任何人或法律實體因此載內容而作出或沒有作出的任 何行為負上任何法律責任。

Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members

※請勿擅自攝影、錄音或錄影

Unauthorised photography or recording of any kind is strictly prohibited ※演出期間請保持安靜

Please keep noise to a minimum during the performance ※本場刊採用環保紙張印刷

This programme is printed on environmentally friendly paper ※如不欲保留本場刊，請於完場後放回演出場地入口

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

In no event shall the Funder have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.

香港藝術節有權不讓任何遲到者入場。如香港藝術節允許遲到者入場，遲到者的入場 時間及方式將由香港藝術節決定。在任何情況下，除指定「遲到者進場時間」外，遲 到的觀眾有可能不獲安排入場。觀眾務請準時入座。如因遲到而無法入場，恕不退票 或換票。如有爭議，香港藝術節保留最終決定權。

The Hong Kong Arts Festival (“HKAF”) reserves the right to refuse admission of any latecomers to the event. In the event the HKAF allows the admission of latecomers, we also reserve the right to determine the time at which and the manner in which latecomers are to be admitted. In any case, latecomers shall only be admitted at designated latecomer point(s). Audience members are strongly advised to arrive punctually. No refunds or changes will be offered if the ticket holder is refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.

© Wilfried Hösl

Richard Strauss’ Ariadne auf Naxos

作曲

李察．史特勞斯

文本

雨果．馮荷夫曼斯塔

指揮

柏德烈．蘭格

導演

羅伯特．卡森

佈景設計

彼得．帕布斯特

服裝設計

福克．鮑爾

燈光設計 曼弗雷德．沃斯

編舞

馬可．桑提

Composer

Richard Strauss

Librettist

Hugo von Hofmannsthal

Conductor

Patrick Lange Director

Robert Carsen

Set Designer

Peter Pabst

Costume Designer

Falk Bauer

Lighting Designer

Manfred Voss

Choreographer

Marco Santi

總經理

撒爾治．多尼

行政總監

羅蘭特．施瓦布特

音樂主管

阿里特．祖爾克

傳訊主管

米高．沃爾格斯 選角主管

艾利克．馬姆奇斯特

策劃主管

卡特琳．施特羅貝爾

巡演管理

根希特．布魯斯哥

樂團管理

安雅．歐穆勒 克里斯蒂安．卻力

傳媒及社交平台 馬達蓮娜．卻力

戲劇構作

馬爾特．克拉斯汀 復排導演

莎拉．韋納士

歌劇院芭蕾舞團主管 瑪格達蓮娜．帕德羅薩 群戲演員主管

班赫．維德格

General Director

Serge Dorny

Managing Director

Roland Schwab

Head of Music

Annette Zühlke

Head of Communications

Michael Wuerges

Head of Casting

Erik Malmquist

Head of Planning

Kathrin Strobel

Touring Management

Gunhilt Prusko

Orchestra Management

Anja Aumüller

Christian König

Press and Social Media

Magdalena König

Dramaturge

Malte Krasting

Revival Director

Sara Wieners

Head of Opera Ballet

Magdalena Padrosa

Head of Extras

Bernhard Wildegger

演員及角色

瑞秋．威利斯．索倫森 （女高音）

飾 首席女聲、亞莉安妮

克萊．希利 （男高音）

飾 男高音、酒神巴庫斯

布蘭達．蕾 （女高音）

飾 彩碧妮塔

塔拉．愛朗 （女中音）

飾 作曲家

米高．納吉 （男中音）

飾 音樂指導

尚．米高．普拉姆

（男中音）

飾 小丑哈樂昆

祖爾．威廉斯

（男高音）

飾 史卡華麥齊

丹尼爾．諾約拉

（男低音）

飾 圖法迪

利安．邦峯

（男高音）

飾 貝加拉

朱利安娜．薩拉 （女高音）

飾 水泉女神

Cast and Characters

Rachel Willis-Sørensen (Soprano) as Prima Donna, Ariadne

Clay Hilley (Tenor) as Tenor, Bacchus

Brenda Rae (Soprano) as Zerbinetta

Tara Erraught (Mezzo-soprano) as The Composer

Michael Nagy (Baritone) as The Music Master

Sean Michael Plumb (Baritone) as Harlequin

Joel Williams (Tenor) as Scaramouche

Daniel Noyola (Bass) as Truffaldin

Liam Bonthrone (Tenor) as Brighella

Juliana Zara (Soprano) as Najade

凡萊麗．艾柯夫 （女高音）

飾 森林女神

謝茜嘉．尼爾斯 （女中音）

飾 回聲女神

麥克．索爾巴赫 （演員）

飾 管家

布蘭頓．賴安 （男高音）

飾 舞蹈指導

安德烈斯．阿古德洛 （男高音）

飾 官員

維托．畢思坡 （男中音）

飾 男僕

沙巴．山度 （男低音）

飾 假髮工匠

Valerie Eickhoff (Soprano) as Dryade

Jessica Niles (Mezzo-soprano) as Echo

Maik Solbach (Actor) as Major-Domo

Brenton Ryan (Tenor) as The Dance Master

Andrés Agudelo (Tenor) as The Officer

Vitor Bispo (Baritone) as The Lackey

Csaba Sándor (Bass) as The Wigmaker

舞者

布拉德利．阿普爾懷特

朱利亞．甘布拉

珊迪．周

朱昂．達．格拉薩．聖地牙哥

柏布羅．迪加度

奧利華．埃克斯那

艾爾頓．福希特-登達斯

德莉撒．浩德

艾洛迪．拉瓦勒特

喬．奧洛桑

傑里米．華克

朱迪絲．塞伯特

亞耶．桑尼

珍妮．托馬森

約亨．科格爾

安妮卡．韋蘭

樂團

巴伐利亞國立歌劇院樂團

Dancers

Bradley Applewhaite

Julia Cambra

Sandy Chau

João Da Graça Santiago

Pablo Delgado

Oliver Exner

Airton Feuchter-Dantas

Theresa Goede

Elodie Lavoignat

Jon Olofsson

Jeremy Rucker

Judith Seibert

Aya Sone

Jennie Tomasson

Jochen Vogel

Anika Weiland Orchestra

Bayerisches Staatsorchester

群戲演員：

葉大偉、休．奧斯本、王端淇及王樂欣

Stage Extras:

David Ip, Hugh Osborne, Ivy Wong and Sharon Wong

藝術節加料節目

演前講座 Pre-Performance Talk

講者：馬爾特．克拉斯汀（巴伐利亞國立歌劇院戲劇構作）

Speaker: Malte Krasting (Dramaturge from the Bayerische Staatsoper)

22.02.2024 (6:30PM-7:00PM)

牧羊少年與他的浮萍

Lemna of the alchemist

24.02.2024 (1:30PM-2:00PM)

香港文化中心行政大樓4樓會議室AC1

Function Room AC1, 4/F Administration Building, Hong Kong Cultural Centre

登記參與 Scan to join

後台參觀 Backstage Tour

22.02.2024 (5:00PM-5:30PM)

24.02.2024 (12:00PM-12:30PM)

香港文化中心大劇院後台

Grand Theatre Backstage, Hong Kong Cultural Centre

登記參與 Scan to join

技術團隊

技術總監

丹尼爾．鮑爾

木匠主管

齊格弗里德．安魯-海姆

舞台監督

娜丁．希格

露芙．韋曼

吊掛主管

費德烈．戈姆林格

吊掛員

大衛．巴里

米雅．費斯特爾

費迪南．路德維希

岡勒．施塔德納

侯賽因．扎拉比．瑪格

舞台工匠

羅蘭．貝克

米高．赫魯

馬斯米利安．羅倫斯

馬蒂亞斯．利菲爾德

史提芬．里斯

米高．羅德

安德烈亞斯．塞德鮑爾

總電機師

亞武茲．歐姆

班尼迪．澤姆

電機師

法比恩．迪列亞

卡斯圖盧斯．科克海默

伊馮．克歐布斯

多米尼克．斯塔達哈

Technical Team

Technical Director

Daniel Bauer

Chief Carpenter

Siegfried Unruh-Helm

Stage Managers

Nadine Hilgers

Ruth Wieman

Chief Rigger

Friedrich Gomringer

Riggers

David Barry

Mitja Ferstl

Ferdinand Ludewig

Konrad Stadler

Hossein Zarrabi Magd

Stage Craftsmen

Roland Beck

Michael Heckl

Maximilian Lorenz

Matthias Leifeld

Stefan Ries

Michael Rödl

Andreas Sedlbauer

Chief Electricians

Yavuz Umur

Benedikt Zehm

Electricians

Fabian Dreier

Kastulus Forchheimer

Yvonne Kraubs

Dominik Staudacher

燈光控制

勞林．格拉塞格 阿瑟．舒勒

佈景助理

赫爾伯特．夏靈 莎拉．賈朗達爾

布里特．波洛夫斯基

道具統籌

保羅拉．司馬治-比奧特 艾塞．鮑爾

服裝及化妝

加布里埃爾．阿德里安 沃特魯德．貝克 米凱拉．克里斯多夫 布莉姬特．戴爾林 積琪蓮．科克．德拉戈內蒂 羅斯瑪麗．莫德 農格努特．舒德拉姆 朱迪思．費思 麗莎．安姆 諾伯特．鮑姆鮑亞 嘉貝艾爾．艾伯爾 德莉撒．凱那 斯比爾．諾瓦克 珍妮．齊默爾曼 中文字幕 李凱琪

字幕操控 陳皓琬

Lighting Board Operators

Laurin Grassegger

Arthur Schuler

Decorators

Herbert Häring

Salah Jaadari

Brit Pawlowski

Prop Co-ordinators

Paula Smejc-Biord

Axel Bauer

Costumes and Make-up

Gabriele Adrion

Waltrud Bürke

Micaela Christoph

Brigitte Deuerling

Jaqueline Koch Dragonetti

Rosmarie Mödl

Nongnoot Soodram

Judith Veith

Lisa Annmo

Norbert Baumbauer

Gabriele Eberl

Theresa Kellner

Sybille Nowak

Jenny Zimmermann

Chinese Surtitles

Amy Li

Surtitles Operator

Dominique Chan

巴伐利亞國立歌劇院

Bayerische Staatsoper (Bavarian State Opera)

優良的傳統與傳承，和令人讚歎的劇目，為巴

伐利亞國立歌劇院奠定穩固基石。巴伐利亞國

立歌劇院為世界首屈一指的歌劇院，擁有超過 三百五十年的文化歷史。1653年，歌劇院受惠於 宮廷傳統，建址慕尼黑。自此以後，該處的音樂 歷史及社會政治得到長足發展。

歌劇院每年有超過四百五十場演出，觀眾達 六十萬人次，為慕尼黑作為國際文化都會的聲譽 作出貢獻。

在單一樂季，歌劇院就有超過四十套跨越四 個世紀的歌劇、芭蕾舞、音樂會和獨唱會演出， 令巴伐利亞國立歌劇院成為國際上演出種類最豐 富多樣的歌劇院之一。歌劇院最主要的演出場地 為國家劇院，這座古典風格的劇院於1818年建

成，設2,101個座位，為德國最大型的歌劇院， 亦被評為歐洲最美麗的劇院之一。

Tradition, continuity and an impressive repertoire: these are the solid pillars supporting the Bayerische Staatsoper, one of the world’s leading opera houses with a proud cultural history of more than 350 years. Thanks to a court tradition, opera found a home in Munich in 1653; since then its musical-historical and sociopolitical development has continued in an unparalleled way.

The Bayerische Staatsoper, with about 600,000 people attending more than 450 of its performances each year, makes a major contribution to Munich’s reputation as one of the great international cultural capitals.

In the course of a single season, more than 40 operas from four centuries are performed along with ballets, concerts and song recitals. This makes the programme of the Bayerische Staatsoper one of the most richly varied performance schedules of all the international opera houses. With 2,101 seats, the Bayerische Staatsoper’s principal performance venue, the National Theatre—built in the classicistic style in 1818—is the largest opera house in Germany and ranks as one of the handsomest theatres in Europe.

© Gilles Alonso

作曲 李察．史特勞斯

李察．史特勞斯是十九世紀末至二十世紀初的傑 出德國浪漫主義作曲家。史特勞斯在1882年畢業 時，已經創作了超過一百四十首作品，當中包括 五十九首藝術歌曲、多首室內樂以及管弦樂曲。

史特勞斯深受他的父親法蘭茲．史特勞斯所熏 陶；法蘭茲．史特勞斯是慕尼黑宮廷歌劇院的首 席圓號手。

史特勞斯就讀於慕尼黑音樂學院，是一位 天才小提琴家及鋼琴家。年僅十六歲時寫了第 一首交響曲，二十三歲時寫了第一部歌劇《貢 特拉姆》。他在1889年首演了自創的交響詩《唐 璜》，令他成為當時其中一位頂尖作曲家。

史特勞斯的音樂一向配器豐富多采、和音複 雜，懂得運用標題音樂元素。他創作了逾二百首 作品，包括歌劇、交響詩、協奏曲和室內樂。其 著作包括《查拉圖斯特拉如是說》、《狄爾開玩 笑》和《莎樂美》。

1909年，史特勞斯與奧地利詩人及戲劇家雨 果．馮荷夫曼斯塔首次合作，創作了歌劇《艾蕾 克特拉》。往後二十年間，史特勞斯繼續為五個 歌劇作品譜曲，荷夫曼斯塔則為其撰寫文本，包 括1912年的《拿索斯島的亞莉安妮》。

此外，史特勞斯也是一位著名的指揮家，曾 擔任維也納國家歌劇院的首席指揮。他於1949年 9月8日逝世，享年八十五歲。

Composer Richard Strauss (1864-1949)

Richard Strauss was an outstanding German Romantic composer of the late 19th and early 20th centuries. By the time he left school in 1882, he had already composed more than 140 works, including 59 lieder (art songs) and various chamber and orchestral works, reflecting Strauss’ musical upbringing by his father, Franz, who was the Principal Horn player of the Munich Court Orchestra.

Strauss studied at the Munich Academy of Music and was a prodigy on the violin and piano. He wrote his first symphony at the age of 16 and his first opera, Guntram, at the age of 23. His breakthrough came with the premiere of his tone poem Don Juan in 1889, which established him as one of the leading composers of his time.

Strauss’ music is characterised by its lush orchestration, complex harmonies and use of programmatic elements. He wrote more than 200 works, including operas, tone poems, concertos and chamber music. Some of his most famous works include Also sprach Zarathustra, Till Eulenspiegel and Salome

In 1909 the opera Elektra marked Strauss’s first collaboration with the Austrian poet and dramatist Hugo von Hofmannsthal. Strauss wrote the music and Hofmannsthal the libretti for five more operas— including Ariadne auf Naxos (1912)—over the next 20 years.

Strauss was also a renowned conductor, serving as the Principal Conductor of the Vienna State Opera. He died on 8 September 1949 at the age of 85.

© Max Liebermann

文本作者 雨果．馮荷夫曼斯塔

奧地利作家雨果．馮荷夫曼斯塔在二十世紀早期 德語文壇有着重要地位。他以創作抒情詩詞和劇 本聞名，後來因與德國歌劇作曲家李察．史特勞 斯共同創作而享譽國際。

荷夫曼斯塔出生於一個富有的猶太家庭， 幼時已經展現其文學天賦，在青年時期便已出 版了多首早期詩歌和散文。

荷夫曼斯塔本於維也納大學修讀法律及哲 學，後來輟學並投身文學創作。在創作路上，他 很快便成為了維也納文學界的核心人物，與不同 作曲家合作，其中與史特勞斯共同創作了《拿索 斯島的亞莉安妮》等多部歌劇。此外，荷夫曼斯 塔也創作了多部劇本、詩詞和散文。

荷夫曼斯塔的作品向來富有深度和哲學主 題，又充滿詩意。他熱衷探索藝術與生命的關 係，以及藝術家在社會上的角色。他的著作包括 戲劇《艾蕾克特拉》、史特勞斯的歌劇《玫瑰騎 士》和小說《安德烈亞斯》。

荷夫曼斯塔也是一位舉足輕重的文化評論 家，並參與創辦薩爾斯堡藝術節，這個音樂和戲 劇慶典時至今日仍每年舉行。

荷夫曼斯塔雖然是一位成功的作家和思想 家，卻一直飽受憂鬱症和焦慮症煎熬。1929年7 月15日，荷夫曼斯塔突然中風身亡，享年五十五 歲。時至今日，他在德語文壇上仍然享負盛名。

Hugo von Hofmannsthal was an Austrian writer and one of the most important figures in Germanlanguage literature of the early 20th century. He made his reputation with lyrical poems and plays, and became internationally famous for his collaborations with German opera composer Richard Strauss.

He was born into a wealthy Jewish family and showed a talent for writing from an early age, publishing his first poems and essays while still a teenager.

Hofmannsthal studied law and philosophy at the University of Vienna, but dropped out to pursue a career in literature. He quickly established himself as a leading figure in the Viennese literary scene, collaborating with composers such as Strauss on operas including Ariadne auf Naxos (1912) and writing plays, poetry and essays.

Hofmannsthal’s works are noted for their intellectual depth, philosophical themes and lyrical language. He was particularly interested in exploring the relationship between art and life, and the role of the artist in society. Some of his most famous works include the play Elektra, the libretto for Strauss’ opera Der Rosenkavalier and the novel Andreas.

Hofmannsthal was also a prominent cultural critic and was involved in the founding of the Salzburg Festival, an annual celebration of music and theatre that continues to this day.

Despite his success as a writer and thinker, Hofmannsthal struggled with depression and anxiety. He died on 15 July 1929, at the age of 55, from a stroke. His legacy as one of the greatest writers of the German-speaking world is still celebrated today.

© Nicola Perscheid

Librettist Hugo von Hofmannsthal (1874-1929)

故事大綱 Synopsis

序幕

《拿索斯島的亞莉安妮》的首演正準備得如 火如荼。此時，歌劇委約人有一件要事宣 佈：歌劇完結後，將會上演娛樂性豐富的歌

舞表演。歌劇作曲家心有不忿，認為他的藝

術傑作遭人奚落；音樂指導建議他順從委約 人的意思，以保障其委約費。演出快將開 始，委約人再次改變主意；為了讓表演趕及

在晚上的煙花前完結，將安排歌劇和喜劇表 演同時演出。儘管作曲家寧願摧毀自己的作 品，音樂指導仍建議他刪減部分情節，讓作 品得以面世，舞蹈指導亦指出喜劇演員為即 席發揮的能手。作曲家不情願接受他們的建 議，直到他遇見喜劇首席女演員彩碧妮塔， 想法才開始改變。

歌劇

水泉女神、森林女神和回聲女神同情哀傷的 亞莉安妮；亞莉安妮拯救了愛人忒修斯的 性命，卻被他遺落在荒島上，現在只一心求 死。彩碧妮塔與四名同伴哈樂昆、貝加拉、 史卡華麥齊及圖法迪嘗試安慰失落的亞莉安 妮，卻徒勞無功。彩碧妮塔向亞莉安妮仔細 述說她對愛與忠誠的看法——她不斷轉換愛 人，生活無憂無慮。亞莉安妮不為所動，彩 碧妮塔只好放棄。此時，四名男伴意圖打倒

情敵，博取彩碧妮塔的芳心。彩碧妮塔作出 選擇之際，三位女神宣告酒神巴庫斯的到 來。巴庫斯剛逃離瑟茜女神的掌控；遇見亞 莉安妮時，誤信自己再次中了瑟茜的魔法。

亞莉安妮則以為巴庫斯是死亡信使荷米斯，

懇求他把自己帶走。他們逐漸意識到對方的 身份，轉變隨之而來：巴庫斯神格甦醒，亞 莉安妮亦願意再次愛人——就如彩碧妮塔所 料。

Prelude

Preparations are being made for the premiere performance of Ariadne auf Naxos. The man who has commissioned the opera has an announcement made: after the opera there will be entertainment with dancing. The Composer of the opera feels that his artistic masterpiece is being mocked; his Music Master advises him nevertheless to accept the whims of the man who has commissioned the opera in order not to forfeit the fee for his composition. Shortly before the performance is due to begin, the patron changes his mind yet again. The opera and the comic entertainment are now to be played simultaneously, so that the performances will end in time for the evening fireworks. Although the Composer would now prefer to destroy his opera completely, the Music Master advises him to shorten parts of his work to save the whole, and the Dance Master points out that the comedians are very capable improvisers. The Composer is unwilling to do as they suggest; only when he meets the comedians’ leading lady, Zerbinetta, does he begin to see things differently.

Opera

The three nymphs Najade, Dryade and Echo express their sympathy for Ariadne in her sorrow. She has been abandoned on a desert island by her beloved Theseus, whose life she has saved and now longs for death. Zerbinetta and her four companions, Harlequin, Brighella, Scaramouche and Truffaldin, try in vain to comfort Ariadne in her distress. Zerbinetta, who is used to passing from one lover to the next without a care in the world, explains to Ariadne in great detail her own attitude on the topics of love and devotion. As Ariadne gives no response, Zerbinetta gives up; instead, each of the four men tries to gain Zerbinetta’s favour and get rid of his rivals. After Zerbinetta has made her choice, the three nymphs announce the arrival of the god Bacchus. He has just escaped from the clutches of the sorceress Circe; when he sees Ariadne, he believes that he has fallen yet again into the power of the sorceress. Ariadne, for her part, thinks he is Hermes, the messenger of death, and begs him to take her with him. As they each gradually realise who the other is, Ariadne and Bacchus undergo a transformation: he becomes aware that he is a divine being and she realises that she is willing to love again—as Zerbinetta foresaw.

庸雅之爭

The Clash Between Highbrow and Lowbrow

巴伐利亞國立歌劇院為歌劇《拿索斯島的

亞莉安妮》的精準演出有目共睹，劇中的 幽默位更教藝壇中人會心微笑。

Not everyone will catch the comedy in Ariadne auf Naxos, but the precise playing of the Bayerische Staatsoper will be obvious to all.

作曲家李察．史特勞斯與編劇雨果．馮荷 夫曼斯塔曾多次合作，而且作品每每觸及宏大 主題，《拿索斯島的亞莉安妮》也不例外—— 從「高雅」與「庸俗」藝術表演之間的競爭， 到藝術本身的創作與目的。這部歌劇原定2020 年來港演出但因疫情關係取消；到了2024年， 香港觀眾終於有機會現場觀賞。

故事圍繞一個意大利歌舞團與一名年輕有 為作曲家間的衝突。他們要在維也納首富家中 同時搬演兩齣劇：一齣是詼諧歌劇《輕佻的彩 碧妮塔與四位情人》，另一齣是莊嚴歌劇《拿 索斯島的亞莉安妮》。

「是次演出的版本在第一次世界大戰期間 首演，那時人們對喜劇和悲劇的概念很不同，

As with most of their collaborations, composer Richard Strauss and dramatist Hugo von Hofmannsthal’s Ariadne auf Naxos deals with big ideas, from the competition between highbrow and lowbrow diversions, to the very creation and purpose of art itself. Hong Kong audiences finally (after a cancellation in 2020) have a chance to experience the opera at Hong Kong Arts Festival 2024.

The story deals with the clash between an Italian commedia dell’arte troupe and an aspiring young composer. Both parties are to co-operate in simultaneously launching the comic intermezzo Zerbinetta and her Lovers and a new tragic opera seria, Ariadne auf Naxos, at the home of Vienna’s wealthiest man.

“During the First World War, when the version we’re performing was first performed, people had a much different sense of comedy and tragedy,” says conductor Patrick Lange, who will lead the musical forces of the Bayerische

© Wilfried Hösl

各走極端：一邊是輕鬆的娛樂，另一邊則是死 亡與蛻變。」指揮柏德烈．蘭格說，他將率領 巴伐利亞國立歌劇團，在香港文化中心大劇院 演出。這個製作由羅伯特．卡森導演，自2008 年首演後已多次重演。

正如著名美國諧星費爾德說過，喜劇是 「嚴肅的事情」，而且「有效期」很短，這對

蘭格這類力求忠於作曲家原譜的指揮來說，或 會出現困難。「未必人人都能完全理解劇中所 有內容，但導演卡森對音樂和文本的處理都十 分精準，讓活潑的戲劇主線完美結合文字和音

樂。劇中的玩笑，並不全然清晰易明，但故事

主幹顯然易見：捍衛自身權益的作曲家、只顧 唱歌打扮的歌手，以及兩位主角如何面對孤身 寂寞、尋找伴侶。」

雖然蘭格求學時期已經接觸過史特勞斯大 部分作品，但他於2013年才在史特勞斯音樂節 首次演出《拿索斯島的亞莉安妮》。該演出是 場半舞台式歌劇音樂會，在德國小鎮加爾米施

- 帕滕基興舉行（此處也是史特勞斯成年後長期 居住的地方），並由維也納愛樂樂團和維也納國 家歌劇院攜手演出。同年，蘭格也首次與巴伐 利亞國立歌劇院合作。

他說：「對巴伐利亞國立歌劇院來說，

《拿索斯島的亞莉安妮》珍貴如皇冠上的珠 寶，因為它能將歌劇院的潛能發揮得淋漓盡 致。首先，你要有十六位優秀的獨唱歌手，沒 有超卓的演員陣容根本演不來。巴伐利亞國立 管弦樂團不但卓越得令人讚歎，其溫暖而沉鬱 的弦樂音色，與史特勞斯的音樂更是絕配。」

不過，《拿索斯島的亞莉安妮》與史特勞斯 大部分作品最少有一方面不同。史特勞斯以規 模宏大的華麗配器法見稱，但這齣歌劇的樂團 卻不足四十人，史特勞斯平常用的樂團，光是 弦樂組，規模也比這個大。蘭格說：「在《拿索 斯島的亞莉安妮》，每位樂師都要專注和精準。

當演奏這支交響室內樂時，每位樂師也是獨奏 者。但如每人都自顧自演奏，就會難以平衡。

只有精銳如巴伐利亞國立管弦樂團，才能表現 得如此出色。過程雖步步為營，但效果驚艷。」

蘭格補充道，《拿索斯島的亞莉安妮》的演 出品質很大程度上取決於樂池中的演奏者，就 像一首室內樂一樣。「每個製作、每個演員、每 組樂師，都是獨特的。作為指揮，我嘗試聆聽 樂師，感受他們的演奏、反應，在甚麼時候大 家可以從容一點。我熟悉史特勞斯，尤其《拿 索斯島的亞莉安妮》。但現在我的責任是了解這 群夥伴，看看他們能為演出帶來甚麼貢獻。」

撰文：司馬勤

原文刊登於香港藝術節2024年之《閱藝》雜誌

Staatsoper (Bavarian State Opera) in Robert Carsen’s muchrevived 2008 production at the Hong Kong Cultural Centre Grand Theatre. “The extremes were literally between light entertainment on one side, and death and transformation on the other.”

Comedy, as W.C. Fields used to say, is serious business. It also has a particularly short shelf life, which can present problems for conductors such as Lange who pride themselves on hewing as closely as possible to a composer’s original score. “I imagine that not everyone will understand everything,” he admits, “but Carsen’s production is so precise in bringing music and text together in true music-theatre with an enthusiastic dramatic line. Not all the jokes will be clear, but the big parts of the story—the composer who fights for his rights, the singer who just cares about singing and how she looks, the story of two people dealing with being alone and finding someone—are things anyone can understand.”

Although Lange encountered much of Strauss’ score as a conducing student, he first led Ariadne auf Naxos in a semi-staged concert in 2013 with the Vienna Philharmonic and Vienna State Opera (who premiered the piece) at the Richard Strauss Festival in Garmisch-Partenkirchen (the town where Strauss lived for most of his adult life). That same year, Lange also made his debut with the Bayerische Staatsoper.

“For an opera house like the Bayerische Staatsoper, Ariadne is a treasure, a crown jewel, because it shows off everything the company can do,” he says. “You need, first of all, good singers—16 soloists. You can’t do Ariadne without an amazing cast. And the Bayerisches Staatsorchester, for me, is beside its excellency really one of the most amazing in terms of colour—a warm, dark string sound that fits exactly with Strauss’ music.”

However, in at least one way, Ariadne auf Naxos doesn’t fit easily with most of Strauss’ work. For a composer best known for writing large and lush orchestrations, this particular opera is scored for a full orchestra of fewer than 40 musicians—smaller than a typical Strauss string section. “In Ariadne, every player must be present and precise. It‘s a piece of symphonic chamber music, where every single musician is also a soloist. But if everyone just plays soloistically, balance problems quickly arise. You need an exceptional orchestra, like the Bayerisches Staatsorchester, to handle this task well. It‘s a common dance on the volcano - but definitely the most beautiful one.”

Much like a piece of chamber music, he adds, the very quality of an Ariadne performance is largely shaped by individual players in the orchestra pit. “Every production, every cast, every group of musicians is unique,” Lange says. “I’m a conductor who tries to listen to musicians to get a feel for how they work, how they react, and also how at some point we can all be a bit spontaneous. I know Strauss, and I especially know Ariadne auf Naxos. But right now, my job is to get to know each of these people and see what they bring to the performance.”

Text: Ken Smith

Originally published in the HKAF’s 2024 FestMag

指揮 柏德烈．蘭格

柏德烈．蘭格曾就讀烏茲堡和蘇黎世的音樂學 院。2005年，他獲德國音樂理事會的支援計劃 「指揮論壇」錄取。同年，他獲歌迪奧．阿巴度 委任為馬勒青年樂團的助理指揮。在擔任阿巴度 的助理期間，他與柏林愛樂樂團及琉森音樂節弦 樂團合作演出。2010年，他成為柏林喜歌劇院的 首席指揮。自2017/2018年樂季起至今，他一直 擔任維斯巴登巿立劇院的音樂總監。另外，他亦 曾獲邀前往維也納國家歌劇院、巴黎歌劇院、德

累斯頓森培歌劇院、倫敦高文花園皇家歌劇院、 漢堡國家歌劇院、悉尼歌劇院、蘇黎世歌劇院、 首爾韓國國家歌劇院以及格蘭特堡歌劇節演出。

Conductor Patrick Lange

Patrick Lange studied at the conservatories in Würzburg and Zurich, and was accepted into the German Music Council’s support programme Conductors’ Forum in 2005. Claudio Abbado appointed him as Assistant Conductor of the Gustav Mahler Youth Orchestra in the same year. As Abbado’s assistant, he worked with the Berlin Philharmonic and the Lucerne Festival Orchestra. In 2010 he became Principal Conductor at the Komische Oper Berlin. Since the 2017/2018 season he has been General Music Director of the Staatstheater Wiesbaden. Guest engagements have taken him to the Vienna State Opera, the Opéra national de Paris, the Semperoper Dresden, the Royal Opera House Covent Garden in London, the Hamburg State Opera, Opera Australia in Sydney, the Zurich Opera House, the Frankfurt Opera, the Korea National Opera in Seoul and the Glyndebourne Festival Opera.

導演 羅伯特．卡森

羅伯特．卡森生於加拿大，在多倫多約克大學及 布里斯托老域戲劇學校受訓成為演員。由他導演 的處女作於格蘭特堡歌劇節首演，他及後參與多 個劇場及歌劇製作。曾合作的藝團及歌劇院包 括：巴黎歌劇院、米蘭史卡拉歌劇院、紐約大都 會歌劇院、倫敦高文花園皇家歌劇院、維也納國 家歌劇院、科隆歌劇院、荷蘭阿姆斯特丹國家歌 劇院、萊茵國家歌劇院斯特拉斯堡歌劇團、威尼 斯鳳凰歌劇院、蘇黎世歌劇院、莫斯科大劇院、 佛羅倫斯五月音樂節、艾克斯普羅旺斯藝術節及 薩爾斯堡藝術節。他獲法國政府頒授法國藝術及 文學騎士勳章。

Director Robert Carsen

Robert Carsen was born in Canada and trained as an actor at York University in Toronto and at the Bristol Old Vic Theatre School. His directorial debut was for the Glyndebourne Festival Opera, followed by many theatre and opera productions. He worked for the Opéra national de Paris, La Scala in Milan, the Metropolitan Opera in New York, the Royal Opera House Covent Garden in London, the Vienna State Opera, the Cologne Opera, the Dutch National Opera, the Opéra national du Rhin in Strasbourg, the La Fenice Opera House in Venice, the Zurich Opera House, the Bolshoi Theatre in Moscow, the Maggio Musicale Fiorentino, and the Aix-en-Provence and Salzburg Festivals. The French government awarded him the title of Chevalier des Arts et des Lettres.

©hoffotografen

佈景設計 彼得．帕布斯特

自1979年起，彼得．帕布斯特便為戲劇、歌劇、 舞蹈、電影及電視擔任自由身佈景及服裝設計 師，他曾參與過百套劇場及電影製作。他的作品 曾巡演所有歐洲主要城市、美國以及亞洲。他最 重要的夥伴為彼得．扎德克、編舞家翩娜．包殊 及她的烏珀塔爾舞蹈劇場。帕布斯特於1980年首 次為包殊設計佈景，直至2009年包殊去世為止， 二人都維持緊密的藝術與個人聯繫。

Set Designer Peter Pabst

Since 1979, Peter Pabst has been a freelance set and costume designer for theatre, opera, dance, film and television, and has created sets and costumes for more than 100 theatre productions and films. His work has led him to more or less every major European city as well as to the United States and Asia. His most important partners were Peter Zadek and especially Pina Bausch and her Tanztheater Wuppertal, with whom he collaborated on set design in 1980. This marked the beginning of an exceptionally close artistic and personal relationship which lasted until the choreographer’s death in 2009.

服裝設計 福克．鮑爾

福克．鮑爾於德國史圖加特出生，後於漢堡就 讀服裝設計。自1994年起，他與導演尼爾斯-彼 得．魯道夫、阿米莉．尼邁耶、于爾根．弗里姆 和君特．克萊默等於漢堡塔利亞劇院、蘇黎世劇 院、柏林列寧廣場劇院和維也納學院劇院合作。 鮑爾亦曾跟羅伯特．卡森在阿姆斯特丹、米蘭和 維也納合作製作《聖修女對話錄》等作品。

Costume Designer Falk Bauer

Falk Bauer was born in Stuttgart and studied costume design in Hamburg. Since 1994, he has worked with directors such as Nils-Peter Rudolph, Amélie Niermeyer, Jürgen Flimm and Günter Krämer at the Thalia Theatre in Hamburg, the Schauspielhaus Zürich, the Schaubühne am Lehniner Platz in Berlin and the Akademietheater in Vienna. He has also previously collaborated with Robert Carsen on Dialogues des Carmélites in Amsterdam, Milan and Vienna among other productions.

燈光設計 曼弗雷德．沃斯

曼弗雷德．沃斯於德國不來梅劇院開展了他的職 業生涯。1976年，他為巴提斯．謝侯在拜羅伊特 音樂節製作的《尼伯龍根的指環》設計燈光。往 後的數十年間，他不時為拜羅伊特音樂節的各個 演出設計燈光，其中包括九次為《指環》設計燈 光。

沃斯曾於1990至1995年在漢堡國家歌劇院 工作，並在1995到2003年間，於科隆市政劇院 擔任燈光藝術總監。他亦曾到歐洲、美國以及亞 洲各地的歌劇院擔任客席燈光設計師。而在2003 年，他榮獲Opus德國舞台獎。除《拿索斯島的 亞莉安妮》外，沃斯亦為巴伐利亞國立歌劇院的 《法斯塔夫》設計燈光。

Lighting Designer Manfred Voss

Manfred Voss started his career at the Bremen Theatre in Germany. In 1976, he designed the lighting for Patrice Chéreau̓s production of Der Ring des Nibelungen at the Bayreuth Festival. For several decades after that, he designed lighting for various new productions at the Bayreuth Festival, including Ring Cycle nine times.

From 1990-95, he also worked at the Staatsoper Hamburg. From 1995-2003, he was the Lighting Artistic Director at the Städtische Bühnen Köln. Guest engagements have also taken him to opera houses around Europe, the USA and Asia. In 2003, he was awarded the Opus––German Stage Prize. Aside from Ariadne auf Naxos, Voss also designed lighting for Falstaff at the Bayerische Staatsoper.

編舞 馬可．桑提

馬可．桑提出生於意大利都靈，並在都靈新劇院 完成舞蹈教育課程。在1983至1993年間，他在 史圖加特芭蕾舞團擔任獨舞舞者，同時兼任編舞 工作。桑提也曾與馬田．庫謝伊合作，為浦塞爾 的《亞瑟王》擔任編舞，他也曾為漢斯．萊恩費 爾斯的《蝙蝠》編舞。1993年，他創立了馬可桑 提舞蹈團，同時也是史圖加特舞蹈+表演製作中 心的共同創辦人和藝術總監。

自2005年起，桑提開始出任奧斯納布魯克 劇院舞蹈團的總監，其後於2009至2014年擔任 聖加侖劇院舞蹈團的總監。除了其他當代舞蹈作 品外，桑提亦曾為巴伐利亞國立歌劇院的多部作 品編舞，包括《紐倫堡的名歌手》和《拿索斯島 的亞莉安妮》。

Choreographer Marco Santi

Marco Santi was born in Turin in Italy and completed his dance education at the Teatro Nuovo in Turin. From 1983-93, he was a soloist dancer at the Stuttgart Ballet, where he also choreographed. Santi has previously worked with Martin Kušej on Purcell’s King Arthur and Hans Neuenfels on Die Fledermaus. In 1993, he founded the Marco Santi Dance Ensemble and became the Co-Founder and long-standing Artistic Director of Produktionszentrum Tanz + Performance in Stuttgart.

From 2005 onwards, Santi directed the Dance Company Theater Osnabrück, followed by the Tanzkompanie Theater St Gallen from 2009-14. Aside from other contemporary dance creations, Santi has choreographed for several productions at the Bayerische Staatsoper, including Die Meistersinger von Nürnberg and Ariadne auf Naxos.

瑞秋．威利斯．索倫森 （女高音） 飾 首席女聲、亞莉安妮

美國女高音瑞秋．威利斯．索倫森畢業於猶他州 楊百翰大學，曾是侯斯頓大歌劇院工作室的成 員。2014年，她在杜鳴高世界歌劇大賽贏得三 個獎項，包括第一名。她擔任了德累斯頓森帕歌 劇院歌劇團成員三年，亦曾到柏林德意志歌劇 院、維也納國立歌劇院、倫敦高文花園皇家歌 劇院、紐約大都會歌劇院、三藩市歌劇院等地 參與演出。她曾演出的角色包括；《唐喬望尼》 的唐娜．安娜、《費加羅的婚禮》的艾瑪維法伯 爵夫人、《玫瑰騎士》的瑪莎琳、《遊吟詩人》 的利奥諾拉、《浮士德》的瑪格麗特、《羅恩格 林》的愛爾莎及《紐倫堡的名歌手》的伊娃。在

2023/2024年劇季中，她將在馬勒第八交響曲擔 任女高音獨唱。

Rachel Willis-Sørensen (Soprano) as Prima Donna, Ariadne

克萊．希利 （男高音）

飾 男高音、酒神巴庫斯

克萊．希利出生於美國，就讀於佐治亞州立大 學。他先於美國及加拿大的歌劇院亮相，曾出演 華格納筆下的齊格弗里德、《費黛里奧》的弗雷 斯坦、《死囚168小時》的格倫維爾神父以及《阿 依達》的拉達梅斯。2015/2016年劇季，希利在 德國烏茲堡舞蹈劇場首次出演《依多美尼歐》的 同名主角。他接着於奧斯汀歌劇院首度飾演了 《漂泊的荷蘭人》中的埃里卡，並於美國三藩市 歌劇院飾演《女武神》中的齊格蒙德和《尼伯龍 根的指環》中的齊格弗里德。隨後，他在2021年 於柏林德意志歌劇院短期擔任《齊格弗里德》的 同名主角，並成為各大歌劇舞台上炙手可熱的演 唱家。在2023/2024年劇季，希利會首次踏足巴 伐利亞國立歌劇院舞台，飾演帕西法爾。

Clay Hilley (Tenor) as The Tenor, Bacchus

American soprano Rachel Willis-Sørensen studied at Brigham Young University in Utah and was a member of the Houston Grand Opera Studio. In 2014, she won three prizes at the Operalia Competition, including the first prize. She was a member of the Semperoper Dresden ensemble for three years. Guest engagements have taken her to the Deutsche Oper Berlin, the Vienna State Opera, the Royal Opera House Covent Garden in London, the Metropolitan Opera in New York and the San Francisco Opera, among others. Her repertoire includes roles such as Donna Anna (Don Giovanni), Contessa di Almaviva (Le nozze di Figaro), Marschallin (Der Rosenkavalier), Leonora (Il trovatore), Marguerite (Faust), Elsa (Lohengrin) and Eva (Die Meistersinger von Nürnberg). In the 2023/24 season, she will take on a soprano role in Mahler’s Symphony No 8.

Born in the USA, Clay Hilley studied at Georgia State University. He first appeared in opera houses in the USA and Canada, including in the Wagnerian role of Siegfried, as Florestan (Fidelio) and Father Grenville (Dead Man Walking), and as Radames in Aida. In 2015/16 he made his debut in the title role of Idomeneo at the Mainfranken Theater Würzburg. He subsequently made his role debut as Erik in Der fliegende Holländer at the Austin Lyric Opera, sang Siegmund in Die Walküre and Siegfried in Der Ring des Nibelungen. With the short-term assumption of the title role in Siegfried at the Deutsche Oper Berlin in 2021, he fully established himself as a singer in demand on the major opera stages. He will make his house debut as Parsifal at the Bayerische Staatsoper in 2023/24.

© Olivia Renaud ©Suzanne-Vinnik

布蘭達．蕾 （女高音） 飾 彩碧妮塔

布蘭達．蕾於威斯康辛大學麥迪 遜分校及紐約茱莉亞音樂學院修 讀聲樂。2008至2017年間，她 效力法蘭克福歌劇院，曾出演 的角色包括《魔笛》的帕米娜、 《茶花女》的薇奧列達、《女人 心》的費奧迪麗姬、《波希米亞 人》的穆塞塔及《唐喬望尼》的 唐娜．安娜。在2011/2012年劇 季，蕾首度於巴伐利亞國立歌 劇院亮相，飾演《後宮誘逃》中 的康斯坦，隨後更飾演《霍夫曼 的故事》中的奧林匹亞和古麗葉 塔，以及《魔笛》的夜后。

Brenda Rae (Soprano) as Zerbinetta

Brenda Rae studied voice at the University of Wisconsin-Madison and at the Juilliard School of Music in New York. From 2008-17 she was a member of the ensemble at the Frankfurt Opera. Her repertoire includes roles such as Pamina (Die Zauberflöte), Violetta (La traviata), Fiordiligi (Così fan tutte), Musetta (La bohème) and Donna Anna (Don Giovanni). Rae made her debut at the Bayerische Staatsoper in the 2011/12 season as Konstanze (Die Entführung aus dem Serail) and has since sung Olympia and Giulietta (Les Contes d’Hoffmann), and the Queen of the Night (Die Zauberflöte).

塔拉．愛朗 （女中音） 飾 作曲家

塔拉．愛朗於都柏林愛爾蘭皇家 音樂學院修讀聲樂，2008年起 成為巴伐利亞國立歌劇院歌劇工 作室成員，於2010至2018年間 更擔任該劇院的團員。愛朗曾獲 邀於維也納國家歌劇院、紐約大 都會歌劇院、柏林國立歌劇院、 漢堡國家歌劇院、巴黎歌劇院、 格蘭特堡歌劇節和薩爾斯堡藝術 節演出。她曾出演的角色包括 《費加羅的婚禮》的凱魯比諾及 蘇珊娜、《塞維利亞的理髮師》 的羅西娜、《唐喬望尼》的艾維 拉、《玫瑰騎士》的奧他維文和 《女人心》的朵拉貝拉。

Tara Erraught

(Mezzo-soprano)

as The Composer

Tara Erraught completed her vocal studies at the Royal Irish Academy of Music in Dublin. From 2008 she was a member of the Opera Studio of the Bayerische Staatsoper, and from 2010-18 an ensemble member. Guest engagements have taken her to the Vienna State Opera, the Metropolitan Opera in New York, the Staatsoper Unter den Linden Berlin, the Hamburg State Opera, the Opéra national de Paris, the Glyndebourne Festival and the Salzburg Festival. Her repertoire includes roles such as Cherubino and Susanna (Le nozze di Figaro), Rosina (Il barbiere di Siviglia), Donna Elvira (Don Giovanni), Octavian (Der Rosenkavalier) and Dorabella (Così fan tutte).

米高．納吉 （男中音）

飾 音樂指導

米高．納吉於德國曼海姆和沙卜 勤修讀聲樂、作曲和指揮。他曾 擔任柏林喜歌劇院和法蘭克福歌 劇院的歌劇團成員，亦曾到柏 林德意志歌劇院、維也納河畔 劇院、日內瓦歌劇院和蘇黎世 歌劇院演出。他曾出演的角色 包括《費加羅的婚禮》的阿瑪維 瓦伯爵、《唐懷瑟》的沃爾夫拉 姆、《崔斯坦與伊索德》的庫文 納爾、《浮士德》的瓦倫廷，以 及在阿里貝特．賴曼的歌劇《美 狄亞》飾演賈森。他在巴伐利亞 國立歌劇院飾演新版《鳥》中的 「忠友」。

Michael Nagy (Baritone) as The Music Master

Michael Nagy studied singing, song composition and conducting in Mannheim and Saarbrücken, Germany. He was an ensemble member of the Komische Oper Berlin and the Frankfurt Opera. Guest appearances have taken him to the Deutsche Oper Berlin, the Theater an der Wien, the Geneva Opera and the Zurich Opera House. His repertoire includes roles such as Count Almaviva (Le nozze di Figaro), Wolfram von Eschenbach (Tannhäuser), Kurwenal (Tristan und Isolde), Valentin (Faust) and Jason in Aribert Reimann’s Medea

At the Bayerische Staatsoper he was most recently seen as Ratefreund in the new production of Die Vögel.

©Kristin Hoebermann

©Monika Höfler

尚．米高．普拉姆 （男中音） 飾 小丑哈樂昆

尚．米高．普拉姆就讀於美國 費城寇蒂斯音樂學院，曾參與 2016年薩爾斯堡藝術節舉辦的 「年輕聲樂家計劃」。他亦於巴 伐利亞國立歌劇院2015/2016年 的劇季中首演了米羅斯拉夫．斯 爾卡的《南極》。他曾出演《波 希米亞人》的蕭納、《魔笛》的 帕帕基諾，以及《女人心》的古 烈爾摩。2021/2022年劇季，他 首次在大都會歌劇院演出，飾演 《拿索斯島的亞莉安妮》中的小 丑哈樂昆，並於2023/2024年劇 季繼續飾演該角色。

Sean Michael Plumb (Baritone) as Harlequin

Sean Michael Plumb studied at the Curtis Institute of Music in Philadelphia and was a participant in the Young Singers Project at the Salzburg Festival in 2016. He made his debut at the Bayerische Staatsoper in the 2015/16 season in the world premiere of Miroslav Srnka’s South Pole. His roles include Schaunard (La bohème), Papageno (Die Zauberflöte) and Guglielmo (Così fan tutte). In the 2021/22 season he made his Metropolitan Opera debut as Harlequin (Ariadne auf Naxos) and is reprising the role throughout the 2023/24 season.

祖爾．威廉斯 （男高音） 飾 史卡華麥齊

祖爾．威廉斯生於英國索頓，就 讀劍橋大學國王學院，後於倫敦 皇家音樂學院獲得狄卡娜娃獎學 金，為該學院附屬的國際歌劇工 作室學員。他曾是韋爾比耶音樂 節學院的學員，同時也是荷蘭公 園劇院及加斯頓歌劇院的駐團學 員。他曾飾演《希比的盛宴》的 「溪流」、《唐喬望尼》的奧他維 歐、《仲夏夜之夢》的賴山德、 奧芬巴哈之作《魯賓遜漂流記》 的同名主角等角色。他曾獲森麻 錫歌曲獎、安東尼．路易斯紀念 獎等獎項。

Joel Williams (Tenor) as Scaramouche

Joel Williams, born in Sutton, the UK, studied at King’s College, Cambridge, and at the Royal College of Music International Opera Studio in London as a Kirite-Kanawa Scholar. He was a member of the Verbier Festival Academy, a Young Artist at Opera Holland Park and the Garsington Opera. His repertoire includes Le Ruisseau (Les fêtes d’Hébé ), Don Ottavio (Don Giovanni) and Lysander (A Midsummer Night’s Dream) as well as the title role in Robinson Crusoé by Offenbach. He has won the Somerset Song Prize, the Sir Anthony Lewis Memorial Prize, and others.

丹尼爾．諾約拉

（男低音） 飾 圖法迪

墨西哥男低音丹尼爾．諾約拉先 後就讀於墨西哥國立音樂學院及 費城聲樂藝術學院，畢業後加入 侯斯頓歌劇院歌劇工作室完成 培訓。期間，他飾演《波希米亞 人》的柯林和《唐喬望尼》的馬 賽托。他亦曾在紐約三城歌劇院 飾演《阿爾及爾的意大利女郎》 的穆斯塔法，亦在意大利奧柏林 音樂學院飾演《費加羅的婚禮》 的費加羅。自2021年起，他便 一直擔任巴伐利亞國立歌劇院的 歌劇團成員，飾演《卡門》的蘇 尼加等角色。

Daniel Noyola (Bass) as Truffaldin

Mexican bass singer Daniel Noyola completed his training as a member of the Houston Grand Opera Studio after studying at the Conservatorio Nacional de Música in Mexico City and the Academy of Vocal Arts in Philadelphia. There he sang Colline (La bohème) and Masetto (Don Giovanni). Other engagements have included Mustafá (L’italiana in Algeri) at Tri-Cities Opera in New York and the title role in Le nozze di Figaro with the Oberlin Conservatory in Italy. He has been an ensemble member of the Bayerische Staatsoper since 2021, singing roles including Zuniga (Carmen).

© Dario Acosta

© Ben Ealovega

© Jiyang Chen

利安．邦峯 （男高音） 飾 貝加拉

利安．邦峯生於蘇格蘭，曾就讀 蘇格蘭皇家音樂學院和倫敦市 政廳音樂及戲劇學院。自2020 年起，邦峯獲選為皇家音樂學 院「二百周年學人」之一。他在 2020年的嘉芙蓮．費利爾聲樂 比賽中入圍總決賽，亦獲得巴 蕭．特娜歌劇獎和克朗特歌劇獎 等多個獎項。他在鹿特丹歌劇院 首次亮相國際舞台，出演《清教 徒》的布魯諾。邦峯亦曾在皇家 音樂學院歌劇團飾演《女人心》 的費蘭多和《仲夏夜之夢》的弗 魯特等角色。

Liam Bonthrone (Tenor) as Brighella

Liam Bonthrone, born in Scotland, studied at the Royal Conservatoire of Scotland and the Guildhall School of Music and Drama and, since 2020, has been a Bicentenary Scholar at the Royal Academy of Music. He was a finalist in the 2020 Kathleen Ferrier Awards and has received awards including the Basil A. Turner Opera Award and the Clonter Opera Prize, among others. He made his international debut in the role of Bruno (I Puritani) with the Rotterdam Operakoor. At the Royal Academy Opera he has also sung roles such as Ferrando (Così fan tutte) and Flute (A Midsummer Night’s Dream).

朱利安娜．薩拉 （女高音） 飾 水泉女神

朱利安娜．薩拉生於美國加州， 曾就讀於歐柏林音樂學院和柏 林漢斯．艾斯拿音樂學院。在 2019至2021年間，她成為巴伐 利亞國立歌劇院歌劇工作室成 員，並演出多個角色，包括《卡 門》的弗蘭絲姬塔、《迷娘》的 費琳娜、《費加羅的婚禮》的女 孩、《玫瑰騎士》的三位貴族孤 兒之一、《糖果屋》的第一和聲 等。

Juliana Zara (Soprano) as Najade

Juliana Zara was born in California and studied at the Oberlin Conservatory of Music and the Music Conservatory Hanns Eisler in Berlin. She was a member of the Opera Studio of the Bayerische Staatsoper from 2019-21 and has performed there in the roles of Frasquita (Carmen), Philine (Mignon), Mädchen (Le nozze di Figaro), Kind/Adelige Waise (Der Rosenkavalier) and 1st Echo (Hänsel und Gretel ), among others.

凡萊麗．艾柯夫 （女高音） 飾 森林女神

凡萊麗．艾柯夫於德國舒曼音樂 學院榮譽畢業，現居於德國杜塞 爾多夫。她曾在德國萊茵歌劇院 飾演《費加羅的婚禮》的凱魯比 諾、《糖果屋》的漢蘇、《鄉村 騎士》的露娜、《茶花女》的安 妮娜、《蝴蝶夫人》的凱特．平 克頓等角色。她分別於2019及 2020年入圍德國新聲音國際聲 樂大賽及格蘭特堡歌劇盃的準決 賽，並獲得杜塞爾多夫華格納協 會及曼奴軒基金會的獎學金。

Valerie Eickhoff (Soprano) as Dryade

Valerie Eickhoff holds degrees from Robert Schumann University in Germany, where she graduated with honours. She currently resides in Düsseldorf, Germany. Eickhoff’s roles at the Deutsche Oper am Rhein include Cherubino in Le nozze di Figaro, Hänsel in Hänsel und Gretel, Lola in Cavalleria Rusticana, Annina in La Traviata and Kate Pinkerton in Madama Butterfly. Her honours and awards include appearing as a semi-finalist at the 2020 Glyndebourne Opera Cup and in the 2019 Neue Stimmen Competition, as well as receiving scholarships from the Wagner Association Düsseldorf and the Yehudi Menuhin Foundation.

© Gabriel Rollinson

© Wilfried Hösl

© Jeremy Knowles

潔茜嘉．尼爾斯 （女中音） 飾 回聲女神

潔茜嘉．尼爾斯生於美國，在紐 約茱莉亞學院完成預科、學士及 碩士學位，於在學期間獲得茱莉 亞聲樂榮譽演奏獎、科夫納獎學 金等獎項。她曾飾演《費加羅的 婚禮》的蘇珊娜、《唐喬望尼》 的謝莉娜、《里納爾多》的阿蜜 達、《溫莎的風流婦人》的安 妮．萊希、《托馬斯》的謝絲明 修女等角色。自2021/2022年劇 季至今，她一直擔任巴伐利亞國 立歌劇院歌劇工作室成員。

Jessica Niles (Mezzo-soprano) as Echo

Jessica Niles, born in the USA, studied at the Juilliard School in New York, earning her pre-college, Bachelor’s and Master’s degrees. She was also awarded the Julliard Vocal Arts Honors Recital, the Kovner Scholarship and several awards for excellence during her studies. Her repertoire includes roles such as Susanna (Le nozze di Figaro), Zerlina (Don Giovanni), Armida (Rinaldo), Anne Reich (The Merry Wives of Windsor) and Sister Jasmine (Thomas). She has been a member of the Opera Studio of the Bayerische Staatsoper since the 2021/22 season.

麥克．索爾巴赫 （演員） 飾 管家

麥卡．索爾巴赫在維也納馬克 斯．萊因哈特學院修讀演技。在 此期間，他受聘於維也納城堡劇 院，並在該劇院擔任團員，為期 兩年。之後曾到杜塞爾多夫、波 鴻及蘇黎世的劇院任職。近年， 這位演員也在費雷堡及科隆的劇 院飾演多個角色。

Maik Solbach (Actor) as Major-Domo

Maik Solbach studied acting at the Max Reinhardt Seminar in Vienna. During this time, he was engaged at Vienna’s Burgtheater, where he was a member of the ensemble for two years. Further permanent engagements took him to theatres in Düsseldorf, Bochum and Zurich. In recent years, the actor has also appeared in guest roles at the theatres in Freiburg and Cologne.

布蘭頓．賴安 （男高音）

飾 舞蹈指導

布蘭頓．賴安於萊斯大學音樂學 院和芝加哥德保羅大學修讀聲 樂。他在2016年的杜鳴高世界 歌劇大賽獲得尼爾森音樂獎。賴 安曾赴紐約大都會歌劇院、芝加 哥歌劇院、聖達菲歌劇院、聖地 牙哥歌劇院和聖路易斯歌劇院 等，參演了菲力普．格拉斯在 美國劇院首演的《審判》。他曾 出演的角色包括《後宮誘逃》的 佩德里奧、《托斯卡》的斯波勒 塔、《伍采克》的「傻瓜」，以 及《費加羅的婚禮》的古茨奧。

Brenton Ryan (Tenor) as The Dance Master

Brenton Ryan studied voice at Rice University Shepherd School of Music and at DePaul University in Chicago. In 2016 he won the Birgit Nilsson Prize at the Operalia Competition. His engagements have taken him to the Metropolitan Opera in New York, the Lyric Opera of Chicago, the Santa Fe Opera, the San Diego Opera and Opera Theatre Saint Louis for the USA premiere of Philip Glassʼ The Trial, among others. His repertoire includes roles such as Pedrillo (Die Entführung aus dem Serail ), Spoletta (Tosca), Der Narr (Wozzeck) and Don Curzio (Le nozze di Figaro).

© Gabriel Rollinson

© Coco Jourdana © Marvin Zilm

飾 官員

安德烈斯 ·阿古德洛生於哥倫比 亞，曾就讀於馬德里索菲亞王后 音樂學院及巴黎音樂學院。阿古 德洛曾在杜達美的指揮下，在波 哥大的兩國交響音樂會演唱貝多 芬《合唱幻想曲》的獨唱部份。 2017年，他加入巴黎的烈火歌 劇院，並於翌年獲得韋爾比亞音 樂節的提也爾梅爾莫德獎。2019 年，他在萊比錫巴赫音樂節演唱 巴赫的B小調彌撒曲。在2019至 2021年，他加入了巴伐利亞國 立歌劇院的歌劇工作室，並在卡 塞爾國立劇院演出。

Andrés Agudelo (Tenor) as The Officer

Born in Colombia, Andrés Agudelo studied at the Reina Sofia Music Academy in Madrid and le Conservatoire de Paris. Conducted by Gustavo Dudamel, Agudelo sang as a soloist in Beethoven's Choral Fantasy at the Binational Symphonic Concert in Bogotà. In 2017, he joined Opera Fuoco in Paris and won the Thierry Mermod Prize at the Verbier Festival the following year. In 2019, he sang Johann Sebastian Bach̓s Mass in B minor at Bachfestspiele Leipzig. From 2019-21, he joined Bayerische Staatsoper's Opera Studio and has also performed at the Staatstheater Kassel. 安德烈斯．阿古德洛 （男高音）

維托．畢思坡 （男中音） 飾 男僕

男中音維托．畢思坡生於巴西， 於聖保羅市立音樂學院修讀聲 樂。他曾獲不同獎項，包括在卡 拉絲國際聲樂大獎賽贏得冠軍。 2019至2020年間，他擔任聖保 羅市立劇院歌劇工作室成員。他 亦在2020至2021年間入讀聖佩 德羅劇院歌劇學院，在此首次演 出歌劇，出演《賈尼．斯基基》 的同名主角。他曾飾演《費加羅 的婚禮》的阿瑪維瓦伯爵、《茶 花女》的傑爾蒙和韓德爾《伊梅 尼歐》的主角。

Vitor Bispo (Baritone) as The Lackey

Baritonee Vitor Bispo, born in Brazil, studied singing at São Paulo’s Municipal School of Music. He won the first prize at the Maria Callas Singing Competition, among others. From 2019-20, he was a member of the Opera Studio of the São Paulo Municipal Theatre. He then attended the São Pedro Theatre Opera Academy from 2020-21, where he made his operatic debut singing the title role in Gianni Schicchi. His repertoire includes roles such as Il Conte di Almaviva (Le nozze di Figaro), Giorgio Germont (La traviata) and the title role in Handel’s Imeneo

沙巴．山度 （男低音） 飾 假髮工匠

男低音沙巴．山度生於羅馬尼亞 聖西米翁鄉。他先於聖西米翁鄉 的伊什特萬．納吉藝術學校修讀 古典聲樂，隨後到羅馬尼亞奧拉 迪亞大學繼續進修。2015年， 他的首次公演是在匈牙利國家歌 劇院飾演索菲亞．塔勒的歌劇 《利安得與陵思林》的利安得。 他目前為克路治匈牙利歌劇團成 員，並經常於布達佩斯歌劇院客 席演出。2023年，他於巴伐利 亞國立歌劇院首次參演《戰爭與 和平》。

Csaba Sándor (Bass) as The Wigmaker

The bass-Baritonee Csaba Sándor was born in Csíkszentsimon, Romania. He studied classical singing at the István Nagy Art School in Csíkszereda and continued his studies at the Opera Department of Nagyvárad State University in Romania. He made his debut at the Budapest Opera House in 2015 in the title role of Leánder from Zsófia Tallér’s opera Leánder and Lenszirom. He is currently an ensemble member of the Hungarian Opera in Cluj and a frequent guest at the Budapest Opera House. He made his debut at the Bayerische Staatsoper in 2023 in War and Peace

©Monika Höfler

巴伐利亞國立管弦樂團

Bayerisches Staatsorchester (Bavarian State Orchestra)

巴伐利亞國立管弦樂團是巴伐利亞國立歌劇院

的駐院樂團，演出其歌劇及音樂會作品。樂團 自2013/2014年樂季起，連續九次獲《歌劇世 界》雜誌選為「年度樂團」，並於2017年獲德 國廣播電台文化台選為「年度樂團」。

巴伐利亞國立管弦樂團演奏音樂會作品和 歌劇同樣揮灑自如。卡洛斯．克萊伯於1968至 1997年間多次擔任客席指揮，與樂團緊密合 作，對樂團能輕鬆駕馭高難度交響巨作的能力 讚嘆不已：「對於重視音色活力的人來說…… 沒有其他樂團能演奏得更快活、大膽及朝氣蓬 勃。」

巴伐利亞國立管弦樂團源自慕尼黑宮廷樂 團，其歷史能追溯到1523年。樂團早期專注於 演奏宗教音樂，從十七世紀開始，逐漸增加世 俗音樂及歌劇演出。

十八世紀中期，樂團更頻繁地演出歌劇， 直到近代成為巴伐利亞國立歌劇院駐院樂團 後，仍以歌劇演出為主。莫扎特歌劇《假女園 丁》及《依多美尼歐》的首演為其早期代表作。

1811年，宮廷樂團的音樂家成立慕尼黑 音樂學院，舉辦學院音樂會，為慕尼黑最早期 的音樂會系列。布拉姆斯、葛利格及李察．史 特勞斯等著名作曲家曾在此系列指揮他們的作 品。自此以後，巴伐利亞國立管弦樂團音樂學 院舉辦各類交響樂、室內樂音樂會及教育活 動，成為慕尼黑音樂生活的重要部分。

The Bayerisches Staatsorchester is the resident orchestra of the Bayerische Staatsoper, performing its opera and concert repertoire. The Bayerisches Staatsorchester has been chosen as Opernwelt’s Orchestra of the Year nine consecutive times since the 2013/14 season. In 2017, the orchestra was named Orchestra of the Year by the national radio station Deutschlandfunk Kultur.

The orchestra is equally at home on the concert platform and the orchestra pit. Carlos Kleiber, a frequent guest on the rostrum between 1968 and 1997 and a close associate of the orchestra, praised the Bayerisches Staatsorchester for its mastery of the challenges of the symphony concert with dazzling ease: “For those who value a vibrant sound… no orchestra plays as joyously and boldly or with such animation as this orchestra does.”

The Bayerisches Staatsorchester arose from the Munich Court Orchestra. Its origins can be traced back to 1523. Initially, the orchestra concentrated on church music, but secular concerts and opera performances became increasingly frequent during the 17th century.

In the middle of the 18th century, it began playing for the opera regularly and this is still a major part of its work as the resident orchestra of the Bayerische Staatsoper. The first performances of Mozart's La finta gardiniera and Idomeneo were among its first highlights.

In 1811, the musicians of the Court Orchestra founded the Musical Academy of Munich, which initiated the Academy Concerts—Munich's first concert series, where famous composers such as Johannes Brahms, Edvard Grieg and Richard Strauss conducted their own works. Since then, the Musical Academy of the Bayerisches Staatsorchester has played a vital part in the musical life of Munich with its symphony and chamber music concerts and educational activities.

© Nikolaj Lund

巴伐利亞國立管弦樂團

Bayerisches Staatsorchester (Bavarian State Orchestra)

小提琴 Violins

David Schultheiß

Barbara Burgdorf

Kim So-young

Kang Yon-joo

Dania Lemp

Clara Scholtes

中提琴 Violas

Adrian Mustea

Clemens Gordon

Christiane Arnold

Johanna Maurer

大提琴 Cellos

Emanuel Graf

Rupert Buchner

Darima Tcyrempilova

Johannes Välja

低音大提琴 Double Basses

Florian Gmelin

Alexandra Hengstebeck

豎琴 Harps

Birgit Kleinwechter

Gaël Gandino

長笛 Flutes

Paolo Taballione

Edoardo Silvi

雙簧管 Oboes

Frédéric Tardy

Heike Steinbrecher

單簧管 Clarinets

Markus Schön

Martin Fuchs

巴松管 Bassoons

Holger Schinköthe

Gernot Friedrich

圓號 Horns

Pascal Deuber

Maximilian Hochwimmer

小號 Trumpet

Bernhard Plagg

長號 Trombone

Uwe Füssel

定音鼓 Timpani

Pieter Roijen

敲擊樂器 Percussion

Claudio Estay

Carlos Vera Larrucea

Tomàs Toral Pons

鋼琴、聲樂指導 Piano, Répétiteur

Wolf-Michael Storz

Fabio Cerroni

Massimiliano Murrali

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:

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

黃金會員Gold Members

怡和集團

純銀會員Silver Member

太古地產

Kerry Holdings Limited The Jardine Matheson Group Swire Properties

上海商業銀行有限公司

Shanghai Commercial Bank Limited

其他支持機構Other Supporters

澳洲總領事館香港

Australian Consulate-General Hong Kong

荷蘭駐港總領事館

Consulate of the Kingdom of the Netherlands in Hong Kong and Macau 荷蘭表演藝術基金

Performing Arts Fund NL

藝術人才見習配對計劃2023/24由香港藝術發展局資助

2023/24 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council

實物支持機構In-kind Supporters

信興集團 Shun Hing Group

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主要創始贊助人 Major Founding Patrons

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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

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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 Patron

高盛回饋慈善基金 (James Houghton 先生推薦)

Goldman Sachs Gives Annual Giving Fund (Recommended by Mr James Houghton)

支持及協助 Support and Co-operation

Acorn Design

教育局藝術教育組 Arts Education Section, Education Bureau 網上售票平台 Art-mate

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華大盛品酒店 Best Western Plus Hotel Hong Kong 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 CAMPSITE

牛棚藝術村 Cattle Depot Artist Village 城市當代舞蹈團 City Contemporary Dance Company 比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau 法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau 以色列駐香港總領事館 Consulate General of Israel in Hong Kong & 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 埃及駐港澳總領事館 Consulate General of the Arab Republic of Egypt in Hong Kong and Macau 伊朗駐香港總領事館 Consulate General of the Islamic Republic of Iran 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 義大利駐香港總領事館 Consulate General of Italy in Hong Kong 愉景灣服務管理有限公司 Discovery Bay Services Management Limited

李敬恒博士 Dr Roger Lee

香港逸東酒店 Eaton HK

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

教與學發展中心（服務學習部）Service-Learning Section, Centre for Teaching and Learning 香港兆基創意書院 HKICC Lee Shau Kee School Of Creativity 香港兆基創意書院文化藝術中心 HKSC Arts and Culture Centre

香港藝術行政人員協會 Hong Kong Arts Administrators Association 香港藝術中心 Hong Kong Arts Centre 香港浸會大學 Hong Kong Baptist University

電影學院 Academy of Film

音樂學院 Academy of Music

拉闊文化 Cultural Literacy Programme

英國語言文學系 Department of English Language and Literature 宗教及哲學系 Department of Religion and Philosophy 香港聖經公會 Hong Kong Bible Society 香港中樂團 Hong Kong Chinese Orchestra 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

香港都會大學 Hong Kong Metropolitan University 何陳婉珍粵劇研藝中心 Ina Ho Cantonese Opera Research Centre

香港藝術館 Hong Kong Museum of Art 香港管弦樂團 Hong Kong Philharmonic Orchestra

香港話劇團 Hong Kong Repertory Theatre

香港小交響樂團 Hong Kong Sinfonietta

香港旅遊發展局 Hong Kong Tourism Board

摩納哥駐香港名譽領事館 Honorary Consulate of Monaco in Hong Kong 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

王仁曼芭蕾舞學校 Jean M. Wong School of Ballet 賽馬會創意藝術中心 Jockey Club Creative Arts Centre Kind of Brew

高山劇場 Ko Shan Theatre

Kubrick

葵青劇院 Kwai Tsing Theatre

駐香港韓國文化院 Korean Cultural Center in Hong Kong 拉脫維亞駐香港名譽領事館 Latvian Honorary Consulate 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

學生事務處 Office of Student Affairs

鄺森活圖書館 Fong Sum Wood Library

藝術科技與商業理學碩士課程 MSc in Arts Technology and Business 樂茶軒 LockCha Tea House

木的地.R Madera Residences

Maxibit HK/China

循道衛理聯合教會國際禮拜堂 Methodist International Church Hong Kong

Mini Central 中環迷你酒店

Moetown Serviced Apartments

MOViE MOViE Pacific Place

Mr Alpha Li

陳朗丰先生 Mr Lazarus Chan

南蓮園池 Nan Lian Garden

荃灣西如心酒店 Nina Hotel Tsuen Wan West

北區大會堂 North District Town Hall

一桌兩椅慈善基金 One Table Two Chairs Charitable Foundation

柏斯琴行 Parsons Music Limited

卓滙達有限公司 Patsville Company Ltd

Performing Arts Fund NL

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

鄭新文教授 Prof Tseng Sun-man

RED ZHU

富豪酒店國際 Regal Hotels International

富豪東方酒店 Regal Oriental Hotel

皇家太平洋酒店 Royal Pacific Hotel

泰國駐香港總領事館 Royal Thai Consulate General Hong Kong

沙田大會堂 Sha Tin Town Hall

上環文娛中心 Sheung Wan Civic Centre

Southgate Design

事必達推廣有限公司 Speedy Promotion Limited

聖公會聖約翰座堂 St John's Cathedral

中山紀念公園 Sun Yat Sen Memorial Park

大館—古蹟及藝術館 Tai Kwun—Centre for Heritage and Arts

香港中文大學 The Chinese University of Hong Kong

音樂系 Department of Music

聯合書院 United College

文學院 Faculty of Arts

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

邵逸夫堂 Sir Run Run Shaw Hall

香港城市大學 The City University of Hong Kong

中文及歷史學系 Department of Chinese and History

城大創意媒體學院 School of Creative Media

文化薈 Cultural Exchange Oasis

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

圖書館 Library

芬名酒店 The Fleming

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

香港理工大學 The Hong Kong Polytechnic University

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

香港復康會 The Hong Kong Society of Rehabilitation

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

藝術中心 Center for the Arts

理學院學務輔導辦公室 Office of Academic Advising and Support, School of Science

香港朗廷酒店 The Langham, Hong Kong

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

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

Cultural Management Office

志新學院 Chi Sun College

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

荃灣大會堂 Tsuen Wan Town Hall

屯門大會堂 Tuen Mun Town Hall

東蒲 Tung Po

城市售票網 URBTIX

西九文化區管理局 West Kowloon Cultural District Authority

Wewow House

粵海華美灣際酒店 Wharney Hotel

艾希妮控股有限公司 X Social Group Holdings Limited

油麻地戲院 Yau Ma Tei Theatre

英華書院 Ying Wa College

青年廣場 Youth Square

元朗劇院 Yuen Long Theatre

地址 ADDRESS 香港灣仔港灣道二號十二字樓1205室

Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong

電話 TEL （852）2824 3555

傳真 FAX （852）2824 3798、（852）2824 3722

電子郵箱 Email afgen@hkaf.org

節目查詢熱線 （852）2824 2430

贊助人 李家超先生, PATRON

The Hon. John KC Lee, GBM SBS PDSM PMSM 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 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

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

EXECUTIVE COMMITTEE

Chairman

Honorary Treasurer

Members

Programme Enquiry Hotline + 榮譽節目顧問 Honorary Programme Advisor

Mr Victor Cha

Vice-Chairman 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

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

ADVISORS

Prof. Lo King-man, SBS MBE JP

Prof. Giorgio Biancorosso

Mr Peter C L Lo

Prof. Fredric Mao, BBS

Mr Joseph Seelig, OBE +

Mr Wing-pong Tam, SBS JP

Ms Jue Yao, SBS JP

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

The Hon. Ronald Arculli, GBM CVO GBS OBE JP

Mr Martin Barrow, GBS CBE

Dr John CC Chan, GBS 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

Ms Gabriela Kennedy, Mayer Brown AUDITOR

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、蘇雪凌、游慧姿*

節目經理 鄭佩群*、趙蔚霖*、廖國穎*、 馬筠婷*

節目統籌 林穎茵*

藝術行政見習員 容諾行*

節目助理 鍾曉晴* 製作助理 陳娟瑜#

物流

物流及接待經理 金學忠*

技術

製作經理 梁雅芝* 副製作經理 陳梓衡*

出版

編輯經理 陳詠恩*

英文編輯 Adam Wright*

副編輯 陳劭儀*、楊紫媛*

外展

外展經理 林嘉敏*

助理外展經理 潘穎詩*、余穎彤*

外展統籌 羅凱盈*

外展主任 陳沅渟*、張凱柔*、馬曉瑩*

藝術行政見習員 吳勵宜*

市場推廣

市場總監 鄭尚榮 副市場總監 盧伯全 市場經理 陳靄婷*、張予心*

副市場經理 黃頴儀*

副市場項目經理 譚懿諾*

助理項目經理 李穎軒*

助理市場經理 許樂欣*、曾諾怡* 市場主任 梁喬正* 市場助理 陳慧琳#

票務

高級市場經理（票務） 梁彩雲

助理市場經理（票務） 陳偲穎*

發展

發展總監 黃美儀 特別發展協理 蘇啟泰* 高級發展經理 譚樂瑤 發展經理 陳世敏*、吳綺菁* 發展主任 譚尹晴* 藝術行政見習員 周翹*

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 雷晴*、潘詠汶*

市場經理 黃嘉欣* 副市場經理 陳婉怡* 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*

藝術家統籌經理 朱芷慧*

STAFF

Executive Director Flora Yu

Assistant to Executive Director Connie Ho

PROGRAMME

Programme Directors Grace Lang, So Kwok-wan

Senior Programme Managers Ian Leung, Shirley So, Janet Yau*

Programme Managers Cathy Cheng*, Crystal Chiu*, Sophie Liao*, Katie Ma*

Programme Coordinator Lilian Lam*

Arts Administrator Trainee Ryan Yung*

Programme Assistant Dorothy Chung*

Production Assistant Alice Chan#

LOGISTICS

Logistics Manager Elvis King*

TECHNICAL

Production Manager Shirley Leung*

Deputy Production Manager Jacob Chan*

PUBLICATIONS

Editorial Manager Eugene Chan*

English Editor Adam Wright*

Associate Editors Shao yi Chan*, Trista Yeung*

OUTREACH

Outreach Manager Carman Lam*

Assistant Outreach Managers Renee Poon*, Enid Yu*

Outreach Coordinator Vicgina Law*

Outreach Officers Olivia Chan*, Hazel Cheung*, Queena Ma*

Arts Administrator Trainee Nicky Ng*

MARKETING

Marketing Director Katy Cheng

Associate Marketing Director Eugene Lo

Marketing Managers Tobie Chan*, Stephanie Cheung*

Deputy Marketing Manager Joey Wong*

Deputy Project Manager Hades Tam*

Assistant Project Manager Hill Li*

Assistant Marketing Managers Sally Hui*, Margaret Tsang*

Marketing Officer Isaac Leung*

Marketing Assistant Kelly Chan#

TICKETING

Senior Marketing Manager (Ticketing) Eppie Leung

Assistant Marketing Manager (Ticketing) Stephanie Chan*

DEVELOPMENT

Development Director Angela Wong

Special Development Associate Alex So*

Senior Development Manager Lorna Tam

Development Managers Cindy Chan*, Joey Ng*

Development Officer Linda Tam*

Arts Administrator Trainee Nicole Chow*

CORPORATE SERVICES

Finance Director Teresa Kwong

ACCOUNTS

Account Manager Connie To*

Accounting Officer Stephany Ngan*

HR & ADMINISTRATION

HR and Admin Manager Janet Yeung*

Receptionist/Junior Secretary Virginia Li

General Assistant Bonia Wong

INFORMATION TECHNOLOGY

Information Technology Manager Derek Chan*

NO LIMITS

Project Director Eddy Zee*

Programme and Outreach Managers Becky Chung*, Christy Ho*

Programme and Outreach Coordinators Jade Lui*, Jasmine Poon*

Marketing Manager Carly Wong*

Deputy Marketing Manager Tiffany Chan*

Assistant Production Manager Jess Cheung*

Senior Accounting Officer Catherine Chung*

HKARTSFESTIVAL@TAIKWUN

Project Manager Kwong Wai Lap*

藝術家統籌 張素真*、張凱婷*、向怡君*、何敬堯*、黎善涵*、劉欣彤*、梁頌怡*、吳麗文*、彭慧雯*、胡肇婷*、翁蒨懃* 製作主任 黃詠詩*

技術統籌 李浩賢*、曾以德*、范文恩*、林仁健*、莊曉庭*、許肇麟*

Head of Artist Coordinators Eleanor Chu*

Artist Coordinators Susan Chang Hayden*, Becca Cheung*, Cassandra Heung*, Kelvin Ho*, Christa Lai*, Venice Lau*, Kitty Leung*, Stephenie Ng*, Jan Pang*, Blanche Wu*, Bonnie Yung*

Production Officer Bonnie Wong*

Technical Coordinators Lawrence Lee*, Joyi Tsang*, Yan Fan*, Hoi Lam*, Sai Chong*, Boolu Hui*

*合約職員 *Contract Staff 按英文姓氏首字母排列 In alphabetical order

# 藝術人才見習配對計劃2023/24由香港藝術發展局資助

# 2023/24 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council

2024年1月更新 Updated January 2024

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