Teatro alla Scala Ballet Company (La Scala Ballet) — Le Corsaire - 52nd Hong Kong Arts Festival

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

網頁 Website: www.hk.artsfestival.org/en/support-us

香港藝術節

HONG KONG ARTS FESTIVAL

感謝 would like to thank

贊助 for sponsoring 米蘭史卡拉歌劇院芭蕾舞團 《海盜》

三月十六日下午場演出

The 16 Mar Matinee Performance of Teatro alla Scala Ballet Company (La Scala Ballet) Le Corsaire

米蘭史卡拉歌劇院芭蕾舞團 Teatro alla Scala Ballet Company (La Scala Ballet)

《海盜》

LeCorsaire

15—16.03.2024 / 7:30pm 16—17.03.2024 / 2:30pm

香港文化中心大劇院

Grand Theatre, Hong Kong Cultural Centre 演出長約2小時50分鐘，包括兩節中場休息

Approximately two hours and 50 minutes including two intervals

藝術節加料節目

講座 Talk

香港藝術節傑出文化領袖講座系列（11） 與米蘭史卡拉歌劇院芭蕾舞團總監 曼紐爾．魯格里斯對談

Hong Kong Arts Festival Distinguished Cultural Leadership Series (11)

In Conversation with Manuel Legris, Ballet Director of Teatro alla Scala Ballet Company

16.03.2024 (已舉行 Past event)

3月16及17日下午場為親子場，適合3歲或以上的 兒童及家長觀看

The 16 and 17 Mar matinees are family performances, suitable for children aged 3 and above and their families

封面照片 Cover photograph ©Brescia e Amisano—Teatro alla Scala

※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

芭蕾舞大師班 Ballet Masterclass 安東尼諾．蘇特拉（米蘭史卡拉歌劇院 芭蕾舞團芭蕾舞大師）

With Antonino Sutera (La Scala Ballet Master)

17.03.2024 (10:30am–11:45am) 香港文化中心大劇院排演室 GR2 Grand Theatre Rehearsal Room GR2, Hong Kong Cultural Centre

更多加料節目詳情 More Festival Plus

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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.

©Brescia e Amisano-Teatro alla Scala

米蘭史卡拉歌劇院芭蕾舞團 《海盜》

Teatro alla Scala Ballet Company—Le Corsaire

此為三幕芭蕾舞劇，含序幕及結幕。

導演 曼紐爾．魯格里斯

劇本

曼紐爾．魯格里斯、尚－弗朗索瓦．科澤勒 來自拜倫、聖喬治及馬傑利耶

編舞 曼紐爾．魯格里斯 根據佩蒂巴及其他版本

音樂

阿道夫．亞當及其他

選曲

曼紐爾．魯格里斯

編曲 伊戈．些普夫丁

配器

托瑪士．海尼殊 加博．劇雷尼

佈景及服裝設計

露易莎．詩翩娜泰莉

助理佈景及服裝設計 莫妮亞．托賽亞

燈光設計

安德里亞．朱雷蒂

伴奏

韓經arte愛樂樂團

指揮

域列里．奧韋斯揚尼科

製作

米蘭史卡拉歌劇院

A ballet in three acts with a prologue and an epilogue

Director

Manuel Legris

Dramaturge, Libretto

Manuel Legris and Jean-François Vazelle from Lord Byron, Jules-Henri Vernoy de Saint-Georges and Joseph Mazilier

Choreography

Manuel Legris after Marius Petipa and others

Music

Adolphe Adam and others

Music Selection

Manuel Legris

Music Arrangement

Igor Zapravdin

Orchestration

Thomas Heinisch

Gábor Kerény

Set and Costume Designer

Luisa Spinatelli

Assistant Set and Costume Designer

Monia Torchia

Lighting Designer

Andrea Giretti

Accompaniment

Hankyung arte Philharmonic

Conductor

Valery Ovsyanikov

Production

Teatro alla Scala Production

演員及角色 Cast and Characters

提摩菲．安德里亞申科（3月15至16日晚場） 馬帝亞．森帕博尼（３月16至17日日場）

飾 康拉德

妮歌莉塔．曼尼（3月15至16日晚場） 愛麗絲．馬里安尼（３月16至17日日場）

飾 美多娜

馬丁娜．阿杜勞（3月15至16日晚場） 瑪麗亞．費萊斯特．露莎（３月16至17日日場）

飾 古兒娜

馬可．亞古斯丁盧（3月15至16日晚場） 尼古拉．德爾．弗雷奧（３月16至17日日場）

飾 蘭克登

歌迪奧．哥維耶路（3月15至16日晚場）

里納爾多．韋努蒂（３月16日日場） 杜明尼高．迪．克里斯托（３月17日日場）

飾 貝班圖

蓮達．朱貝莉（3月15至16日晚場） 亞歷山德拉．域莎露（３月16至17日日場）

飾 蘇梅亞

加貝埃爾．哥拉多（3月15至16日晚場）

艾多亞多．卡波拉萊蒂（３月16至17日日場） 飾 賽義德．帕夏

雅各尼斯．迪．克萊門特（3月15至16日晚場） 佳雅．安德利亞奴（3月15至16日晚場） 卡米拉．謝魯莉（3月15至16日晚場）

蓮達 ．朱貝莉（３月16至17日日場）

班奈迪塔．蒙特費奧利（３月16至17日日場）

卡塔利娜．比安琪（３月16至17日日場） 飾 三位宮女

與米蘭史卡拉歌劇院芭蕾舞團

Timofej Andrijashenko (15-16 March, evening)

Mattia Semperboni (16-17 March, matinee) as Conrad

Nicoletta Manni (15-16 March, evening)

Alice Mariani (16-17 March, matinee) as Medora

Martina Arduino (15-16 March, evening)

Maria Celeste Losa (16-17 March, matinee) as Gulnare

Marco Agostino (15-16 March, evening)

Nicola Del Freo (16-17 March, matinee) as Lankedem

Claudio Coviello (15-16 March, evening)

Rinaldo Venuti (16 March, matinee)

Domenico Di Cristo (17 March, matinee) as Birbanto

Linda Giubelli (15-16 March, evening)

Alessandra Vassallo (16-17 March, matinee) as Zulmea

Gabriele Corrado (15-16 March, evening)

Edoardo Caporaletti (16-17 March, matinee) as Seyd Pasha

Agnese Di Clemente (15-16 March, evening)

Gaia Andreanò (15-16 March, evening)

Camilla Cerulli (15-16 March, evening)

Linda Giubelli (16-17 March, matinee)

Benedetta Montefiore (16-17 March, matinee)

Caterina Bianchi (16-17 March, matinee) as Three Odalisques

and Teatro alla Scala Ballet Company

張海婷*、蔡芷蕎*、方蘊霖*、 劉曉晴*、李諺穎*、梁芷瑜*、 Yuna Yasuda*、張心怡*、薛皓景*

謝曜宇*

飾 兒童舞者

吳懿洛*、何思齊*、 胡心言*、葉摯珏*

飾 賣花女

羅百鴻*

飾 商人

韓華疇*、梁潤升*、 曾子源*、Alberto Gerosa 飾 轎夫、守衛

*王仁曼芭蕾舞學校學員

Harriet Cheung*, Ashlyn Choi*, Kaitlyn Fong*,

Chloe Lau*, Lee Yin Wing*, Hailey Myra Leung*,

Yuna Yasuda*, Cindy Zhang*, Raphael Sit*, Tse Yiu Yu* as Child Dancers

Vizelle Goh*, Maya Elizabeth Hirsch*, Agnes Wu*, Ip Chi Kok* as Flower Sellers

Law Pak Hung* as Merchant

Alex Martin Hon*, Leung Yun Sing*, Tsang Tsz Yuen*, Alberto Gerosa as Carriers/Guards

*From the Jean M. Wong School of Ballet

米蘭史卡拉歌劇院私人基金會

Teatro alla Scala Foundation

董事局 Board of Directors

主席 Chairman

Giuseppe Sala

Mayor of Milan

成員 Members

Giovanni Bazoli

Maite Carpio Bulgari

Giacomo Campora

Nazzareno Carusi

Claudio Descalzi

Alberto Meomartini

Dominique Meyer

Francesco Micheli

Aldo Poli

行政總裁、藝術總監 CEO, Artistic Director

Dominique Meyer

音樂總監 Music Director

Riccardo Chailly

芭蕾舞總監 Ballet Director

Manuel Legris

合唱指導 Chorus Master

Alberto Malazzi

審核委員會 Board of Auditors

主席 Chairman

Tammaro Maiello

常任委員 Regular Members

Pasqualino Castaldi

Fabio Giuliani

米蘭史卡拉歌劇院芭蕾舞團香港巡演參與者

Teatro alla Scala Ballet Company Participants in the Tour in Hong Kong

領導層及職員 Direction And Staff

藝術統籌 Artistic Coordinator

André Comploi

舞團總監 Director of the Ballet Company

Manuel Legris

製作經理 Production Manager

Nadia Ferrigno

藝術指導 Artistic Direction

Beatrice Staccini

技術指導 Technical Direction

Vincenzo Tella

製作 Production

Daniela Manzoni

舞台監督 Stage Manager

Barbara Patruno

物流主管 Logistics Supervisor

Bruno Messa

運輸主管 Transport Supervisor

Francesco Pulerà

舞團統籌 Ballet Company Coordinator

Marco Berrichillo

舞團主管 Ballet Company Supervisor

Andrea De Mauro

首席芭蕾舞大師 Principal Ballet Mistress

Laura Contardi

芭蕾舞大師 Ballet Master

Massimo Murru

芭蕾舞學校學生的芭蕾舞大師及排舞導師 Ballet Master and répétiteur for the Ballet School pupils

Antonino Sutera

芭蕾舞音樂指導 Ballet Music Coaches

Alberto Nanetti

Marcelo Spaccarotella

舞團媒體辦公室 Press Office for the Ballet Company

Carla Vigevani

網頁及社交媒體 Web and Social Media

Elena Palmieri

醫生 Doctor

Rosa Maria Converti

物理治療師 Physiotherapist

Sara Benedetti

指揮 Conductor

Valery Ovsyanikov

關於《海盜》

About Le Corsaire

由曼紐爾．魯格里斯改編的《海盜》於2023 年首次登陸米蘭史卡拉歌劇院。作品於2016 年創作，是魯格里斯首次重演十九世紀經典作 品。此作充分展現了他專注與創新的編舞風 格，以及在音樂和戲劇上的追求。憑藉其清晰 易懂的情節，以及對音樂韻律和人物關係的 重視，這部具冒險精神又使人驚心動魄的十九 世紀動作芭蕾舞劇，將活力、精湛舞技、抒情 性、浪漫主義，以及米蘭史卡拉歌劇院舞者的 超凡實力共冶一爐。

This version of Le Corsaire by Manuel Legris arrived at La Scala for the first time in 2023. Created in 2016, it was his first revival of a 19th-century classic, highlighting the intent and innovativeness of his choreographic approach and his musical and dramaturgic quest. With its clear and accessible plot, notable attention to musicality and relations among characters, it combines the energy, virtuosity, lyricism and romanticism of one of the 19th century’s most adventurous and thrilling ballets d’action with the talents of the La Scala dancers.

海盜與女奴、風暴與綁架、謀殺與陰 謀、一個洞穴、一個帕夏（鄂圖曼帝國的高級 官員官銜）、一場在美麗花園所做的夢，展開 了海盜康拉德拯救摯愛美多娜的冒險之旅： 魯格里斯致力為每個動作加添真實性和信 念，當中的情節保留了拜倫的詩句韻味，但 淺顯易懂又脈絡分明。其中每個舞步都精準 而有意思，顯示了他對音樂的關注和投入， 而阿道夫．亞當的樂譜捕捉了這些特點，其 配樂幾乎貫穿整齣芭蕾舞劇。這一切都透過 露易莎．詩翩娜泰莉設計華麗的舞台設計、 魯格里斯親自創作諸如海盜舞蹈等的原創編 舞，加上聖彼得堡的佩蒂巴版本的珍寶，共 同營造東方風味，使演出昇華。

Pirates and slaves, storms and kidnappings, murders and conspiracies, a cave, a pasha (the former title for generally military state officers in the Ottoman Empire), a dream in a beautiful garden and the adventures of the pirate Conrad as he rescues his beloved Medora: Legris' quest focuses on giving truth and conviction to each movement, using a plot close in spirit to Lord Byron's verses, but accessible and clear. Each step has precision and meaning, with attention and devotion to musicality, captured by Adolphe Adam’s score used almost for the entirety of the ballet. All of this is enhanced by the Oriental-like suggestions of Luisa Spinatelli's sumptuous staging and by choreographic work created by Legris himself, for example the pirate dances, alongside original pearls from Petipa in the Saint Petersburg version.

分場 Scene

第一幕

序幕：在岸上

海盜康拉德出航搶劫船隻後，在副手貝班圖 和其他隨行海盜的簇擁下回到岸上。這時， 市集老闆蘭克登帶着他的同黨，來到岸邊物 色新的女奴，因為他知道，鄰近敵村的年輕 女子會到岸邊散步。他們尚未開始觀察來往 的人，已有一些女子毫無戒心地出現，走在 前頭的是貴婦美多娜和古兒娜。她們��間就 被這些男人包圍和制服。蘭克登是擄拐人口 的老手，他立刻看中美多娜和古兒娜，並不 在意其他女人。這兩位美女被帶到市集去， 遭受嚴密看守。

Act I

Prologue on the shore

At the end of a successful raiding voyage, Conrad, accompanied by his second-in-command Birbanto and his pirates, returns to land. Lankedem, the bazaar owner, is scouting the shore with his henchmen, on the lookout for new female slaves. He knows that the imprudent young women from the neighbouring enemy village come to walk here. Scarcely have the men settled down on the lookout when some unsuspecting women appear, led by the noblewomen Medora and Gulnare. They are quickly surrounded and overpowered by the men. As a connoisseur in these matters, Lankedem chooses Medora and Gulnare, and does not concern himself with the other women. The two beauties are taken to the bazaar, closely guarded.

©Brescia e Amisano-Teatro alla Scala

市集

當蘭克登帶着他的兩個俘虜來到市集時，街 上人群正在色彩繽紛的攤檔忙碌着。蘭克登

被古兒娜的非凡美貌深深吸引，於是將她交 給自己的女僕照顧，好為她打扮整齊。至於 美多娜，就被送去和其他女奴待在一起。這 時候，市場上來了新的訪客：康拉德、貝班 圖和一眾海盜。一位富商的女兒蘇梅亞立即 向貝班圖拋媚眼。康拉德顯然對她們不感興 趣，於是蘭克登叫人把美多娜帶來。雙方一 見鍾情！蘭克登眼見康拉德有意購買，便着 人把這個年輕美女帶走，並告訴康拉德，只 要他肯付代價，就可以擁有美多娜。康拉德 願意付出任何代價完成交易。就在此時，賽 義德．帕夏來到，令蘭克登心念一轉，因為 他知道，帕夏可能是更好的買家。於是蘭克 登把美多娜交給他的女僕，並向帕夏大獻殷 勤（因為帕夏知道蘭克登的弱點），向他展示 自己的女奴。蘭克登見帕夏反應冷淡，就派 人把古兒娜帶來。帕夏一見古兒娜，立即為 她的魅力所傾倒。他無法抵擋這種誘惑，便 把古兒娜買下來。

正當帕夏打算離開，蘭克登勸他多留一 會。與此同時，打扮得花枝招展的美多娜被 帶進來，並被迫在帕夏面前跳舞。不過，她 卻向康拉德盡展魅力，反而對急忙向蘭克登 出價的帕夏置之不理。

當蘭克登和帕夏兩人開始討價還價時， 康拉德向美多娜表達愛意，但美多娜擔心自 己淪為一件商品。康拉德向她保證，他只會 帶她一人離開。然而康拉德還未來得及採取 行動，那邊廂交易已經完成，帕夏帶着古兒 娜和美多娜離開。一心想要奪得美多娜的康 拉德，命令手下準備撤離，然後自己出發去 尋找美多娜。

眾海盜興奮地起舞之際，被突然回來的 康拉德打斷，他已經找到美多娜。一響槍聲 ——康拉德發出撤離的信號。貝班圖確保手 下抓住了蘭克登和眾女奴。蘇梅亞也來到， 跟大夥兒一起逃走。

The bazaar

People are going about their business between the colourful stalls when Lankedem and his two captives arrive. Lankedem is impressed by the extraordinary beauty of Gulnare and puts her in the care of his female servant, who is to prepare her for presentation. Medora is sent off to join the other slaves. Then some new faces arrive at the market: Conrad, Birbanto and the pirates. Zulmea, the daughter of a rich merchant, immediately starts making eyes at Birbanto. Conrad evidently does not find them very interesting, so Lankedem has Medora brought in. It is love at first sight on both sides! Lankedem sees that he has found an interested customer. He has the beautiful young woman led off and tells Conrad that he can have Medora, but for a price. Conrad is willing to pay anything and wants to conclude the transaction, but Seyd Pasha enters. This causes Lankedem to stop and reflect, because the Pasha could be a better buyer. He hands Medora to his female servant. Lankedem welcomes the Pasha with a great show of respect and—since the Pasha knows Lankedem’s weaknesses—shows him his female slaves. After the Pasha fails to show much enthusiasm, Lankedem has Gulnare brought in and the Pasha immediately succumbs to her charms. Unable to resist such temptation, he is persuaded and buys her.

The Pasha is ready to depart, but Lankedem persuades him to grant him a few moments more: Medora, adorned to show off her beauty, is brought in. She is forced to dance before Seyd Pasha, but displays all her charms for Conrad, paying no heed to the Seyd Pasha, who hastens to make Lankedem an offer.

As the two men start haggling, Conrad tells Medora he loves her. But she is anxious about being the subject of a transaction. Conrad assures her that she will leave with him and no-one else. But before Conrad has time to take action, the deal is concluded and the Pasha departs with Gulnare and Medora. Conrad, who is hell-bent on winning Medora, orders his men to wait in readiness and sets off in search for Medora.

The pirates start a boisterous dance, but are soon interrupted by the return of Conrad, who has found Medora. A shot rings out—this is Conrad's signal to depart. Birbanto sees to it that the pirates capture Lankedem and the slaves. Zulmea comes too and they all make their escape.

第二幕

海盜的巢穴

海盜的巢穴裏堆滿財寶，他們的女人亦正等 待着自己的男人歸來。康拉德和美多娜首先 到達，一眾婦女迎接他們，並詢問他們其他 海盜的情況。康拉德向她們保證，他們已經 在路上。美多娜和康拉德第一次有機會獨 處，期間，美多娜要求一點屬於自己的時 間。不久後，其他人也回來了。大夥兒慶祝 重聚之時，蘭克登和其他女奴只有看的份兒。

美多娜和康拉德很快便加入，一起慶 祝。康拉德向眾人介紹自己的新戀情，美多 娜也想利用這個有利時機，請求康拉德釋放 其他女奴。康拉德命令貝班圖去成全她的心 願，但貝班圖抗議——為甚麼要放走女奴？ 最後，美多娜如願以償。康拉德答應她的懇 求，下令立即釋放所有女奴。

貝班圖勃然大怒，但還是服從命令。不 過，他發誓要報復。親眼目睹這一幕的蘭克 登走近貝班圖，表示願意幫助他。貝班圖最 後聽取了這個商人的意見，並解開他的綁索。

蘭克登把一枝藏有強效安眠藥的玫瑰花 交給貝班圖，這種藥能讓任何人沉睡。貝班

Act II

The pirates' stronghold

The pirates' stronghold is filled with treasure and their women are awaiting the return of their consorts. Conrad and Medora arrive. The women welcome them and ask what has happened to their men. Conrad assures them they are on their way. Medora and Conrad have their first few minutes alone. Medora asks Conrad for a few moments by herself. Shortly afterwards, the others return. The slaves and Lankedem are excluded while the men and women celebrate seeing each other again.

They are soon joined by Medora and Conrad. Conrad presents his new love and Medora, who wants to make good use of this favourable moment, asks him to release the slaves. Conrad orders Birbanto to grant her wish. Birbanto protests— why should they give up the slaves? But Medora gets her wish. Conrad yields and orders the immediate release of the slaves. Birbanto is furious, but obeys. However, he swears to get his revenge. Lankedem, who witnesses the scene, approaches Birbanto and offers to help him. Birbanto listens to the merchant and releases him from his bonds.

Lankedem gives him a strong sleeping potion concealed in a rose, which will put anyone into a deep sleep. Birbanto finds a perfect and devoted ally in Zulmea. He asks her to bring the flower to Medora, who will surely give it to her lover. As soon as Conrad and Medora return, they give free rein to their feelings for one another, until Zulmea appears with the poisoned flower.

圖找來對他既忠實又完美的盟友——蘇梅 亞，請她把花帶給美多娜，因為他知道，美 多娜一定會將花送給她的愛人。康拉德和美 多娜一回來，就盡情向對方表達愛意，直到 蘇梅亞帶着毒花出現。

在戀愛的狂喜中，美多娜將玫瑰送給她 的愛人，作為他們初次見面的信物。康拉德 心感觸動，聞着花香，沉沉睡去。美多娜大 吃一驚，正要照料他時，貝班圖便和一群蒙 着臉的海盜衝進來，美多娜感到受威脅，就 拿起匕首，刺傷其中一人，那人正是貝班圖。

這場意外令眾海盜感到不知所措，貝班 圖尤其驚慌失措，因為康拉德正慢慢甦醒！ 貝班圖催促蘭克登快帶着美多娜逃走。當康 拉德醒過來時，發現美多娜不知所蹤，大感 焦躁。貝班圖則掩飾着自己的傷口，假裝甚 麼都不知道。康拉德有點懷疑，但其他海盜 卻假裝不知。康拉德感到困惑，不過在別無 選擇之下，他下令出發：必須找回美多娜！ 身為首領，他再次將自己的意志強加於眾海 盜身上。

Amid the ecstasy of love and as a symbol of their first meeting, Medora gives the rose to her beloved. Conrad, moved by her gesture, smells the flower and falls into a deep sleep. Medora is shocked and tries to minister to him, while Birbanto and the masked pirates storm in. Feeling threatened, Medora grabs a dagger and wounds one of them, who turns out to be Birbanto.

This unforeseen incident confuses the pirates and in particular Birbanto, who panics: Conrad is beginning to wake up! Birbanto urges Lankedem to flee and bring Medora with him. When Conrad awakens, he is disturbed to find that Medora has disappeared. Birbanto, concealing his wound, pretends to know nothing. Conrad is sceptical, but the pirates feign ignorance. Conrad is confused, but having no other choice he gives the order to depart: Medora must be found! Once again he imposes his will on the pirates as their undisputed leader.

©Brescia e Amisano-Teatro alla Scala

第三幕

賽義德．帕夏的宮殿 在奢華的宮殿中，後宮的佳麗以及剛成為帕 夏新寵的古兒娜，都圍繞在他身邊。古兒娜 看來對自己的新狀況和腳下昂貴的禮物非常 滿意。欠下帕夏一屁股債的蘭克登帶來了美 多娜。起初美多娜很不安，但當她看到古兒 娜，便安靜下來。古兒娜將她帶進自己的房 間。帕夏為了回報蘭克登的忠誠，叫來了宮 女讓他開心一下，於是蘭克登就和她們一同 退去。

©Brescia e Amisano-Teatro alla Scala

Act III

The palace of Seyd Pasha

Amid a luxurious setting, the women of the harem and Gulnare, who has become the Pasha's favourite, gather around him. Gulnare seems satisfied with her new position and the extravagant gifts placed at her feet. Lankedem, who is in debt to the Pasha, brings in Medora. At first anxious, Medora calms down when she sees Gulnare, who takes her into her rooms. To reward Lankedem for his loyalty, the Pasha calls on the odalisques to cheer him and the merchant disappears with them.

帕夏開始做白日夢：他的靈魂在生氣勃 勃的花園遊蕩，美多娜和古兒娜也在園中。一 群海盜來到宮殿，試圖進去。康拉德命令他們 蒙着臉，讓他們看起來像朝聖者。蘭克登與他 們相遇，詢問他們來宮殿的目的。這些陌生人 聲稱希望帕夏能夠款待他們。蘭克登知道帕夏 為人慷慨，於是主動為他們說好話。

在宮殿裏，留在帕夏身邊的女奴看到他 又睡着，不禁感到好笑。她們的嘲笑聲喚醒 了昏昏欲睡的帕夏。這時蘭克登進來，請求 帕夏款待朝聖者。帕夏答應他，着人把朝聖 者領進來。

美多娜和古兒娜跟朝聖團一道進來，他 們看到這些陌生人感到驚訝。康拉德私下向 美多娜表明自己的真實身分，美多娜雖然感 到高興，卻仍有點疑惑。他們的交流吸引了 其他人的注意。康拉德決定不再拖延：他揭 露自己的身分，亦命令他的部下脫下面巾。

他們制服了蘭克登和帕夏。美多娜疑惑的目 光落在一個仍然蒙住臉的海盜身上。她走近 他，脫掉他的偽裝。

竟然是貝班圖！美多娜向康拉德揭露叛 徒的真面目。為了證明她說的是真話，她向 康拉德展示她刺傷貝班圖的地方。康拉德不 再懷疑，尤其是當他走近貝班圖的時候，貝 班圖拔出刀來。在接下來的打鬥中，康拉德 給貝班圖致命一擊。

全部人都對這突如其來的死亡感到震 驚。然而，他們必須在帕夏的軍隊到來之前 逃走。古兒娜拒絕了美多娜的邀請：她更願 意留在帕夏的身邊。

尾聲

當美多娜在康拉德懷裏從興奮中恢復過來的 時候，海盜們揚起了風帆。所有人都上了 船。回到公海，海盜船抵擋不住暴風雨，隨 洶湧的海浪沉沒。當海面恢復平靜時，月亮 升上半空。在月光下，我們看到岸上奇跡生 還的美多娜和康拉德。他們感謝上天的拯 救，並發誓永遠相愛。

The Pasha starts daydreaming: his spirit wanders through the jardin anime where Medora and Gulnare appear. The pirates arrive at the palace, trying to gain entry. Conrad orders them to cover their faces so they look like pilgrims. Lankedem crosses their path and asks what their intentions are. The strangers declare that they want the Pasha to grant them hospitality. Lankedem knows how generous the Pasha is and offers to put in a good word for them.

Inside the palace, the female slaves who have remained with the Pasha are amused to see that he has fallen asleep again. Their mockery rouses the somnolent Pasha. Lankedem enters and asks the Pasha to accord the pilgrims hospitality. The Pasha grants his wish and has them led in.

The group is joined by Medora and Gulnare, who are astonished to see the strangers. Conrad unobtrusively makes his true identity known to Medora, who is happy but somewhat mistrustful and distracts the others. Conrad decides to delay no longer: he reveals himself and commands his men to do the same. They overpower Lankedem and Seyd Pasha. Medora's mistrustful gaze falls on the one buccaneer who remains concealed. She approaches him and takes off his disguise.

It is Birbanto! Medora reveals to Conrad the true nature of the traitor. As proof, she shows him the wound she inflicted on Birbanto. Conrad has no further doubts, particularly when Birbanto draws his weapon as Conrad approaches him. In the ensuing fight, Conrad inflicts a fatal wound on Birbanto.

All are shocked by this unexpected death. However, they must escape before the Pasha's troops arrive. Gulnare refuses Medora's invitation to come with her as she prefers to remain with Seyd Pasha.

Epilogue

While Medora recovers from the excitement in Conrad's arms, the pirates hoist the sails. All go aboard. Back on the high seas, a storm erupts and the ship sinks. While the waters become calm again, the moon rises in the sky. In the moonlight we see Medora and Conrad, who have managed to reach land. They thank heaven for their rescue and swear their eternal love to each other.

舞劇結構

Dramaturgical Structure

第一幕

1 序曲 快板，4/4 普爾尼

2 進場 蘭克登與其手下 中板，3/4 普爾尼

3 進場 眾女子

變奏曲 美多娜

變奏曲 古兒娜

小快板，3/4 中板，4/4 小快板，4/4 普爾尼 阿道夫．亞當（《岡城美女》） 阿道夫．亞當

4 蘭克登與其手下回來 中板，4/4 葉夫根尼．哥恩貝列

5 市集 快板，6/8 阿道夫．亞當

6 進場 康拉德、貝班圖與一眾海盜 快板，2/4 阿道夫．亞當

7 變奏曲 康拉德

中庸的快板，3/8 普爾尼

8 變奏曲 蘇梅亞 小快板，3/4 阿道夫．亞當

9 貝班圖與蘇梅亞

10 場景 蘭克登與康拉德

11 女奴之舞 與美多娜

12 場景 美多娜、康拉德、蘭克登與貝班圖

變奏曲 康拉德

13 場景 康拉德、美多娜、貝班圖、蘭克登與其四名手下

14 進場 賽義德．帕夏

15 奴隸之舞 古兒娜、蘭克登與他的四名手下 進場 古兒娜和蘭克登

慢板 古兒娜、蘭克登與他的四名手下

變奏曲 蘭克登

變奏曲 古兒娜

結束樂段 古兒娜、蘭克登與他的四名手下

快板，2/4 阿道夫．亞當

中板，3/4 阿道夫．亞當

快板，4/4 阿道夫．亞當（《海上浪沫》）

中庸的快板，2/4 快板，6/8 阿道夫．亞當 阿道夫．亞當

中庸的快板，2/4 阿道夫．亞當

中庸的快板，3/8 阿道夫．亞當

小快板，6/8 慢板，12/8

中庸的快板，6/8

中板，4/4

快板，4/4

奧爾登堡的彼得 奧爾登堡的彼得

奧爾登堡的彼得（所屬） 奧爾登堡的彼得（所屬） 奧爾登堡的彼得

16 場景 古兒娜、蘭克登、康拉德與賽義德．帕夏 不太快的快板，2/4 阿道夫．亞當

ACT I

1 Overture Allegro, 4/4 Cesare Pugni

2 Entrée Lankedem and his followers Moderato, 3/4 Cesare Pugni

3 Entrée of the girls

Variation Médora

Variation Gulnare

Allegretto, 3/4 Moderato, 4/4

Allegretto, 4/4

Cesare Pugni

Adolphe Adam (La Jolie Fille de Gand)

Adolphe Adam

4 Lankedem and his followers return Moderato, 4/4 Evgenij Kornblit

5 The bazaar Allegro, 6/8 Adolphe Adam

6 Entrée Conrad, Birbanto, Corsairs Allegro, 2/4 Adolphe Adam

7 Variation Conrad Allegro moderato, 3/8 Cesare Pugni

8 Variation Zulméa Allegretto, 3/4 Adolphe Adam

9 Birbanto and Zulméa Allegro, 2/4 Adolphe Adam

10 Scene Lankedem and Conrad Moderato, 3/4 Adolphe Adam

11 Dance of the slaves and Médora

12 Scene Médora, Conrad, Lankedem, Birbanto

Variation Conrad

13 Scene Conrad, Médora, Birbanto, Lankedem and four of his followers

14 Entrée Seyd Pasha

15 Pas d'esclave Gulnare, Lankedem and four of his followers

Entrée Gulnare, Lankedem

Adagio Gulnare, Lankedem and four of his followers

Variation Lankedem

Variation Gulnare

Coda Gulnare, Lankedem and four of his followers

Allegro, 4/4 Adolphe Adam (L’Écumeur de mer)

Allegro moderato, 2/4 Allegro, 6/8 Adolphe Adam Adolphe Adam

Allegro moderato, 2/4 Adolphe Adam

Allegro moderato, 2/4 Adolphe Adam

16

Scene Gulnare, Lankedem, Conrad, Seyd Pasha

Allegretto, 6/8

Adagio, 12/8

Allegro moderato, 6/8

Moderato, 4/4

Allegro, 4/4

Peter von Oldenburg

Peter von Oldenburg

Peter von Oldenburg (attributed)

Peter von Oldenburg (attributed)

Peter von Oldenburg

Allegro non troppo, 2/4 Adolphe Adam

第一幕（續）

17 變奏曲 美多娜和康拉德、賽義德．帕夏、蘭克登與一 眾海盜 速度轉慢，2/4 普爾尼（《撒旦內拉》）

18 場景 美多娜、康拉德、賽義德．帕夏、蘭克登與一眾 海盜

中庸的快板，3/4 阿道夫．亞當

19 終曲 快板，3/8 阿道夫．亞當

第二幕

20 引子和雙人舞 美多娜與康拉德

21 場景 康拉德、美多娜、貝班圖、蘇梅亞、蘭克登、 一眾海盜、海盜的妻子與女奴

行板，4/4 阿道夫．亞當

突出的快板， 6/8（賦格曲）

阿道夫．亞當

22 海盜的妻子 舞曲，2/4 列卡度．德里哥 （《埃斯梅拉達》）

23 一眾海盜

中庸的快板，6/8 普爾尼

24 海盜之舞 一眾海盜與他們的妻子、蘇梅亞與貝班圖 快板，3/4 普爾尼

25 雙人舞 美多娜和康拉德 慢板

變奏曲 康拉德

變奏曲 美多娜

結束樂段

26 場景 美多娜、康拉德、貝班圖、一眾海盜、 海盜的妻子與女奴

27 變奏曲 貝班圖與一眾海盜

28 場景 蘭克登、貝班圖、蘇梅亞與一眾海盜

29 雙人舞 美多娜與康拉德

慢板，4/4

快板，3/4

活潑的快板，2/4

快板，2/4 列卡度．德里哥（《春之夢》） 朱利亞斯．嘉柏《崔爾比》 波里斯．費廷高夫-謝爾 （《灰姑娘》） 列卡度．德里哥

快板，4/4 阿道夫．亞當

快板，6/8 阿道夫．亞當

中庸的快板，2/4－ 小行板，4/4 阿道夫．亞當

中板，3/4 里奧．德利伯（《西爾維亞》）

30 終曲 美多娜、康拉德、貝班圖、蘭克登與一眾海盜 小行板，4/4－

中板，4/8－

中庸的快板，4/4－ 阿道夫．亞當

ACT I (con't)

17 Variation Médora and Conrad, Seyd Pasha, Lankedem, Corsairs

Meno mosso, 2/4 Cesare Pugni (Satanella)

18 Scene Médora, Conrad, Seyd Pasha, Lankedem, Corsairs Allegro moderato, 3/4 Adolphe Adam

19 Finale

Allegro, 3/8 Adolphe Adam

ACT II

20 Introduction and Pas de deux Médora, Conrad Andante, 4/4 Adolphe Adam

21 Scene Conrad, Médora, Birbanto, Zulméa, Lankedem, Corsairs, Wives of the Corsairs, Slaves

Allegro marcato, 6/8(Fugue) Adolphe Adam

22 Wives of the Corsairs Brillante, 2/4 Riccardo Drigo (Esmeralda)

23 Corsairs

24 Pas des Forbans Corsairs, Wives of the Corsairs, Zulméa, Birbanto

25 Pas de deux Médora and Conrad Adagio

Variation Conrad Variation Médora

Coda

26 Scene Médora, Conrad, Birbanto, Corsairs, Wives of the Corsairs, Slaves

Allegro moderato, 6/8 Cesare Pugni

Allegro, 3/4 Cesare Pugni

Adagio, 4/4

Allegro, 3/4 Allegro vivo, 2/4 Allegro, 2/4

Riccardo Drigo (Rêve de printemps)

Julius Gerber (Trilby)

Boris Fitingof-Šel' (Cendrillon)

Riccardo Drigo

Allegro, 4/4 Adolphe Adam

27 Variation Birbanto, Corsairs Allegro, 6/8 Adolphe Adam

28 Scene Lankedem, Birbanto, Zulméa, Corsairs Allegro moderato, 2/4 –Andantino, 4/4 Adolphe Adam

29 Pas de deux Médora, Conrad Moderato, 3/4 Léo Delibes (Sylvia)

30 Finale Médora, Conrad, Birbanto, Lankedem, Corsairs

Andantino, 4/4 –Moderato, 4/8 –Allegro moderato, 4/4 Adolphe Adam

第三幕

31 引子

32 賽義德．帕夏的宮殿

賽義德．帕夏、古兒娜與後宮佳麗 變奏曲 古兒娜

加洛普舞曲（結束樂段）

33 變奏曲 蘭克登

快板，4/4 阿道夫．亞當

中板，4/4 中庸的快板，3/8 活潑的快板，2/4

阿道夫．亞當 阿道夫．亞當 阿道夫．亞當

不太快的快板，2/4 阿道夫．亞當

34 宮女三人舞 中庸的快板，6/8 阿道夫．亞當（《海上浪沫》）

35 間奏曲

36 生氣勃勃的花園 慢板

變奏曲（四人舞） 變奏曲 古兒娜 變奏曲 美多娜 小慢板

結束樂段

37 康拉德、貝班圖、蘭克登與一眾海盜

38 場景 康拉德、美多娜、古兒娜、賽義德．帕夏、蘭克登、 貝班圖、一眾海盜與後宮佳麗 變奏曲 美多娜

變奏曲 康拉德與貝班圖的打鬥

39 場景 美多娜、康拉德與一眾海盜

40 神化 暴風雨與沉船

小快板，3/4 阿道夫．亞當

圓舞曲速度，3/4 慢板，3/4

中庸的快板，6/8 中板，4/4

行板，6/8

中板，4/4

活潑的快板，2/4

里奧．德利伯 里奧．德利伯 里奧．德利伯 莎貝爾 伊凡．杜貝卡（《賣花女》） 里奧．德利伯

里奧．德利伯

中板，4/4 阿道夫．亞當

快板，4/4

快板，4/4

活潑的快板，3/8 阿道夫．亞當

阿道夫．亞當 阿道夫．亞當

慢板，6/8 阿道夫．亞當

慢板，2/4－ 華麗地，4/4

阿道夫．亞當

ACT III

31 Introduction

32 Palace of Seyd Pasha

Seyd Pasha, Gulnare, Harem girls

Variation Gulnare

Gallop (Coda)

33 Variation Lankedem

34 Trio odalisques

35 Entr’acte

36 Le Jardin animé

Adagio

Variation (Pas de quatre)

Variation Gulnare

Variation Médora

Petit Adagio

Coda

37 Conrad, Birbanto, Lankedem, Corsairs

38 Scene Conrad, Médora, Gulnare, Seyd Pasha, Lankedem, Birbanto, Corsairs, Harem girls

Variation Médora

Variation Conrad and fight with Birbanto

39 Scene Médora, Conrad, Corsairs

40 Apotheosis Storm and Shipwreck

Allegro, 4/4 Adolphe Adam

Moderato, 4/4

Allegro moderato, 3/8

Allegro vivace, 2/4

Adolphe Adam

Adolphe Adam

Adolphe Adam

Allegro non troppo, 2/4 Adolphe Adam

Allegro moderato, 6/8 Adolphe Adam (L’Écumeur de mer)

Allegretto, 3/4 Adolphe Adam

Movement de Valse, 3/4

Adagio, 3/4

Allegro moderato, 6/8

Moderato, 4/4

Andante, 6/8

Moderato, 4/4

Allegro vivace, 2/4

Léo Delibes

Léo Delibes

Léo Delibes

Albert Heinrich Zabel

Ivan Trubeckoj (Pygmalion)

Léo Delibes

Léo Delibes

Moderato, 4/4 Adolphe Adam

Allegro, 4/4

Allegro, 4/4

Allegro vivo, 3/8

Adolphe Adam

Adolphe Adam

Adolphe Adam

Adagio, 6/8 Adolphe Adam

Adagio 2/4 –Pomposo, 4/4 Adolphe Adam

不朽冒險

《海盜》重捲意法浪潮 Reinstating the Franco-Italian Touch in Manuel Legris’ Le Corsaire

《海盜》自1856年在巴黎首演，便被譽為 偉大的芭蕾舞劇。當年法國皇后尤金妮． 德．蒙提荷出席首演後，更盛讚《海盜》 是她看過最美麗動人的製作。近兩個世紀 過去，其驚心動魄的愛情故事為仍廣為流 傳，影響力無遠弗屆。史上最先演出《海 盜》的，是米蘭史卡拉歌劇院芭蕾舞團和 巴黎歌劇院芭蕾舞團，前者近年重演昔日 輝煌，讓《海盜》再次享譽國際，更踏足 香港舞台。

At the time of its Paris premiere in 1856, Le Corsaire was hailed as a triumph of the ballet stage. The French Empress, Eugénie de Montijo, after attending the debut performance, exclaimed that it was the most beautiful and touching production she had ever seen. Nearly two centuries later, the legacy of Le Corsaire and its swashbuckling romance can be felt worldwide. Historically, Milan’s Teatro alla Scala and the Paris Opera Ballet were the first theatres to stage Le Corsaire and so it is fitting that the most recently acclaimed production of the ballet to arrive in Hong Kong is a product of the famous Italian ballet company.

© Brescia e Amisano-Teatro alla Scala

曼紐爾．魯格里斯是已退休的前巴黎 歌劇院芭蕾舞團巨星，暨現任米蘭史卡拉歌 劇院芭蕾舞團總監，他集兩團之長，將廣受 人們愛戴的經典重現舞台，既保留其雅緻本 色，又令人耳目一新。

浪漫歷險故事

英國知名作家拜倫於1814年發表《海 盜》一詩，啟發了無數歐洲編舞，最早的相 關創作出現在1824年。拜倫於詩中娓娓道來 海盜康拉德的冒險之旅：受聘於政府的康拉 德，一次航行到土耳其，急不及待要揮霍最 近收穫的獎金。在魯格里斯的版本裏，康拉 德身邊還帶着副手貝班圖，以及隨行的一眾 海盜。抵岸後，他們往當地的市集出發。與 此同時，附近的女貴族美多娜和古兒娜正與 朋友外出閒逛，期間卻遭心懷不軌的市集主 人蘭克登擄走，要將她們販賣給他人為奴。

海盜的出現，更讓蘭克登磨拳擦掌，要 為二人找到買家。康拉德與美多娜彼此一見 鍾情，前者更不惜千金決意為美多娜贖身。

正當美多娜快將獲救，富有的賽義德．帕夏 卻半路殺出；陰險的蘭克登藉此牟取暴利， 將美多娜與古兒娜以更高價賣給帕夏，惟局 面卻很快便被扭轉，蘭克登的奸計被搗破。

美多娜確認康拉德並非視她為商品後，便促

Manuel Legris, a retired star of the Paris Opera Ballet and now Ballet Director of Teatro alla Scala in Milan, merges the creative excellence associated with both companies to return a beloved classic to the stage with fresh clarity and elegance.

A tale of romance and adventure

In 1814, the English author Lord Byron published a poem entitled The Corsair that inspired numerous European choreographers as early as 1824. Byron’s verses relay the adventures of Conrad, a corsair (a term used for pirates employed by a government) who sails to Turkey, eager to unload his latest bounty. In Legris’ version of the ballet, Conrad is accompanied by Birbanto, his second in command, and a band of pirates. Upon reaching land, they set out for the local bazaar. Meanwhile, neighbouring noblewomen Medora and Gulnare are out for a stroll with friends when Lankedem, the villainous bazaar owner, captures them in a ploy to sell the women into slavery.

With the arrival of the pirates, Lankedem is eager to present Medora and Gulnare to potential buyers. Conrad and Medora are instantly drawn to one another romantically and the corsair promises to pay whatever price the seller demands for her. Just when it appears that Medora might be saved, the wealthy Seyd Pasha arrives and the scheming Lankedem decides to fetch an even higher price for the noblewoman. Gulnare and Medora are both sold to the Pasha, but a plot is quickly hatched to turn the tables on Lankedem’s evil enterprise. Medora first ensures that Conrad does not view her as merchandise and urges him to free all the slaves. More kidnapping, betrayal and mayhem unfold before Medora and Conrad reunite.

A French star updates Le Corsaire

Manuel Legris, a celebrated dancer at the Paris Opera Ballet for decades, has continued to make waves across Europe since his retirement from the stage in 2009. That same year, he took the reins of the Wiener Staatsballet—Vienna’s State Opera Ballet—updating the company’s repertoire with both contemporary and classical works. He began to reimagine Le Corsaire in the Austrian capital in 2016, infusing his new production with simplified pantomime and narrative coherence, while restoring the ballet’s style to French technique. In 2020, Legris was appointed Ballet Director at Italy’s esteemed Teatro alla Scala, where the company’s dancers excel at the refined classicism found in his version of Le Corsaire

While Le Corsaire is historically considered a Romantic ballet—its music and libretto are credited to the same creative team behind Giselle, a ballet that epitomises the Romantic era—Legris’ choreography is pure classicism. In contrast to versions that have been a staple of the Russian repertoire over the past century, Legris emphasises subtlety through delicate lines and light leaps. True to the French style, virtuosity never overshadows the clarity and grace of the steps.

Excerpts from Le Corsaire are often performed at galas to exhibit the showmanship of Conrad’s solo variations, but with the ballet presented in its entirety, Legris remains committed to telling the story of Le Corsaire. He does so by tapping into all its nuances, establishing a strong sense of mood and musicality in each act. The costumes have been updated by

© Brescia e Amisano-Teatro alla Scala

請他藉此機會釋放所有奴隸。在經歷一連串 的綁架、背叛和騷動後，二人終於團圓。

法國之星塑造全新《海盜》

數十年來，曼紐爾．魯格里斯都是巴黎 歌劇院芭蕾舞團裏數一數二的傑出舞者，自 2009年退下舞台後，仍於歐洲芭蕾舞界屢屢 翻起變革浪潮。同年，他接掌維也納國家歌 劇院芭蕾舞團，便為該團劇目注入嶄新的當 代和古典作品。自2016年起，仍身在維也納 的魯格里斯開始重新構思《海盜》的製作， 希望保持敘事的連貫性，同時加入簡化的嬉 鬧劇色彩，並回歸法國學派的芭蕾舞技巧。

2020年，魯格里斯獲委任為米蘭史卡拉歌劇 院芭蕾舞團總監。該芭蕾舞團在意大利享有 崇高地位，其舞者尤其擅長魯格里斯《海盜》 裏精準細緻的古典主義。

浪漫主義巔峰作《吉賽爾》的幕後人 員，亦是《海盜》的音樂和劇本的創作者。

因此在歷史上，《海盜》一直被歸類作浪漫 主義芭蕾舞劇。但魯格里斯的編舞，卻展現 出純粹的古典主義。近百年內出現過的《海 盜》，一直是俄羅斯劇目的主菜。與之相比， 魯格里斯的版本忠於法國學派風格，更強調 透過精巧的線條和輕盈的跳躍來營造含蓄細

Luisa Spinatelli, whose successful designs maintain the ballet’s traditional flowing silks and veils, while allowing the dancers to circulate weightlessly without unnecessary layers that distract from the intricate forms they sculpt in space.

Sophisticated choreography that serves the story

In act one, the audience is introduced to the leading women, Medora and Gulnare, surrounded by friends, before they are captured. Their expansive allegro work, composed of large leaps that gracefully traverse the stage, are lighthearted and playful, establishing the autonomy the women will soon lose.

For the vibrant bazaar scene, Legris has expanded the female role of Zulmea, a local who falls in love with Birbanto. Her lively rhythmic character dances with the pirate bring a bold vitality to the stage as a counterpoint to Conrad and Medora’s beleaguered romance. The latter perform a slower sensual pas de deux in act one, characterised by supple backbends and supported turns that reflect the trials they must overcome.

Audiences may recognise the ballet’s most iconic solo variations in act two, during which Conrad and Medora perform before the corsair’s friends at his cavernous hideaway. The couple’s powerful movements confirm their heroic status. No longer simply impressive feats, Legris’ variations have been restored to their community setting as a defiant declaration of love in the face of adversity.

At Seyd Pasha’s harem, the celebrated trio known as the Pas de trois des Odalisques is a hallmark of the ballet’s third and final act. During the Ottoman Empire, odalisques were court

© Brescia e Amisano-Teatro alla Scala

緻，絕不以高超技藝掩蓋舞步的明晰與典雅。

《海盜》的選段常於晚會演出，用作展現 康拉德單人變奏舞有多精湛。當芭蕾舞劇完 整地呈現時，魯格里斯則依然專注於述說故 事。他深入《海盜》的肌理，在每一幕都建 構了強烈的氣氛和音樂感。露易莎．詩翩娜 泰莉為舞劇製作一系列新服裝，設計成功保 留了傳統芭蕾舞服飄逸的絲和紗質料，讓舞 者能在台上流轉自如；舞衣雖具層次，設計 卻毫不累贅，讓舞者在空中展現精緻形態。

精妙編舞說故事

第一幕中，女主角美多娜和古兒娜在朋 友的簇擁之下率先與觀眾會面。她們懵然不 知將面臨被擄走的厄運，以延展的大跳躍優 雅地橫跨舞台，輕鬆又具玩味，和之後面臨 束縛的情節成強烈反差。

在喧鬧的市集一場，魯格里斯放大了和 貝班圖墮入愛河的女角蘇梅亞的戲份。充滿 朝氣、節拍感強的蘇梅亞和貝班圖為舞台注 入活力，與康拉德和美多娜多舛的戀情形成 對比。康拉德和美多娜在第一幕跳出了節奏 緩慢、感性的雙人舞，柔軟的後彎和支撐旋 轉等動作，通通反映出他們必須克服的難關。

觀眾或許會在第二幕中認出此舞劇最知 名的單人變奏舞：康拉德在自己寬廣深邃的 藏身地中，與美多娜在一眾海盜朋友面前翩 然起舞，二人強而有力的動作確立他們在劇 中英雄般的地位。至此，《海盜》的變奏舞不 再淪為單純的賣弄技巧；魯格里斯讓舞蹈回 歸到生活場景，化身逆境中暴烈的愛的宣言。

在帕夏的後宮裏，第三幕和最終幕中最 標誌性的「宮女三人舞」終於上演。魯格里 斯為這三個鄂圖曼帝國的宮女分別設計了獨 特的變奏舞，以急促跳躍和足尖平衡，及緊 湊前移的連續跳躍和旋轉為整體特色。

魯格里斯在這次典雅非凡的的巨製中， 將史卡拉歌劇院芭蕾舞團的才能發揮到極 致。劇中有不少為獨舞員而設的角色，魯格 里斯匠心獨運，分別配以數段在音樂和編舞 上都獨一無二的變奏舞，推進故事的同時， 強調了法國學派舞步精準、形式清晰等各種 風格元素。不論是將之理解為堅貞的愛情故 事、對奴隸制度的激烈否定（對十九世紀的觀 眾來說尤其重要），甚或是童話故事，觀眾總 能從魯格里斯創造的《海盜》中找到屬於自 己的詮釋空間。

撰文：Marisa C. Hayes

原文刊登於2024年香港藝術節之《閱藝》雜誌

ladies at the Turkish Sultan’s palace. In Le Corsaire, Legris has created a distinct variation for each of them, characterised by fast-paced hops and balances on pointe, as well as compact travelling jumps and turns.

Legris’ elegant large-scale production of Le Corsaire is an excellent vehicle to display the talents of Teatro alla Scala’s ballet troupe. With numerous roles for soloists, Legris’ multiple variations are musically and choreographically distinct, highlighting various stylistic elements of the French school, from exacting footwork to clarity of form, while advancing the narrative. Whether one reads the ballet as an enduring love story, a rejection of slavery (which was an important topic for 19th-century audiences), or a fairy tale, Legris’ choreography creates the necessary space to consider all of the above.

Text: Marisa C. Hayes

Originally published in the 2024 HKAF's FestMag

© Brescia e Amisano-Teatro alla Scala

編舞 曼紐爾．魯格里斯

曼紐爾．魯格里斯生於巴黎，在巴黎歌劇院舞蹈 學校受訓，並於1980年加入巴黎歌劇院芭蕾舞 團。1986年，他獲該團團長紐瑞耶夫委任為明星 舞者。他在古典及現代劇目中均飾演重要角色， 曾在眾多首演中亮相。2009年5月，他以明星舞 星的身份，在巴黎歌劇院舉行告別演出。

2010至2020年，他擔任維也納國家芭蕾舞 團總監及維也納國家歌劇院芭蕾舞學院的藝術總 監。在2016年3月，他在維也納國家歌劇院演出 其首個長篇芭蕾舞劇《海盜》，後來這部舞劇於 馬德里和日本舉行巡演，並獲拉脫維亞國家歌劇 院及芭蕾舞團和華沙的波蘭國家芭蕾舞團列入其 演出劇目。

2020年12月起，魯格里斯擔任米蘭史卡拉 歌劇院芭蕾舞團總監，自1987年起，他整個跳舞 生涯都常為該團演出，當年他夥拍伊麗莎白．阿 米亞圖，演出紐瑞耶夫編舞的《唐吉訶德》飾演 巴司。

魯格里斯曾獲得的獎項與殊榮包括：1984年 大阪的國際舞蹈比賽、1988年及2000年的尼金 斯基舞蹈獎、1998年的貝諾瓦舞蹈獎及2001年 的梅辛舞蹈大獎。他於1993年獲法國藝術及文學 騎士勳章，1998年獲法國藝術與文學軍官勳章， 2002年獲法國國家騎士勳章，2006年獲法國榮 譽軍團勳章，以及2009年獲法國藝術及文學司令 勳章。

Choreography Manuel Legris

Born in Paris, Manuel Legris trained at the Paris Opera Ballet School and joined the Paris Opera Ballet in 1980. In 1986, he was appointed danseur étoile by Rudolf Nureyev, who was Ballet Director of the Paris Opera at the time. He danced the great roles of the classical and modern repertoires and appeared in numerous premieres. In May 2009, he gave his farewell performance as danseur étoile of the Paris Opera.

From 2010-20, he was Director of the Wiener Staatsballett and Artistic Director of the Wiener Staatsoper Ballet Academy. In March 2016, he presented his first full-length story ballet at the Wiener Staatsoper, Le Corsaire, which later went on tour to Madrid and Japan and entered the repertoire of the Latvian National Opera and Ballet, and the Polish National Ballet in Warsaw.

Since December 2020, Legris has served as Ballet Director of the Teatro alla Scala, where he has often performed throughout his career, starting in 1987, the year in which he danced Basil in Rudolf Nureyev’s Don Quixote alongside Elisabetta Armiato.

Legris' prizes and awards include the gold medal at the Osaka International Ballet Competition (1984), the Nijinsky Prize (1988), the Benois de la Danse prize (1998), the Nijinsky Award (2000) and the Léonide Massine Dance Prize (2001). He is also a Chevalier des Arts et des Lettres (1993), Officier des Arts et des Lettres (1998), Chevalier de l'Ordre National du Mérite (2002), Chevalier de la Légion d’honneur (2006) and a Commandeur des Arts et des Lettres (2009).

指揮 瓦萊利．奧韋斯揚尼科

瓦萊利．奧韋斯揚尼科生於莫斯科，從聖彼得堡 音樂學院畢業。他兼任瓦加諾娃芭蕾舞學校的音 樂總監、聖彼得堡馬林斯基劇院芭蕾舞團和米克 洛夫斯基劇院的指揮，以及在多國擔任客席指 揮，包括倫敦皇家芭蕾舞團、東京芭蕾舞團、芬 蘭國家歌劇院、瑞典皇家歌劇團、維也納國家歌 劇院，和位於慕尼黑的巴伐利亞國立歌劇院。

奧韋斯揚尼科曾於美國、墨西哥、日本、意 大利、法國、西班牙、土耳其、芬蘭、瑞典和德 國巡演。他曾參與的劇目有《胡桃夾子》、《天鵝 湖》、《睡美人》、《吉賽爾》、《仙凡之戀》、《曼 儂》、《唐吉訶德》、《舞姬》、《羅密歐與茱麗 葉》、《灰姑娘》、《仙女》、《海盜》、《浮士德》 和《奧尼金》。他亦曾指揮多個盛大演出，包括 俄羅斯芭蕾舞團於倫敦舉辦的戴吉列夫百周年演 出。

Conductor Valery Ovsyanikov

Valery Ovsyanikov was born in Moscow and graduated from the St. Petersburg Conservatory. He is Music Director of the Vaganova Ballet Academy, Conductor at the Mariinsky Theatre and Mikhailovsky Theatre in St Petersburg, and guest conductor for the Royal Ballet in London, The Tokyo Ballet, the Finnish National Opera, the Royal Swedish Opera, the Wiener Staatsoper and the Bayerische Staatsoper in Munich.

He has toured the USA, Mexico, Japan, Italy, France, Spain, Turkey, Finland, Sweden and Germany. His repertoire includes The Nutcracker, Swan Lake, Sleeping Beauty, Giselle, La Sylphide, L'histoire de Manon, Don Quixote, La Bayadère, Romeo and Juliet, Cinderella, Les Sylphides, Le Corsaire, Faust and Onegin. He has also directed numerous galas, including the centenary of Diaghilev's Ballets Russes in London.

佈景及服裝設計 露易莎．詩翩娜泰莉

露易莎．詩翩娜泰莉生於米蘭，在布雷拉美術學 院修讀舞台美學，其後在該校任教娛樂設計方法 論。自此，她在世界各地的大劇院參與散文劇 場、歌劇、芭蕾舞的項目。1965年，詩翩娜泰莉 以《黎米尼的法蘭契斯卡》，在米蘭史卡拉歌劇 院芭蕾舞團出道。1976年，她為《胡桃夾子》設 計佈景和服裝，成為維羅納歌劇院的首位女佈景 設計師。她首次參與米蘭史卡拉歌劇院的歌劇作 品，是1973年的《盧庫魯斯的審判》，與保羅． 德紹和貝托爾特．布萊希特合作；而她與米蘭史 卡拉歌劇院芭蕾舞團的合作，則始於由海恩茨． 斯普禮編舞的《女大不中留》（1987）。

Set and Costume Designer Luisa Spinatelli

Born in Milan, Luisa Spinatelli studied Scenography at the Brera Academy in Milan, where she later taught Entertainment Design Methodology. She has since worked in the fields of prose theatre, opera and ballet for the largest theatres in the world. She made her debut at the Teatro alla Scala in Milan in 1965 with Francesca da Rimini. In 1976, she debuted as the first female set designer at the Verona Arena, designing sets and costumes for The Nutcracker. Her collaborations with the Teatro alla Scala in the field of opera started with The Condemnation of Lucullus (1973) by Paul Dessau and Bertolt Brecht, while her ballet collaborations with La Scala started with La fille mal gardée choreographed by Heinz Spoerli (1987)

米蘭史卡拉歌劇院芭蕾舞團 Teatro alla Scala Ballet Company

米蘭史卡拉歌劇院芭蕾舞團是世上歷史最悠久 並最著名的芭蕾舞團之一，位於世界聞名的意 大利米蘭史卡拉歌劇院。

米蘭史卡拉歌劇院成立於1778年，而芭蕾 舞團成立後，便成為劇院不可分割的一部分， 並迅速發展為意大利舞蹈文化的堡壘。

雖然舞團是在米蘭史卡拉歌劇院落成後才 正式成立，但其歷史可以追溯至文藝復興時期 的意大利宮廷，尤其是位於米蘭的斯福爾扎家 族的宮殿。那裏見證了古典芭蕾這種藝術形式 的誕生，後來又如何在法國路易十四的宮廷中 變得完善。

十九世紀初，在意大利芭蕾舞大師卡羅． 巴拿斯的指導下，舞團經歷了重大的變革。他 引入了浪漫主義的舞蹈風格，並進一步提升了 舞團的高超舞技。

一直以來，舞團保留其豐富歷史和傳統， 同時不斷改造及革新。如今，舞團由九十名舞 者組成，演出劇目包括一些最著名並最受觀衆 喜愛的芭蕾舞劇，例如《天鵝湖》、《胡桃夾 子》和《羅密歐與朱麗葉》。

舞團亦曾與現代最知名的編舞家合作，包 括喬治．巴蘭欽、傑洛．羅賓斯和莫里斯．貝 嘉等。透過這些合作，他們創作了創新作品， 並突破了古典芭蕾的界限。

除了令人印象深刻的劇目外，舞團更在世 界各地廣泛巡演，曾在法國的巴黎歌劇院、俄 羅斯的莫斯科大劇院和聖彼得堡的馬林斯基劇 院演出。舞團憑藉超卓舞技、創新的藝術形式 以及深刻情感而廣獲讚譽。

多年來，舞團培養出多名世界著名的舞蹈 家，其中包括卡拉．法拉馳、紐瑞耶夫和羅伯 特．博列等。2023年11月，舞團監督及藝術總 監多米尼克．邁亞與舞團總監曼紐爾．魯格里 斯公佈，妮歌莉塔．曼尼成為舞團最新的明星 舞者。

米蘭史卡拉歌劇院的明星舞者、客席舞 者、首席舞者、新任命的獨舞者，以及經常獲 選擔當重要角色的舞者，皆具備優秀的表現 力、舞技和演繹能力。

如今，米蘭史卡拉歌劇院芭蕾舞團繼續 在國際舞蹈界發揮重要作用。其精益求精的態 度，以及對創新和藝術表達的無間追求，讓舞 團繼續成為世上最受尊敬和喜愛的芭蕾舞團之 一。

The Ballet Company of Teatro alla Scala is one of the world’s oldest and most renowned ballet companies. It is located in the Teatro alla Scala, the world-famous opera house in Milan, Italy.

The Teatro alla Scala was founded in 1778 and the Ballet Company became an integral part of the theatre after its inception, quickly becoming a bastion of Italian dance culture.

Although the company was only founded officially after the inauguration of the Teatro alla Scala, its history can be traced back to the Renaissance courts of Italy, most notably the Sforza family’s palace in Milan, where classical ballet itself was born as an art form and later refined at the French court of Louis XIV.

In the early 19th century, the company underwent a significant transformation under the guidance of Italian ballet master Carlo Blasis, who introduced the Romantic style of dance and further developed the company's technical prowess.

Throughout the years, the Ballet Company has continued to reinvent itself while still preserving its rich history and traditions. Today, it is composed of 90 dancers and its repertoire includes some of the most famous and beloved ballets of all time, such as Swan Lake, The Nutcracker and Romeo and Juliet.

The company has also collaborated with some of the most famous choreographers of the modern era including George Balanchine, Jerome Robbins and Maurice Béjart, among others. These collaborations have resulted in the creation of new and innovative works that have pushed the boundaries of classical ballet.

In addition to its impressive repertoire, the Ballet Company has also toured extensively throughout the world, performing at the Paris Opéra in France, the Bolshoi in Moscow and the Mariinsky Theatre in Saint Petersburg. Its performances have been widely praised for their technical excellence, artistic innovation, and emotional depth.

Over the years, the Ballet Company has nurtured some of the most celebrated dancers in the world, including Carla Fracci, Rudolf Nureyev and Roberto Bolle, among others. Its new étoile, Nicoletta Manni, was announced by Superintendent and Artistic Director Dominique Meyer together with Ballet Director Manuel Legris in November 2023.

The unfailing expressive, technical and interpretative appeal of Teatro alla Scala’s etoiles, guest artists, principals, newly appointed soloists and the many Corps de Ballet members frequently selected for major roles have ensured the company’s continued artistic renewal.

Today, the Ballet Company of Teatro alla Scala continues to play a vital role in the global dance community. Its commitment to excellence, innovation and artistic expression has ensured that it remains one of the most respected and beloved ballet companies in the world.

© Brescia e Amisano-Teatro alla Scala

舞者 Dancers

首席明星舞者 妮歌莉塔．曼尼

飾 美多娜

Principal Dancer Étoile

Nicoletta Manni as Medora

首席舞者 提摩菲．安德里亞申科

飾 康拉德

Principal Dancer

Timofej Andrijashenko as Conrad

首席舞者 馬丁娜．阿杜勞

飾 古兒娜

Principal Dancer

Martina Arduino as Gulnare

首席舞者 馬可．亞古斯丁盧

飾 蘭克登

Principal Dancer

Marco Agostino as Lankedem

首席舞者 歌迪奧．哥維耶路

飾 貝班圖

Principal Dancer

Claudio Coviello as Birbanto

首席舞者

愛麗絲．馬里安尼 飾 美多娜

Principal Dancer

Alice Mariani as Medora

獨舞者

馬帝亞．森帕博尼 飾 康拉德

Soloist

Mattia Semperboni as Conrad

獨舞者

瑪麗亞．費萊斯特．露莎 飾 古兒娜

Soloist

Maria Celeste Losa as Gulnare

首席舞者

尼古拉．德爾．弗雷奧 飾 蘭克登

Principal Dancer

Nicola Del Freo as Lankedem

Photo credit: Brescia e Amisano-Teatro alla Scala

獨舞者 杜明尼高．迪．克里斯托 飾 貝班圖

Soloist

Domenico Di Cristo as Birbanto

獨舞者 蓮達．朱貝莉

飾 蘇梅亞、三位宮女之一

Soloist

Linda Giubelli as Zulmea, the Three Odalisques

獨舞者 加貝埃爾．哥拉多 飾 賽義德．帕夏

Soloist

Gabriele Corrado as Seyd Pasha

獨舞者 佳雅．安德利亞奴 飾 三位宮女之一

Soloist

Gaia Andreanò as the Three Odalisques

獨舞者 雅各尼斯．迪．克萊門特

飾 三位宮女之一

Soloist

Agnese Di Clemente as the Three Odalisques

群舞員 班奈迪塔．蒙特費奧利 飾 三位宮女之一

Corps de ballet

Benedetta Montefiore as the Three Odalisques

群舞員

里納爾多．韋努蒂 飾 貝班圖

Corps de Ballet Rinaldo Venuti as Birbanto

獨舞者

亞歷山德拉．域莎露 飾 蘇梅亞

Soloist

Alessandra Vassallo as Zulmea

群舞員 艾多亞多．卡波拉萊蒂 飾 賽義德．帕夏

Corps de Ballet

Edoardo Caporaletti as Seyd Pasha

獨舞者

卡米拉．謝魯莉

飾 三位宮女之一

Soloist

Camilla Cerulli as the Three Odalisques

獨舞者 卡塔利娜．比安琪 飾 三位宮女之一

Soloist

Caterina Bianchi as the Three Odalisques

Photo credit: Brescia e Amisano-Teatro alla Scala

韓經arte愛樂樂團 Hankyung arte Phiharmonic

2015年9月，韓經arte愛樂樂團由《韓國經濟 日報》創立，以「成為文化與經濟之間的橋樑」

為口號，迅速成為南韓的頂尖樂團之一。他們 以充滿精力和青春活力的演出聞名，現時每年

該樂團的音樂會定期在韓國兩個古典音樂 電視頻道之一的韓經arte電視頻道上播出，讓 觀衆在音樂廳外都能重温樂團的精采演出。

自創立以來，兩位音樂總監金蘭世 ）及洪錫元一直帶領樂團。樂團亦定期 與南韓的頂尖指揮家與獨奏家合作，例如成沶 妍、林憲正和孫旻秀。吳懷世現為樂團的首席

韓經arte愛樂樂團致力培養下一代音樂 家。在韓國教育部及現代汽車鄭夢九協會的支 持下，樂團為全國中學生提供教材，以激發、 培養和為年輕藝術家與音樂愛好者開展音樂路。

除了每年主打的古典音樂演出、教育活動 及社區節目外，樂團亦定期受邀參加音樂活動 或節慶表演，如首爾藝術中心日場音樂會系列 和樂天音樂廳古典革新音樂節，並與韓國國家 歌劇院和韓國國家合唱團等合作。

The Hankyung arte Philharmonic quickly established itself as one of the leading orchestras in South Korea after its foundation by the Korea Economic Daily in September 2015 under the slogan “A Bridge Between Culture and Economy”. Renowned for its energetic and youthful performances, the orchestra currently presents more than 30 concerts annually.

The orchestra’s concerts are regularly broadcasted on the Hankyung arte TV channel—one of two classical music TV channels in South Korea—allowing audiences to relive the wonders of the orchestra’s live performances beyond the concert hall.

Since its founding, the Hankyung arte Philharmonic has been led by the music directors Nanse Gum and Seokwon Hong. The orchestra has also regularly performed with some of South Korea’s leading conductors and soloists such as Shi-Yeon Sung, Heon-Jeong Lim and Minsoo Sohn. Wilson Ng is currently the Principal Guest Conductor of the Hankyung arte Philharmonic.

The Hankyung arte Philharmonic is committed to inspiring the next generation of musicians. With the support of South Korea’s Ministry of Education and the Hyundai Motor Chung Mong-Koo Foundation, it has supplied middle and high schools nationwide with educational materials to inspire, nurture and create musical pathways for young artists and music lovers.

Apart from its annual schedule of core classical performances, education activities and community programmes, the Hankyung arte Philharmonic is regularly invited to perform at music events and festivals such as the Seoul Arts Center Matinee Concert Series and the Lotte Concert Hall’s Classic Revolution festival, and collaborations with, among others, the Korean National Opera and the National Chorus of Korea.

韓經arte愛樂樂團

Hankyung arte Philharmonic

第一小提琴 First Violin

Baek Soo-ryun Concertmaster

Jang Eun-jung Principal

Choi A-hyun

Hong Yoo-bin

Lee Ji-soo

Jeon Clara Hong-ju

Jeon Ha-young

Choi Sang-ah

Cho Hea-su

Kim Jung-a

Jung Chung-man

Kang Seung-hee

第二小提琴 Second Violin

Park Ji-hyun Principal

Bae Ha-eun

Byun Ji-woo

Han Jong-beom

Park Ju-yeon

Jeon Ui-yeop

Park Se-youn

Kim Dong-hee

Kim Ye-eun

Kim Ji-yun

中提琴 Viola

Lee Geun-hee Principal

Na Ji-su

Kim Seon-ju

Jeong You-mi

Hong Eun-joo

Kim Ge-hyoun

Choi Hye-mi

Kim Ho-yoon

大提琴 Cello

Kim Soo-jung Principal

Kim Jung-hyun

Cho Su-rin

Kim Ha-eun

Park Yeo-won

Yoon Kyung-on

低音大提琴 Double Bass

Kim Mi-kyung Assistant Principal

Choi Seung-kyu Assistant Principal

Jang Yu-ri

Yang Yoon-hoi

長笛 Flute

Ahn Young-ji Principal

Choi You-na

Kim Chai-yeon

雙簧管 Oboe

An Jung-yeon Principal

Kim Ye-eun

Lee Soo-min

單簧管 Clarinet

Moon Bit-chan Principal

Yun Ji-soo

Ko Tae-won

巴松管 Bassoon

Baik Seung-hoon Principal

Sim Chung-hyeon

Lee Ye-ji

圓號 Horns

Jaeques Deleplancque Principal

Jeoung Hyun-su

Kim Seo-hyun

Hwang Jae-bin

小號 Trumpet

Kim Seung-eon Principal

Kim Da-bin

Kim Jeong-soo

Jeong Ho-jun

長號 Trombone

Chung Jong-soo Principal

Jeong Yeong-soo

Jeon Tai-il

低音號 Tuba

Kang Hyun-soo

定音鼓 Timpani

Song Seung-ho Principal

敲擊樂器 Percussion

Hwang Young-gwang Principal

Lee Seong-ha

Lee Jung-soo

Yoo Yo-han

豎琴 Harp

Youn Hea-soon Principal

行政團隊 Administrative Team

Kim Jung-ho CEO

Park Sung-wan Executive Director

Francisco DG Cho General Manager

Lee Jae-hyun Manager

Chang Min-su Manager

Jung Jae-hun Manager

Kwon Jeong-min Interpreter

Kim Seung-eon Player Manager

Choi Seung-kyu Deputy Player Manager

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 純銀會員Silver Member

怡和集團

太古地產

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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

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支持及協助 Support and Co-operation

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牛棚藝術村 Cattle Depot Artist Village

城市當代舞蹈團 City Contemporary Dance Company

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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

Programme Enquiry Hotline

贊助人

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 Programme Advisor

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

EXECUTIVE COMMITTEE

Chairman

Vice-Chairman

Honorary Treasurer

Members

PROGRAMME COMMITTEE

Chairman

Members

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

ADVISORS

HONORARY SOLICITOR

AUDITOR

Mr Victor Cha

Prof. Lo King-man, SBS MBE JP

Mr Colin Farrell

Mrs Betty Yuen Cheng

Ms Margaret Cheng

Mr Michael Fung

Ms Joanna Hotung

Mr Sebastian Shiu-wai Man

Dr Dennis T L Sun, BBS JP

Ms Miriam Yao

Mr Sunny Yeung

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

李家超先生, PATRON

The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM

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*

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*

藝術家統籌經理 朱芷慧* 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

我們位於世界最具潛力的城市之一 is

1899.Childe Hassam - New England Headlands