Philharmonic 波羅的海愛樂樂團
A 三月十四日演出贊助
MAR PERFORMANCE SPONSORED BY
14
Baltic Sea
獻辭 MESSAGE
第五十二屆香港藝術節隆重舉行，可喜可賀。
歷經五十餘年，香港藝術節已成為享譽國際的文化盛 事。今屆藝術節續放異彩，雲集約1,400名本地及海 外藝術家，帶來逾150場不同類型的表演，由音樂、 歌劇、戲曲，以至戲劇、舞蹈、跨媒體藝術和大型特 備節目等，必定是另一場令人難忘的藝術盛宴。
今屆藝術節以李察．史特勞斯的《拿索斯島的亞莉安 妮》揭開序幕，由巴伐利亞國立歌劇院獻上這齣莊諧 並重的精妙劇作，令人期待。個多月後，上海芭蕾舞 團將呈獻中國與法國聯合製作的《花樣年華》，作為 藝術節的閉幕表演。這齣精彩絕倫、中西協作的芭蕾 舞劇，正好反映香港獨特的中西創意文化根源，並彰 顯我們作為中外文化藝術交流中心的重要地位。今年 藝術節匯聚全球各地佳作，包括別具一格的「聚焦當 代阿拉伯」系列，更形豐富多采。
我對香港的文藝創意事業前景充滿信心。政府銳意竭 盡所能，鼓勵本地藝術家奮發向上，並確保他們獲 得所需和應得的表演機會。正如我在《施政報告》所 述，新成立的文創產業發展處每年會推動60個業界考 察團、海外展覽及其他文化展演活動；「電影發展基 金」和「創意智優計劃」共獲注資43億元，以支持本 港電影業；「重點演藝項目計劃」亦即將推出，協助 本地大型表演藝術創作，以及培育代表香港的國際文 化品牌。
政府會繼續與各界攜手合作，積極推動文化藝術及創 意業界的發展。
我感謝香港藝術節團隊一直堅持不懈，為藝術奉獻心 力；並感謝各贊助商和善長鼎力支持，令藝術節異彩 紛呈。
今年藝術節會為香港帶來絢麗多姿、賞心悅目的文化 藝術世界。希望大家盡情投入，享受每個璀璨時刻。
I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 52nd edition.
Over this past half century and more, the Hong Kong Arts Festival has grown into a celebrated international cultural event. This year promises to be another memorable Festival, featuring about 1,400 overseas and local artists in more than 150 performances across multiple genres, from music, opera and Chinese opera to theatre, dance, multi-arts and large-scale special events.
This year’s Festival opens with the Bayerische Staatsoper’s presentation of Richard Strauss’ Ariadne auf Naxos, a bravura mingling of high art and comedy. It closes, more than a month later, with the Sino-French coproduction of the Shanghai Ballet’s A Sigh of Love. This inspired East-West collaboration reflects Hong Kong’s singular East-West creative and cultural roots and our growing role as an East-meets-West centre for international cultural exchange. Indeed, this year’s Festival is rife with performances from all over the world, including a special Arab Arts Focus series.
I believe in Hong Kong’s creative promise, and my Government is determined to do all it can to encourage our local artists and ensure that they have the performance access they need and deserve. As I mentioned in my Policy Address, our newly established Cultural and Creative Industries Development Agency will promote 60 industry missions, overseas exhibitions and other cultural showcases annually; a total of $4.3 billion will be injected into the Film Development Fund and the CreateSmart Initiative to support our film industry; and the Signature Performing Arts Programme Scheme will be launched to assist largescale, local performing arts productions and nurture the development of Hong Kong cultural brands internationally. The Government will continue to work hand in hand with relevant sectors to proactively promote the development of arts, culture and creative industries.
I am grateful to the Hong Kong Arts Festival for its longstanding commitment to the arts, and to the Festival’s many sponsors and donors for their generous support.
A world of arts and cultural spectacle and entertainment awaits Hong Kong. I know you will enjoy every dazzling moment of this year’s Hong Kong Arts Festival.
John KC LEE Chief Executive Hong Kong Special Administrative Region
1 香港特別行政區行政長官 李家超
獻辭 MESSAGE
歡迎閣下蒞臨第52屆香港藝術節。在我們慶祝今屆全
面回歸之際，我由衷地感謝您在疫情期間及過後依舊
堅定不移地支持我們。面對着瞬息萬變的環境，我們
致力促進藝術的未來發展，為推廣及傳承藝術發掘更 多機遇。因此，我特別珍惜今天與大家聚首一堂欣賞 表演藝術的機會，並希望向所有為藝術發展作出貢獻 的人士致以崇高的敬意。
我衷心感謝香港特別行政區政府透過康樂及文化事務 署提供年度恆常撥款，為香港藝術節的長遠發展奠下 基石。此外，我亦非常感激香港賽馬會慈善信託基金 以及一眾企業贊助機構、慈善基金會和個人捐助者的 慷慨貢獻，鼓勵我們繼續為城市增添文化藝術氣息。
我向所有參與藝術節的藝術家深表謝意。香港藝術節 很榮幸能夠呈獻精采紛呈的國際頂尖演出、培育本地 人才和委約新作品。我也格外感激藝術節團隊一直以 來的默默奉獻，令藝術節得以順利進行。
最後，我再次感謝您今天前來欣賞演出。香港藝術節 非常重視每一位觀眾的支持和參與。希望這個節目能 夠為您帶來無限喜悅、共鳴和靈感。
I warmly welcome you to the 52nd Hong Kong Arts Festival. Thank you for your staunch support, especially during and after the tumultuous period brought by the pandemic. With the Festival now back in full swing, we cherish this opportunity to come together once again and appreciate the arts with you. As we celebrate the Festival’s full-scale comeback and contemplate the development of the arts in this ever-changing environment, I would like to express my gratitude to everyone who has played a critical role in nurturing and sustaining the performing arts scene.
I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, which has graciously provided an annual subvention that serves as the bedrock of our ongoing efforts. The unwavering support from The Hong Kong Jockey Club Charities Trust, as well as other corporate sponsors, charitable foundations and individual donors, has encouraged us to further our work and continue enriching the community through the arts.
My sincere thanks go to all participating artists. It is truly an honour for us to present such a diverse range of exceptional performances, nurture local talent and commission new works. I would also like to thank the Festival staff, whose dedication has been indispensable in bringing this Festival to life.
Above all, I extend my heartfelt appreciation to you for joining us at today's performance. The Festival deeply values and relies on your support and engagement. May this programme bring you immense joy, resonance and inspiration.
Victor Cha Chairman Hong Kong Arts Festival
香港藝術節主席 查懋成
前言 FOREWORD
走過半世紀的香港藝術節，一直為國際與本地最優秀
的表演者搭建舞台，積極促進中外文化交流。經歷了
三年疫情的洗禮，藝術節終於在第52屆再度迎來「花
樣年華」，在全面復常的狀態下再度為本地觀眾與遊 客獻上今天和明日的經典，不單讓大家可以從眾多音 樂、舞蹈、戲劇、戲曲和多媒體作品中重新細賞遺世 瑰寶，更邀來多位重量級中外大師坐鎮，陣容鼎盛、 豐富多元，足以滿足不同觀眾群體的喜好。
今屆我們繼續支持本地藝術發展，為香港的藝術家提 供創作土壤，更連結國際及本地精英聯手開闢藝術新 境界。同時鼓勵藝術家善用創新科技融合創意，為觀 眾帶來耳目一新的體驗。
此外，香港藝術節亦繼續大力投放資源於藝術教育與 觀眾拓展，培育青少年對藝術的興趣與認識，因為我 們相信，文化藝術是一個城市生命力的最重要來源之 一。啟迪下一代，方能讓香港藝術發展生生不息，繼 續創造今明經典。
藝術節團隊與我們的藝術家同儕都會竭盡所能，為觀 眾帶來優質的藝術體驗。希望您會喜歡本屆香港藝術 節為您精心準備的這一場演出。
For more than half a century, the Hong Kong Arts Festival has provided a stage for the most outstanding local and international performers, and actively enhanced cultural exchanges between China and the rest of the world. After three years of the pandemic, we are delighted to come back in full force and present to local audiences and overseas visitors treasured classics of today and tomorrow. Our programme features an eclectic lineup of music, dance, theatre, Chinese opera and multimedia productions, with a range of Chinese and international legends set to command the stage. With such a rich and diverse programme, there is something to delight everyone.
This year, our ongoing support for the development of local artists provides opportunities for them to flex their creative muscles through collaborations with leading artists from all over the world. At the same time, we also empower artists to innovate through the power of technology and create refreshing experiences for our audiences.
What’s more, we have continued investing heavily in arts education and audience development, encouraging younger audiences to cultivate an interest in the arts. At the Festival, we believe that the arts are a vital source of life in Hong Kong’s urban landscape. By nurturing the next generation’s passion and appreciation for the arts, we can propel the city’s artistic development sustainably.
Together with all artists, the Festival team is committed to delivering exceptional artistic experiences to you. We hope that you will enjoy the programme that we have specially curated for you today.
香港藝術節行政總監
余潔儀
香港藝術節資助來源：
The Hong Kong Arts Festival is made possible with the funding support of:
Flora Yu Executive Director Hong Kong Arts Festival
香港藝術節 Hong Kong Arts Festival
扎根香港的國際藝壇盛事 聯繫中國與世界
An International Arts Festival in Hong Kong Connecting China and the World
香港藝術節 於1973年正式揭幕，是國際藝壇中重要的 文化盛事，於每年2、3月期間呈獻眾多優秀本地及國 際藝術家的演出，以及舉辦多元化的「加料」和教育 活動，致力豐富香港的文化生活。
香港藝術節 是一所非牟利機構，2023/24財政年度預 計收入（包括第52屆香港藝術節及2024年「無限亮」） 約港幣一億五千萬，當中香港特區政府的年度撥款佔 總收入約12%，另外約25%需來自票房收入，約48% 則須依賴來自各大企業、熱心人士和慈善基金會的贊 助和捐款。預計餘下的約15%則來自其他收入，包括 政府針對捐款和贊助收入而提供的配對資助。
香港藝術節 每年呈獻眾多國際演藝名家精采多元的演 出，例如*：
•歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯 科大劇院、聖彼得堡馬林斯基劇院
•中國戲曲：中國國家京劇院、河北梆子劇院、上海 張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百 花越劇團
•古典音樂：塞西莉亞 芭托莉、列卡杜 沙爾、趙成 珍、古斯塔沃 杜達美、菲力普 格拉斯、劉曉 禹、馬友友、丹尼斯 馬祖耶夫、安娜 涅翠柯、 詹安德列亞 諾斯達、小澤征爾、湯瑪士．夸斯托 夫、甘拿迪 羅傑斯特汶斯基、譚盾、湯沐海、克 里斯蒂安 泰利曼、班貝格交響樂團、倫敦交響樂 團、NHK交響樂團、皇家阿姆斯特丹音樂廳樂團、 柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也 納愛樂樂團
•爵士樂及世界音樂：波比 麥非年、尤蘇 恩多爾、 艾斯佩蘭薩 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
•舞蹈：米高 巴里殊尼哥夫、蕭菲 紀蓮、艾甘 漢、 娜塔麗亞 奧斯波娃、美國芭蕾舞劇院、雲門舞集、
漢堡芭蕾舞團—約翰．紐邁亞、紐約市芭蕾舞團、
巴黎歌劇院芭蕾舞團、翩娜 包殊烏珀塔爾舞蹈劇場
•戲劇：彼得 布祿克、羅伯特．利柏殊、蜷川幸雄、 羅柏特 威爾遜、柏林劇團、中國國家話劇院、皇 家莎士比亞劇團
•大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊
•戶外節目：《聲光園》、《幻光動感池》、《聲光頌》
香港藝術節 積極與本地演藝人才合作，並致力為新進 藝術家提供展示才華的平台。藝術節至今委約及製 作逾250套本地全新創作，包括粵劇、戲劇、室內歌 劇、音樂和舞蹈作品，不少製作更已在香港及海外多 度重演。近年的藝術節新製作包括《飯戲攻心》踏台 版、《末戀 無愛合約》、《我們最快樂》、《鼠疫》、 《陪着你走》、《百花亭贈劍》、《香港家族》三部曲、
The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts, as well as a diverse range of “PLUS” and educational events, in February and March each year.
The HKAF is a non-profit organisation. The total estimated income for FY2023/24 (including the 52nd Hong Kong Arts Festival and 2024 “No Limits” programme) is approximately HK$150 million. Current Government annual funding accounts for around 12% of the Festival’s total income. Around 25% of the Festival’s income needs to come from the box office, and around 48% from sponsorship and donations by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private-sector sponsorship and donations.
The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N’Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced more than 250 local productions across various genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include Table for Six on Stage, Loveless Romance, We Are Gay, The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, Hong Kong Odyssey, Danz Up, Datong–The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.
4
《世紀． 香港》、《炫舞場》、《大同》、《金蘭姊妹》、 《聖荷西謀殺案》等。
香港藝術節 多年來與知名海外藝術家及團體聯合製作
不少優秀作品，當中包括由香港藝術節、香港歌德學
院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗 人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街 製作公司製作、香港藝術節為聯合委約機構之一的 「橫貫計劃」之《暴風雨》及《李察三世》、由香港 藝術節及上海國際藝術節聯合委約的《青蛇》、香港 藝術節與三藩市歌劇院聯合製作的《紅樓夢》、香港 藝術節與芬蘭國家歌劇院及芭蕾舞團聯合製作的《拉 娜》等。
香港藝術節 大力投資下一代的藝術教育。「青少年之 友」成立31年來，已為逾820,000位本地中學生及大專 生提供藝術體驗活動。藝術節近年亦開展多項針對大、
中、小學生的藝術教育活動，包括由國際及本地藝術家
主持的示範講座及工作坊、學生展演、演前講座、公開 彩排以及欣賞藝術節演出。同時，通過「學生票捐助計 劃」，藝術節每年提供約10,000張半價學生票。
香港藝術節每年主辦一系列多元化並深入社區的「加料 節目」，例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等， 鼓勵觀眾與藝術家互動接觸。
香港藝術節亦銳意將共融藝術理念拓展到社區每一角 落。由藝術節與香港賽馬會慈善信託基金聯合呈獻 的「無限亮」計劃於2019年正式開展，透過一系列的 演出及多元的教育及社區外展節目，「無限亮」致力 創造共融空間，讓不同能力人士均可以一同欣賞、參 與、擁抱藝術。
為創造更穩健的財政環境以及確保藝術節的長期可持 續性， 香港藝術節基金會 於2022年成立，旨在讓藝術 節在未來進行年度預算以外的大型特別項目。
（2023年12月更新 Updated December 2023）
*有關香港藝術節的過往節目，可參考以下網頁
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer), co-produced by the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch; Richard III and The Tempest, produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution; Green Snake, co-commissioned with the Shanghai International Arts Festival; Dream of the Red Chamber, co-produced with the San Francisco Opera; and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. During the past 31 years, our “Young Friends” scheme has reached more than 820,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 halfprice student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions and guided cultural tours.
The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future large-scale projects which its annual budget cannot cater for.
Details of past HKAF programmes can be found at https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2023.html
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
電郵 Email: dev@hkaf.org
直綫 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
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香港賽馬會主席 利子厚先生 JP
Mr. Michael T H Lee , JP
香港賽馬會主席利子厚先生獻辭
Message by Mr. Michael T H Lee Chairman of The Hong Kong Jockey Club
半個多世紀以來，香港藝術節致力綻放文化藝術之美，匯聚各地精彩節 目，觸動無數市民，同時吸引海外遊客參與。香港賽馬會很榮幸自香港 藝術節創辦初期，便一直捐助支持這項盛事，把世界級表演帶到香港， 並透過交流計劃培育本地演藝人才。
香港藝術節今年邁向疫後全面復常，並以「花樣年華獻今明經典」為 主題，帶來一系列永恆經典和創意傑作。其中，「香港賽馬會藝粹系列」
將會呈獻三個極盡視聽之娛的節目：巴伐利亞國立歌劇院在港首演的李 察．史特勞斯歌劇《拿索斯島的亞莉安妮》、波羅的海愛樂樂團演繹古 典與重金屬音樂交匯的《重金屬交響曲》，以及米蘭史卡拉歌劇院芭蕾 舞團演出的舞劇《海盜》，觀眾定必翹首以待。
除此之外，為了緊貼最新藝術發展及創意趨勢，馬會慈善信託基金亦獨 家贊助荷蘭室內合唱團上演的《心動梵高》。這個別開生面的演出將為 觀眾帶來畫中有聲、聲中有畫的視聽盛宴，呈現藝術的無限可能。
為積極推動藝術多元發展，令藝術更為普及，「香港藝術節@大館」項 目在「大館——古蹟及藝術館」室內及戶外不同角落，舉行場域特定的沉 浸式藝術表演，刺激觀眾想像。我們同時透過「香港賽馬會學生專享節 目」，讓來自不同背景的學生都有機會接觸藝術。
馬會對香港藝術節的長期支持，正好反映我們不遺餘力地推動藝術、文 化和保育發展，為社會注入藝術文化活力，豐富大眾生活及推動創意共 融，貫徹其致力建設更美好社會的宗旨。這有賴馬會獨特的綜合營運模 式，透過提供世界級賽馬運動及娛樂，將博彩需求轉化為社會效益，從 而創造就業機會，同時帶來重要的稅款和慈善捐款，回饋香港。
展望未來，馬會將繼續支持各類型藝術文化項目，弘揚中華優秀傳統文 化，提升業界水平。馬會期望為香港特區政府推展《文藝創意產業發展 藍圖》出一分力，並在國家「十四五」規劃下，支持香港發展成為中外文 化藝術交流中心的願景。
在此衷心感謝香港藝術節協會對推廣文化藝術的熱誠和堅持，以及一眾贊 助和合作夥伴的踴躍支持。祝願各表演者演出成功，觀眾們盡興而歸。
CHAIRMAN, THE HONG KONG JOCKEY CLUB
For over half a century, the Hong Kong Arts Festival has showcased the very best of arts and culture from around the world, both delighting local residents and proving a valuable draw for overseas visitors. The Hong Kong Jockey Club is honoured to have supported the Festival since its inception, providing funding to bring several world-class ensembles to our city each year whilst also helping to nurture local talent.
This year’s edition of the Festival marks a much-anticipated return to full-scale programming following the pandemic. Under the theme of “Years in Bloom”, it will offer festival-goers a panoply of local and international productions ranging from enduring masterpieces to innovative contemporary creations. Highlights include the Hong Kong premiere of Richard Strauss’s opera Ariadne auf Naxos by the renowned Bayerische Staatsoper; the Baltic Sea Philharmonic’s performance titled Bright & Black, a captivating collision of classical music and heavy metal; and Le Corsaire by the internationally-acclaimed Teatro alla Scala Ballet Company. These productions comprise “The Hong Kong Jockey Club Series” and are sure to be among the most sought-after programmes.
While supporting these three pillar productions, we are keeping abreast of the latest trends in artistic development and creativity. The Club’s Charities Trust will be sole sponsor of the Netherlands Chamber Choir’s mesmerising production Van Gogh in Me – an audiovisual feast that makes paintings audible and sounds visible, expanding the infinite possibilities of art.
The Festival also provides another opportunity to realise our commitment to diversity and accessibility. Through the “HKartsFestival@TaiKwun” initiative, we are curating site-specific immersive art performances in every nook and cranny of Tai Kwun – Centre for Heritage and Arts, designed to stimulate audiences’ imagination. In addition, we shall be providing students from all backgrounds with valuable opportunities to engage with the arts through The Hong Kong Jockey Club Student Matinee Programme.
Our long-standing support for the Festival exemplifies the Club’s dedication to fostering local development of arts and culture, through which we seek to build a culturally vibrant Hong Kong, enrich lives and promote social inclusion. It also underlines our purpose of acting continuously for the betterment of society. The Club’s contributions are made possible by its unique integrated business model through which it provides world-class racing sport and entertainment while channelling wagering demand for community benefit in the form of significant tax contributions, charity donations as well as through providing employment.
Moving forward, the Club will continue to support a wide range of arts and cultural initiatives citywide, championing the rich heritage of traditional Chinese culture and enhancing the industry’s capacity. In doing so, we aim to contribute to the Government’s implementation of its Blueprint for Arts and Culture and Creative Industries Development, as well as help Hong Kong develop into an East-meets-West centre for international cultural exchange, in alignment with the National 14th Five-Year Plan.
I extend my heartfelt gratitude to the Hong Kong Arts Festival Society for its unwavering passion and commitment to promoting arts and culture, as well as to all sponsors and partners for their enthusiastic support. May I wish all performers a resounding success, and all audiences a truly memorable and enjoyable experience.
香港藝術節
HONG KONG ARTS FESTIVAL
感謝 would like to thank
贊助 for sponsoring
「香港賽馬會藝粹系列」之 波羅的海愛樂樂團
《重金屬交響曲》
Baltic Sea Philharmonic Bright & Black as part of
The Hong Kong Jockey Club Series
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波羅的海愛樂樂團
Baltic Sea Philharmonic
香港賽馬會藝粹系列
The Hong Kong Jockey Club Series
《重金屬交響曲》
Bright&Black
14.03.2024 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約1小時25分鐘，不設中場休息
Approximately one hour and 25 minutes with no interval
本節目有強光、閃光、煙霧效果及巨大聲響。
This production contains strong lighting, strobe lights, smoke effects and loud sound
《胡桃夾子狂想》
NutcrackerReimagined
16.03.2024 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約1小時35分鐘，不設中場休息
Approximately one hour and 35 minutes with no interval
本節目有強光、閃光及煙霧效果。
This production contains strong lighting, strobe lights and smoke effects
※請勿擅自攝影、錄音或錄影
Unauthorised photography or recording of any kind is strictly prohibited ※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
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.
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© Paul Gärtner
© Bernd Possardt ©Tero Vihavainen
封面照片 Cover photograph
Eicca Toppinen ©Jaro Suffner Baltic Sea Philharmonic © Tero Vihavainen Nutcracker Reimagined © Bernd Possardt
波羅的海愛樂樂團
Baltic Sea Philharmonic
波羅的海愛樂樂團把管弦樂音樂會的體驗提升 至另一層次。在音樂總監兼創團指揮克里斯蒂 安．約菲的指揮下，樂團把音樂、科技、編 舞、視覺藝術、燈光及音響設計融為一體，交 織出壯觀矚目的舞台效果。
波羅的海愛樂樂團的成員來自十個不同的 北歐國家，他們的組合跨越國界、凝聚彼此，同 時又體現北歐大膽創新、精益求精的精神。2008 年在烏瑟敦島音樂節支持下，波羅的海愛樂樂團 成立，其引人入勝的表演廣獲好評，更在一個歷 史上分隔的區域凝聚了團結的力量。此外，樂團 曾於歐洲和其他國家的著名藝術節和最頂尖的音 樂廳演出，當中包括漢堡易北愛樂廳及杜拜歌劇 院。為了表彰其成就，歐洲文化基金會於2015年 向樂團頒授歐洲文化獎。樂團曾與世界首屈一指 的藝術家同台演出，包括茱莉亞．費雪、庫特． 馬素爾、吉唐．克雷瑪、里克特和英國獨立流行 樂隊巴士底樂隊。波羅的海愛樂樂團的音樂會更 於全球播映。樂團為索尼古典唱片灌錄的專輯包 括《華格納指環：管弦組曲》、《睡美人》和《胡 桃夾子》，展現了樂團的多才多藝及無窮創意。
除了國際巡迴演出，教育和培訓人才也是 樂團的核心使命。他們致力發展音樂家的專業 技巧，尤其是背譜演出，並且擴展其音樂視野。
The Baltic Sea Philharmonic elevates the orchestral concert experience to new heights. The ensemble’s transformational performances under the baton of Music Director and Founding Conductor Kristjan Järvi fuse music, technology, choreography, visual art, and captivating lighting and sound design to spectacular effect.
As a collective of musicians from 10 Nordic countries, the Baltic Sea Philharmonic transcends boundaries and fosters unity, and embodies all of the innovative and progressive spirit of the Nordic region. Since its inception in 2008 under the auspices of the Usedom Music Festival, the orchestra has been acclaimed for its mesmerising performances and its powerful message of unity in a historically divided region. It has played at renowned festivals and in the most prestigious concert halls in Europe and beyond, including the Elbphilharmonie in Hamburg and the Dubai Opera. In recognition of its accomplishments, the orchestra was honoured with the European Culture Prize by the European Culture Foundation in 2015. The world’s finest artists, from Julia Fischer and Kurt Masur to Gidon Kremer, Max Richter and the British indie pop band Bastille, have joined the Baltic Sea Philharmonic on stage, and the orchestra’s concerts are broadcast globally. Notable albums for Sony Classical, including Wagner–TheRing:AnOrchestralAdventure,Sleeping Beauty and Nutcracker, showcase the ensemble’s versatility and creative range.
Education and training have, alongside international touring, always been at the heart of the orchestra’s mission, with a commitment to developing the musicians’ professional skills and expanding their musical horizons, especially in the area of memorised performance.
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© Bernd Possardt
藝術總監、指揮 克利斯蒂安．約菲
克利斯蒂安．約菲活在音樂的世界，一呼一吸皆 為音樂，他運用音樂的力量創造無限可能。作為
一個指揮、音樂製作人、作曲家和編曲家，他不
斷追求大膽前衛的嘗試。他自家經營製作公司 「陽光製作」，以創意手法製作音樂。如路透社描 述，「約菲被譽為古典音樂界中最聰慧、最創新 的古典音樂製作人之一」。
作為指揮，他在大型國際舞台上如魚得水， 曾指揮不同經典作品，從華格納到柴可夫斯基、 史提夫．萊克到電台司令，以及他的自家製作， 他的作品永不受流派所限。約菲亦與其樂團及樂 隊創造獨特的音樂，包括紐約的古典嘻哈爵士樂 隊「絕對合奏團」、波羅的海愛樂樂團以及陽光製 作旗下的樂隊「北歐脈動」。
約菲與陽光製作團隊致力提升音樂的層次， 共同開拓多感官表演的新體驗。2020年末，約 菲創辦了新唱片公司nEscapes，在線上音樂平台 發行曲目，亦為藝術家提供獨特的「nEscapes空 間」，開創全新的聆聽音樂模式。
除了他的個人製作，約菲還在國際上與多位 傑出藝術家合作，包括為導演湯．泰華創作電影 《巴比倫柏林》的配樂；亦為著名藝人錄音，例 如 múm、國民樂團的布萊斯．德辛、豪希卡、羅 伯特．柯霍和馬克斯．里克特。約菲更於2021年 出演Amazon Prime的紀錄片《重編巴士底》。
Artistic Director,Conductor Kristjan Järvi
Kristjan Järvi lives and breathes music, using its power to create spaces in which anything is possible. Järvi pursues his pioneering ideas as a conductor, producer, composer and arranger. Embracing everything with creative entrepreneurship, he runs his own production company, Sunbeam Productions. As Reuters put it, Järvi “has earned a reputation as one of the canniest, and most innovative programmers on the classical scene”.
As a conductor, he is at home on the big international stages, directing classics from Wagner to Tchaikovsky and from Steve Reich to Radiohead, as well as his original productions without any genre boundaries. Järvi developed his own unique sound with his New York-based classical-hip-hop-jazz group Absolute Ensemble, the Baltic Sea Philharmonic and Sunbeam̓s in-house band, Nordic Pulse.
Järvi shapes his artistic life and takes expression to the next level with his team at Sunbeam Productions, with whom he creates a new paradigm for multisensory performance experiences. At the end of 2020, Järvi founded the new record label nEscapes which, along with online music distribution, also offers its unique nEscapes Lounges to artists as a new listening format.
Besides his own productions, Järvi collaborates internationally with outstanding artists including director Tom Tykwer (for the soundtrack of Babylon Berlin) and recording artists such as múm, Bryce Dessner (The National), Hauschka, Robot Koch and Max Richter, and in 2021 appeared in the Bastille ReOrchestrated documentary on Amazon Prime.
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©Lawrence Ng Workhouse
《重金屬交響曲》之創作源起
Creative Notes on Bright & Black
《重金屬交響曲》顧名思義，充滿金屬音樂 的氣息。重金屬音樂有着自身獨特的氣質與
感覺，滿載希望與幻想。它蘊含了探視我們
內在感受的渴望。我們心底陰暗之處，須要 透過感受與探索，讓它重見天日。我們最難 以面對的，往往就是各種面向的情感世界， 以及加諸其上的限制及影響。它幾乎像是沒 有調性的半音階音樂，純粹以完全表達為基 礎。它同時更原始和狂野，就如大自然一樣。
因此，《重金屬交響曲》是一趟奇幻的 旅程，穿梭於北歐的景色，撫摸大自然的感 性，感受它的質感、粗曠、美麗與野性、平 靜與靜止，同時全身經歷着沸騰至狂喜的顛 峰。這是一趟載着自然情感的過山車歷險， 它不僅關乎個人，更提供我們作為共同體的 體驗。這趟旅程反映了大自然，而我們亦是 大自然本身，因此我們正是嘗試從這種二元 分野中逃離。透過這場音樂會，我們正邁向 欣喜與幸福的境界。
從某種意義而言，這個音樂會令我們解 脫精神約束。它讓我們進入統一的領域，透 過感受而非概念去想像。從沒有人將管弦樂 團視為金屬樂隊，但在這次演出中，我們正 是這樣的存在。
撰文：克利斯蒂安．約菲
Bright & Black is exactly as its name implies, the feeling of what metal music is all about. Heavy metal has a certain vibe, a certain feeling, which is full of hope and fantasy. It contains many wishes about getting in touch with our feelings. It’s a dark place, but it has to be felt, explored and brought to a point of light. It’s the conditioning and all of the influences and all of the different aspects of our world of feelings that we find the hardest to confront. It’s almost like chromatic music which has no tonality, but is based on full expression. It is more tribal and more wild, just like nature.
So, Bright & Black is a fantastic journey through the landscape of the Nordic and northern European sensibility of nature, its textures, its roughness, its beauty and wildness, its calmness and stillness, and at the same time completely boiling over with ecstasy to the point of rapture. It’s a rollercoaster of natural feelings that aren’t only expressed in ourselves individually, but as a collective organism together. It’s a reflection of nature, and we are also nature. So, it’s this duality we are escaping from. And through this concert, through this project, we are reaching a level of singularity that only euphoria and bliss can bring.
In a sense, this project offers a way out of the mental conditioning. A way for us to enter a unified field and imagine something that is felt, not conceptualised. An orchestra has never been seen as a metal band before, and in this concert, that’s what we are.
Text: Kristjan Järvi
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© Siiri Kumari
弗雷德里克．奧格桑
《尼杜格》
尼可．柯吉斯德
《血磨》
雅各．海爾納
麗茲．馬蒂克斯．海爾納
《不能解釋》
Fredrik Åkesson (b. 1972)
Nidhugg
Nico Elgstrand (b. 1971)
Bloodgrind
Jacob Hellner (b. 1961)
Lizzie Zackrisson Hellner (b. 1963)
Can't Explain This 埃卡．托皮寧
《附帶損害》
雅各．海爾納
埃卡．托皮寧
《秘密》
艾瑞克．丹尼爾森
《不幸的山峰》
Eicca Toppinen (b. 1975)
Collateral Damage
Jacob Hellner
Eicca Toppinen
The Secret
Erik Danielsson (b. 1982)
Mounts of Misfortune
17
& Black
《重金屬交響曲》 Bright
14.03.2024
18
(b. 1971)
(b. 1980)
Armies of the Preposterous
(b. 1972)
Lizzie Zackrisson Hellner
Pieces and their order of performance are subject to change
19
20
©Lawrence Ng Workhouse
作曲、大提琴獨奏 埃卡．托皮寧
埃卡．托皮寧是一位芬蘭大提琴家和作曲家，擁 有深厚的古典樂底子。他熱愛各類型音樂，尤其 是重金屬音樂，並能巧妙地將古典樂技巧演奏融 入重金屬音樂。托皮寧最廣為人知的身份，是大 提琴金屬樂隊「金屬啟示錄」的成員。金屬啟示 錄於1993年由他與隊友共同創立。
1990至2000年間，托皮寧曾與眾多室內樂 組合合作，與芬蘭頂尖的年輕音樂家一同演出， 周遊列國參演過百場音樂會。他在九十年代期間 曾擔任芬蘭廣播交響樂團及芬蘭Avanti!室內樂 團樂手，又在西貝流士音樂學院室內樂團及隨想 曲樂團擔任首席大提琴手。
托皮寧所屬的金屬啟示錄樂隊至今發行了十 張錄音室專輯，全球總銷售量逾六百萬張唱片。 2008年，他為金屬啟示錄創作的歌曲《我不在 乎》登上美國搖滾樂榜首，另外幾首單曲也在國 際上廣受歡迎。
托皮寧為電影《誰和誰和誰有路》創作的音 樂於2008年獲得尤西獎。他為維克多．柯薩科夫 斯基2019年的電影《水視界》創作的音樂，也獲 評論家之選紀錄片獎及電影之眼榮譽獎最佳電影 配樂提名。
Composer, Cello Soloist Eicca Toppinen
Eicca Toppinen is a Finnish cellist and composer with a strong classical background. He has a passion for various styles of music, particularly heavy metal, which he skilfully combines with his classical training. Toppinen is widely recognised for his role in the cello-metal band Apocalyptica, which he cofounded in 1993.
Toppinen collaborated with numerous chamber music ensembles between 1990 and 2000, performing with some of Finland’s leading young musicians and participating in hundreds of concerts in various countries. He served as an orchestral musician with the Finnish Radio Symphony Orchestra and Avanti! Chamber Orchestra, and acted as Principal Cellist for the Sibelius Academy Chamber Orchestra and Camerata Caprice, during the 1990s.
With Apocalyptica, Toppinen has released 10 studio albums with combined sales of more than 6 million copies worldwide. His Apocalyptica composition I Don’t Care reached the top of the USA’s rock charts in 2008, and several other singles achieved international success.
Toppinen received the Jussi Award in 2008 for his music for the film Black Ice, and was nominated for the award for Best Score at The Critic’s Choice Documentary Awards and Cinema Eye Honors for his compositions for the Victor Kossakovsky’s film AQUARELA (2019).
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作曲 艾瑞克．丹尼爾森
艾瑞克．丹尼爾森於1982年生於瑞典烏普薩拉，
他最廣為人知的身份是在黑金屬樂隊Watain擔 任樂手、作曲、作詞以及圖像設計。此外，他的 創作也涉獵電影、詩詞和視覺藝術等不同範疇。
他的創作靈感來自極少被探索的人類精神及心靈 深處，以及前衛的反權威次文化思想。無論以甚 麼媒介創作，丹尼爾森的作品似乎都帶着極度神 秘的謠言，甚至閃耀着來自另一時空或世界不為 人知的光芒。
Composer Erik Danielsson
Erik Danielsson is an artist born in 1982 in Uppsala, Sweden. He is mainly known for his work as a musician, composer, lyricist and graphic artist in the black metal band Watain, but his work also extends to other areas such as film, poetry and visual arts. His inspiration comes from the deepest and least explored recesses of the human spirit, and from the radical subcultural branches that these have given rise to. Regardless of medium, Danielsson’s art seems to glimmer diabolically with rumours and secrets from another time and age, and perhaps of another world entirely.
作曲 弗雷德里克．奧格桑
弗雷德里克·奧格桑是一位瑞典的結他手，他在 九歲時放下了學習數年的小提琴，轉而彈奏結 他。他在十四歲時在電視上看見米高．尚卡的演 出後，開始認真學習結他。奧格桑的成長歷程充 滿硬式搖滾和金屬音樂，他亦受到一眾結他傳奇 人物如域奇．布勒摩爾和艾迪．范．海倫的啓 發。 奧格桑在十九歲時加入樂隊Talisman。為追 求更震撼的音樂，他開展了個人項目Southpaw， 發行了同名專輯，並幾度回到瑞典為Dio擔 任開場演出嘉賓。隨後，他與Candlemass和 Entombed樂隊的成員組成末日金屬樂隊Krux。 奧格桑在Tiamat樂隊演奏了一段時間後， 加入了Arch Enemy樂隊，擔任成員長達一年半 的時間。2006年與Megadeth樂隊巡演期間，他 透過米凱爾．阿克費爾特的介紹，認識了Opeth 樂隊的成員，並在翌年加入樂隊。
Composer Fredrik Åkesson
Swedish guitarist Fredrik Åkesson first picked up the guitar at the age of nine after playing the violin for several years. He started practising the instrument seriously at the age of 14 after seeing Michael Schenker playing on TV. He grew up listening to hard rock and metal, and became inspired by guitar legends such as Ritchie Blackmore and Eddie Van Halen.
At the age of 19, he joined the band Talisman, but as he was seeking a heavier sound, he formed the solo project Southpaw, with whom he released a selftitled album and opened for Dio during several shows in Sweden. After this, he joined doom metal band Krux with members of Candlemass and Entombed.
He then went on to play in Tiamat for a while before joining Arch Enemy for a year and a half. While touring with Megadeth in 2006, he met the members of Opeth through frontman Mikael Åkerfeldt and joined the band the next year.
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作曲 雅各．海爾納
雅各．海爾納於1961年生於瑞典斯德哥爾摩。
從樂隊演奏，到為電視劇、電影和舞台表演創作電 子、搖滾、流行及管弦樂曲，再擔任Rammstein、金 屬啟示錄、Clawfinger、Entombed A.D.和Fleshquartet 等著名樂隊的監製，音樂一直是他生命的中心。海 爾納能夠輕鬆地切換不同風格和音樂類別，為每個 作品賦予獨特性。在《重金屬交響曲》中，海爾納 會與埃卡．托皮寧和長期夥伴麗茲．馬蒂克斯．海 爾納共同譜出光暗交錯的樂章。
Composer Jacob Hellner
Jacob Hellner was born in Stockholm, Sweden, in 1961 and music has always been at the centre of his life. He has played in bands and composed electronic, rock, pop and orchestral music for both TV, film and the stage, and produced high-profile artists such as Rammstein, Apocalyptica, Clawfinger, Entombed A.D. and Fleshquartet, among others. Without effort he moves between styles and genres, giving a distinct character to all of his projects. For Bright & Black, he teamed up with Eicca Toppinen and long-term partner Lizzie Zackrisson Hellner to compose music that is both bright and black.
作曲 麗茲．馬蒂克斯．海爾納
麗茲．馬蒂克斯．海爾納出生於瑞典哥特蘭島， 自幼開始唱歌。從早期在教堂敬拜到成為歌手， 她騷靈的嗓音一直讓觀衆留下深刻印象。她的樂 隊生涯始於電子搖滾樂隊Houses & Gardens，後 來成為Master Twins & Blond Jesus的成員之一。
隨後，她加入前衛樂隊Fleshquartet。在個人演唱 生涯中，她於1994年和2001年分別推出了兩張專 輯。此後，她就專注於為不同音樂團隊作曲，並 與長期夥伴雅各．海爾納共同為《重金屬交響曲》 創作精采的樂曲。
Composer Lizzie Zackrisson Hellner
A native of the island of Gotland, Sweden, Lizzie Zackrisson Hellner has been singing since childhood. From her early days performing in her local church to her solo career, Zackrisson Hellner̓s soulful voice has always left a big impression on her audience. Her band career started in the synth rock band Houses & Gardens, followed by stints in Master Twins and Blond Jesus, and later in avant-garde group Fleshquartet. Her solo career consists of two albums released in 1994 and 2001. Since then, Zackrisson Hellner̓s focus has been on composing for various projects. For Bright & Black, she teamed up with her long-term partner Jacob Hellner to write some breathtaking music.
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作曲 尼可．柯吉斯德 尼可．柯吉斯德於1971年出生於赫爾辛基，他 是一位樂手、作曲家、監製和音訊工程師。他在 1996至2003年擔任Terrafirma樂隊的低音結他 手，並在2004至2021年成為兩隊樂隊Entombed 和Entombed A.D.的低音結他及結他手。他還 在許多錄音和現場演出中擔任樂手，曾合作的樂 隊包括Katatonia、Grand Magus、Necrophobic和 Krux等。
柯吉斯德以監製、音訊工程師和混音師身 份為多隊樂隊製作音樂，包括Dismember、 Entombed、Murder Squad、Gorgoroth、Grand Magus、Krux、Merciless和Rotten Sound。他最 近在自己組裝的電腦上以Hardcore模式成功完成 《深海迷航》和《深海迷航：冰點之下》遊戲。
Composer Nico Elgstrand
Nico Elgstrand was born in Helsinki in 1971 and is a musician, composer, producer and engineer with the guitar as his main instrument. He was a member of Terrafirma (bass) from 1996-2003, Entombed as well as Entombed A.D. (bass and guitar) from 200421. He has also worked as a session player on many recordings and live shows including with Katatonia, Grand Magus, Necrophobic and Krux, to name a few. He has served as a producer/engineer and mixer for bands including Dismember, Entombed, Murder Squad, Gorgoroth, Grand Magus, Krux, Merciless and Rotten Sound, among others. Elgstrand also finished the games Subnautica and Subnautica Below Zero in Hardcore mode on a computer he built himself.
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《重金屬交響曲》
當重金屬搖滾遇上古典音樂
Bright & Black:
When Metal Collides with Classical
波羅的海愛樂樂團以重新詮釋管弦樂概 念，以及昇華音樂會體驗而聞名。這群音
樂冒險家會在2024年藝術節呈獻一場非
比尋常的音樂會——《重金屬交響曲》。
The Baltic Sea Philharmonic is renowned for reinventing the idea of the orchestra and taking the concert experience into new dimensions, but its Bright&Black programme is unusual even for these radical musical explorers.
在音樂總監兼創團指揮克利斯蒂安．約 菲的帶領下，比起傳統的管弦樂團，波羅的 海愛樂樂團更像個「快閃黨」：音樂家站着演 奏、不看樂譜，敢於即興演奏，在舞台上自 由走動，具備重搖滾樂隊常見的奔放力量。
約菲說：「我們基本上與一般管弦樂團 一樣，但更像一隊演奏管弦樂的樂隊。我們
一反管弦樂團的傳統，打破了那些儀式⋯⋯ 不再是出來、鞠躬、坐下、讀譜，一副正經 八百的樣子。」
約菲認為樂團的使命與香港巨星李小龍
的哲學相互呼應，特別是李小龍認為只要清
空心靈，我們便可以變得如水般無形無象。
Led by Music Director and Founding Conductor Kristjan Järvi, the Baltic Sea Philharmonic has been described as more like a “flash mob” than an orchestra: the musicians play while standing and without sheet music, they are not afraid to improvise or move about the stage, and they exude the kind of irrepressible energy more commonly seen in rock bands.
“We’re doing more or less the same thing as a regular orchestra, but really we are a band that plays orchestral instruments. We are kind of the antithesis of an orchestra because we have changed the ceremony completely … there’s none of the coming out and bowing, and sitting and reading and acting important,”Järvi says.
Järvi draws a connection between the orchestra’s mission and the philosophies of Hong Kong’s favourite son Bruce Lee—such as his belief that by emptying the mind, we can
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©Siiri Kumari
「正因如此，李小龍是我最崇拜的英雄之一。
他對自我了然透徹，因而得以縮小自我，從 而放大本性，隨心而行。」
約菲系出指揮家族，他是指揮尼蒙爾．
約菲的幼子，也是指揮巴孚．約菲的弟弟。他 表示，即使是他的家人，也曾批評過波羅的海 愛樂樂團的反傳統表演方法。不過他總是唱 反調：「每次去古典音樂會，我總這樣想：這 很不錯，但又有些不對。作為指揮，我總是 想，幸好我有事好幹，如果要我坐在觀眾席 上，我一定悶得發慌。」
不過若觀眾欣賞波羅的海愛樂樂團在第
52屆香港藝術節上呈獻的兩個節目之一《重 金屬交響曲》，肯定不會悶得發慌。這場力 量澎湃的演出，包含由Watain和Entombed A.D.等北歐金屬樂隊成員創作的管弦樂版本 作品，還有埃卡．托皮寧的精采獨奏，他是 芬蘭金屬樂隊「金屬啟示錄」的創辦人兼大 提琴家。
這些樂隊創作的樂曲聲響震天、冷峻、 黑暗且極為厚重，約菲稱自己不算是金屬音 樂的粉絲。「但我喜歡聆聽時的感覺。這是最 重要的，如果音樂能在內心引起共鳴，那就 不需要向自己解釋為甚麼喜歡它。」
對於香港的古典樂迷來說，《重金屬交響 曲》或許是個激進的概念，但金屬音樂與古 典音樂，實在有很多共通之處。許多金屬樂 迷都承認曾受古典音樂，如貝多芬等作曲家 影響，貝多芬的音樂更曾被稱為「十九世紀 初的重金屬」。
約菲表示：「我喜歡實驗，用管弦樂器演 奏這種音樂時，可以帶出完全不同的感受和 聲域，但又保留希望、痛苦、絕望，以及類 近貝多芬或華格納的表達方式。我們用金屬 樂的想法來演奏，它便變成撫慰靈魂，又震 撼靈魂的音樂。」
這個具前瞻性的樂團一直秉持着音樂可 以為善的原則，約菲表示，儘管《重金屬交 響曲》起源較為暗黑，但音樂旨在將人與自 己的情感相連。約菲指：「無論你是以里克特 式的柔和，還是徹底的痛苦之境來感受，你 都會發現，『等等，這就是我啊』。」
「在人山人海的音樂廳中，有這種不可 思議的體會，是我經歷過最奇妙的事，而這 亦是在波羅的海愛樂樂團音樂會中會發生的 事。」
撰文：Adam Wright
原文刊登於香港藝術節2024年之《閱藝》雜誌
become formless and shapeless like water. “This is why Bruce Lee is one of my biggest heroes and an example of what a true master of the self can do. He completely mastered his mind to become as small as possible, to allow the essence of the self to completely take over.”
Järvi comes from a family of conductors—he is the younger son of conductor Neeme Järvi and brother of conductor Paavo Järvi—and says he has faced criticism over the Baltic Sea Philharmonic’s unconventional approach even from his own family. But he is cut from a different cloth: “Whenever I went to classical concerts, I always got this feeling like, this is very nice, but something’s wrong. As a conductor, I always thought that I’m glad I’m doing something, because if I was sitting in the audience, I’d be bored to death.”
Audience members are unlikely to be bored to death at Bright & Black, one of two programmes the Baltic Sea Philharmonic is presenting at the 52nd HKAF, as the highintensity performance features orchestral versions of works created by members of Nordic metal bands (such as Watain and Entombed A.D.) and an exciting soloist in the form of Eicca Toppinen (cellist and founder of Finnish metal band Apocalyptica).
The original music created by these bands is loud, bleak, dark and extremely heavy and Järvi doesn’t claim to be a metal fan. “But I like how I feel when I listen to it. And that's the most important thing: If it does something to you on the inside, you don't have to justify it to yourself.”
Bright & Black may be a radical concept for the Hong Kong classical music audience, but metal has more in common with classical music than many people may realise. And many metalheads have acknowledged being influenced by composers such as Beethoven, whose music has been described as “the heavy metal of the early 19th century”.
“I love how we’ve been able to experiment and bring a completely different type of scope and spectrum of sound when we play this music with orchestral instruments, but retain the feeling of hope and anguish, despair and a certain expression which is similar to Beethoven or Wagner. We play it with a metal intent and it becomes music which soothes the soul but also shakes the soul,” Järvi says.
This visionary ensemble has always operated under the principle that music can serve as a force for good and Järvi says that despite the dark origins of Bright & Black, the music is intended to connect people with their feelings. “Whether you do this through a kind of Max Richter softness or this place of complete anguish, you realise, ‘Wait a second, that’s me,” the conductor says.
“That's incredible when it happens to a hall full of people. It's the most incredible feeling that I've ever experienced. And this is what happens at a Baltic Sea Philharmonic concert.”
Text: Adam Wright
Originally published in the HKAF’s 2024 FestMag
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《重金屬交響曲》
Bright & Black
指揮 克里斯蒂安．約菲
Conductor Kristjan Järvi
大提琴獨奏 Cello Soloist
Eicca Toppinen
小提琴 Violins
Evgeniia Pavlova
Jan Mleczko
Andrea Masciarelli
Diana Reimane
Romualda Bloch
Malwina Rabenda
Federica Barecca
Toomas Ellervee
中提琴 Violas
Barbara Papierz
Ugne Jura Gaucaite
Aleksandr Dubitsa
大提琴 Cellos
Adam Garnecki
Alicja Szydlowska
Tarmo Hiis
Karret Sepp
低音大提琴 Double Basses
Miłosz Madejski
Jakub Becerra-Pietryka
Jakob Rolandsson
Jokubas Pletkus
長笛 Flutes
Kristīne Beitika
Marija Rackauskaite
雙簧管 Oboes
Evelina Boksa
Rodrigo Jose Escalona Saldeño
單簧管 Clarinets
Fatima Trives Escolano
Alexei Mikhailenko
巴松管 Bassons
Patrick Mauer
Daniel López Arribas
圓號 French Horn
Mikus Runka
Kairi Sosi
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小號 Trumpets
Laur Keller
Kayleigh Neff
長號 Trombones
Niklas Joelsen
Kaspar Oskar Kramp
Ignas Filonovas
低音號 Tuba
Enri Remmelgas
鋼琴 Piano
Gabrielė Bekerytė
豎琴 Harp
Liis Jürgens
敲擊樂 Percussion
Daniel Alin
Marnisch Haderlein-Ebner
Pietari Huhtinen
Anders Sørensen
製作及行政 Production and Administration
Thomas Hummel Executive Director BSP
Jacob Hellner Producer, Composer
Per Kviman Producer
Evelyn Koster Sunbeam Productions
Madline Lentins Finances, Operations
Aliena Grabsch Production Manager
Marilena Schaffstein Project Assistant
Janina Moelle Project Assistant
Kaarel Tamra Sound Designer
Michael “Igge” Karlsson Lighting Designer
Paul Gärtner Photographer
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《胡桃夾子狂想》的音樂，源自那超越我們 對美麗的想像。這是超乎任何成人幻想的奇 幻樂韻。它是屬於孩子的空間，容納一顆隨 時準備好玩樂、探索、想像的開放心靈。在
這個遊樂場，帕特與柴可夫斯基都能成為朋 友，因為在內心深處他們都是小孩，聚在一 起玩樂。葛利格亦一樣，用自己獨有的角度 展現童真，正如《胡桃夾子狂想》一樣。這 趟旅程將你帶向自我發現與反省，就像進入
了無須思考的領域，正如孩子與大自然都不 會思考，只會憑直覺行動。這裏並非二元對 立，所有事都是對的。這個節拍，就只能這 樣演奏。這種美妙節奏正是波羅的海愛樂樂 團的核心：它統一並創造具有不同頻率，但 訴說同樣真理的樂韻。
我們熱愛一起做事，是因為我們享受在 一起的感覺。我們做事不僅是為了成就和榮 譽，更是為了那份當我們剛開始一同創作， 像是為人間創造天堂的感覺。我們一開始由 幾個音作起點，音樂旅程便隨即展開，有時 候我們沿途重新編曲、重新和音、重新創 作，永遠不知最終成果會偏離起點多少，但 正因如此，我們才能每次在台上淋漓盡興， 讓台上的喜悅感染台下觀眾。我們不是想證 明甚麽，只是想將台上親身感受的喜悅傳達 給大家。歡迎來到我們的小沙窩一起玩樂， 雖然我們會弄得泥沙四濺，但這正是波羅的 海愛樂樂團的標誌。
撰文：克利斯蒂安．約菲
《胡桃夾子狂想》之創作源起
Nutcracker Reimagined comes from the imagination which yearns for something more beautiful than our mental capacity allows us to be. It’s something more fantastical than any adult can imagine. It’s basically the realm of children and an open heart which is ready to play, explore and imagine. Arvo Pärt and Tchaikovsky become friends on this playing field. Because at heart, they are kids playing together. Grieg is playing the same tune, except from his perspective, that’s the journey that Nutcracker Reimagined is. It takes you on a journey of self-discovery and outward introspection. It becomes a kind of a non-thinking zone, just like how kids don’t think; they just do. Just like how nature doesn’t think; it just does. There’s no duality, everything is right. There’s just one way on this beat. That’s the beautiful way and this is the essence of what the Baltic Sea Philharmonic does: it unifies and creates areas which have different vibrations, but speak the same truth.
We all do things because we enjoy being together. We not only enjoy doing things for the sake of achievements and accolades, but also for that feeling that we are creating heaven on earth when we just start to create together. We’re put on a path and are given some notes as a starting point, and then we just go. Sometimes we re-orchestrate along the way, we reharmonise along the way, we re-create along the way. We never know just how far we are going to deviate from the original, so every time is such an incredible joy and such a fantastic experience on stage that it spills over into the audience. We’re not there to prove anything. We’re there to just share this joy that we ourselves feel on stage, and it’s infectious. I would like everybody to come and play in this sandbox of ours, even though, sometimes things spill out of the box. And this is the best way to describe the Baltic Sea Philharmonic.
Text: Kristjan Järvi
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Creative Notes on NutcrackerReimagined
柴可夫斯基
（克里斯蒂安．約菲編曲）
《胡桃夾子》（選段）— 戲劇性交響曲
葛利格
A小調鋼琴協奏曲
鋼琴獨奏 加布里埃爾．貝克里特
帕特
《天鵝之歌》
艾爾加
〈寧錄〉，選自《謎語變奏曲》，作品36
瑪利亞．穆索
《賽蓮》
克里斯蒂安．約菲
《弦樂無限》
斯文．赫爾比格
《鐘聲飄落如雪》
Nutcracker Reimagined
16.03.2024
Piotr Ilyich Tchaikovsky (1840-93)
arr. Kristjan Järvi (b. 1972)
The Nutcracker (exerpts)—Dramatic Symphony
Edvard Grieg (1843-1907)
Piano Concerto in A minor
Piano Soloist Gabrielė Bekerytė
Arvo Pärt (b. 1935)
Swansong
Edward Elgar (1857-1934)
“ Nimrod ” from the Enigma Variations , Op 36
Maria Mutso (b. 2000)
Sireen
Kristjan Järvi
String Song Infinity
Sven Helbig (b. 1968)
Bell Sound Falling Like Snow
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《胡桃夾子狂想》
湯姆．提克威爾 強尼．卡拉梅克
《精確》
馬利斯．馬拉內奇
《冬日的天空》
Tom Tykwer (b. 1965)
Johnny Klimek (b. 1962)
Precision
Marius Malanetchi (b. 1993)
Winter Sky
《胡桃夾子狂想》帶你踏上一段音樂之旅，樂曲不一定按照上述順序演奏。
Nutcracker Reimagined takes you on a musical journey, and the pieces will not necessarily be performed in the above order.
35
36
《胡桃夾子狂想》
Nutcracker Reimagined
「遠比任何大人的想像，都更為異想天開。」
這就是克利斯蒂安．約菲在創作《胡桃夾子 狂想》中追求的體驗。此節目乃約菲與波羅 的海愛樂樂團第三次合作，精選了柴可夫斯 基的經典芭蕾舞音樂。約菲和年輕樂手以嶄 新角度呈現經典之作，為如何演繹一支樂 曲，以及樂團、指揮和觀眾之間的關係提出 新的反思。
在以同樣的獨特方式改編過《睡美人》 和《天鵝湖》後，樂團的最新力作，便是柴 可夫斯基寫於1892年的芭蕾舞劇《胡桃夾 子》。《胡桃夾子》本身亦十分適合如此改 編，畢竟它的故事就是建基於摒棄成年人的 理性分析，重新投入孩子對世界的好奇之 上。正如世界各地的藝術家所共識，這份好 奇初心正是創意不絕的靈感泉源。
相比起芭蕾組曲，約菲稱此作為「戲劇 交響曲」，白遼士也是如此形容其其中一個鉅 作《羅密歐與茱麗葉》，這部改編自莎士比亞 悲劇的合唱交響曲，於1839年首演。其實，
柴可夫斯基
Piotr Ilyich Tchaikovsky (1840-1893)
“Something more fantastical than any adult can imagine.” This, in a nutshell, is the experience that Nutcracker Reimagined seeks to inspire, according to Kristjan Järvi. The project marks the conductor’s third collaboration with the Baltic Sea Philharmonic involving the iconic ballets of Piotr Ilyich Tchaikovsky. By presenting these works from new perspectives, Järvi and his young musicians question conventional assumptions about interpreting a score as well as about the standard relationship between an orchestra, conductor and audience.
After applying this approach to Sleeping Beauty and Swan Lake, they have expanded their unique repertoire to include Tchaikovsky’s final ballet from 1892. The Nutcracker seems particularly well-suited to this sort of reimagining: its premise, after all, is to work past the rigid categories and rationalisation of an adult’s worldview and recover the sense of wonder that is shared by children—and that, as artists everywhere know, is a never-ending source of creativity.
Järvi calls the result a “dramatic symphony” rather than a ballet suite. The term is the same one that Hector Berlioz applied to one of his great works, Roméo et Juliette, a choralsymphonic treatment of Shakespeare’s tragedy that premiered in 1839. In fact, Tchaikovsky himself explored the idea of a hybrid between the symphony and drama in his unnumbered (and underestimated) symphony Manfred of 1885, a “symphony in four scenes” which was inspired by a verse play by Lord Byron.
The narrative of The Nutcracker is derived from a story that one of the most intriguing artists of the early German Romantic era, E.T.A. Hoffmann, wrote in 1816: Nussknacker und Mausekönig (“Nutcracker and Mouse-King”). This familiar tale, in which the child Clara’s point of view is enlarged and replaces the controlling perspective of adults, is comparable to the fantasy world of Alice in Wonderland, according to Järvi. The scenario of the original Nutcracker ballet unfolds in two acts to a choreography by Tchaikovsky’s collaborator, Marius Petipa, but conveys very little in the way of an actual plot. We never even learn why the Prince was turned into a nutcracker to begin with, for example. The ballet for the most part simply creates a situation that invites varieties of dance.
Tchaikovsky’s The Nutcracker is given a new wrinkle by being juxtaposed with music by other later Romantic composers and a contemporary composer (Arvo Pärt) whose outlook, in Järvi’s view, intuitively fits into the artistic space mapped out by these composers of “wonderland”. Moreover, Nutcracker Reimagined interlaces these unexpected pieces with a rearrangement of Tchaikovsky’s score into a different order, tracing out new patterns and undercurrents of fantasy and wonder.
In another significant alteration to this musical tapestry, each of the three movements from Edvard Grieg’s Piano
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柴可夫斯基亦曾藉其於1885年創作的無編號
交響曲遺珠《曼弗雷德》，探究如何融合交響 樂與戲劇作品。《曼弗雷德》是一部「四幕交 響樂」，受英國詩人拜倫的詩劇啟發。
《胡桃夾子》的故事來自德國早期浪漫
主義時期的大師，E.T.A. 霍夫曼於1816年的 作品《胡桃夾子與老鼠王》。約菲認為，在這 個家傳戶曉的故事裏，孩子克拉拉的視覺被 放大，取代了大人的視覺，好比《愛麗絲夢 遊仙境》的奇幻世界。在柴可夫斯基的原作 中，《胡桃夾子》的芭蕾舞劇分為兩幕，由柴 可夫斯基的同儕馬利斯．佩蒂巴編舞。然而
劇中卻甚少故事情節，例如我們根本不知道 王子起初為何會變成胡桃夾子。劇中大部分 時間，都是為了營造出不同舞蹈的場景。
在這次改編中，柴可夫斯基的《胡桃夾 子》與其他浪漫時期作曲家，甚至當代作曲 家（帕特）的作品放在一起，從而有了新的 生命。約菲認為，這些作曲家塑造的奇幻世 界，與《胡桃夾子》完美契合，綜觀就是一 個天衣無縫的藝術品。同時，《胡桃夾子狂 想》改變了柴可夫斯基原本的樂譜順序，塑 造出奇想天開的新佈局與底蘊。
這部音樂華章的其中一個重要改動，是 把葛利格 A小調鋼琴協奏曲 的三個樂章融合 到柴可夫斯基樂譜中的不同時刻，為管弦樂 團音樂加添獨特的鋼琴獨奏對話元素，令這 支幻想之舞再添層次。葛利格是挪威浪漫主 義時期作曲家的先鋒，亦正因如此，他與柴 可夫斯基一樣，都為自身國家建構出音樂身 份。葛利格的鋼琴協奏曲在1869年首演，有 着挪威民族音樂的聲音與韻律，例如終章活 潑的舞蹈樂思，乃受婚樂慶典音樂啟發。我
們在聽完選段之後，場景便轉換至克拉拉與 變回王子的胡桃夾子光臨糖果世界。
葛利格鋼琴協奏曲的慢板，散發着平靜 柔和氣氛，為柴可夫斯基樂章的溫潤詩意帶 來新感覺。當代愛沙尼亞作曲家帕特在2013 年創作的《天鵝之歌》，為這個奇幻世界加添 了輓歌與全神貫注默想的莊嚴之感。此作的 靈感來自天主教神學家與詩人紐曼，意欲找 尋「安全的居所、神聖的安息、最終的平安」
的禱文。這崇高的曲調，後來由令人動容的 〈寧錄〉樂章呼應。常用於哀悼場合的〈寧 錄〉來自艾爾加的《謎語變奏曲》，創作於 十九世紀末，亦是於1893年柴可夫斯基英年 早逝之後的數年。
Concerto in A minor is woven into different moments of the Tchaikovsky score, adding the distinctive element of a piano soloist in conversation with the orchestra—another layer of this dance of the imagination. Grieg was a pioneering Romantic composer of Norway and, as such, he has certain affinities with Tchaikovsky: each helped establish a musical identity for their respective countries. Grieg’s Piano Concerto, which premiered in 1869, also contains elements recognisably rooted in the sounds and rhythms of Norwegian folk music—such as the animated dance idea of the last movement (associated with wedding celebrations). We hear excerpts from it that then shift to the music Tchaikovsky wrote for the ballet’s scene of the arrival in the Land of Sweets of Clara and the Nutcracker (who has been transformed into the Prince).
The adagio of Grieg’s Piano Concerto emanates a
葛利格
Edvard Grieg (1843-1907)
38
peaceful serenity that sheds new light on the gentle lyricism of Tchaikovsky’s writing. A solemn air of elegy and rapt meditation becomes part of this “wonderland” with the contemporary Estonian composer Arvo Pärt’s Swansong from 2013, which was inspired by the Catholic theologian and poet Cardinal Newman’s prayer to find “a safe lodging, and a holy rest, and peace at the last”. This lofty tone is later echoed by the moving “Nimrod” movement—music often used for occasions of public mourning—from Edward Elgar’s Enigma Variations, composed at the very end of the 19th century (several years after Tchaikovsky’s tragically early death in 1893).
“We are constructing a story focusing in and out of certain elements of a wonderland,” Järvi explains. “There’s no agenda here. We trust the energy of that moment to take us to the right place.” This is reflected by the Baltic Sea Philharmonic’s practice of playing from memory, freeing their eyes and attentions from being chained to a music stand or iPad in front. The improvisational attitude this encourages is a central aspect of Nutcracker Reimagined. In this way, the musicians generate a new “text” that is independent of Petipa’s scenario and the original Nutcracker story.
Text: Thomas May
「我們所創作的是一個聚焦並源自奇幻 世界的故事。」約菲說。「我們沒有既定方 向，只相信當下的力量會帶領我們到適當之 處。」這點可見於波羅的海愛樂樂團背譜演 奏，讓眼睛和注意力不用集中在眼前的譜架 或iPad。由此而來的即興感正是《胡桃夾子 狂想》的中心所在。透過這樣的方式，音樂家 創造出一個獨立於佩蒂巴的場景與《胡桃夾 子》原作故事的新文本。
撰文：湯馬士．梅
39
艾爾加
Edward Elgar (1857-1934)
40
重塑胡桃夾子幻境
Reimagining the wonderland of The Nutcracker
在第52屆香港藝術節上，《胡桃夾子狂 想》與波羅的海愛樂樂團的另一個節目
《重金屬交響曲》，或許形成鮮明對比，
後者以重金屬為靈感，但指揮克利斯蒂 安．約菲卻認為兩者殊途同歸。
Nutcracker Reimagined might seem to contrast with the other Baltic Sea Philharmonic programme coming to the 52nd Hong Kong Arts Festival—the heavy metal-inspired performance Bright & Black—but conductor Kristjan Järvi doesn’t draw any distinction between the two.
約菲說：「《胡桃夾子狂想》表現的，是 我們內心對童趣之美的驚奇與讚嘆。《胡桃夾 子》能成為音樂經典，在於作曲家把筆墨難 以形容的東西轉化為樂章。」
在《胡桃夾子狂想》中，約菲將柴可夫 斯基的聖誕經典與葛利格、艾爾加、帕特以 及他自己的音樂交織在一起。他說：「如果你 不留神，你會以為全篇都是柴可夫斯基的作 品。這些音樂之所以能完全融入柴可夫斯基 的世界，在於我們正在構建一個奇幻世界的 故事。」
這會是個充滿音樂探索的神奇之夜，觀 眾可以期待在《胡桃夾子狂想》中欣賞到波 羅的海愛樂樂團標誌性的即興演奏。約菲說：
「如果到時我們隨意重新配器或即興演奏，這 都是好事，因為我們相信當下的表演力量會 正確引領我們，讓我們順應感覺行事，而非 用頭腦計算。」
撰文：Adam Wright
原文刊登於香港藝術節2024年之《閱藝》雜誌
“It deals with the same expression of wonder and amazement at the childlike beauty that resides within us all. And The Nutcracker is an iconic example of what many composers basically enact into music, those things that we cannot say verbally,” he says.
In NutcrackerReimagined, Järvi has interlaced Tchaikovsky’s Christmas classic with additional music by Grieg, Elgar, Arvo Pärt and the conductor himself. “If you didn’t know, you would think Tchaikovsky wrote all of it,” Järvi says. “But it all fits completely into the realm of Tchaikovsky because we are constructing a story focusing on the idea of a wonderland.”
The programme promises to be a magical night full of musical discovery and the audience can expect some of the Baltic Sea Philharmonic’s signature improvisation throughout NutcrackerReimagined. “If we decide to reorchestrate on the fly or improvise, this is good because we trust the energy of that moment to take us to the right place and guide us with a certain energetic flow rather than a strategy of the mind.”
Text: Adam Wright
Originally published in the HKAF’s 2024 FestMag
41
© Bernd Possardt
《胡桃夾子狂想》
Nutcracker Reimagined
指揮 克里斯蒂安．約菲
Conductor Kristjan Järvi
鋼琴獨奏 Piano Soloist
Gabrielė Bekerytė
小提琴 Violins
Evgeniia Pavlova
Marta Jurjāne
Jan Mleczko
Andrea Masciarelli
Diāna Reimane
Romualda Bloch
Malwina Rabenda
Federica Barecca
Toomas Ellervee
Kseniia Ivakina
Amanda Viesko
Laura Zimka
Birgit Born
Elle Isabelle Lindpere
Marelle Kivinukk
Ann Meeta Teppo
Triin Veissmann
Kerstin Elisabeth Kullerkupp
Aleksandra Serebrjakova
Kata Stojanovic
中提琴 Violas
Barbara Papierz
Ugne Jura Gaucaite
Aleksandr Dubitsa
Jovan Muratovic
Ekaterina Gardavadze
Monika Zarotyńska
Ruta Kulikovska
Oksana Mukosii
大提琴 Cellos
Marius Malanețchi
Adam Garnecki
Alicja Szydlowska
Tarmo Hiis
Karret Sepp
Loo Arukask
低音大提琴 Double Basses
Miłosz Madejski
Jakub Becerra-Pietryka
Jakob Rolandsson
Jokubas Pletkus
Mateusz Filip
電結他 Electric Guitar
Raul Ojama
長笛 Flutes
Kristīne Beitika
Marija Rackauskaite
Siret Sui
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Evelīna Bokša
Rodrigo Jose Escalona Saldeño
單簧管 Clarinets
Fatima Trives Escolano
Alexei Mikhailenko
Mirjam Avango
42
巴松管 Bassoons
Patrick Mauer
Daniel López Arribas
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Artur Reinpõld
Mikus Runka
Kairi Sosi
Ingrid Aukner
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Laur Keller
Kayleigh Neff
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Niklas Joelsen
Kaspar Oskar Kramp
Ignas Filonovas
大號 Tuba
Enri Remmelgas
豎琴 Harps
Liis Jürgens
Zuzanna Wąsiewicz
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Daniel Alin
Marnisch Haderlein-Ebner
Anders Sørensen
製作及行政 Production and Administration
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Madline Lentins Finances, Operations
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Evelyn Koster Sunbeam Productions
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鳴謝 ACKNOWLEDGEMENTS
香港藝術節衷心感謝下列機構及人士的慷慨支持﹕
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梁婉玲博士 Dr Elina Leung
孫漢明博士 Dr Stephen Suen
包陪麗女士, BBS及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari
其他贊助人 Other Patron
高盛回饋慈善基金 (James Houghton 先生推薦)
Goldman Sachs Gives Annual Giving Fund (Recommended by Mr James Houghton)
48
支持及協助 Support and Co-operation
Acorn Design
教育局藝術教育組 Arts Education Section, Education Bureau 網上售票平台 Art-mate
香港展能藝術會 Arts with the Disabled Association Hong Kong 香港愉景灣酒店 Auberge Discovery Bay Hong Kong 樺利廣告有限公司 Avanny Advertising Co Ltd
華大盛品酒店 Best Western Plus Hotel Hong Kong 宏基國際賓館 Bishop Lei International House BRICK LANE
英國文化協會 British Council 英國駐香港總領事館 British Consulate General Hong Kong CAMPSITE
牛棚藝術村 Cattle Depot Artist Village 城市當代舞蹈團 City Contemporary Dance Company 比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau 加拿大駐香港及澳門總領事館 Consulate General of Canada in Hong Kong & Macao 法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau 以色列駐香港總領事館 Consulate General of Israel in Hong Kong & Macau 西班牙駐香港總領事館 Consulate General of Spain in Hong Kong 瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong 埃及駐港澳總領事館 Consulate General of the Arab Republic of Egypt in Hong Kong and Macau 伊朗駐香港總領事館 Consulate General of the Islamic Republic of Iran in Hong Kong 荷蘭駐港總領事館 Consulate General of the Kingdom of Netherlands in Hong Kong and Macau 大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong 義大利駐香港總領事館 Consulate General of Italy in Hong Kong 愉景灣服務管理有限公司 Discovery Bay Services Management Limited
李敬恒博士 Dr Roger Lee
香港逸東酒店 Eaton HK
德國駐香港總領事館 German Consulate General Hong Kong 六國酒店 Gloucester Luk Kwok Hong Kong
香港歌德學院 Goethe-Institut Hong Kong
香港君悅酒店 Grand Hyatt Hong Kong
青苗琴行 Greenery Music
香港恒生大學 Hang Seng University of Hong Kong
學生事務處 Student Affairs Office
教與學發展中心（服務學習部）Service-Learning Section, Centre for Teaching and Learning 香港兆基創意書院 HKICC Lee Shau Kee School Of Creativity 香港兆基創意書院文化藝術中心 HKSC Arts and Culture Centre
香港藝術行政人員協會 Hong Kong Arts Administrators Association
香港藝術中心 Hong Kong Arts Centre
香港浸會大學 Hong Kong Baptist University
電影學院 Academy of Film
音樂學院 Academy of Music
拉闊文化 Cultural Literacy Programme
英國語言文學系 Department of English Language and Literature 宗教及哲學系 Department of Religion and Philosophy
香港聖經公會 Hong Kong Bible Society 香港中樂團 Hong Kong Chinese Orchestra 香港大會堂 Hong Kong City Hall
香港文化中心 Hong Kong Cultural Centre 香港電影資料館 Hong Kong Film Archive
香港都會大學 Hong Kong Metropolitan University 何陳婉珍粵劇研藝中心 Ina Ho Cantonese Opera Research Centre
香港藝術館 Hong Kong Museum of Art
香港管弦樂團 Hong Kong Philharmonic Orchestra
香港話劇團 Hong Kong Repertory Theatre
香港小交響樂團 Hong Kong Sinfonietta
香港旅遊發展局 Hong Kong Tourism Board
摩納哥駐香港名譽領事館 Honorary Consulate of Monaco in Hong Kong 宜必思香港中上環 ibis Hong Kong Central and Sheung Wan 工銀亞洲 ICBC (Asia)
入境事務處 Immigration Department 王仁曼芭蕾舞學校 Jean M. Wong School of Ballet 賽馬會創意藝術中心 Jockey Club Creative Arts Centre Kind of Brew
高山劇場 Ko Shan Theatre
Kubrick
葵青劇院 Kwai Tsing Theatre
駐香港韓國文化院 Korean Cultural Center in Hong Kong 拉脫維亞駐香港名譽領事館 Latvian Honorary Consulate in Hong Kong 康樂及文化事務署 Leisure and Cultural Services Department 牧羊少年與他的浮萍 Lemna of the alchemist
中央人民政府駐香港特別行政區聯絡辦公室 Liaison Office of the Central People’s Government in the HKSAR
嶺南大學 Lingnan University
黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit
學生事務處 Office of Student Affairs
鄺森活圖書館 Fong Sum Wood Library
藝術科技與商業理學碩士課程 MSc in Arts Technology and Business
樂茶軒 LockCha Tea House
木的地.R Madera Residences
Maxibit HK/China
循道衛理聯合教會國際禮拜堂 Methodist International Church Hong Kong
Mini Central 中環迷你酒店
Moetown Serviced Apartments
MOViE MOViE Pacific Place
Mr Alpha Li
陳朗丰先生 Mr Lazarus Chan
南蓮園池 Nan Lian Garden
荃灣西如心酒店 Nina Hotel Tsuen Wan West
北區大會堂 North District Town Hall
一桌兩椅慈善基金 One Table Two Chairs Charitable Foundation
柏斯琴行 Parsons Music Limited
卓滙達有限公司 Patsville Company Ltd
Performing Arts Fund NL
犇華企業服務有限公司 Primasia Coporate Services Limited
鄭新文教授 Prof Tseng Sun-man
RED ZHU
富豪酒店國際 Regal Hotels International
富豪東方酒店 Regal Oriental Hotel
皇家太平洋酒店 Royal Pacific Hotel
泰國駐香港總領事館 Royal Thai Consulate General Hong Kong
沙田大會堂 Sha Tin Town Hall
上環文娛中心 Sheung Wan Civic Centre
Southgate Design
事必達推廣有限公司 Speedy Promotion Limited
聖公會聖約翰座堂 St John's Cathedral
中山紀念公園 Sun Yat Sen Memorial Park
大館—古蹟及藝術館 Tai Kwun—Centre for Heritage and Arts
香港中文大學 The Chinese University of Hong Kong
音樂系 Department of Music
聯合書院 United College
文學院 Faculty of Arts
藝術行政主任辦公室 The Office of the Arts Administrator
文化及宗教研究系 Department of Cultural and Religious Studies
邵逸夫堂 Sir Run Run Shaw Hall
香港城市大學 The City University of Hong Kong
中文及歷史學系 Department of Chinese and History
城大創意媒體學院 School of Creative Media
文化薈 Cultural Exchange Oasis
香港教育大學 The Education University of Hong Kong
文化與創意藝術學系 Department of Cultural and Creative Arts
圖書館 Library
芬名酒店 The Fleming
香港演藝學院 The Hong Kong Academy for Performing Arts
戲曲學院 School of Chinese Opera
戲劇學院 School of Drama
音樂學院 School of Music
舞蹈學院 School of Dance
電影電視學院 School of Film and Television
學生事務處 Student Affairs Office
表演場地管理部 Venue Performance Unit
場地技術部 Venue Technical Unit
香港理工大學 The Hong Kong Polytechnic University
文化及設施推廣處 Cultural Promotion and Events Office
香港復康會 The Hong Kong Society of Rehabilitation
香港科技大學 The Hong Kong University of Science and Technology
藝術中心 Center for the Arts
理學院學務輔導辦公室 Office of Academic Advising and Support, School of Science
香港朗廷酒店 The Langham, Hong Kong
香港大學 The University of Hong Kong
音樂系 Department of Music
香港大學美術博物館 University Museum and Art Gallery
學生發展及資源中心 Centre of Development and Resources for Students
Cultural Management Office
志新學院 Chi Sun College
港青 - 香港基督教青年會 The Salisbury – YMCA of Hong Kong
通利琴行 Tom Lee Music Company Ltd
荃灣大會堂 Tsuen Wan Town Hall
屯門大會堂 Tuen Mun Town Hall
東蒲 Tung Po
城市售票網 URBTIX
西九文化區管理局 West Kowloon Cultural District Authority
Wewow House
粵海華美灣際酒店 Wharney Hotel
艾希妮控股有限公司 X Social Group Holdings Limited
油麻地戲院 Yau Ma Tei Theatre
英華書院 Ying Wa College
青年廣場 Youth Square
元朗劇院 Yuen Long Theatre
49
地址 ADDRESS 香港灣仔港灣道二號十二字樓1205室
Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
電話 TEL （852）2824 3555
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
贊助人 李家超先生, PATRON
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
永遠名譽會長 邵逸夫爵士（1907-2014）
執行委員會
主席 查懋成先生 副主席 盧景文教授 義務司庫 范高廉先生 委員 鄭阮培恩女士 鄭惠貞女士 馮愉敏先生 何苗春暉女士 文肇偉先生 孫大倫博士 姚潔莉女士 楊光先生
節目委員會
主席 盧景文教授 委員 白諾信教授 羅志力先生 毛俊輝教授 約瑟 施力先生 + 譚榮邦先生 姚珏女士 財務委員會
主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生 發展委員會
主席 鄭阮培恩女士 副主席 雍景欣女士 委員 馮愉敏先生 龐心怡女士 孫林宣雅女士 文藝女士 姚祖輝先生 顧問 夏佳理先生 鮑 磊先生 陳祖澤博士 陳達文博士 霍璽先生 李業廣先生 梁紹榮夫人 李國寶博士 名譽法律顧問 甘乃迪女士（孖士打） 核數師 羅兵咸永道會計師事務所
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
EXECUTIVE COMMITTEE
Chairman
Honorary Treasurer
Members
Programme Enquiry Hotline + 榮譽節目顧問 Honorary Programme Advisor
Mr Victor Cha
Vice-Chairman Prof. Lo King-man, SBS MBE JP
Mr Colin Farrell
Mrs Betty Yuen Cheng
Ms Margaret Cheng
Mr Michael Fung
Ms Joanna Hotung
Mr Sebastian Shiu-wai Man
Dr Dennis T L Sun, BBS JP
Ms Miriam Yao
Mr Sunny Yeung
PROGRAMME COMMITTEE
Chairman
Members
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
ADVISORS
Prof. Lo King-man, SBS MBE JP
Prof. Giorgio Biancorosso
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Mr Wing-pong Tam, SBS JP
Ms Jue Yao, SBS JP
Mr Colin Farrell
Ms Margaret Cheng
Mr Nelson Leong
Mrs Betty Yuen Cheng
Ms Jane Yong
Mr Michael Fung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
Mr Andrew Yao
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Dr John CC Chan, GBS JP
Dr Darwin Chen, SBS ISO
Mr Angus H Forsyth
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
HONORARY SOLICITOR
Ms Gabriela Kennedy, Mayer Brown AUDITOR
PricewaterhouseCoopers
50
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋、蘇國雲
高級節目經理 梁偉然、蘇雪凌、游慧姿*
節目經理 鄭佩群*、趙蔚霖*、廖國穎*、 馬筠婷*、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 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 Officer Linda Tam*
Arts Administrator Trainee Nicole Chow*
CORPORATE SERVICES
Finance Director Teresa Kwong
ACCOUNTS
Account Manager Connie To*
Accounting Officer Stephany Ngan*
HR & ADMINISTRATION
HR and Admin Manager Janet Yeung*
Receptionist/Junior Secretary Virginia Li
General Assistant Bonia Wong
INFORMATION TECHNOLOGY
Information Technology Manager Derek Chan*
NO LIMITS
Project Director Eddy Zee*
Programme and Outreach Managers Becky Chung*, Christy Ho*
Programme and Outreach Coordinators Jade Lui*, Jasmine Poon*
Marketing Manager Carly Wong*
Deputy Marketing Manager Tiffany Chan*
Assistant Production Manager Jess Cheung*
Senior Accounting Officer Catherine Chung*
HKARTSFESTIVAL@TAIKWUN
Project Manager Kwong Wai Lap*
藝術家統籌 張素真*、張凱婷*、向怡君*、何敬堯*、黎善涵*、劉欣彤*、梁頌怡*、吳麗文*、彭慧雯*、胡肇婷*、翁蒨懃* 製作主任 黃詠詩*
技術統籌 李浩賢*、曾以德*、范文恩*、林仁健*、莊曉庭*、許肇麟*
Head of Artist Coordinators Eleanor Chu*
Artist Coordinators Susan Chang Hayden*, Becca Cheung*, Cassandra Heung*, Kelvin Ho*, Christa Lai*, Venice Lau*, Kitty Leung*, Stephenie Ng*, Jan Pang*, Blanche Wu*, Bonnie Yung*
Production Officer Bonnie Wong*
Technical Coordinators Lawrence Lee*, Joyi Tsang*, Yan Fan*, Hoi Lam*, Sai Chong*, Boolu Hui*
*合約職員 *Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2023/24由香港藝術發展局資助
# 2023/24 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council
2024年2月更新 Updated February 2024
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C
Our home base most promising.
我們位於世界最具潛力的城市之一 is amongst the world's
( 99 ) 北市經證字第 01583 號 蔡吉政 Each Office Is Independently Owned And Operated
1899.Childe Hassam - New England Headlands
