三月九日演出贊助 9 MAR PERFORMANCE SPONSORED BY
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
1 香港特別行政區行政長官 李家超
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.
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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.
香港藝術節資助來源：
The Hong Kong Arts Festival is made possible with the funding support of:
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香港藝術節行政總監 余潔儀
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.
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《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
網頁 Website: www.hk.artsfestival.org/en/support-us
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香港藝術節
HONG KONG ARTS FESTIVAL
感謝 would like to thank
贊助 for sponsoring 意大利協奏團
韋華第《和諧的靈感》
Concerto Italiano Vivaldi's L’estro armonico
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意大利協奏團
Concerto Italiano 韋華第《和諧的靈感》
Vivaldi’s L’estro armonico
09.03.2024 / 7:45pm
香港大會堂音樂廳
Concert Hall, Hong Kong City Hall 演出長約2小時10分鐘，包括一節中場休息
Approximately two hours and 10 minutes including one interval
藝術節加料節目
演前講座 Pre-Performance Talk
09.03.2024 (6:00pm-6:45pm) 香港大會堂演奏廳 Recital Hall, Hong Kong City Hall
更多加料節目詳情 More Festival Plus
封面照片 Cover photograph
© Emilie Moysson
※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
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
所有作品內容均由創作團隊獨立製作，並不代表贊助機構之立場或意見。
The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.
本節目內容及本刊物所載之藝術家/客席撰文者言論屬於個人觀點，並不代表香港藝術 節之立場或意見。
The content of this programme and the opinions featured in this publication solely belong to the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival.
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.
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© Javier Sierra
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意大利協奏團 Concerto Italiano
意大利協奏團創立於1984年，正值文藝復興時 期音樂在意大利重新興起。協奏團以蒙特威爾 第、巴赫和韋華第幾位作曲家為中心，加上亞 歷山德羅．史格拉第、亞歷山德羅．梅朗尼和 安東尼奧．波農西里等相對知名度較低的作曲 家，力求革新文藝復興時期的藝術語言，並發 展出嶄新的美學。在創立近四十年後，意大利 協奏團錄製的演出依然被評論家以至大眾視為 重要的參考指標。
協奏團於世界各地留下了巡演足跡，包括 倫敦（漢莎早期音樂節、威格摩爾音樂廳、伊 利沙伯女王音樂廳）、紐約（卡內基音樂廳、大 都會藝術博物館、林肯中心）、烏得勒支（烏得 勒支早期音樂節）、東京、香港（香港藝術節） 和北京等地。
意大利協奏團多年來一直與法國唱片公 司 Naïve 合作發行唱片，近期推出的專輯包括 蒙特威爾第的兩張唱片《奧菲歐》及《夜晚戀 人與勇士的故事》、與桑德琳．皮奧和莎拉． 明加多合作的專輯《羅馬之旅》，以及獲英國 BBC音樂雜誌評為「史上最佳」的巴赫《布蘭 登堡協奏曲》版本。
意大利協奏團憑藉卓越的演出贏得多個獎 項，包括五項留聲機唱片大獎（屬唯一獲得這 項榮譽的意大利樂團）、十項法國音叉唱片獎、 兩項法國音叉年度獎、兩項德國唱片大獎以及 十二項法國十大名盤獎等。
Concerto Italiano was conceived in 1984 and its history overlaps with the rebirth of Renaissance music in Italy. Monteverdi, Bach and Vivaldi were the main composers through which the ensemble has renewed the language of this era, revealing new aesthetics. Its repertoire also includes contributions from lesser-known composers including Alessandro Scarlatti, Alessandro Melani and Antonio Bononcini. Nearly four decades later, the recordings of Concerto Italiano are still considered by critics and the public alike to be important points of reference.
The ensemble has toured extensively and appeared in London (the Lufthansa Festival, Wigmore Hall, Queen Elizabeth Hall), New York (Carnegie Hall, the Metropolitan Museum, the Lincoln Center), Utrecht (Festival Oude Muziek), Tokyo, Hong Kong (the Hong Kong Arts Festival) and Beijing, among others.
The ensemble records for Naïve and its recent releases include two discs of Monteverdi, Orfeo and Night. Stories of Lovers and Warriors; a collaboration with Sandrine Piau and Sara Mingardo titled Un Viaggio a Roma and Bach’s Brandenburg Concertos. The latter was selected by BBC Music Magazine as “the best version ever recorded”.
An impressive array of critical awards attests to the outstanding quality of Concerto Italiano's performances. These include five Gramophone awards (the only Italian ensemble to have been honoured to such a level), 10 Diapasons d’Or and two Diapason d’Or de l’année, two Deutscher Schallplattenpreis and 12 10 de Rèpertoire awards, among others.
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© Javier Sierra
創團總監、指揮
里納爾多．亞歷山德里尼
里納爾多．亞歷山德里尼是意大利協奏團的創團 總監，同時也是著名的古鍵琴、古鋼琴和管風琴 獨奏家。他被譽為演繹蒙特威爾第作品的世界權 威之一。
他的演出軌跡遍及歐洲、北美與亞洲各地， 並獲得世界多個頂尖樂團邀約合作，包括蘇格蘭 室樂團、波爾多歌劇院樂團、皇家利物浦愛樂樂 團、墨爾本交響樂團以及華盛頓交響樂團。
亞歷山德里尼近期指揮的歌劇包括：與威 爾士國家歌劇院合作之韓德爾的《奧蘭度》（卡 迪夫及德累斯頓）、浦塞爾的《仙后》（柏林愛樂 廳）、莫扎特的《喜臨門》（慕尼黑）以及葛路克 的《奧菲歐》。為慶祝及紀念蒙特威爾第出生450 周年，亞歷山德里尼與意大利協奏團於中國內 地、香港、澳洲、日本與美國舉行了巡迴演出， 並在米蘭史卡拉歌劇院上演了由鮑勃．威爾遜執 導的蒙特威爾第歌劇全集。
亞歷山德里尼獲得各界的高度讚譽，所獲獎 項包括：五項留聲機唱片大獎、兩項法國唱片大 獎和三項德國唱片大獎。
亞歷山德里尼於2003年獲法國文化部長頒 發法國藝術及文學勳章。他同時亦是羅馬愛樂學 院的學者，並於2003年與意大利協奏團共同獲得 阿比艾蒂獎。
Founder-Director, Conductor Rinaldo Alessandrini
In addition to his activities as Founder-Director of Concerto Italiano, Rinaldo Alessandrini is renowned as a conductor and recitalist on the harpsichord, fortepiano and organ. He is considered one of the world’s most authoritative interpreters of Monteverdi.
Alessandrini performs across Europe, North America and Asia, and is in demand to direct leading international orchestras including the Scottish Chamber Orchestra, the Orchestra of Bordeaux Opera House, the Royal Liverpool Philharmonic, the Melbourne Symphony Orchestra and the Washington Symphony Orchestra.
His recent engagements as an opera conductor include Handel’s Orlando in Cardiff and Dresden with the Welsh National Opera; Purcell’s Fairy Queen at the Berlin Philharmonie; Mozart’s La finta semplice in Munich; and Gluck’s Orfeo. Alessandrini and Concerto Italiano celebrated the 450th anniversary of Monteverdi with tours to mainland China, Hong Kong, Australia, Japan and the USA, and he recently presented the complete Monteverdi opera cycle at La Scala, directed by Bob Wilson.
Alessandrini has garnered the highest critical acclaim, including five Gramophone awards, two Grand Prix du Disque and three Deutscher Schallplattenpreis awards.
Alessandrini was appointed Chevalier dans l'ordre des Artes et des Lettres by the French Minister of Culture in 2003. He is an academic of the Accademia Filarmonica Romana, and together with Concerto Italiano he received the Abbiati Award in 2003.
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© Emilie Moysson
韋華第
《和諧的靈感》，作品3 （十二首協奏曲）
D大調第一協奏曲，為四小提琴而作，RV549
I. 快板
II. 廣板，斷開發聲
III. 快板
G小調第二雙小提琴協奏曲，RV578
I. 慢板，斷開發聲
II. [快板]
III. 小廣板
IV. 快板
G大調第三小提琴協奏曲，RV310
I. 快板
II. 廣板
III. 快板
A大調第五雙小提琴協奏曲，RV519
I. 快板
II. 廣板
III. 快板
A小調第六小提琴協奏曲，RV356
I. 快板
II. 廣板
III. 急板
E小調第四協奏曲，為四小提琴而作，RV550
I. 行板
II. 甚快板
III. 慢板
IV. 快板
Vivaldi (1678-1741) L’estro armonico, Op 3 (12 Concertos)
Concerto No 1 for 4 Violins in D Major, RV 549
I. Allegro
II. Largo e spiccato
III. Allegro
Concerto No 2 for 2 Violins in G minor, RV 578
I. Adagio e spiccato
II. [Allegro]
III. Larghetto
IV. Allegro
Concerto No 3 for Violin in G Major, RV 310
I. Allegro
II. Largo
III. Allegro
Concerto No 5 for 2 Violins in A Major, RV 519
I. Allegro
II. Largo
III. Allegro
Concerto No 6 for Violin in A minor, RV 356
I. Allegro
II. Largo
III. Presto
Concerto No 4 for 4 Violins in E minor, RV 550
I. Andante
II. Allegro Assai
III. Adagio
IV. Allegro
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中場休息 INTERVAL
F大調第七協奏曲，為四小提琴而作，RV567
I. 行板
II. 慢板
III. 快板
IV. 慢板
V. 快板
A小調第八雙小提琴協奏曲，RV522
I. 快板
II. 精神奕奕的小廣板
III. 快板
D大調第九小提琴協奏曲，
RV230
I. 快板
II. 小廣板
III. 快板
D小調第十一協奏曲， 為雙小提琴及大提琴而作，RV565
I. 快板
II. 柔板，斷開發聲——快板
III. 廣板
IV. 快板
E大調第十二小提琴協奏曲，RV265
I. 快板
II. 廣板
III. 快板
B小調第十協奏曲，為四小提琴而作，RV580
I. 快板
II. 廣板
III. 快板
Concerto No 7 for 4 Violins in F Major, RV 567
I. Andante
II. Adagio
III. Allegro
IV. Adagio
V. Allegro
Concerto No 8 for 2 Violins in A minor, RV 522
I. Allegro
II. Larghetto e spiritoso
III. Allegro
Concerto No 9 for Violin in D Major, RV 230
I. Allegro
II. Larghetto
III. Allegro
Concerto No 11 for 2 Violins and Cello in D minor, RV 565
I. Allegro
II. Adagio e spiccato–Allegro
III. Largo
IV. Allegro
Concerto No 12 for Violin in E Major, RV 265
I. Allegro
II. Largo
III. Allegro
Concerto No 10 for 4 Violins in B minor, RV 580
I. Allegro
II. Largo
III. Allegro
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意大利協奏團：韋華第《和諧的靈感》
Concerto Italiano: Vivaldi’s L’estro armonico
縱觀韋華第的創作歷程，1711年出版的《和 諧的靈感》（作品3）可說是其生涯的一個重大 突破。這套協奏曲集（合共十二首）甚至影響 了包括巴赫（韋華第其實只比他年長七歲）在 內的多位重要歐洲作曲家，在音樂史上留下 重要一筆。
韋華第專家邁克爾．泰博將《和諧的靈 感》形容為「十八世紀上半葉最具影響力的 音樂出版物」。這部作品是韋華第第三次印 刷出版的作品，也是他首次將協奏曲結集出 版。他選擇了一家在阿姆斯特丹的出版社， 讓樂曲在意大利文化圈之外也得以廣泛流 傳（尤其在北歐地區）。從其流傳數量，可見 這批作品在十八世紀的受歡迎程度，尤其有 「韋華第第五」之稱的A大調第五雙小提琴協 奏曲，在英國更是風靡了萬千樂迷。有樂評 人這樣形容：這首樂曲讓獨奏者彷如「衝上 雲霄，不但能模仿在天上翱翔的鳥，甚至重 現了鳥鳴聲。」
韋華第作品繁多，包括多齣歌劇以及大 量聖樂作品。但對當代聽眾而言，提起他的 名字，就必然會想起他的另一套協奏曲《四 季》（於1725年出版，並收錄於另一曲集）。
The publication of Antonio Vivaldi’s (1678-1741) Opus 3, L’estro armonico, in 1711 proved to be a breakthrough in his career as a composer. Even more, this collection of 12 concertos left a significant mark on music history by influencing major composers across Europe, including Johann Sebastian Bach (just seven years younger than his Italian colleague).
Vivaldi expert Michael Talbot has described L’estro armonico as “the most influential music publication of the first half of the 18th century”. It was only the third time that the composer’s works had appeared in print, and the first time that Vivaldi published a set of concertos. That he chose a firm in Amsterdam ensured their widespread dissemination beyond the Italian cultural sphere (particularly in Northern Europe). Copies of the concertos prove how popular they became in the 18th century. In particular, the Concerto No 5 in A Major (for two violins)—known as “Vivaldi’s Fifth”— was a hit among British music lovers. One observer admired how it allowed the soloists to “mount into the clouds and imitate not only the flight but the whistling notes of birds”.
Vivaldi’s enormous output included many operas and pieces of sacred music, but among contemporary listeners his name has become synonymous with another set of concertos, The Four Seasons (which were published in 1725 as part of another collection). These represent a mere handful of the more than 500 concertos in Vivaldi’s catalogue. A notorious quip suggests that he produced music so prolifically by repeating “the same concerto over and over” hundreds of times (a remark that has been attributed to Igor Stravinsky).
But this snarky critique ignores the evidence of the rich variety of these works, most of which Vivaldi wrote for his own instrument: apart from his legacy as a composer, he ranked among the most-celebrated violin virtuosos of the era. Any accusation that Vivaldi merely “repeated himself” is shown to be false when it comes to L’estro armonico
The unusual Italian title proudly proclaims the emphasis on inspiration and fantasy, both of which are possible translations of estro.
With this inaugural collection of concertos, published when he was only 33, Vivaldi developed a genre that was distinct from the prevailing models of a Baroque concerto. What sets them apart, according to scholar Eleanor SelfridgeField, is “their emphasis on virtuosity, their rhythmic exuberance, their flexible instrumentation, their independent methods of thematic development, and their supple readings” of the idea of concerto form itself. Most of the concertos—whether for one or multiple soloists—follow the three-movement format that is still the norm for a concerto for composers of our time: two lively, usually swiftly paced
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韋華第
Antonio Vivaldi
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不過，這些作品只是韋華第五百多首協奏曲 中的一小部分。有個流傳甚廣的諷刺說法， 指韋華第是靠「不斷重複同一首協奏曲」數 百次，才能寫出數量如此龐大的作品（有傳評 論出自史達拉汶斯基）。
然而這個嘲諷式評論實在罔顧事實：就 是這些作品本身變化多端，當中大部分更是 韋華第為自己最擅長的樂器而寫——他除 了在作曲方面的成就斐然，還是當時享負盛 名的小提琴名家。任何說韋華第只懂「重複 自己」的指控，來到《和諧的靈感》都會不 攻自破。這首樂曲的意大利語標題《L’estro armonico》中的「estro」可以翻譯成「靈 感」和「幻想」，而這兩種字義亦正好反映了 樂曲兼具「靈感」與「幻想」的雙重本質。
《和諧的靈感》是韋華第的首套協奏曲 集。曲集出版時他雖然年僅三十三歲，但已 經發展出與別不同的曲風，與巴羅克時期盛 行的協奏曲風格大相逕庭。根據學者艾莉 諾．西芙菲德所言，兩者的區別在於韋華第 的協奏曲「更強調炫技、豐富的節奏韻律、 變化多端的樂器組合、多樣的主題，以及對 『協奏曲』這一樂曲體裁的靈活解讀」。不論
獨奏者數目多寡，《和諧的靈感》裏大部分樂 曲都依從三樂章的格式。時至今日，這種結 構依然是協奏曲的常規：首尾兩個節奏輕快 的樂章，夾住中間速度較慢、如歌的樂章。
曲集裏也有幾首作品明顯受舊式協奏曲影 響，樂章先慢後快（例如第二、第四和第七協 奏曲）。
此外，《和諧的靈感》十二首協奏曲的音 樂語言在炫技式的器樂曲譜中，糅合創新、 抒情的和聲與旋律，展示了「原創性」在 作曲之中的新潛力。以B小調第十協奏曲為 例，作曲家讓五件樂器（四把獨奏小提琴與一 把大提琴）交相輝映，既巧妙展示各聲部的獨 特個性，又能在合奏時渲染出溫暖的色彩。
韋華第的樂曲不但對一眾小提琴高手來 說別具挑戰，也引起了同期作曲家的注意。
以巴赫為例，他受韋華第（包括《和諧的靈 感》以及其他協奏曲）影響極深，甚至連約 翰．霍基（首位為巴赫撰寫傳記的作者）都要 特別註明韋華第如何改寫了這位德意志作曲 家的音樂思維。巴赫甚至還自行改編了《和 諧的靈感》當中的六首樂曲：四首改為古鍵 琴協奏曲，其他兩首則改為管風琴協奏曲。
movements that frame a slower, songlike middle movement. Several show the influence of the more old-fashioned pattern of a slow movement paired with a subsequent faster one (for example, Concertos No 2, 4 and 7).
Moreover, the language of these 12 concertos combines virtuosic instrumental writing with innovative and expressive harmonic and melodic ideas that revealed new potential for the role of originality in composition. Take the Concerto No 10 in B minor, with its interplay of four solo violins and cello, and Vivaldi’s clever individuation of voices, which he juxtaposes with their warm expressivity as a group.
Virtuoso violinists found stimulating challenges in these works, and Vivaldi’s fellow composers took notice as well. We need only point to J.S. Bach’s reaction. His exposure to L’estro armonico and other concertos by Vivaldi was so important that Bach’s first biographer, Johann Nikolaus Forkel, observed how deeply the Italian influenced the German’s musical thinking. Bach went so far as to transcribe half of the Opus 3 collection (four of them into harpsichord concertos and two into organ concertos); he also drew on themes from the Concerto No 11 for one of his cantatas.
These concerto arrangements in turn helped pave the way for the development of the keyboard concerto. The later recognition that Vivaldi had such an impact on Bach’s growth as a composer was important for the rebirth of interest in Italian music in the middle of the 20th century, following a long period of neglect. Rinaldo Alessandrini and Concerto Italiano’s double-CD release from 2022, Vivaldi:Bach, combines all 12 of the concertos from L’estro armonico with Bach’s six rearrangements as keyboard concertos.
Vivaldi carefully organised the collection into four groups of three concertos. Each group begins with a concerto for four solo violins, which is followed by one for a pair of solo violins and then a solo violin concerto. There is additionally an important part for the cello, which takes on a quasi-solo role in the concertos for multiple violins. The original publication set the music out in eight parts: four violins, two violas, cello and the continuo, the harmonic foundation that underpins the musical storytelling (here rendered by harpsichord, double bass and theorbo).
These concertos are thought to have been composed originally for Vivaldi’s gifted music students at the Ospedale della Pietà, which served as an orphanage for girls in his native Venice. Vivaldi became a resident violin instructor and composer for the Ospedale, securing its reputation as an influential music school whose young students gave concerts for well-to-do patrons and tourists.
Although their musical pursuits were intended to elevate the audience (and the musicians themselves) to
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另外，他亦在自己的清唱劇中借鑑了第十一 協奏曲的好些主題。
這些改編奠定了日後鍵盤協奏曲的發展 基礎。自從眾人發現韋華第對巴赫創作的影 響，才讓沉寂已久的意大利音樂得以在二十 世紀中葉重新獲得關注。里納爾多．亞歷山 德里尼與意大利協奏團於2022年發行的雙碟 專輯《韋華第：巴赫》收錄了《和諧的靈感》 全套十二首協奏曲，以及巴赫改編的六首鍵 盤協奏曲。
這套曲集經過韋華第精心編排，十二首 協奏曲分為四組，每組三首。每組均由一首 四小提琴協奏曲開始，然後是雙小提琴協奏 曲，最後是獨奏的小提琴協奏曲。另外，大 提琴亦在眾多小提琴協奏曲當中扮演近乎獨 奏的重要角色。初版的樂譜將樂曲分為八個 聲部：由四個小提琴、兩個中提琴、一個大 提琴以及一個數字低音聲部組成。「數字低 音」負責在音樂敘事中加強和聲基礎（今晚音 樂會採用的樂器是古鍵琴、低音大提琴及大 魯特琴 ）。
《和諧的靈感》一般被認為是韋華第為家 鄉威尼斯「彼耶塔孤女院」裏的音樂學生而 創作。韋華第曾出任該院的駐院小提琴導師 及作曲家，並奠定了該院作為音樂學校（孤女 院的學生經常為富裕的贊助人和遊客進行音 樂會演出）的聲譽。
儘管這些協奏曲的原意是為了將聽眾 （還有樂手自己）的意識昇華至神聖、性靈的 層面，但據西芙菲德所言，這些協奏曲對於 實際技巧也有極高要求，故此對樂手來說也 是絕佳的練習：最頂尖的弦樂手可以挑戰獨 奏聲部；而尚待磨練的樂手則可以參與合奏 聲部。她寫道：「韋華第要求獨奏者在高難度 的樂段互相模仿，迫使學生鍛鍊出極佳的聽 力。」但不論如何，這些協奏曲本身已經是創 意澎湃的美妙作品，在現場欣賞時也毋須太 過深究。
撰文：湯瑪士．梅
contemplate the divine, the practical demands of these concertos, according to Selfridge-Field, would have served as a useful means of training. The most gifted string players could challenge themselves with the solo parts, while those still developing their skills could play the ensemble parts. “By requiring soloists to imitate one another in passages of great difficulty,” she writes, “Vivaldi was forcing his pupils to develop auditory skills of a very high calibre.” However, there is nothing academic about experiencing these wondrously melodic and inventive concertos in live performance.
Text: Thomas May
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鑑古演奏 注入意大利基因
Concerto Italiano and Its “Harmonic Inspiration”
四十年前，里納爾多．亞歷山德里尼創辦 了意大利協奏團，為文藝復興及巴羅克音 樂的處理方式帶來革命性的影響。協奏團 將嶄新的意大利風情注入早期音樂，演奏 着重強烈的情感表達，樂句也極為生動活 潑，甚至帶點戲劇化。
Rinaldo Alessandrini’s founding of Concerto Italiano four decades ago had a revolutionary impact on the way music from the Renaissance and Baroque periods was approached. These musicians brought a new Italian flavour and accent to the early music field, as well as an emphasis on expressive intensity and theatrically vivid, animated phrasing in their performances.
「鑑古演奏」（HIP）運動早在英國和歐洲 各地蔚然成風，但亞歷山德里尼和意大利協 奏團卻為這個圈子帶來全新的洞見，令早期 音樂界煥然一新。其「意大利」特性並非一 個籠統的概念，而是對個別地區音樂語言的 深刻理解，尤其是羅馬和威尼斯。
意大利協奏團可說是早期音樂界最多產 的藝團之一，除了勇於發掘幾百年來久被遺 忘的珍品，也以蒙特威爾第的歌劇、牧歌和 聖樂，以及韋華第的器樂作品和歌劇見稱。
The historically informed performance (HIP) movement had already been evolving for some decades in Britain and throughout Europe, but Alessandrini and his colleagues revitalised the scene with the fresh insights of a new generation. Their “Italian” identity is by no means generic, but applies to a deep understanding of the nuances of musical dialects in specific regions, particularly Rome and Venice.
Concerto Italiano now ranks among the most prolific ensembles in the field of early music. Alessandrini and his fellow musicians are intrepid explorers of long-forgotten gems from past centuries. They have also become closely associated in particular with the operas, madrigals and sacred music of Claudio Monteverdi, and the instrumental music and operas of Antonio Vivaldi.
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© Emilie Moysson
今晚的音樂會將演出韋華第名作《和諧 的靈感》。這套協奏曲將較古老的巴羅克大協 奏曲與較晚近的協奏曲格式混合，不但立意 創新，也讓樂曲馬上成為當時大熱，韋華第
「大協奏曲之父」的名聲更不脛而走。
成立後最初十年，意大利協奏團將自己 定位為合唱組合，尤其以蒙特威爾第的牧歌 專輯為人稱頌。到了九十年代中期，亞歷山 德里尼決心擴大協奏團的規模，加入器樂合 奏部分。由於協奏團原本是合唱組合，因此 演繹器樂作品時，仍保留了不少聲樂演出的 痕跡，從優美動人的旋律塑形，以及戲劇化 的台風即可見一斑。
當然，學術研究可說是推動早期音樂運 動的核心元素，但「鑑古」所包含的意義， 其實遠不止於對當時樂器或歌唱風格的音樂 學研究。
對亞歷山德里尼來說，「鑑古」還意味要 了解音樂的背景，包括宗教、社會、政治、 藝術各方面，例如韋華第從事音樂創作的時 候，他家鄉威尼斯正值變革時期。這些細節 都有助於理解、詮釋音樂。
談及獨奏小提琴和樂團在韋華第協奏曲 中的默契，亞歷山德里尼表示：「我想，最好 的化學作用，就是小提琴充當主人翁，而且 明顯帶點戲劇化，這樣就能刺激樂團。十八 世紀的意大利音樂大多很戲劇化，連為教會 寫的作品也一樣。」
撰文：湯馬士．梅 原文刊登於2024年香港藝術節之《閱藝》雜誌
At tonight’s concert, Concerto Italiano will perform the celebrated L’estro armonico, which innovatively combines the older Baroque concerto grosso and the more modern concerto format. The work itself was an immediate hit at the time, and contributed to Vivaldi’s reputation as the father of concerto grosso.
For the first 10 years of its existence, Concerto Italiano defined itself as a vocal ensemble, earning acclaim in particular for its recordings of the madrigals of Monteverdi. In the mid1990s, Alessandrini expanded Concerto Italiano to include an instrumental ensemble as well. Its origins as a vocal ensemble have left an imprint on its instrumental interpretations, seen in the expressive beauty of its melodic shaping and theatrical presence alike.
Scholarship has of course been an essential driver of the early music movement. But “historically informed” goes beyond issues of musicological research into the types of instruments used at the time and styles of singing.
For Alessandrini, it extends to understanding the contexts—religious, social, political, artistic—in which, say, Vivaldi’s music was produced during a transformative period in Venice, the composer’s native city.
Referring to the rapport between solo violin and ensemble in Vivaldi’s concertos, he observes: “I think the best chemistry is when the violin is the protagonist and has an evident theatrical attitude that is very stimulating for the orchestra. Music in Italy in the 18th century was mostly theatrical—even the music composed for the churches.”
Text: Thomas May
Originally published in the 2024 HKAF’s FestMag
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© Emilie Moysson
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意大利協奏團 Concerto Italiano
小提琴 Violins
Stefano Barneschi
Boris Begelman
Nicholas Robinson
Andrea Rognoni
中提琴 Violas
Ettore Belli
Teresa Ceccato
低音大提琴 Double Bass
Luca Cola
大提琴 Violoncello Alessandro Palmeri
大魯特琴 Theorbo Ugo Di Giovanni
古鍵琴、總監 Harpsichord, Director 里納爾多．亞歷山德里尼 Rinaldo Alessandrini
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© Javier Sierra
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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
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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
Programme Enquiry Hotline
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
+ 榮譽節目顧問 Honorary Programme Advisor
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
EXECUTIVE COMMITTEE
Chairman
Mr Victor Cha
Vice-Chairman Prof. Lo King-man, SBS MBE JP
Honorary Treasurer
Members
PROGRAMME COMMITTEE
Chairman
Members
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
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
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
Ms Gabriela Kennedy, Mayer Brown
PricewaterhouseCoopers
34
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*、伍美衡*
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 余穎彤*
外展統籌 羅凱盈*、連凱嵐*
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 呂詠琪*、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*, Janet Ng*
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 Manager Enid Yu*
Outreach Coordinators Vicgina Law*, Jade Lin*
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 Officers Kate Lui*, 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2月更新 Updated February 2024
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職員
36
is
amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
( 99 ) 北市經證字第 01583 號 蔡吉政 Each Office Is Independently Owned And Operated
1899.Childe Hassam - New England Headlands
