Netherlands Chamber Choir - Van Gogh in Me- 52nd Hong Kong Arts Festival

荷蘭室內合唱團 心動梵高

獨家贊助

SOLELY SPONSORED BY

Netherlands Chamber Choir

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

香港賽馬會主席 利子厚先生 JP

Mr. Michael T H Lee , JP

CHAIRMAN, THE HONG KONG JOCKEY CLUB

香港賽馬會主席利子厚先生獻辭

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

香港藝術節

HONG KONG ARTS FESTIVAL

感謝 would like to thank

獨家贊助 for being the Sole Sponsor of 荷蘭室內合唱團 《心動梵高》

Netherlands Chamber Choir Van Gogh in Me

荷蘭室內合唱團 Netherlands Chamber Choir

《心動梵高》

VanGoghinMe

01.03.2024 / 8:00pm

02.03.2024 / 4:00pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre 演出長約1小時15分鐘，不設中場休息

Approximately one hour and 15 minutes with no interval

遲到者或中途離場的觀眾不得進場

Latecomers and audience members who leave the auditorium will not be admitted

本節目有強光及閃光效果

This production contains strong light and flash light effects

※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

藝術節加料節目

講座 Talk

編譯梵高

Rebuild Van Gogh

24.11.2023（已舉行Past event）

演後藝人談

Post-Performance Meet-the-Artist Session

01.03.2024

工作坊 Workshop

彼得．迪克斯卓合唱工作坊

Choral Workshop by Peter Dijkstra 02.03.2024 (11:30am-1:00pm)

Piano Arts 演奏廳

Piano Arts Recital Hall

更多加料節目詳情 More Festival Plus

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

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

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

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

© Melle Meivogel

《心動梵高》 VanGoghinMe

由荷蘭室內合唱團製作及構思意念， 並與fuse*聯合製作

荷蘭室內合唱團

首席指揮 彼得．迪克斯卓

音樂概念、導演 帝多．維瑟

視覺概念、設計及創意編程 fuse*

燈光設計 馬田．范．多普

創意項目經理 葉怡君（Sozo Artists）

技術製作

TOT

藝術顧問 納蓮．林寧

監製

伊蓮．蘭格月 積士卡．維爾安

Produced and initiated by the Netherlands Chamber Choir in coproduction with fuse*

Netherlands Chamber Choir

Chief Conductor

Peter Dijkstra

Music Concept, Direction Tido Visser

Visual Concept, Design and Creative Programming fuse*

Lighting Designer

Maarten van Dorp

Creative Project Management Ichun Yeh (Sozo Artists)

Technical Production

TOT

Artistic Advice

Nanine Linning

Producers

Eline Langejan Jitske Weijand

fuse*

藝術總監 馬蒂亞斯．卡域提 盧卡．卡米利尼

軟件開發

馬特奧．梅斯圖馳 富爾維奧．貝爾托里尼

傳訊經理

菲利普·阿爾多維尼

製作助理

瑪天娜．維珍妮

音頻分析 列卡度．巴遜尼

荷蘭梵高博物館和奧地利美景宮美術館 提供畫作

Artistic Directors

Mattia Carretti

Luca Camellini

Software Developers

Matteo Mestucci

Fulvio Bertolini

Communication Manager

Filippo Aldovini

Production Assistant

Martina Reggiani

Audio Analyst

Riccardo Bazzoni

With contributions from the Van Gogh Museum and the Belvedere

The international travel & transport of Netherlands Chamber Choir are supported by

荷蘭室內合唱團

Netherlands Chamber Choir

指揮 Conductor

彼得．迪克斯卓 Peter Dijkstra

女高音 Soprano

Bobbie Blommesteijn*

Mónica Monteiro

Bethany Shepherd

Elisabeth Blom

Elise van Es

Alessandra Gardini

劉卓昕 Alison Lau

Varvara Tishina

女低音、女中音 Alto, Mezzo-soprano

Elsbeth Gerritsen*

Eline Welle

Fanny Alofs

Maria Gil Muñoz

Mieke van Laren

Åsa Olsson

Tobias Segura Peralta

Irene Sorozábal

* Solo in Trois chansons de Charles d’Orléans *《奧爾良的查理三首歌曲》獨唱

男高音 Tenor

Stefan Berghammer

Harry van Berne

André Cruz

Jasper Dijkstra

Alberto ter Doest

Oscar Golden-Lee*

Matthijs Hoogendijk

Endrik Üksvärav

男低音、男中音 Bass, Baritone

Kees Jan de Koning*

Gilad Nezer

Joris Derder

Jan Douwes

Zigmars Grasis

Florian Just

Christian Walter

Hans Wijers

首席指揮 彼得．迪克斯卓 彼得．迪克斯卓是現今最炙手可熱的合唱指揮之 一。迪克斯卓出生於1978年，曾於海牙、科隆以 及斯德哥爾摩的音樂學院就讀，並以最高榮譽的 優異成績畢業。他於2003年在斯德哥爾摩舉行的 艾力．艾力遜比賽中獲冠軍，從此開始了他的國 際職業生涯。

2005至2016年期間，迪克斯卓為慕尼黑的 巴伐利亞廣播電台合唱團擔任藝術總監。在任期 間，該合唱團躋身國際頂尖合唱團之列，並大大 拓展了其曲目。2007至2018年，他更為瑞典廣 播電台合唱團擔任音樂總監，並於2019年被任命 為桂冠指揮。自2015年起，迪克斯卓擔任荷蘭室 內合唱團首席指揮，並於2022年重新擔任巴伐利 亞廣播電台合唱團的藝術總監。

除了與這些合唱團合作，迪克斯卓更是歐 洲主要合唱團的常客，如柏林的RIAS室內合唱 團、西德和北德廣播電台合唱團、丹麥國家廣播 電台合唱團和英國廣播公司合唱團等。他也是不 同樂團的熱門嘉賓，曾指揮柏林德意志交響樂 團、荷蘭鹿特丹愛樂管弦樂團、蘇格蘭室樂團、 東京都交響樂團、瑞典電台管弦樂團，以及科隆 協奏團、柏林古樂學院樂團和費雷堡巴羅克樂團 等早期音樂樂團。

他錄製的唱片屢獲殊榮，其中以佛瑞的安魂 曲（索尼經典）和施尼特格的合唱團協奏曲（BK Classics）獲得兩項德國古典迴聲獎，並以史特勞 斯、華格納和馬勒的作品專輯（BK Classics），和 浦朗克的《人體圖》這兩張專輯，獲得兩項法國 音叉唱片獎，更獲得兩項格林美獎提名。

Chief Conductor Peter Dijkstra

Peter Dijkstra is one of today’s most sought-after choral conductors. Born in 1978, he studied at the conservatories of The Hague, Cologne and Stockholm, and graduated summa cum laude with distinction. In 2003 he won first prize at the Eric Ericson Award in Stockholm, which launched his international career.

From 2005-16 Dijkstra was Artistic Director of the Chor des Bayerischen Rundfunks in Munich. During his tenure, the ensemble became one of the leading international choirs and expanded its repertoire significantly. From 2007-18 he also served as Music Director of the Swedish Radio Choir, which appointed him Conductor Laureate in 2019. Since 2015, Dijkstra has been Chief Conductor of the Netherlands Chamber Choir and in 2022 he was re-instated as Artistic Director of the Chor des Bayerischen Rundfunks.

Apart from his work with these ensembles, Dijkstra is a regular guest of leading European choirs, such as the RIAS Kammerchor in Berlin, the WDR and NDR Rundfunkchor, the Danish National Radio Choir and BBC Singers, to name a few. Also a sought-after guest with orchestras, he has conducted the Deutsches Symphonieorchester in Berlin, the Rotterdam Philharmonic Orchestra, the Scottish Chamber Orchestra, the Tokyo Metropolitan Symphony Orchestra, the Swedish Radio Symphony Orchestra and early music ensembles such as Concerto Köln, the Akademie für Alte Musik Berlin and the Freiburger Barockorchester.

His recordings have received awards including two Echo Klassiks for Fauré’s Requiem (Sony Classics) and Schnittke’s Choir Concerto (BR Klassik), two Diapason d’Or for an album with works by Strauss, Wagner and Mahler (BR Klassik) and Poulenc’s Figure Humaine (Channel Classics), and have been nominated for two Grammys.

©hoffotografen

荷蘭室內合唱團 Netherlands Chamber Choir

八十多年來，荷蘭室內合唱團一直位列國際合唱 界之巔，在最高水平的合唱音樂發展和表演方面 屢創佳績。合唱團以合唱音樂為媒介，在不同演 出中探討當代主題，並講述相關的故事。合唱團 透過與演員、舞蹈家、詩人、影像騎師和唱片騎 師等藝術家合作，拓闊了合唱音樂樂種的邊界， 同時亦會邀請科學家、醫療專業人士和輿論領 袖，為其講述的故事賦予新的意義。

荷蘭室內合唱團向過千年來的合唱歷史借 鑒，其曲目由中世紀早期橫跨至富有未來感的音 樂。合唱團本身擁有豐富而久經考驗的歷史， 但作為一個致力保存、發展並豐富合唱音樂的 機構，它的前景更使人期待。荷蘭《人民報》在 2016年寫道，「荷蘭室內合唱團屬領導級的頂尖 音樂團體，地位就如管弦樂界中的荷蘭皇家音樂 廳管弦樂團」。

教育和鼓勵人們合唱是合唱團的重要使命， 合唱團會提供訓練和舉辦工作坊，並「收養」其 他合唱團，在其音樂會中輔助演出。此外，合唱 團亦會透過人才培養計畫NKK NXT，為才華橫 溢的年輕歌手提供發展和嘗試新型合唱音樂的機 會。彼特．迪克斯卓自2015年起擔任荷蘭室內合 唱團的首席指揮，他是全球最廣受歡迎的合唱指 揮之一，以其亮眼的表演而聞名。

For more than 80 years, the Netherlands Chamber Choir has sat at the peak of the international choral world, creating new highlights in the development and performance of choral music at the highest level. Using choral music as a medium, the ensemble explores contemporary themes and tells relevant stories in its performances. The choir extends the boundaries of the choral music genre in its collaborations with artists including actors, dancers, poets, VJs and DJs, but also invites scientists, healthcare professionals and opinion leaders to give new meaning to the stories it tells.

The Netherlands Chamber Choir draws on a

period spanning more than 1,000 years of choral music and its repertoire ranges from the early Medieval ages to the music of tomorrow. The choir itself has a rich and proven history, but an even more promising future as an institute devoted to securing and developing the richness of choir music. The Volkskrant wrote in 2016: “The Netherlands Chamber Choir turns out to be what the Concertgebouw Orchestra is to orchestral music: a leading top ensemble.”

Education and participation are vital to the choir’s mission, and it provides coaching and workshops, and “adopts” choirs as supporting acts for its concerts.

Talented young singers are offered traineeships in the talent development programme NKK NXT, which provides opportunities to develop and experiment with new types of choral music. Peter Dijkstra has been Chief Conductor of the Netherlands Chamber Choir since 2015. He is one of the most in-demand choral conductors worldwide and is known for his sparkling performances.

www.nederlandskamerkoor.nl/en

fuse*是一所跨界別的藝術工作室，利用不同新興 科技，詮釋人類和自然現象的複雜性。自成立以 來，工作室的研究主要集中創作多媒體裝置及現 場媒體演出，藉此為觀眾帶來驚奇，鼓勵他們思 考現實中的可能性。隨着工作室發展，其新項目 變得更加全面，並加強對純粹實驗的重視。

fuse*的宗旨是突破各種公認的限制來激發 共鳴，並追尋光、空間、聲音和動作之間的新連 結。fuse*一直通過發展、支持和推廣不同項目， 與社區保持緊密聯繫，旨在傳播文化和知識。本 着這精神，fuse*自2016年起聯合製作了電子音 樂及數碼藝術節NODE。

多年來，fuse*在多個國際藝術機構以 及藝術節上展出作品和演出，包括於蒙特利 爾MUTEK音樂節、海牙的今日藝術節、伊斯 坦堡聲納音樂節、紐約市的藝術之家數碼藝術中 心、荷蘭的STRP雙年展、意大利的羅馬歐洲藝 術節、比利時的KIKK藝術節以及中國內地的北 京國家大劇院。

fuse* is a multidisciplinary art studio working with emerging technology to interpret the complexity of human and natural phenomena. Since its inception, the studio’s research has focused primarily on the production of installations and live media performances which instil wonder and motivate audiences to challenge what is possible. As the studio evolved, its new projects became more holistic and placed increasingly higher value on pure experimentation.

The objective of fuse* is to push past accepted limits, spur empathy and seek out new interplay between light, space, sound and movement. fuse* maintains close ties to its community by developing, supporting and promoting projects with the intent of propagating culture and knowledge. In this vein, fuse* has co-produced NODE, an electronic music and digital arts festival, since 2016.

Over the years, fuse* has exhibited and performed internationally at art institutions and festivals including MUTEK in Montreal, TodaysArt in The Hague, Sónar Istanbul, ARTECHOUSE in New York City, STRP Biennial in The Netherlands, Romaeuropa Festival in Italy, KIKK Festival in Belgium and the National Centre for the Performing Arts in mainland China.

透過創新視聽科技，展開一趟 梵高與克林姆時代之旅

聖桑

〈夜之寧靜〉及〈花與樹〉， 選自合唱曲兩首，作品68

德布西

《奧爾良的查理三首歌曲》

主啊！瞧着她令人喜悅 當我聽到鼓聲召喚 冬天，你是個大壞蛋

《三鐘經》（傑利圖斯．葛特懷爾德編曲）

《雪地上的腳印》

（傑利圖斯．葛特懷爾德編曲）

薩蒂

《祼體歌舞》，第一首 （威廉．奈特根據帝多．維瑟的意念編曲）

艾瑪．馬勒

〈寂靜城市〉（傑利圖斯．葛特懷爾德編曲）及 〈溫和夏夜〉（傑利圖斯．葛特懷爾德編曲） 選自《三首早期歌曲》

古斯塔夫．馬勒

《在夕陽下》，以古斯塔夫．馬勒的 第五交響曲第四樂章〈小慢版〉改編 （傑利圖斯．葛特懷爾德編曲）

An immersive audiovisual journey through the times of Van Gogh and Klimt

Camille Saint-Saëns (1835-1921)

“Calme des nuits” and “Les fleurs et les arbres”

from Two Choruses, Op 68

Claude Debussy (1862-1918)

Trois chansons de Charles d’Orléans Dieu! qu’il la fait bon regarder Quand j’ai ouy le tabourin Yver, vous n’estes qu’un villain

Les Angélus (arr. Clytus Gottwald) Des pas sur la neige (arr. Clytus Gottwald)

Erik Satie (1866-1925)

Gymnopédie No 1 (arr. William Knight after an idea by Tido Visser)

Alma Mahler (1879-1964)

“Die stille Stadt” (arr. Clytus Gottwald) and “Laue Sommernacht” (arr. Clytus Gottwald) from Drei frühe Lieder

Gustav Mahler (1860-1911)

Im Abendrot from Gustav Mahler’s Symphony No 5, Fourth Movement, “Adagietto” (arr. Clytus Gottwald)

李察．史特勞斯

〈夢之光〉，選自《三首男聲合唱曲》， TrV 270

古斯塔夫．馬勒

〈我被世界遺棄〉，選自《呂克特歌曲》 （傑利圖斯．葛特懷爾德編曲）

荀伯格

《三千年來》

《和平降臨大地》

音樂會投影畫作

《向日葵》，梵高（亞爾，1889年）

《盛開的杏花》，梵高 （普羅旺斯地區聖雷米，1890年）

《戴灰氈帽的自畫像》，梵高 （巴黎，1887年）

《婦女頭像（歌典娜．迪告魯特）》， 梵高（尼嫩，1885年）

《吻》，克林姆（維也納，1908年）

《朱蒂絲》，克林姆（維也納，1901年）

《貝多芬飾帶》，克林姆（維也納，1902年）

Richard Strauss (1864-1949)

“Traumlicht” from 3 Männerchöre, TrV 270

Gustav Mahler (1860-1911)

“Ich bin der Welt abhanden gekommen” from Rückert-Lieder (arr. Clytus Gottwald)

Arnold Schoenberg (1874-1951)

Dreimal tausend Jahre Friede auf Erden

The artworks projected during the concert

Sunflowers , Vincent van Gogh (1853-90), Arles, 1889

Almond Blossom , Vincent van Gogh, Saint-Rémy-de-Provence, 1890

Self-Portrait with Grey Felt Hat, Vincent van Gogh, Paris, 1887

Head of a Woman (Gordina de Groot) , Vincent van Gogh, Nuenen, 1885

The Kiss , Gustav Klimt (1862-1918), Vienna, 1908

Judith, Gustav Klimt, Vienna, 1901

Beethoven Frieze, Gustav Klimt, Vienna, 1902

關於《心動梵高》 About VanGoghinMe

二十世紀之交，歐洲局勢動蕩不穩，一群群 藝術家聚集在巴黎和維也納。在巴黎，有德 布西、薩蒂、莫奈及梵高。不久後，維也納 亦有席勒、古斯塔夫．馬勒、荀伯格及克林 姆。當時他們所生活的歐洲四分五裂，跟現 今一樣。而他們身處的時代，亦前所未有地 進行文藝變革與創新，跟我們現在一樣。

為了復興那個時代的精神，觀察歐洲今 昔的相似之處，荷蘭室內合唱團、荷蘭梵高 博物館、奧地利美景宮美術館，聯合當今數 一數二具啟發性且創新的意大利多媒體創作 單位fuse*，合創《心動梵高》演出。

創作概念雖然簡單，卻攝人心魄：兩個 大熒幕排成V字型，展現種種讓觀眾沉醉的 畫面。合唱團於熒幕前高歌，梵高和克林姆 的畫作在熒幕上隨之呈現，猶如活生生的有 機體，隨電腦所收集的表演者生物數據而不 斷演變。

故事以梵高和克林姆年代的歷史照片和 電影錄像為背景，運用簡單而扣人心弦的構 思，呈現二十世紀之交的歐洲。

With unrest spreading throughout Europe around the turn of the 20th century, groups of artists assembled in Paris and Vienna. In Paris, there were Claude Debussy, Eric Satie, Claude Monet and Vincent van Gogh. And not much later in Vienna there were Egon Schiele, Gustav Mahler, Arnold Schönberg and Gustav Klimt. They were living in a divided Europe, as we are now. But they were also living in a time of unprecedented creativity and change, as we also are now.

To revive the spirit of that age, and to observe the similarities between the Europe of the past and the current Europe, the Netherlands Chamber Choir, the Van Gogh Museum and the Belvedere Museum teamed up with the Italian collective fuse*, one of the most inspiring and innovative audiovisual outfits of our time, to create Van Gogh in Me.

The concept is as simple as it is overwhelming: the audience is immersed in images, displayed on two huge screens arranged in a V-shape. The choir performs in front of the screens displaying the paintings of Van Gogh and Klimt, but the images evolve, like a living organism, using biometric data collected from the performers.

The story that unfolds is a simple but effective dramaturgy about the Europe at the turn of the 20th century, underpinned by historical photos and film footage from the time of Van Gogh and Klimt.

© Melle Meivogel

聖桑

〈夜之寧靜〉及〈花與樹〉， 選自合唱曲兩首，作品68

Camille Saint-Saëns (1835-1921)

“Calme des nuits” and “Les fleurs et les arbres” from Two Choruses, Op 68

浪漫主義時期為羅馬天主教會帶來的影響， 就是「西西利亞運動」興起。這場運動以主保 音樂的天主教聖人聖則濟利亞命名，以復興 過去的音樂為己任，無數合唱團也因此成立。

男聲合唱團（在法國稱為「 orphéons 」）定期 在全國各地的音樂節聚首，聖桑也曾為這類演 出寫作大量作品。

合唱曲〈夜之寧靜〉篇幅雖短，但感覺 卻出奇地廣闊，世俗白晝的亮光被拋諸腦後， 持續的聲樂線條與疏落的織體，一方面描繪寧 靜的夜晚，另一方面在探索寧靜之中的詩意。

〈花與樹〉閃爍着笑聲與淚光，藝術正好是永 恆大自然的寫照。

Inside the Roman Catholic Church, the age of Romanticism gave rise to the Cecilian Movement, named after the patron saint of music by St Cecilia. The movement revived interest in music from the past and led to the establishment of countless choral societies. Male choral societies, called orphéons in France, regularly gathered at festivals throughout the country and Camille Saint-Saëns wrote many of the songs performed there.

In the amazingly spacious choral miniature “Calme des nuits”, the brightness of the worldly day is left behind. Sustained vocal lines and sparse textures express the stillness of the night and a poetic exploration of tranquillity. “Les fleurs et les arbres” sparkles with laughter and tears as art becomes a reflection of eternal nature.

德布西

《奧爾良的查理三首歌曲》 主啊！瞧着她令人喜悅 當我聽到鼓聲召喚 冬天，你是個大壞蛋

《三鐘經》（傑利圖斯．葛特懷爾德編曲）

《雪地上的腳印》

（傑利圖斯．葛特懷爾德編曲）

Claude Debussy (1862-1918)

Trois chansons de Charles d’Orléans Dieu! qu’il la fait bon regarder Quand j’ai ouy le tabourin Yver, vous n’estes qu’un villain

Les Angélus (arr. Clytus Gottwald)

Des pas sur la neige (arr. Clytus Gottwald)

在生命的最後幾年，德布西不但對中世紀詩 人奧爾良公爵查理一世的詩作情有獨鍾，更 將以往的詩歌風格，與德布西時代的和聲技 巧連結起來。《奧爾良的查理三首歌曲》是德 布西唯一一套無伴奏合唱曲：第一首是閃爍 的情歌，第二首是曲折憂鬱的抱怨，第三首 則有力地控訴冬季的殘酷。

德布西根據一天三次的祈禱鐘聲譜寫 《三鐘經》，歌詞則出自塞維爾．勒華的同名 詩作。《雪地上的腳印》選自德布西《前奏 曲》第一冊，標題的靈感來自一幅雪地風景 畫。

Towards the end of his life, Claude Debussy turned to the medieval poetry of Charles, Duke of Orléans, and connected the poetic styles of the past with the harmonic techniques of his time. Trois chansons de Charles d’Orléans is Debussy’s only composition for unaccompanied choir with a shimmering love song followed by a meandering melancholy complaint, and a concluding energetic rebuke of the cruelty of winter.

Debussy relied on Grégoire Le Roy’s poem Les Angélus for a musical setting based on the pealing of the “Angelus bell” three times a day. Des pas sure la neige originates in Debussy’s first book of Préludes, with the title inspired by a painting of a snowy landscape.

薩蒂

《祼體歌舞》，第一首

（威廉．奈特根據帝多．維瑟的意念編曲）

Erik Satie (1866-1925)

Gymnopédie No 1

(arr. William Knight after an idea by Tido Visser)

舞蹈、劇場與酒館音樂，幾乎貫穿了薩蒂的 人生。他每首作品都崇尚質樸、洗鍊與精準； 在薩蒂看來，旋律至關重要，和聲則用來反 映和闡釋樂思。

薩蒂堅稱他寫於1888年的鋼琴曲《裸體 歌舞》創作靈感來自小說家福樓拜的著作。

樂曲一直柔和地起伏，屬於薩蒂豐富想像中 的神秘角落。這些短曲以調式寫成，輕快之 餘又常常出人意表；經過德布西配器後，更 成為了薩蒂最受歡迎的作品。

是次演出的合唱版本由威廉．奈特所編。

Dance, theatre and cabaret music ran as virtually continuous threads throughout the life of Erik Satie, with every composition advocating simplicity, brevity and precision. For Satie, melody was paramount, and harmony an illumination and reflection of the musical idea.

Satie insisted that the Gymnopédies for piano composed in 1888 were inspired by the writings of the novelist Gustave Flaubert. Gently undulating, these works belong to a mysterious corner of Satie’s imagination. Lilting, modal and never quite predictable, in the orchestration of Claude Debussy, these miniatures became Satie’s most popular works.

This vocal version is arranged by William Knight.

艾瑪．馬勒

〈寂靜城市〉（傑利圖斯．葛特懷爾德編曲）及

〈溫和夏夜〉（傑利圖斯．葛特懷爾德編曲） 選自《三首早期歌曲》

Alma Mahler (1879-1964)

“Die stille Stadt” (arr. Clytus Gottwald) and “Laue Sommernacht” (arr. Clytus Gottwald) from Drei frühe Lieder

1902年，艾瑪嫁給古斯塔夫．馬勒後，答 應丈夫會放棄自己的作曲志向。婚前，艾瑪

上過正式的作曲課，已完成或者已有草稿的 作品也有不少；雖然以藝術歌曲為主，但也 有約二十首鋼琴曲、少量室內樂曲，還有一 個歌劇場景。大部分作品都被她親手毀掉， 只留下十七首歌曲，其中十四首在她生前出 版。

〈寂靜城市〉與〈溫和夏夜〉都收錄在 她1911年一月出版的第一冊歌曲集裏，兩 首歌曲分別根據戴默爾及比爾鮑姆的詩作寫 成，風格既激動人心又風情萬種，朗讀式 的聲樂線條淹沒了詩作，黑暗將詩作重重包 圍；後來，對寧靜與和平的展望，又令黑暗 徐徐散去。

After her marriage to Gustav Mahler in 1902, Alma Mahler (1879-1964) agreed to abandon her compositional aspirations. Alma had taken formal composition lessons, and composed or sketched mostly lieder, but also wrote about 20 piano pieces, a small number of chamber music works and a scene from an opera. She destroyed most of her compositions and only 17 songs survive, of which 14 were published during her lifetime.

“Die stille Stadt” (“The Silent Town”) and “Laue Sommernacht” (“Mild Summer Night”) were published in her first book of songs in January 1911 and are settings of poetry by Richard Dehmel and Otto Julius Bierbaum, respectively. These songs are dramatic and erotic, with declamatory vocal lines submerging the poetry into an allencompassing darkness that is hesitantly lifted by visions of serenity and peace.

古斯塔夫．馬勒

《在夕陽下》，以古斯塔夫．馬勒的 第五交響曲第四樂章〈小慢版〉改編 （傑利圖斯．葛特懷爾德編曲）

〈我被世界遺棄〉，選自《呂克特歌曲》 （傑利圖斯．葛特懷爾德編曲）

Gustav Mahler (1860-1911)

Im Abendrot from Gustav Mahler's Symphony No 5, Fourth Movement, “Adagietto” (arr. Clytus Gottwald)

“Ich bin der Welt abhanden gekommen” from Rückert-Lieder (arr. Clytus Gottwald)

1901年11月，古斯塔夫．馬勒與艾瑪．舒特 拉初次見面，當年的艾瑪仍是維也納一眾未 婚男子心目中的女神。經過閃電式的追求， 兩人1902年3月9日舉行私人婚禮，當時艾瑪 已經懷上兩人的第一個孩子——瑪利亞．安 娜。

第五交響曲的第四樂章〈小慢板〉是馬 勒寫給妻子的情歌。交響曲中，整個樂章一 氣呵成，主旋律充滿嘆息動機以及蜿蜒的延 留音，整體既親切又充滿渴望，漸漸推進至 柔和的高潮。中段多次轉調（包括轉至大調和 小調），又加插了一些可愛的不協和音，主旋 律重現時則流露出溫柔的渴望之情，只是表 現得有點誇張。

〈我被世界遺棄〉從外部世界退回內心世 界去，代表象徵式的死亡——旁白也藉此與 外部世界隔絕。最終雖然孤單，但卻既平靜 又心滿意足。

Gustav Mahler (1860-1911) first met Alma Schindler, Vienna’s most eligible bachelorette, in November 1901. A whirlwind courtship soon ensued, and they were formally married at a private ceremony on 9 March 1902, with Alma already carrying their first child, Maria Anna.

The adagietto from his Symphony No 5 is Mahler’s love song to his wife. Unfolding in one continuous breath, the main melody of the adagietto is full of sighing motifs and winding suspensions. Underscoring a sense of intimacy and longing, it gradually expands to reach a gentle climax. Modulating to various keys in the major and minor mode, the middle section introduces some delightful dissonances, and the return of the main melody offers an exaggerated sense of tender longing.

Retreating from the outer to the inner world, “Ich bin der Welt abhanden gekommen” (“I Am Lost to the World”) conveys a symbolic death, through which the narrator is alienated from the external world, eventually attaining a blissful and isolated serenity.

李察．史特勞斯

〈夢之光〉，選自《三首男聲合唱曲》，TrV 270

Richard Strauss (1864-1949)

“Traumlicht” from 3 Männerchöre, TrV 270

寫作歌曲時，由靈感乍現到大功告成之間， 有哪些步驟？李察．史特勞斯曾有句名言： 「我拿起一本詩集，快速翻閱一遍，只要有 詩作吸引了我的注意力，那麼樂思的靈感就 會出現，即使詩作還沒有好好讀完：我坐下 來，十分鐘後，歌曲已經完成。」

〈夢之光〉是男聲合唱曲，所描繪光與夢 的幻象也很接近印象派。樂曲寫於1935年， 這時「合唱團運動」已接近尾聲，〈夢之光〉 既是「合唱團運動」一朵真正的晚開花，也 反映出當時步步進逼的政治隱憂。「別讓黑暗 的力量勝過內心的亮光。」正是原詩的主旨； 密集的男聲和聲，則令主旨顯得更強烈、更 凝重。

Richard Strauss famously outlined the steps from inspiration to composition of his songs in the following way: “I pick up a book of poetry, I flip through it, a poem attracts my attention, it inspires me to a musical idea without even having read it properly: I sit down and ten minutes later the song is ready.”

“Traumlicht” (“Dreamlight”), composed for a male chorus, paints an almost impressionistic vision of light and dreams. Composed in 1935, it represents a genuine late flowering of the Liedertafel movement, and reflects the ominous political rumblings of the time. The close male harmonies deliver a sober intensity to the essential message of the poem: “Let not the powers of darkness be victorious over the inner light.”

荀伯格

《三千年來》

《和平降臨大地》

Arnold Schoenberg (1874-1951)

Dreimal tausend Jahre

Friede auf Erden

荀伯格的早期作品，主要與二十世紀初德國 詩歌與藝術的表現主義有關。他屬於第一批 擁抱無調性動機發展的作曲家，後來更發展 出專用的十二音列技巧。《三千年來》根據魯 納斯一首詩作譜寫而成，原詩靈感來自以色 列立國事跡：作曲家利用多種音樂技巧（包括 序列結構、文字着色與強調個別音高），將絕 望到救贖的歷程刻畫得栩栩如生。

清唱合唱曲《和平降臨大地》原是荀伯 格的參賽作品，首演由一百二十位女團員和 八十位男團員合唱，整體上「無疑很成功」。

樂曲根據邁耶的一首聖誕詩寫成，也是荀伯 格最後一首調性風格作品。荀伯格自言，樂 曲「是個為混聲合唱團而寫的假象；樂曲也 是一首和平之詩，卻從不相信真會有永恆的 和平。」

撰文：斐德龍

The early works of Arnold Schoenberg are primarily associated with the expressionist movements in early 20th-century German poetry and art. He was among the first composers to embrace atonal motivic development and subsequently a dedicated 12-tone technique. Dreimal Tausend Jahre (“Three Thousand Years”) is based on a poem by Dagobert D. Runes inspired by the creation of the state of Israel. The composer effectively conveys a journey from despair to salvation through a variety of musical techniques, including serial structures, word painting and pitch emphasis. Schoenberg composed his a cappella choral work Friede auf Erden (“Peace on Earth”) for a competition, and the first performance with 120 female and 80 male singers was an “undisputed success”. Schoenberg based the piece on a Christmas poem by Conrad Ferdinand Meyer. It was his final work composed in the tonal style and, according to the composer, “an illusion for mixed choir, and a peace hymn without believing in eternal peace”.

Text: Georg A. Predota

梵高

梵高是一位荷蘭後印象派畫家，他在每一幅 作品裏都努力傳達自己的情感和精神狀態。

梵高的藝術之路飽歷掙扎和貧窮之苦， 但他獨特的畫風和表現手法在藝術界留下了 不可磨滅的印記。

梵高的藝術生涯起步較慢，他二十多歲 才投身藝術事業。雖然幾乎不曾接受正規訓 練，他卻能發展出一種非同尋常的畫風，以 大膽筆觸、鮮艷色彩和情感強烈為特色。

在梵高短暫十年的職業生涯中，他 創作了約二千一百件藝術作品，其中包括 八百六十幅油畫，最著名的包括《星夜》、 《向日葵》以及《在亞爾的臥室》。梵高在 世時，他的才華和創造力並沒有立即得到認 可，但其作品中充滿活力的色調和躁動的精 力，改變了二十世紀藝術發展。

梵高是一位典型的「飽受折磨的藝術 家」，為精神健康問題苦苦掙扎，並患上嚴 重的抑鬱和精神錯亂。1888年，他因自我傷 害，自願住進精神病院。在這段黑暗時期， 梵高創作了一些他最聞名的作品，包括《綁 繃帶的自畫像》。

他充滿感情的筆觸和非傳統的色彩運 用，為表現主義和野獸派等現代運動鋪平了 道路。雖然梵高生前只賣出了一幅畫，但他 現在成為了有史以來最受大眾喜愛的藝術家 之一，並創作了一些歷史上最受歡迎和最知 名的畫作。

Vincent van Gogh (1853-1890)

Vincent van Gogh was a Dutch post-impressionist artist who strove to convey his emotional and spiritual state in each of his artworks.

His artistic journey was fraught with personal struggles and financial hardship, but his unique style and expressive approach to painting left an indelible mark on the art world.

After starting his artistic career relatively late in life, dedicating himself to painting in his late 20s, and with little formal training, Van Gogh developed a radically idiosyncratic, emotionally evocative style characterised by bold brushwork, vivid colours and emotional intensity.

During his brief 10-year career, Van Gogh produced around 2,100 artworks, including 860 oil paintings. His most famous works include Starry Night, Sunflowers and The Bedroom. Van Gogh’s brilliance and creativity were not immediately recognised during his lifetime, but the vibrant hues and restless energy of his work helped change the course of 20th-century art.

The quintessential tortured artist, Van Gogh struggled with mental health issues, and experienced periods of intense depression and psychosis. In 1888, he suffered a self-inflicted injury and voluntarily entered a psychiatric hospital. During these dark times, Van Gogh produced some of his most celebrated pieces, including Self-Portrait with Bandaged Ear. His emotionally charged brushstrokes and unconventional use of colour paved the way for modern movements like Expressionism and Fauvism. Although he sold only one painting during his lifetime, Van Gogh is now one of the most popular artists to have ever lived, and responsible for creating some of the most popular and recognisable paintings in history.

克林姆

克林姆是一位奧地利象徵主義畫家，以其平 面和色彩鮮艷的裝飾畫而聞名。

克林姆的主要創作主題為女性身體。他 的繪畫、壁畫和素描都帶有情慾意象，這種 前衛的藝術手法使他生前備受爭議。

1897年，克林姆與友人共同創立了維也 納分離派運動，該運動旨在為非傳統的新藝 術家創造一個平台。他從拜占庭馬賽克、日 本藝術以及埃及象形文字中汲取創作靈感， 這使他的作品經常具有精緻的裝飾、複雜的 圖案和豐富的象徵意義。

克林姆其中一張名作《吻》展示了他的 獨特風格。這幅傑作於1907至1908年間完 成，畫中描繪了一對親密擁抱的戀人，被閃 閃發光的金箔和裝飾圖案包圍，這畫作鞏固 了克林姆作為情慾象徵主義大師之名。

克林姆對情色探索、人類心理以及潛意 識的重視，開啟了全新的藝術表達大門，並 為新藝術運動和超現實主義等運動的發展鋪 路。他還擁有多段不為人知的風流韻事，並 至少誕下十四名孩子，可見他對女性、女性 形體和性慾的狂熱，這些主題更是他許多作 品的主要焦點。

克林姆對性的露骨描繪和不加掩飾的 探索，挑戰了保守的藝術體制。不少當代藝 術家更借鑑了他對裝飾元素和象徵主義的運 用，以及他描繪人際關係中的複雜性，令他 們的作品充分展現了克林姆的影響力。

Gustav Klimt (1862-1918)

Gustav Klimt was an Austrian symbolist painter famed for his flat, brilliantly coloured, decorative paintings.

Klimt’s primary subject was the female body. His paintings, murals and sketches are marked by a sensual eroticism, and this progressive approach to art made him a controversial artist during his lifetime.

In 1897 Klimt co-founded the Vienna Secession movement, which sought to create a platform for new and unconventional artists. His works often featured elaborate ornamentation, intricate patterns and rich symbolism, drawing inspiration from sources such as Byzantine mosaics, Japanese art and Egyptian hieroglyphs.

One of Klimt’s most famous paintings, The Kiss, exemplifies his distinct style. Completed from 1907-08, this masterpiece portrays a couple locked in an intimate embrace, surrounded by shimmering gold leaf and ornamental motifs, and it solidified Klimt’s reputation as a master of sensual symbolism.

Klimt’s emphasis on exploring themes of eroticism, the human psyche and the subconscious opened new doors for artistic expression, and paved the way for the development of movements such as Art Nouveau and Surrealism. He also had many discreet affairs and fathered at least 14 children, an indication of his passion for women, their form and sexuality, which was the main focus of many of his works.

His explicit depictions of sexuality and unapologetic exploration of sensuality challenged the conservative art establishment, and his influence can be seen in the works of many contemporary artists who borrow from his use of decorative elements, symbolism and his ability to depict the complexities of human relationships.

隨心流動的梵高畫布

Hi-Tech Transformation of Van Gogh in Real Time

知名荷蘭畫家梵高，擅長將自己的感情投 射在畫布上。若他知道有朝一日，別人的 感情能即時與他的畫作糅合，再化為動態 影像，他將是何等驚喜。

Vincent van Gogh was an artist famed for being able to transfer his emotions onto canvas, and he would likely have been fascinated to learn that one day the emotions of others would be used to manipulate and transform his artworks in real time.

在《心動梵高》多媒體音樂之旅上，荷 蘭室內合唱團將清唱古斯塔夫．馬勒、德布 西及李察．史特勞斯等作曲家的樂曲。與此 同時，大屏幕上的梵高與克林姆畫作，就隨 着指揮和三十二位合唱團成員的生物統計數 據推演蛻變。

彼得．迪克斯卓自2015年起擔任該合唱 團的總指揮，他透露，是次演出源自阿姆斯 特丹的荷蘭梵高博物館的邀請，博物館希望 合唱團能參與梵高與克林姆的畫作聯展。「就 是這樣，我們竭力探索同代的繪畫與音樂之 間的關聯，然後創作出一種沉浸式的體驗， 將時代的氛圍、樂曲的構思，與梵高和克林 姆的斑斕畫像融合。」

合唱團與意大利多媒體創作單位fuse* 合作，透過機器學習演算法，運用數據，改

In the multimedia performance Van Gogh in Me presented by the Netherlands Chamber Choir, artworks by van Gogh and his contemporary Gustav Klimt are displayed on large screens, and they evolve and transform according to biometric data collected from the conductor and 32-member choir while they perform a cappella works created by composers of the era such as Gustav Mahler, Claude Debussy and Richard Strauss.

Peter Dijkstra, who has been chief conductor of the choir since 2015, says the idea for the performance came about when the Van Gogh Museum in Amsterdam asked his ensemble to contribute to a joint exhibition of the works of Van Gogh and Klimt. “So we tried to find a connection between the images and the music of that time, and created something immersive that connects the musical ideas and the atmosphere of the era together with the beautiful images of both Van Gogh and Klimt.”

變油畫影像處理的過程，使昔日的畫作演變 成嶄新且活靈活現的數碼藝術品。現場設置 八個全域咪高風，採集三十二位歌唱家的聲 音，使之演化為音樂影像。四位獨唱者則配 戴個人咪高風，電腦會詳析他們的歌聲，並 利用皮膚電流計探測他們即時的情感狀態。

最後，指揮迪克斯卓的姿勢和面部表情，則 經由攝影機拍下並匯合其他數據，共同生成 影像。

這樣的音樂與美術的融合，讓人如癡 如醉，神魂飄蕩，每一次演出，都是獨一無 二，帶觀眾穿越時空，經驗世紀末情懷。「那 是一個人心激動、活力充沛的時期。」迪克 斯卓說。「當時科技蓬勃發展，藝術欣欣向 榮。所有事物，好像一下子到達巔峰。歐洲 大陸內，發展的需要、民族意識的覺醒、內 部矛盾的張力，最終引發悲慘的第一次世界 大戰。」

《心動梵高》以現代和高科技的語言， 呈現百多年前的美術和音樂。荷蘭室內合唱 團向來以創新進取著稱。迪克斯卓指出，合 唱團於1937年成立，對當時人來說，小小的 室內合唱團還是個相當新穎的概念。一路走 來，不斷摸索，合唱團的曲目與日俱增，從 中世紀到當代的作品都包羅其中。「自我執掌 指揮棒以來，我們開始研究擴充合唱曲目的 類型，期望發展出一種沉浸式的表演，一種 不僅可聽、更可用不同感官去體驗的作品。」

「我們曾經與派對的影像騎士及夜店的唱 片騎士一起演出，也做過很多瘋狂的表演， 我們會在這方面繼續探索。荷蘭室內合唱團 很少舉辦單純清唱的演唱會。我們經常尋求 不同的表演方式，以加強觀眾的聽覺經驗， 例如投影、舞台形體、戲劇等。不過，最重 要的是創新，但不是為創新而創新，而是為 了昇華聆聽合唱音樂的體驗。」

撰文：Adam Wright 原文刊登於香港藝術節2024年之《閱藝》雜誌

The choir teamed up with Italian multidisciplinary art studio fuse*, which proposed using data to influence the visual processing of the paintings via a machine-learning algorithm, and turn them into new living, breathing digital artworks. The voices of the 32 choristers are detected through eight panoramic microphones that return the overall musical image, while four soloists wear personal microphones that provides a detailed analysis of their voices and a galvanic skin response device for real-time detection of their emotional state. Finally, a camera captures Dijkstra’s gestures and facial expressions and inserts them into the process.

The result is a spellbinding, hypnotic blend of music and art that is different each time it is performed, and transports the audience back to the fin de siècle period. “This was a time of great, electrifying energy,” Dijkstra says. “It was a time when technological development was booming, and also artistically, everything was coming to a huge culmination. There were so many developments, and emotions and tensions inside Europe that just had to come to the terrible conclusion that was the First World War.”

Van Gogh in Me puts a very modern, hi-tech spin on what is now century-old artwork and music, but the Netherlands Chamber Choir has been an innovative, adventurous outfit from the beginning. Dijkstra points out that a small chamber choir was a relatively new concept when the ensemble was formed in 1937, and along the way its repertoire has explored a broad range of music ranging from the Medieval period up to contemporary creations. “And under my tenure as Chief Conductor we have started to investigate broadening the scope of the choral repertoire in a visionary, immersive way with performances that not only are something to listen to, but something to experience with other senses.

“We’ve done performances with VJs and DJs and many crazy things, and this is something we are exploring more and more. It’s rare that the Netherlands Chamber Choir does a cappella concert where there is nothing else happening. We are always looking at ways to intensify the listening experience and that can be done with small things like projections, movements on stage, staging. But it’s important to create something innovative that’s not just done for the sake of being innovative, but to enhance the experiences of listening to choral music.”

Text: Adam Wright

Originally published in the HKAF’s FestMag 2024

©Melle Meivogel

Camille Saint-Saëns

“Calme des nuits ” from Two Choruses, Op 68

Calme des nuits, fraîcheur des soirs, Vaste scintillement des mondes, Grand silence des antres noirs

Vous charmez les âmes profondes.

L’éclat du soleil, la gaité, Le bruit plaisent aux plus futiles; Le poète seul est hanté

Par l’amour des choses tranquilles.

Texte: Anonyme

“Les fleurs et les arbres ” from Two Choruses, Op 68

Les fleurs et les arbres, Les bronzes, les marbres, Les ors, les émaux, La mer, les fontaines, Les monts et les plaines

Consolent nos maux.

Nature éternelle, Tu sembles plus belle Au sein des douleurs!

Et l’art nous domine, Sa flamme illumine Le rire et les pleurs.

Texte: Anonyme

Camille Saint-Saëns

“Calmness of Night” from Two Choruses, Op 68

Calmness of night, coolness of the evening, Vast sparkling of worlds, Great silence of dark caverns You charm the deeper souls.

The flash of sunlight, merriment, And noise please those more frivolous; Only the poet is haunted By the love of quiet things.

Text: Anonymous

Translation: Rik de Best

“The Flowers and The Trees ” from Two Choruses, Op 68

The flowers and the trees, The bronzes, the marbles, The golds, the enamels, The sea, the fountains, The mountains and the plains Console our pain.

Eternal nature, You seem more beautiful To a heart in sorrow!

And art reigns over us, Its flame illuminates The laughter and tears.

Text: Anonymous

Translation: Rik de Best

聖桑 〈夜之寧靜〉， 選自《合唱曲兩首》，作品68 夜之寧靜，晚之清涼 廣闊世界閃閃發光 黑洞巨大之寂靜 迷住深邃之心靈

陽光普照一片歡欣 噪音取悅輕浮的人 唯有詩人才會念念不忘 一切寧靜使他傾心嚮往 原詞：無名氏

〈花與樹〉， 選自《合唱曲兩首》，作品68 花與樹 青銅器、大理石雕刻 黃金、搪瓷 大海、噴泉 山丘與平原 安慰了我們的痛苦 永恆的自然 你在悲傷的人心中 顯得更美麗動人！ 藝術主宰着我們 它的光芒照亮了 微笑和淚水 原詞：無名氏

Claude Debussy

Trois chansons de Charles d’Orléans “I Dieu! qu'il la fait bon regarder”

Dieu! qu’il la fait bon regarder La gracieuse bonne et belle;

Pour les grans biens que sont en elle Chascun est prest de la loüer. Qui se pourroit d’elle lasser?

Tousjours sa beauté renouvelle.

Par de ça, ne de là, la mer

Ne scay dame ne damoiselle

Qui soit en tous bien parfais telle

C’est ung songe que d’i penser: Dieu! qu’il la fait bon regarder!

“Quand j'ai ouy le tabourin”

Quant j’ai ouy le tabourin

Sonner, pour s’en aller au may,

En mon lit n’en ay fait affray

Ne levé mon chief du coissin;

En disant: il est trop matin

Ung peu je me rendormiray:

Jeunes gens partent leur butin;

De nonchaloir m’accointeray

A lui je m’abutineray

Trouvé l’ay plus prouchain voisin

“Yver, vous n'estes qu'un villain”

Yver, vous n’estes qu’un villain. Esté est plaisant et gentil, En témoing de May et d'Avril Qui l’accompaignent soir et main.

Esté revet champs, bois et fleurs, De sa livrée de verdure

Et de maintes autres couleurs, Par l’ordonnance de Nature.

Mais vous, Yver, trop estes plain De nège, vent, pluye et grézil

On vous deust banir en éxil

Sans point flater je parle plain, Yver, vous n’estes qu’un villain

Texte: Charles d'Orléans (1394–1465)

Claude Debussy

Three songs of Charles of Orléans “Lord! How Good To Look on Her”

Lord! How good to look on her The good and fair and gracious lady;

For the high qualities within her, All are eager to praise her. Who could ever tire of her? Her beauty always increases.

The ocean knows of no woman in any quarter,

Married or single, who is as perfect As she in every way.

You would never dream of such a thing;

Lord! How good it is to look on her!

“When I Heard the Drum”

When I heard the drum Summoning us to go maying,

I neither leapt from my bed Nor lifted my head from the pillow; And I said: it is too early I shall sleep a little longer:

Let the young divide their spoils; I shall be happy to remain indifferent, And share my spoils with him, For he was my nearest neighbour;

“Winter, You Are Nothing But a Rogue”

Winter, you are nothing but a rogue; Summer is pleasant and kind, As May and April can testify Accompanying it each eve and morn.

Summer clothes fields, woods and flowers

With his verdant livery, And many other colours too, As nature commands.

But you, Winter, you exude Snow, wind, rain and hail; You ought to be exiled.

I’m no flatterer, I speak my mind. Winter, you are nothing but a rogue.

Text: Charles d'Orléans (1394-1465)

Translation © Richard Stokes, author of A French Song Companion (Oxford, 2000)

德布西 《奧爾良的查理三首歌曲》 〈主啊！瞧着她令人喜悅〉 主啊！瞧着她多令人喜悅 她是善良美麗的淑女

擁有至善的品德 大家熱切稱頌她 誰會對她生厭倦？ 她的美總讓人耳目一新

大海也不知哪裏有任何女性 無論是婦人或少女 能像她那般完美 你做夢也想不到

主啊！瞧着她令人喜悅！

〈當我聽到鼓聲召喚〉 當我聽到鼓聲召喚 人們參加五月節慶

我在床上不為所動 也不想離開這枕頭 喃喃地說：時候尚早 我還想多睡一會呢

讓年輕人分享戰利品 我則樂於與淡漠為伍 與他分享我所得到的 淡漠是我的最好鄰居

〈冬天，你是個大壞蛋〉 冬天，你是個大壞蛋 不像夏天親切而可愛 四月及五月可以作證 因它們與之日夜相隨

夏天妝點着田野花樹 用它青翠的綠色 和其他繽紛色彩 依照自然的律令

但是冬天，你充滿了 風雪、暴雨和冰雹 你應該被驅逐出境 我毫不客氣直率地說： 冬天，你就是個大壞蛋 原詞：奧爾良的查理

Claude Debussy

Les Angélus

(arr. Clytus Gottwald)

Cloches chrétiennes pour les matines, Sonnant au cœur d'espérer encore!

Angélus angélisés d'aurore!

Las! Où sont vos prières câlines?

Vous étiez de si douces folies!

Et chanterelles d'amours prochaines!

Aujourd'hui souveraine est ma peine, Et toutes matines abolies.

Je ne vis plus que d'ombre et de soir; Les las angélus pleurent la mort, Et là, dans mon coeur résigné, dort La seule veuve de tout espoir.

Texte: Grégoire Le Roy (1862-1941)

Claude Debussy The Angelus (arr. Clytus Gottwald)

Christian matin bells ring out, Telling the heart to continue to hope!

Angelus bells made angelic with dawn!

Alas, where are your soothing prayers?

You were such a sweet madness!

Harbingers of future loves!

Today, my sorrow reigns supreme And all matin bells have been abolished.

My whole life is but shadow and evening; The weary angelus bewails death, And there, in my resigned heart, sleeps The only widow of any hope.

Text: Grégoire Le Roy (1862-1941)

Translation © Richard Stokes, author of A French Song Companion (Oxford, 2000)

德布西 《三鐘經》 （傑利圖斯．葛特懷爾德編曲） 教堂晨禱的鐘聲響起 敲醒心頭繼續抱持希望 三鐘聲隨黎明化作天使 唉，你那深情的祈禱在哪？ 你曾是可愛的傻瓜！ 能預知未來的愛情！ 今日我被悲傷佔領 晨禱鐘聲不再響起 從此我活於陰影和夜晚 疲憊的三鐘聲哀悼死亡 在我無奈的心中沈睡着 唯一還擁有希望的寡婦 原詞：塞維爾．勒華

Des pas sur la neige (arr. Clytus Gottwald)

En hiver, la mort meurtrière

Entre dans les maisons; Elle cherche la sœur, le père, Et leur joue du violon.

Quelque hiver sur mon front morose

Un flocon de neige creva, Que de l'ongle...

La mort

Leur joue du violon,

Du violon de glace, La mort...

Que contre elle ne protège

Pas une flamme au dedans.

Texte: Rainer Maria Rilke (1875-1926) et Stéphane Mallarmé (1842-1898)

Erik Satie

Gymnopédie No 1 (arr. William Knight after an idea by Tido Visser)

Oblique et coupant l'ombre un torrent éclatant

Ruisselait en flots d'or sur la dalle polie Où les atomes d'ambre au feu se miroitant

Mêlaient leur sarabande à la gymnopédie.

Texte: J.P. Contamine de Latour (1867-1926)

Footprints in The Snow

(arr. Clytus Gottwald)

In winter, murderous death Enters into the houses; He seeks sister and father, And plays the violin for them.

Some winter, on my surly face

It left a snowflake to burst, That the nail… Death

Plays the violin for them, The violin of ice, Death…

From him there’s no flame within That can give protection.

Text: Rainer Maria Rilke (1875-1926) and Stéphane Mallarmé (1842-1898)

Translation: Rik de Best

Erik Satie Gymnopédie No 1 (arr. William Knight after an idea by Tido Visser)

Slanting and shadow-cutting a bursting stream Trickled in gusts of gold on the shiny flagstone

Where the amber atoms in the fire gleaming Mingled their sarabande with the gymnopaedia.

Text: J.P. Contamine de Latour (1867-1926)

Translation: Rik de Best

《雪地上的腳印》 （傑利圖斯．葛特懷爾德編曲） 冬天是殘暴的死亡 它潛入每間瓦房 尋覓姊妹與父親 為他們演奏提琴

一些冬天落在我憂鬱的臉上 留待雪花爆裂片片 似釘子…… 死亡 為他們獻上一曲 用一把冰雪提琴 死亡…… 它內在毫無火焰 以抵擋風霜

原詞：萊納．瑪利亞．里爾克及 斯特凡．馬拉美

薩蒂

《裸體歌舞》，第一首 （ 威廉．奈特 根據帝多．維瑟的意念編曲） 斜線及陰影切割着洶湧激流 平滑石板上灑滿金色的流水 琥珀色原子在閃爍火焰中飛舞 以薩拉班德舞融合裸體的歌舞 原詞：J.P. 康塔米恩．德．拉圖爾

Alma Mahler

“ Die Stille Stadt” (arr. Clytus Gottwald) from Three Early Songs

Liegt eine Stadt im Tale, Ein blasser Tag vergeht, Es wird nicht lang mehr dauern, Bis weder Mond noch Sterne, Nur Nacht am Himmel steht.

Von allen Bergen drükken

Nebel auf die Stadt, Es dringt kein Dach noch Hof noch Haus, Kein Laut aus ihrem Rauch heraus, Kaum Türme noch und Brükken.

Doch als dem Wandrer graute, Da ging ein Lichtlein auf im Grund, Und aus dem Rauch und Nebel Begann ein leiser Lobgesan Aus Kindermund.

Texte: Richard Dehmel (1863-1920)

Alma Mahler

“ The Silent Town” (arr. Clytus Gottwald) from Three Early Songs

A town lies in the valley, A pale day fades, It will not be long, Before neither moon nor starlight, But night alone is in the sky.

From all the mountains

Mists weigh on the town, No roof, no courtyard, no house, No sound can pierce the smoke, Scarcely towers and bridges even.

But as the wanderer got frightened, A little light appeared on the ground, And from the smoke and mist A faint song of praise began From a child's lips.

Text: Richard Dehmel (1863-1920)

Translation: Wim Hendrix

“Laue Sommernacht ” (arr. Clytus Gottwald) from Three Early Songs

Laue Sommernacht,

Am Himmel stand kein Stern, In weiten Wäldern suchten wir uns tief im Dunkel, Und wir fanden uns.

Fanden uns im weiten Walde in der Nacht, Der sternenlosen, Hielten staunend uns im Arme In der dunklen Nacht.

War nicht unser ganzes Leben

Nur ein Tappen, nur ein Suchen?

Da in seine Finsternisse, Liebe, fiel Dein Licht.

Text: Otto Julius Bierbaum (1865-1910)

“Mild Summernight ” (arr. Clytus Gottwald) from Three Early Songs

Mild summer night,

In the sky not a star, In the deep forest we sought each other in the dark, And found one another.

Found one another in the deep forest in the night, The starless night, And amazed we held each other In the dark night.

Our entire life, was it not Just a grope, just a search? There into its darkness, Love, fell your light

Text: Otto Julius Bierbaum (1865-1910)

Translation: Wim Hendrix

艾瑪．馬勒

〈寂靜城市〉

（傑利圖斯．葛特懷爾德編曲） 選自《三首早期歌曲》

座落山谷中的小城 蒼白的一天消逝 它不會逗留太久 在月亮跟星星出現前 天空僅有黑夜停留

來自山的四面八方

雲霧籠罩着小城

不見屋頂、庭院與房舍 聲音穿不透濃霧層層 看不見橋樑和塔樓

但當流浪漢感到害怕 地面滲出一道微光 且從煙與霧之間 傳出靜靜的讚歌 發自孩子的唇間 原詞：戴默爾

〈溫和夏夜〉 （傑利圖斯．葛特懷爾德編曲） 選自《三首早期歌曲》

溫和夏夜 晚空無星 在森林深處互覓蹤影 我們最終發現彼此

夏夜在樹林深處找到對方 是一個無星之夜 我們驚奇地互相擁抱 在這個漆黑之夜

我們整整一生不就是 一場探索，一次尋覓？ 在生命的黑暗中 愛，灑下你的光吧 原詞：比爾鮑姆

Gustav Mahler

Im Abendrot (arr. Clytus Gottwald)

Wir sind durch Not und Freude Gegangen Hand in Hand, Vom Wandern ruhen wir beide Nun überm stillen Land.

Rings sich die Thäler neigen, Es dunkelt schon die Luft, Zwei Lerchen nur noch steigen Nachträumend in den Duft.

Tritt her, und lass sie schwirren, Bald ist es Schlafenszeit, Dass wir uns nicht verirren In dieser Einsamkeit.

O weiter, stiller Friede, So tief im Abendrot, Wie sind wir wandermüde, Ist dies etwa der Tod?

Text: Joseph von Eichendorff (1788-1857)

Richard Strauss

“Traumlicht ”

from 3 Männerchöre, TrV 270

Ein Licht im Traum Hat mich besucht, Es nahte kaum, Und nahm die Flucht.

Der Blick ist tief Hier eingesenkt, Den, als ich schlief, Du mir geschenkt.

Hell dämmert mild

Am Tage wach, O Nachtgebild, Dein Glanz mir nach.

Komm oft, o Stern, In meiner Ruh'! Dir schliess' ich gern Die Augen zu.

Text: Friedrich Rückert (1788-1866)

Gustav Mahler

In The Evening Glow (arr. Clytus Gottwald)

Through sorrow and joy

We have gone, hand in hand, From wanderinze both rest In this silent land.

Around us, the valleys bend, The sky is already darkening, Just two larks are rising up Still dreaming into the scented air.

Come here, and let them fly, Soon it will be time to sleep, So that we will not get lost In this solitude.

O wide, silent peace, So deep in the evening glow!

How tired we are of wandering, Is this perhaps our death?

Text: Joseph von Eichendorff (1788-1857)

Translation: Wim Hendrix

Richard Strauss

“Dreamlight ” from 3 Männerchöre, TrV 270

A light in a dream Visited me, It hardly came closer, Then took flight.

The gaze sank Deeply within in here, That, as I slept, You gave to me.

Brightly and mildly dawns, Awake at day, Oh, night-time image, Your glow at me.

Come often, oh star, During my rest! For you I gladly Close my eyes.

Text: Friedrich Rückert (1788-1866)

Translation: Wim Hendrix

古斯塔夫．馬勒 《在夕陽下》 （傑利圖斯．葛特懷爾德編曲） 我們同甘共苦 手牽着手上路 在旅途中稍息 在這寧靜之地 四周山谷圍繞 天色早已昏暗 只有兩隻雲雀飛起 在芬芳香氣中做夢

來，讓鳥兒飛 快到就寢時刻 別讓我們迷失 在這孤寂之中

啊，浩渺沉默的寧靜 深藏在夕照之下 我們已疲於流浪 難道這就是死亡？ 原詞：艾興多夫

李察．史特勞斯 〈夢之光〉， 選自《三首男聲合唱曲》，TrV 270

夢中一縷光 曾來探訪我 但還沒走近 就一飛而去

目光深深的 沉在我這裏 趁我入睡時 你向我投來 溫熙的黎明 在白天醒來 啊，夜的影像 仍向我閃耀

常來吧，星星 在我熟睡時 我樂於為你 闔上我眼睛 原詞：呂克特

Gustav Mahler

“Ich bin der Welt abhanden gekommen ” (arr. Clytus Gottwald)

Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben, Sie hat so lange nichts von mir vernommen, Sie mag wohl glauben, ich sei gestorben.

Es ist mir auch garnichts daran gelegen, Ob sie mich für gestorben hält, Ich kann auch garnichts sagen dagegen, Denn wirklich bin ich gestorben der Welt.

Ich bin gestorben dem Weltgetümmel, Und ruh in einem stillen Gebiet, Ich leb’ allein in meinem Himmel, In meinem Lieben, in meinem Lied.

Text: Friedrich Rückert (1788-1866)

Arnold Schoenberg

Dreimal tausend Jahre

Dreimal tausend Jahre seit ich dich gesehn, Tempel in Jerusalem, Tempel meiner Wehn!

Und ihr Jordanwellen, silbern Wüstenband, Gärten und Gelände grünen, neues Uferland.

Und man hört es klingen leise von den Bergen her, Deine allverschollnen Lieder künden Gottes Wiederkehr.

Text: Dagobert D.Runes (1902-1982)

Gustav Mahler

"I Am Lost to the World' (arr. Clytus Gottwald)

I am lost to the world, With which I used to waste much time, It has heard nothing from me for so long, It may well believe that I am dead.

Also, I do not care at all, If it should think that I am dead, Nor can I deny it, Because I am really dead to the world.

I am dead to the world’s tumult, And rest in a quiet domain, I live alone in my heaven, In my love, in my song.

Text: Friedrich Rückert (1788-1866)

Translation: Wim Hendrix

Arnold Schoenberg

Three Thousand Years

Three thousand years since last I saw you, Temple of Jerusalem, temple of my sorrows!

And you too, waves of the Jordan, silvery desert belt, Gardens and land of green, new shores

And heard sounding softly from the mountains, Your forgotten songs, heralding God’s return.

Text: Dagobert D. Runes (1902- 1982)

Translation: John Thornley

古斯塔夫．馬勒 〈我被世界遺棄〉 （傑利圖斯．葛特懷爾德編曲） 我被世界遺棄 我在此世虛耗時光 世界很久沒我消息 可能以為我已死亡

但我一點不在乎 若以為我已逝去 我也無話可反駁 我確從世間死去

我已死於此世的動蕩 安息於一個寧靜角落 我獨自活在我的天堂 在我的愛、我的歌中 原詞：呂克特

荀伯格 《三千年來》 上次見你， 距今已三千年 耶路撒冷聖殿， 我悲傷的殿堂！

還有你，約旦河的波浪， 銀色沙漠帶 花園、翠綠土地、新的河岸 聽見山間輕輕傳來 你久違的歌曲，預告神的歸來 原詞：魯內斯

Arnold Schoenberg

Friede auf Erden

Da die Hirten ihre Herde Ließen und des Engels Worte Trugen durch die niedre Pforte Zu der Mutter und dem Kind, Fuhr das himmlische Gesind Fort im Sternenraum zu singen, Fuhr der Himmel fort zu klingen: Friede, Friede auf der Erde!

Seit die Engel so geraten, O wie viele blut’ge Taten

Hat der Streit auf wildem Pferde, Der geharnischte vollbracht!

In wie mancher heil’gen Nacht

Sang der Chor der Geister zagend, Dringlich, flehend, leis verklagend: Friede, Friede auf der Erde!

Doch es ist ein ew’ger Glaube, Daß der Schwache nicht zum Raube

Jeder frechen Mordgebärde

Werde fallen alle Zeit

Etwas wie Gerechtigkeit

Webt und wirkt in Mord und Grauen

Und ein Reich will sich erbauen, Das den Frieden sucht der Erde.

Mählich wird es sich gestalten, Seines heil’gen Amtes walten, Waffen schmieden ohne Fährde, Flammenschwerter für das Recht, Und ein königlich Geschlecht

Wird erblühn mit starken Söhnen, Dessen helle Tuben dröhnen: Friede, Friede auf der Erde!

Text: Conrad Ferdinand Meyer (1825-1898)

Arnold Schoenberg Peace on Earth

As the shepherds left their flocks and brought the Angel’s words through the lowly gate to the mother and her child The heavenly host went on singing among the stars The heavens echoing to the sound: “Peace, peace on Earth!”

Since the angels sang that message, oh, how many bloody deeds have been accomplished, riding the wild horse in armour! On so many holy eves the quailing choir of spirits sang, urgently pleading, softly moaning: “Peace, peace on Earth!”

Yet there is an eternal belief that the weak shall not be prey to every brazen murderous threat issuing time and time again Something that resembles justice is woven into dread and killing, and an empire shall arise, that looks for peace upon the Earth.

Gradually it will take shape and exercise its sacred office, forging weapons without danger, flaming swords of justice And a royal, princely race shall flourish, with strong and sturdy sons, their bright trumpets proclaiming: “Peace, peace on Earth!”

Text: Conrad Ferdinand Meyer (1825-1898)

Translation: John Thornley

荀伯格 《和平降臨大地》

當牧人離開羊群 帶來天使的訊息 穿過低矮的柵欄 走向母親和孩子 天上的聖靈繼續 在星辰之間歌唱 天空依舊迴盪着： 「和平，願大地和平！」

因為天使早已料到 有多少血腥暴行 會披上盔甲騎着野馬 在人間到處肆虐！ 在這麽多神聖的夜晚 靈魂合唱團膽怯地歌唱 在急切哀求、輕聲申訴： 「和平，願大地和平！」

始終抱着一個信念 弱者不該成獵物 讓無恥凶殘的威脅 一次次的向他襲來 有些看似正義之物 與恐懼和殺戮周旋 有個王國將會崛起 在大地上尋求和平

這王國會漸漸成形 履行它的神聖職責 鍛造不危害人的武器 發出火焰的正義之劍 一個高貴威嚴的王族 將會繁衍強壯的子孫 以明亮的號角宣告： 「和平，願大地和平！」

原詞：邁耶

所有歌詞中文翻譯：徐昌明 Chinese translation of all lyrics:

Ben Tsui

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:

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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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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

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宗教及哲學系 Department of Religion and Philosophy

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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

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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 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

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

Our home base most promising.

amongst the world's

我們位於世界最具潛力的城市之一 is

1899.Childe Hassam - New England Headlands