Marin Alsop with the São Paulo Symphony Orchestra - 47th Hong Kong Arts Festival by Hong Kong Arts Festival

衷心祝賀香港藝術節今年邁向第4 7屆。今屆藝術節陣容鼎盛，共有超過1700名來自香港和世界各地的藝術家傾力演出，為觀眾帶來近1 7 0 場精彩表演。今年藝術節的節目多姿多彩，當代及古典音樂、舞蹈、戲劇等不同形式的藝術表演共冶一爐。每個節目從幕後製作到台前演出，均盡顯精湛的藝術造詣和超凡的想像力。我很高興知道最近完成活化的中區警署建築群，即現在的大館古蹟及藝術館，會在兩個周末呈獻約5 0場舞蹈表演，供公眾免費入場觀賞。大家更有機會一起參與在大館的檢閱廣場、監獄操場，甚至是監獄囚室進行的表演節目。牛棚藝術村亦會打造為藝術共生創造社，首度成為藝術節發展作品的平台，場內設有不同創意領域的工作坊，觀眾並可以欣賞一些創作中的作品，感受藝術家的多元創意。除了精彩表演，藝術節亦一如以往，悉心籌備各項教育和外展活動，致力培育本地藝術人才。「香港藝術節青少年之友」計劃讓本地學生有機會觀賞世界級的表演和參與各式各樣的藝術活動。此外，藝術節亦透過後台參觀和大師班等「加料節目」，讓觀眾與國際頂尖藝術家互動接觸，了解節目的幕後製作過程。衷心感謝香港藝術節團隊一直致力推動本港的藝術發展，成績斐然。我亦感謝贊助商和捐款者的大力支持，令每年的藝術節圓滿成功，大獲好評。謹祝二零一九年香港藝術節所有觀眾、參加者和表演者可以盡情享受這次藝術之旅，留下愉快難忘的回憶。

林鄭月娥香港特別行政區行政長官

I am pleased to congratulate the Hong Kong Arts Festival, which turns 47 this year in grand fashion, with nearly 170 performances featuring more than 1,700 artists from Hong Kong and all over the world. This year, the Festival showcases a dazzling range of classic and contemporary music, dance, theatre and more, each produced, staged and performed with consummate artistry and imagination. I am also delighted to note that our newly revitalised Central Police Station Compound, now Tai Kwun, Centre for Heritage and Arts, is the venue for some 50 free dance performances over the course of two weekends. I am told that audiences will also have the opportunity to participate in the performances taking place at Tai Kwun’s Parade Ground, Prison Yard and even its prison cell blocks. For the first time, the Arts Festival will turn Cattle Depot Artist Village into a Creative Hub for showcasing workshops and works in progress from a variety of creative disciplines. Beyond its captivating performances, the Festival remains committed to its educational activities, outreach and development of local artists. The Young Friends of the Hong Kong Arts Festival enables local students to enjoy world-class performances and participate in a range of arts activities, while PLUS programmes bring audiences behind the scenes with some of the world’s greatest artists through backstage tours, masterclasses and more. I am grateful to the Hong Kong Arts Festival team for its continuing commitment and manifold contributions to the development of the arts in Hong Kong. I am grateful, too, to the many sponsors and donors who, each year, help make the Festival a resounding success. I wish audiences, participants and performers alike a delightful and memorable 2019 Hong Kong Arts Festival experience.

Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region

歡迎閣下蒞臨欣賞第4 7屆香港藝術節的這場演出。感謝您與我們一起歌頌表演藝術在舞台上的不同季節和階段。我們要感謝香港特別行政區政府透過康樂及文化事務署的年度恆常撥款。這項資助對香港藝術節每年得以成功舉辦，至關重要。多謝香港賽馬會慈善信託基金持續的支持，為我們致力豐富城中文化生活，打下根基。另外要感謝眾多企業贊助商、慈善基金會以至個人捐助者。他們的慷慨捐助，讓我們能夠呈獻世界各地的優秀藝術家、發展新作、培育年青觀眾，並在國際舞台上引薦本地人才。最重要的是感謝您前來欣賞今天的表演。香港藝術節的成功，正是有賴觀眾的熱情和參與。謹祝您享受藝術節今天這場演出，渡過難忘的時光。

查懋成香港藝術節主席

I am delighted to welcome you to this performance at the 47th Hong Kong Arts Festival. Thank you for joining in our celebration of the seasons and stages of the performing arts. I would like to extend my gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention, which is vital to the continued success of the Festival. I am also grateful to the Hong Kong Jockey Club Charities Trust, whose ongoing support is a cornerstone in our efforts to enrich the cultural calendar of the city. Thanks are also due to our many corporate sponsors, charitable foundations and individual donors, whose generous support enables us to host some of the world’s leading artists, develop new works, cultivate young audiences, and promote local talent on a world stage. Above all, I offer my warm thanks to you for joining today’s performance. The enthusiasm and engagement of our audiences is the foundation of the Hong Kong Arts Festival’s success. I sincerely hope that you will find your time spent at the Festival today memorable and enjoyable.

Victor Cha Chairman, Hong Kong Arts Festival

衷心感謝閣下蒞臨欣賞第47屆香港藝術節的演出。今屆藝術節以「一步一舞台」為主題。舞台，不僅是我們呈獻新穎及經典表演的地方，更是藝術轉化向前的關鍵。頂尖藝術家及明日之星於舞台相遇，各展姿彩；透過忠實致敬及大膽改編，經典劇目得以重現觀眾眼前；嶄新作品以原創設計、技術及敍事方法，挑戰傳統舞台的極限。無論於哪個舞台表演，我們會繼續想像藝術世界的無限可能，亦期望今屆表演能為閣下帶來啟發和歡愉。另外，誠邀您參加「加料節目」的各項活動，深入了解重點表演，令藝術節體驗更全面。謹代表藝術節團隊，感謝您參與香港藝術節，支持我們的使命，為香港締造一個世界級藝術節。

It is a pleasure and a privilege to welcome you to this performance at the 47th Hong Kong Arts Festival. This year, we celebrate artists and artworks “At Every Stage”. Not only do we spotlight exhilarating programmes at stages old and new across Hong Kong, but also reflect on the stage as a process of transformation. Leading artists at the peak of their careers perform alongside the next generation of rising stars. Classic repertoire is reinvented through brave homages and boldly experimental retellings, and the original designs, technologies and storytelling modes of new works crash through the boundaries of the traditional stage. I hope that this and many other performances at the 47th HKAF will provoke, inspire and delight you, and that in the course of viewing works at every stage, we may continue to envision the myriad possibilities of the arts. As part of your Festival experience, I would also recommend you join the many PLUS performances, workshops and events that have been designed to bring insight into our core programmes. Together with the entire team, I would like to thank you for your support of the Hong Kong Arts Festival, which sustains us in our mission to bring a world-class arts festival to Hong Kong.

何嘉坤香港藝術節行政總監

Tisa Ho Executive Director, Hong Kong Arts Festival

香港藝術節扎根香港的國際藝壇盛事香港藝術節於 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，2019 年第 47 屆藝術節的年度預算約港幣一億三千六百萬，當中香港特區政府的基本撥款佔總收入的近 13%，接近 6% 來自政府新增加的五年限期額外撥款，另外約 28% 需來自票房收入，逾 33% 則需依賴來自各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘下的大約 20% 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、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、甘拿迪．羅傑斯特汶斯基、克里斯蒂安．泰利曼、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、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

2019 年藝術節預計收入來源（約港幣一億三千六百萬） Estimated Income Sources for the 2019 HKAF (Approximately HK$136 Million)

贊助和捐款 Sponsorship & Donations

over 逾

•戲劇：彼得．布祿克、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，並致力為新晉藝術家提供展示才華的平台。藝術節至今委約及製作逾 2 0 0 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，近年開始同步出版新作劇本，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粵劇《百花亭贈劍》、《香港家族》三部曲、《世紀．香港》音樂會、《論語》、《炫舞場》、《大同》、《金蘭姊妹》、《爆蛹》、《野豬》、《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》、三藩市歌劇院與香港藝術節聯合製作的《紅樓夢》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 27 年來，已為逾 750,000 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 1 0 , 0 0 0 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。

33% around 約

20% nearly 近 6% nearly 近 13%

around 約

28%

票房收入 Box Office （2019 年 1 月更新 Updated January 2019）

其他收入（包括按捐款和贊助收入可望獲得的政府配對資助 ) Other Income (Including Possible Government Matching Grant for Sponsorship and Donation Income) 政府五年限期額外撥款 Government's Time-limited Addition Funding (for 5 years)

政府的基本撥款 Government Baseline Funding

Hong Kong Arts Festival A Major International Arts FestivaI ln, Of and For Hong Kong 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. HKAF is a non-profit organisation. Secured government baseline funding represents about 13% of the 2019 Festival’s HK$136 million budget, with another nearly 6% specially provided by the Government as time-limited additional funding for five years. Around 28% of the Festival’s income needs to come from the box office, and over 33% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 20% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western Opera: Bavarian State Opera, 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, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Gennady Rozhdestvensky, Christian Thielemann, 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, 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, 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 HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include the Cantonese Opera - Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong–The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few. HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by 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 HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera. HKAF invests heavily in arts education for young people. Over the past 27 years, our “Young Friends” scheme has reached over 750,000 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 half-price student tickets each year. 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.

誠邀贊助或捐助第 47 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 47th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: 直綫 Direct Lines: 網頁 Website:

dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us

* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2018.html

Presents

瑪琳．艾爾梭與聖保羅交響樂團

Marin Alsop with the São Paulo Symphony Orchestra 21 2月 Feb

演出長約 2 小時 5 分鐘，包括一節中場休息 Approximately 2 hours and 5 minutes including one interval 節目資料 p17 for programme details

22 2月 Feb

演出長約 2 小時，包括一節中場休息 Approximately 2 hours including one interval 節目資料 p35 for programme details

香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre

香港藝術節感謝香港洲際酒店提供酒店住宿支持 Hong Kong Arts Festival wishes to thank InterContinental Hong Kong for providing accommodation support for this programme. 封面照片 Cover Photograph: © Grant Leighton

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

HKartsfestival

本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.

www.hk.artsfestival.org

Presents

瑪琳．艾爾梭與聖保羅交響樂團

Marin Alsop with the São Paulo Symphony Orchestra 21 2月 Feb

演出長約 2 小時 5 分鐘，包括一節中場休息 Approximately 2 hours and 5 minutes including one interval 節目資料 p15 for programme details

22 2月 Feb

演出長約 2 小時，包括一節中場休息 Approximately 2 hours including one interval 節目資料 p35 for programme details

香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

HKartsfestival

本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.

www.hk.artsfestival.org

聖保羅交響樂團

São Paulo Symphony Orchestra 聖保羅交響樂團自 1 9 5 4年以巴西交響樂團之名義舉辦首場音樂會後，隨之便成為國際享譽的管弦樂團，對推動聖保羅以至巴西的文化生活舉足輕重。埃萊亞薩基卡華( 1 9 1 2 - 1 9 9 6 )擔任聖保羅交響樂團藝術總監二十四年，他離開後，由約翰‧奈許靈於 1 9 9 7年接棒，並開始在國內和海外甄選新團員，更改善樂團樂手的薪酬和工作情況，為樂迷帶來耳目一新的感覺。 1 9 9 9年，由舊火車站改建而成的聖保羅音樂廳開幕，成為樂團的固定表演場所，音樂廳更於 2 0 1 5 年被譽為全球十大音樂廳之一。往後的樂季，樂團以演奏多元化曲目聞名，還與唱片品牌如BIS（瑞典）和Biscoito Fino （里約熱內盧）合作，將巴西的管弦音樂傳遍世界各地。

Since its first concert in 1954 as the São Paulo Symphony Orchestra, the Orquestra Sinfônica do Estado de São Paulo (OSESP) has gained international standing and become a major force in the cultural life of both São Paulo and Brazil. When Director Eleazar de Carvalho (19121996) finished his 24-year tenure with the orchestra, he left behind a reformulation project for Maestro John Neschling, who became artistic director in 1997. Soon after, auditions were opened both in Brazil and abroad, with improved salaries and work conditions for the orchestra’s musicians. In 1999, a new home for the orchestra opened in the Sala São Paulo, a repurposed railway station later named one of the world’s top ten concert halls in 2015. In seasons since, the orchestra has become famous for the diversity of

樂團至今時有巡迴世界表演，並於 2 0 0 8 年獲《留聲機》雜誌選為全球三隊值得留意的新晉管弦樂團之一。 2 0 1 2年，他們成為首隊亮相倫敦英國廣播公司「逍遙音樂節」的巴西管弦樂團，該場演出由當時新上任的首席指揮、現任音樂總監瑪琳．艾爾梭指揮。樂團亦曾到荷蘭著名的阿姆斯特丹音樂廳演出，獲評論稱讚他們的表演令人印象深刻。 2 0 1 3 年，艾爾梭獲委任為樂團音樂總監，並帶領樂團展開另一場歐洲巡迴之旅，包括首度亮相巴黎普雷耶爾音樂廳、倫敦皇家節日音樂廳及柏林愛樂音樂廳，每場演出均大獲好評。2 0 1 4年，為慶祝聖保羅交響樂團成立六十週年，樂團聯合委約作曲家約翰．亞當斯的著名色士風協奏曲節目，分別於巴西五個州分演奏。 2 0 1 6年，樂團在艾爾梭的指揮下於多個歐洲主要的夏日音樂節演出。聖保羅交響樂團曾在巴西和拉丁美洲、美國和歐洲巡迴演出，在海外備受好評。每個樂季，他們都會演出過百場音樂會，每場演出均吸引了接近一萬名觀眾，更為超過三萬名兒童及青年提供大型的教育及外展活動。此外，樂團首張錄音專輯由拿索斯唱片發行，演奏由瑪琳．艾爾梭指揮的普羅科菲耶夫交響曲全集，以及由卡拉切夫斯基指揮的魏拉．羅伯斯交響曲全集。

its repertoire, including partnerships with labels BIS (Sweden) and Biscoito Fino (Rio de Janeiro), ensuring the diffusion of Brazilian concert music across the world. In 2008, OSESP was named by Gramophone magazine as one of three emerging orchestras to watch, and the orchestra continues to tour regularly worldwide. In 2012, it became the first Brazilian orchestra ever to perform at the BBC Proms in London under its then newly-appointed Principal Conductor, Marin Alsop. The orchestra also performed at the Concertgebouw Amsterdam, with critics praising the orchestra’s impressive international performances. When Alsop was named Music Director in 2013, the orchestra embarked on another European tour, making hugely successful debuts at the Salle Pleyel in Paris, the Royal Festival Hall in London and the Berlin Philharmonie. In 2014, to commemorate its 60th anniversary, OSESP co-commissioned a saxophone concerto by John Adams and performed it in five Brazilian states. In 2016, OSESP appeared at major European summer festivals under Alsop’s baton. While multiple tours across Brazil and Latin America, the United States and Europe have seen the orchestra internationally renowned for its excellence, it performs over a hundred concerts every season for nearly 10,000 subscribers and runs a large educational and outreach programme for over 30,000 children and teenagers. OSESP also released its first recordings on the Naxos record label as part of a project encompassing Prokofiev’s complete symphonies conducted by Marin Alsop, and Villa-Lobos’ complete symphonies conducted by Isaac Karabtchevsky.

瑪琳．艾爾梭

Marin Alsop 指揮 Conductor

瑪琳．艾爾梭是國際樂壇上一位具啟發性及感染力的人物，同時是位視野廣闊、出色的音樂總監。深信「音樂能夠改變生命」。她以新穎的手法編排音樂節目、致力向各年齡層的聽眾推廣音樂教育，蜚聲國際。艾爾梭自 2 0 0 7 年上任巴爾的摩交響樂團音樂

均有不同的慶祝活動，身為伯恩斯坦的得意門

總監，其出色表現讓她兩度連任，現時任期至

生，艾爾梭成為活動的焦點之一。她不但在倫

2 0 2 1 年。樂團在她帶領下的創舉包括為巴爾的

敦交響樂團的紀念音樂會擔任開幕演出指揮，

摩弱勢青少年推廣音樂教育的「兒童樂團」計

也於拉維尼亞音樂節指揮伯恩斯坦的《彌撒》，

劃，以及為成人業餘樂手創辦巴爾的摩交響樂

並獲委任為該節 2018 年和 2019 年的音樂策展

團音樂學院和「生疏樂手」。2012 年，她接任

人。身為倫敦南岸藝術中心的駐場藝術家，她

聖保羅交響樂團的首席指揮和音樂總監，繼續

也在該場地演出過《彌撒》。

帶領樂團為聽眾帶來別具創意的曲目，並積極推動外展活動當中，包括 2019 年的亞洲巡演，及三場於琉森音樂節、阿姆斯特丹、柏林、巴黎、薩爾斯堡及維也納舉行的歐洲巡演。現時她的任期合約止於 2 019 年末，屆時將會成為樂團的榮譽指揮。2 0 1 9 年 9 月，她將會出任維也納廣播交響樂團首席指揮。

艾爾梭灌錄了多張專輯，榮獲《留聲機》雜誌多個獎項，包括備受讚賞的布拉姆斯套曲作品（由拿索斯唱片發行、與倫敦愛樂樂團及萊比錫廣播交響樂團錄製）；德伏扎克作品（與巴爾的摩交響樂團錄製）及普羅科菲耶夫作品（與聖保羅交響樂團錄製）。她另外也有為迪卡古典唱片公司、法國和諧世界唱片及索尼經典唱

艾爾梭為多個世界著名樂團擔任指揮，近期及

片錄製專輯。與此同時，艾爾梭已擔任美國加

未來合作的歐洲樂團包括︰荷蘭皇家音樂廳管

州卡布里歐當代音樂節的音樂總監長達 25 年，

弦樂團、意大利米蘭史卡拉愛樂樂團、布達佩

可見她對當代新音樂的熱誠。

斯節日樂團、丹麥國家交響樂團、巴黎管弦樂團、倫敦交響樂團、倫敦愛樂樂團、費城管弦樂團、克里夫蘭管弦樂團及芝加哥交響樂團。此外，她於 2 0 1 8 / 1 9 樂季的焦點演出分別有萊比錫布業大廳樂團、以色列愛樂樂團、西班牙國家管弦樂團、法國國家管弦樂團、與皇家愛樂樂團於奧地利格拉費內格音樂節和米蘭都靈國際音樂節的首演，以及與布瑞頓 — 皮爾斯樂團於愛爾堡音樂與藝術節的第二次駐團合作。

此外，艾爾梭獲獎無數，擔任了多個教職，也是唯一一位獲頒麥克阿瑟基金獎的指揮家。她是英國皇家音樂學院及皇家愛樂協會的榮譽會員，近年獲委任為約翰霍普斯金大學皮博迪音樂學院研究院指揮課程總監，她亦擔任茱莉亞音樂學院和耶魯音樂學院的指揮，並於 2017 年獲頒發榮譽博士。艾爾梭於 1989 年開展其指揮事業生涯，並在同年成為首位檀格塢音樂中心庫塞維斯基獎的女性得獎者。

2 0 1 8 年是李安納．伯恩斯坦的百年誕辰，全球

Marin Alsop is an inspiring and powerful voice in the international music scene and a music director of vision and distinction who passionately believes that music has the power to change lives. She is recognised across the world for her innovative approach to programming and deep commitment to education and to the development of audiences of all ages. Her outstanding success as Music Director of the Baltimore Symphony Orchestra (BSO) since 2007 has been recognised by two extensions in her tenure, now confirmed until 2021. As part of her artistic leadership in Baltimore, Alsop has created several bold initiatives: OrchKids, for the city’s most deprived young people, and the BSO Academy and Rusty Musicians for adult amateur musicians. Alsop became Principal Conductor and Music Director of the São Paulo Symphony Orchestra (OSESP) in 2012, where she continues to steer highly creative programming and outreach activities, and which she conducts on the international stage: this includes a tour to Asia in 2019 and three European tours featuring performances at the Lucerne Festival and in Amsterdam, Berlin, Paris, Salzburg and Vienna. Her contract continues to the end of 2019, when she becomes Conductor of Honour. In September 2019, Alsop becomes Chief Conductor of the ORF Vienna Radio Symphony Orchestra. Alsop conducts the world’s major orchestras, with recent and forthcoming European highlights including the Royal Concertgebouw Orchestra,

Filarmonica della Scala, Budapest Festival Orchestra, Danish National Symphony Orchestra, Orchestre de Paris, London Symphony Orchestra (LSO) and London Philharmonic Orchestra (LPO), and the Philadelphia, Cleveland and Chicago Symphony Orchestras. Further highlights of the 2018/19 season include the Gewandhausorchester Leipzig, Israel Philharmonic Orchestra, Spanish National Orchestra, and the Orchestre National de France, following summer festival debuts at the Grafenegg and MITO festivals with the Royal Philharmonic Orchestra and a second residency with the Britten-Pears Orchestra at the Snape Proms. As one of Leonard Bernstein’s best known pupils, Alsop was central to his 100th anniversary global celebrations in 2018: she opened the LSO’s tribute and conducted performances of Bernstein’s Mass at the Ravinia Festival, where she has been appointed Musical Curator for 2018 and 2019, and at Southbank Centre, where she is the artist-inresidence. Her extensive discography has led to multiple Gramophone awards and includes highly praised Naxos cycles of Brahms with the LPO and MDR Leipzig, Dvo ák with the BSO, Prokofiev with OSESP, and further recordings for Decca Classics, Harmonia Mundi and Sony Classical. She is dedicated to new music, demonstrated in her 25-year tenure as Music Director of California’s Cabrillo Festival of Contemporary Music. Among her many awards and academic positions, Alsop is the only conductor to receive the prestigious MacArthur Fellowship, is an Honorary Member of the Royal Academy of Music and Royal Philharmonic Society, and was recently appointed Director of Graduate Conducting at the Johns Hopkins Peabody Institute. She attended the Juilliard School and Yale University, which awarded her an Honorary Doctorate in 2017. Her conducting career was launched in 1989, when she was the first woman to be awarded the Koussevitzky Conducting Prize from the Tanglewood Music Center.

21.2.2019 普羅科菲耶夫

Sergei Prokofiev (1891-1953)

D 大調第一交響曲，作品 25，「古典」

Symphony No 1 in D major, Op 25, “Classical” Allegro Intermezzo – Larghetto Gavotte – Non troppo Allegro Finale – Molto vivace

快板間奏曲︰小廣板嘉禾舞曲：不太快的快板終曲：非常活潑地

帕格尼尼

Niccolò Paganini (1782-1840)

D 大調第一小提琴協奏曲，作品 6

Violin Concerto No 1 in D major, Op 6 Allegro maestoso Adagio espressivo Rondo – Allegro spiritoso

莊嚴的快板富感情的慢板圓舞曲：神氣的快板小提琴：寧峰

Violin: Ning Feng

— 中場休息 Interval —

格爾尼里《里加鎮》組曲（選段）

Camargo Guarnieri (1907-1993) Suíte Vila Rica (excerpts) I. Entrada – Maestoso IV. Scherzando VII. Valsa (Waltz) VIII. Saudoso (Homesick) IX. Humorístico (Humourous) X. Baião – Gingando (Bahian dance – Swaying)

I. 進場曲—莊嚴的 IV. 諧謔的 VII. 圓舞曲 VIII. 思鄉 IX. 幽默的 X. 巴悠舞曲—搖擺

李察．史特勞斯《玫瑰騎士》組曲

Richard Strauss (1864-1949) Der Rosenkavalier Suite Prelude Presentation of the Silver Rose Baron Ochs's Waltz "Ist ein Traum" Waltz

前奏曲呈上銀色玫瑰岳斯男爵的華爾茲「這是夢境」圓舞曲是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

寧峰

Ning Feng 小提琴 Violin

定居於柏林的中國小提琴家寧峰憑着抒情的演奏，精湛的技巧及強大的感染力於世界各地舉行多次獨奏會，並跟多個著名樂團和指揮家合作演出，令他得到國際廣泛的認可及讚賞。寧峰近期的重要演出包括與英國廣播公司愛樂樂團、聖保羅交響樂團、弗次瓦夫愛樂樂團、哈雷樂團、波恩茅斯交響樂團，及與史圖加室樂團的首次合作演出。他將會再次與柏林音樂廳管弦樂團合作演奏布拉姆斯的小提琴協奏曲，及到澳洲與澳洲西部交響樂團及塔斯曼尼亞交響樂團合作，他更會再次回到中國上海交響樂團演出及出任深圳交響樂團駐團藝術家。在室樂方面，寧峰首次亮相皇家阿姆斯特丹音樂廳，演奏了舒伯特的作品，並重訪倫敦威格摩爾音樂廳，更在荷蘭埃因霍芬與他創辦的「龍四重奏」一同演出。他亦將於 2019 年

4 月到梅克倫堡 - 波莫瑞州音樂節與春季音樂節藝術監督丹尼爾．穆勒 - 舒特舉行室樂音樂會。荷蘭的經典頻道唱片公司為寧峰錄製及發行過多張唱片；當中近期的巴赫小提琴獨奏曲全集除了令他成為首位完成錄製這經典偉大作品的中國小提琴家，更獲《留聲機》雜誌稱譽。他跟皇家利物浦愛樂樂團及指揮卡洛斯．米高爾．皮利圖錄製的艾爾加及芬玆小提琴協奏曲則在 2018 年秋季公開發行。寧峰在中國成都出生，曾就讀於四川音樂學院、柏林漢斯．艾斯勒音樂學院和英國皇家音樂學院，更在後者成為首位在畢業演奏會得到滿分的學生。他曾贏得多個獎項，包括漢諾威國際小提琴比賽、伊莉莎白王后國際小提琴比賽和耶胡迪．梅紐因國際小提琴比賽等重要賽事，更是新西蘭邁克．希爾國際小提琴比賽和帕格尼尼國際小提琴比賽的冠軍。寧峰演奏使用的小提琴是由飛躍演奏香港有限公司安排的

1 7 2 1 年史特拉迪瓦里小提琴「麥克米蘭」，而它的琴弦是由維也納多馬迪琴弦公司製造的。

Ning Feng is recognised internationally as an artist of great lyricism, innate musicality and stunning virtuosity. Blessed with an impeccable technique and a silken tone, his palette of colours ranges from intimate delicacy to a ferocious intensity. The Berlin-based Chinese violinist performs across the globe with major orchestras and conductors in recital and chamber concerts. Highlights of Ning’s 2018/19 season include debuts with the BBC Philharmonic Orchestra, São Paulo Symphony Orchestra, the Wroclaw Philharmonic Orchestra, the Hallé Orchestra, the Bournemouth Symphony Orchestra and the Stuttgart Chamber Orchestra. He will return to the Konzerthausorchester Berlin to perform the Brahms Violin Concerto and to Australia with the West Australian Symphony Orchestra and the Tasmanian Symphony Orchestra. In his native China, he will return to the Shanghai Symphony Orchestra and serve as artist-in-residence with the Shenzhen Symphony Orchestra. Chamber music highlights include Ning’s debut at the Concertgebouw Amsterdam in an all-Schubert programme, his return to the Wigmore Hall and a recital in Eindhoven with the Dragon Quartet. In April 2019, he will return to the Mecklenburg-Vorpommern Festival to perform chamber music concerts with the Spring Festival’s Artistic Director Daniel Müller-Schott. Ning records for Channel Classics in the Netherlands. His recent disc of Bach’s complete solo works for violin—the first such recording by a Chinese violinist—has been hailed by Gramophone. His recording of the Elgar and Finzi Violin Concertos with the Royal Liverpool Philharmonic conducted by Carlos Miguel Prieto will be released in autumn 2018. Born in Chengdu, China, Ning studied at the Sichuan Conservatory of Music, the Hanns Eisler School of Music (Berlin) and the Royal Academy of Music (London), where he was the first student ever to be awarded 100% for his final recital. The recipient of prizes at the Hanover International, Queen Elisabeth and Yehudi Menuhin International Violin Competitions, Ning was First Prize winner of the 2005 Michael Hill International Violin Competition (New Zealand) and the 2006 International Paganini Competition. Ning plays a 1721 Stradivari violin, known as the “MacMillan”, on private loan kindly arranged by Premiere Performances of Hong Kong, and on strings by Thomastik-Infeld, Vienna.

普羅科菲耶夫 D 大調第一交響曲，作品 25，「古典」

Sergei Prokofiev Symphony No 1 in D major, Op 25, “Classical” 對普羅科菲耶夫這位才華洋溢、自信滿滿的藝術

令人驚喜的和聲，更突顯作品並不是單純地模

家而言，二十世紀初是機遇處處的時代；他十三

仿過去，例如開首的快板頑皮地從本調 D 大調

歲就被邀請入讀聖彼得堡音樂學院，趾氣高揚地

扭轉到 C 大調，成為再現部的調性，這絕對是

踏足音樂界。出道之初，普羅科菲耶夫一度被以

離經叛道、反經典的手法。

為是芭蕾舞團經理戴亞基列夫的又一位「緋聞密友」，史達拉汶斯基就是由戴亞基列夫提拔而成名的。在 1 9 1 7 年革命火紅的年頭，他仍不懈創作出大量作品，包括第一小提琴協奏曲、多首重點鋼琴獨奏曲和七首交響曲中的第一首。

儘管普羅科菲耶夫的管弦樂譜法通透，這部作品仍不易演奏。要演出奏效，合奏必須展示出完美的同步詣藝。不用粗狂的浪漫主義，小廣板拿捏抒情迷人的平衡點，預告了普羅科菲耶夫及後在蘇俄時期的芭蕾作品《羅密歐與茱麗

當布魯克納和馬勒都寫下龐大交響樂作品，這

葉》中動人的旋律；他甚至把第三樂章中的嘉

位年輕的俄國人卻另闢幽徑，帶交響樂走入海

禾舞曲放進《羅密歐與茱麗葉》。終曲速度驚

頓風格的路徑；在自傳中，普羅科菲耶夫道出

人，普羅科菲耶夫說他嘗試避用小調和弦，音

一個很實際的原因：「我［到鄉郊避暑時］刻

樂就像一顆點燃了的炮竹般往前衝，把海頓式

意不帶鋼琴，因為我想嘗試不用鋼琴寫曲……

的沸騰演繹到新的世紀，他說：「我覺得如果

我一直想寫整首沒有使用鋼琴的交響曲，相信

海頓活到今天，他也會一面保持他的風格，一

這樣能使器樂的色彩更自然通透。」

面接受新的東西。」

史達拉汶斯基的新古典主義作品雖然開拓出新領域，但其實普羅科菲耶夫的 D 大調第一交響曲比其更早；這種被普羅科菲耶夫名為「古典交響樂」的意念，早在他的音樂學院時代已經萌芽；如此嶄新風格的先驅可數李察．史特勞斯在 1 9 1 2 / 1 9 1 6 年的歌劇《納索斯島的阿麗亞德妮》；今天的節目中我們也可聽到史特勞斯的作品。年輕的普羅科菲耶夫還是名不經傳，憑藉一份自信和清新的幽默，教人眼前一亮。開朗、陽光般的 D 大調（這種聯想源自十八世紀）經過普羅科菲耶夫的譜法，利用小號和定音鼓製造歡慶的點綴，加上木管和弦樂的配對，使樂曲更燦爛。即使模式是古典的，亦不只拘泥於海頓，但所有素材都是普羅科菲耶夫原創；

年輕的普羅科菲耶夫，攝於 1918 年。美國國會圖書館收藏 Young Prokofiev in 1918. Courtesy of Library of Congress.

To an artist with Sergei Prokofiev’s gifts and confidence, the first decades of the 20th century must have seemed boundless with possibility. He was only 13 when he was invited to enrol in the Saint Petersburg Conservatory and went on to introduce himself to the music world as an arrogant young upstart. Prokofiev was initially perceived as another “scandalous” modernist courted by Sergei Diaghilev, the impresario who had helped bring Igor Stravinsky to international fame. Even during the turbulent year of revolution, in 1917, he managed to produce a remarkable amount of music , including the First Violin Concerto, some important solo piano pieces, and the first of his seven symphonies.

still-unknown Prokofiev make for a startling call to attention.

Amid the backdrop of the gigantic symphonic works of Anton Bruckner and Gustav Mahler, the young Russian came up with the insouciant idea of a Haydn-tinged excursion into the genre. Part of the reason, Prokofiev tells us in his autobiography, was simply practical: “I deliberately did not take my piano with me [during my summer getaway to the country], for I wished to try composing without it….I had been toying with the idea of writing a whole symphony without the piano. I believed that the orchestra would have more natural and transparent colours.”

For all the transparency of Prokofiev’s orchestral writing, this score is not easy to play. An effective performance demands perfectly in-sync ensemble virtuosity. Free of heavy-handed Romanticism, the charming lyrical poise of the Larghetto anticipates the touching melodies of the composer’s later Soviet-period ballet Romeo and Juliet. In fact, he even incorporated the Gavotte of the third movement into that ballet score. The breakneck Finale, in which Prokofiev says he attempted “to avoid all minor chords”, rushes onward like a burning firecracker, a translation of Haydnesque ebullience into the new century: “It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time.”

The Symphony No 1 in D major actually predates Stravinsky’s trailblazing works of neoclassicism. In fact, the seeds for this “Symphonie classique”, as Prokofiev termed it, reach back even further to his conservatory days. There were precursors of this new approach: Richard Strauss, for example (whom we also hear on this programme), in his opera Ariadne auf Naxos (1912/1916). But the sheer confidence and fresh humour of the young,

The bright, “sunny” key of D major (an association from the 18th century) is reinforced by Prokofiev’s scoring, with celebratory punctuation from trumpets and timpani in addition to pairs of woodwinds and strings. Despite his Classical models, which extended beyond Haydn, all of the musical material is Prokofiev’s own. Harmonic surprises ensure that we do not hear this music as naive imitation of the past. The opening Allegro, for example, teasingly swerves from its home key of D to C major, which becomes the destination of the recapitulation—a decidedly “incorrect” and non-Classical choice.

帕格尼尼 D 大調第一小提琴協奏曲，作品 6

Niccolò Paganini Violin Concerto No 1 in D major, Op 6 生於社會文化急速變遷的時代，天資聰穎的帕

協奏曲用快－慢－快的傳統古典曲式；據《協

格尼尼改造了獨奏家的形象，迎合正在冒起的

奏曲的歷史》作者羅特在書中點出：帕格尼尼

浪漫主義新精神。他獨特而超高的技巧，糅合

的創意，見於傳統的曲式中，以高超演奏技巧

表演的魅力，開創音樂的新典範，讓後來者如

賦予音樂新的意義。對小提琴手極高難度的要

李斯特借鏡，把帕格尼尼的小提琴換成自己的

求，連帶對小提琴作為樂器的概念也得重定，

鋼琴，並闖出一番事業。

是一個完全超越古典傳統的概念。

帕格尼尼演奏的描述，常常透着一份神秘感：

樂團在第一段落有很長的發揮，在小提琴進場

高挑的小提琴家黑衣一襲，在琴上施展不可思

前帶出幾個主題。然後音樂全息，布幕拉起，

議的技藝，傳說只有和魔鬼簽下契約的音樂家

由小提琴獨奏主導樂章餘下的部分，用閃亮的

才能做到，這真是聰明的推銷伎倆。

新視角演繹樂思；帕格尼尼並沒有為樂章寫華

帕格尼尼對自己反傳統、甚至是聞所未聞的技巧甚為自豪：奇巧的調音法、橫跨兩個音符以

彩段，因為他會即興發揮，往後的小提琴家都接受這個挑戰，寫作配合各自風格的華彩段。

上的震音、用拋弓奏出跳動輕巧的音符、用雙

就如他的同胞好友羅西尼，在憂鬱的小調慢板，

手撥奏等。為了取悅聽眾，帕格尼尼常憑記憶

帕格尼尼表現出對當代美聲歌劇的鍾愛；樂曲

演奏，製造即興的假象。但作為作曲家，他卻

成為了幾類戲劇場景的傳統背景音樂，例如是

是個精細的工匠，寫作多首突顯他演奏才華的

當悔罪的囚犯祈求神明，讓他平安離世以得解

作品：包括廿四首刁鑽的小提琴獨奏隨想曲、

脫。終曲的迴旋曲要求高度細膩的技巧，不斷

室樂作品和六首成熟的小提琴協奏曲。他更是

回歸的主題，成為拋弓法的典範，令人難忘。

一位聰明的生意人，往往不出版樂譜，使他的

縱觀這首協奏曲，就像一部迷你百科全書，盡

演奏成為獨家演出。

現各種小提琴技法。

第一小提琴協奏曲即是一例，樂譜直至帕格尼尼死後才面世，估計於 1819 年在他家鄉那不勒斯首演，但旋即成為他最受歡迎的曲目之一。器樂部分以降 E 大調而寫，但獨奏的素材若以標準調音，即使帕格尼尼也沒可能奏出，於是他用了一個小花招：讓小提琴像在奏 D 大調，但琴弦調高了半音，即為原定的聲調降 E；現在演奏這首協奏曲時通常使用 D 大調。

A prodigy in an era of rapid social and cultural change, Niccolò Paganini reinvented the image of the solo performer for the new spirit of emerging Romanticism. He fused his special brand of hypervirtuosity with a performance charisma that paved the way for the likes of Franz Liszt, who in turn transferred what Paganini had done for the violin to his own instrument, the piano. Accounts of Paganini’s playing evoke a sense of ritual: the tall, wiry violinist would dress in black, achieving feats with his instrument that, it was suggested (and a good bit of marketing it was!), might be possible only for a musician who had signed a pact with the devil. Paganini thrilled with his unorthodox or even unheard-of techniques: strange tunings, trills across more than just two notes, “ricochet” bowing (producing notes with a notably bouncy, light sound), and pizzicato notes plucked by both hands. Paganini also liked to impress audiences by playing his music from memory, which created an illusion of spontaneous inspiration. But he was a meticulous craftsman as a composer and wrote many pieces to spotlight his gifts: from his fiendish 24 Caprices for solo violin to chamber works and six mature violin concertos. Ever the smart businessman, Paganini often did not publish his scores and made performing them into an exclusive event. Take the Violin Concerto No 1: it was unpublished until after Paganini’s death but became one of his best-known calling cards from the moment he introduced it, most likely in his native Naples in 1819. The orchestral score was written in E-flat major, but since some of the soloist’s material would be impossible even for Paganini to play in standard tuning in this key, he introduced a little trick: having the violinist play as if in D major but

with the strings tuned a half-step higher in E-flat, which was the intended sonority. D major is usually the key in which the concerto is played nowadays. The Classical design of this concerto, with its fast– slow–fast format, is conventional. Yet as Michael Thomas Roeder observes in his History of the Concerto, the innovative side of Paganini found expression alongside this conservative form by giving “new musical meaning” to virtuosity. The extremity of the demands on the violin soloist entail a radically new concept of the instrument— a concept already outside the boundaries of Classical tradition. But the orchestra gets a lengthy spotlight of its own in the first section, which presents the main themes before the entrance of the violin. A full stop brings the curtain up, and then the soloist dominates the rest of the movement, offering sparkling new perspectives on the musical ideas. Paganini did not write out a cadenza for this piece, and other violinists have since taken up the challenge of writing a cadenza suitable to his style. In the melancholy Adagio, set in the minor, Paganini shows his deep affection for contemporary bel canto opera as practiced by his friend and fellow Italian, Gioachino Rossini. Several dramatic scenarios have become associated by tradition with this music, including the image of a repentant criminal in prison who appeals to the divinity for peaceful release through death. The rondo finale calls for exceptional technical finesse. The main theme, which keeps returning, gives a memorable example of the ricochet bowing technique. Paganini’s writing throughout this concerto contains a kind of miniature encyclopaedia of violinistic possibilities.

格爾尼里《里加鎮》組曲（選段）

Camargo Guarnieri Suíte Vila Rica (excerpts) 在這個開幕演出上，艾爾梭大師帶領聖保羅交響樂團，自然為觀眾帶來巴西作曲家的作品（明天有魏拉 - 羅伯斯的曲目）。西方古典音樂傳統往往被視為「舊世界」的留存，讓人忽視了在大西洋對岸，無論南與北，都藏有豐富的創意。就以格爾尼里為例，他是來自西西里的移民之子，出身小鎮，後來在聖保羅音樂學院等院校授徒，多年來發揮影響力，成為巴西音樂的領頭推手，他也曾擔任聖保羅交響樂團的指揮一段時期。格爾尼里在 1 9 38 年到巴黎隨作曲家柯克蘭學習，二戰爆發時才返回巴西；如音樂學家貝阿格所說，這段學習經驗令格爾尼里在處理管弦樂時顯出自信，形容他的風格「在塑造本土素材時，帶出民族主義，卻不落標榜奇異的俗套，技巧細膩，尤其反映在程序和曲式的發展。」而如《里加鎮》組曲此類管弦樂作品則「糅合巴西民歌和流行舞曲」。樂曲取自一套 1 9 5 7 年的電影《里加鎮之亂》，格爾尼里受邀為電影作配樂，電影由山度士．比雷拉兄弟編劇並導演，是巴西第二套彩色電影，講述當時學生運動，並把它與十八世紀末巴西獨立運動「米納斯密謀」相比，當時巴西人受法國大革命啟發，組織分離運動尋求巴西脫離葡萄牙管治，最後當然受到無情的鎮壓。電影配樂選取了幾首由導演提議的民謠，由學生唱出；但在組曲中，格爾尼里只用了其中一首，樂思的編排亦有別於電影的時序，例如開始的雄偉樂段原是在電影尾端、當英雄主角被警察殺死的悲劇結局時的音樂；組曲中也有一些較輕鬆的素材，以襯托學生在追求自主過程中享受着的無拘無束。

On this opening programme, Maestra Marin Alsop and the São Paulo Symphony Orchestra have naturally brought along an example of music by a Brazilian composer. The son of a Sicilian immigrant to Brazil, Camargo Guarnieri emerged from his small-town upbringing to become a leading shaper of Brazilian musical life through his long and influential career as a teacher at such institutions as the São Paulo Conservatory. He even conducted the São Paulo Symphony Orchestra for a period. Guarnieri travelled to Paris in 1938 to study there with Charles Koechlin, though he had to return to Brazil when the Second World War broke out. The musicologist Gerard Béhague notes the sense of confidence in handling the orchestra that Guarnieri gained from this experience, describing his style as “nationalist but anti-exotic in its stylisation of folk elements, and technically refined, particularly in development procedures and form”, while orchestral works such as the Suíte Vila Rica “incorporate Brazilian folk or popular dance types”. This piece derives from a soundtrack that Guarnieri was invited to write in 1957 for the film Rebelião em Vila Rica (Rebellion in Vila Rica). The film, written and directed by Geraldo and Renato Santos Pereira and the second colour film to be made in Brazil, tries to establish a parallel between contemporary student rebellions with the so-called “Minas Conspiracy” of the late 18th century (inspired by the French Revolution), in which members of a separatist movement in Brazil seek independence from Portuguese rule—an effort that, needless to say, was ruthlessly suppressed. The film score featured a collection of folk melodies suggested by the directors, which are sung by students in the narrative, but for his later Suíte, Guarnieri incorporated only one of these. The order of the musical ideas here moreover differs from the narrative chronology, beginning, for example, with a majestic piece originally heard at the tragic conclusion of the film (when the hero is killed by police). The score also contains more light-hearted musical material, which is associated with the moments of freedom the students enjoy in their pursuit of autonomy.

李察．史特勞斯《玫瑰騎士》組曲

Richard Strauss Suite from Der Rosenkavalier 在事業初期，李察．史特勞斯已經擅長利用連串的交響詩來以音樂說故事，在寫作這些豐富的交響敘述中，他累積的經驗成為後來創作歌劇技巧的基礎，創造出如《玫瑰騎士》中栩栩如生的音樂角色，成為上世紀的歌劇大師。史特勞斯的成就，不少要歸功於他的拍檔霍夫曼斯塔爾，他是歌劇史上數一數二的填詞人、詩人和劇作家。1 9 0 9 年史特勞斯大膽創新的歌劇《埃萊克特拉》開始了兩人的合作，緊接其後的就是《玫瑰騎士》。《玫瑰騎士》是一齣時代性喜劇，以十八世紀中期的維也納為背景，故事講述粗俗而自戀的歐克斯男爵，誓要娶得美麗的蘇菲為新娘，更貪圖她富有父親許下的豐厚嫁妝；但男爵的計劃被年輕的奧克塔文伯爵所破壞，這角色由女歌手扮演。奧克塔文代歐克斯送銀玫瑰給蘇菲作為訂婚禮物，兩人一見鍾情，奧克塔文設下計謀，揭露歐克斯醜惡的真面目，最後贏得了蘇菲。史特勞斯在 1 9 0 9 年至 1910 年寫成《玫瑰騎士》，歌劇在 1911 年 1 月的首演，使已經著名的作曲家成為更炙手可熱的名人；《玫瑰騎士》也在音樂廳中自成一家，豐富的譜曲，融合了莫扎特的靈感，以及史特勞斯從華格納所學到的管弦樂技巧，這些精髓在純器樂組曲中最能彰顯。第一首上場的音樂來自序曲：歡騰、陽剛的號角，描繪了少年奧克塔文對步入中年的元帥夫人的熱情。充滿青蔥和英雄情懷的音樂，生動地描繪了這性感的場景，接著，元帥夫人的主題和她對衰老的反思，編織出溫柔的餘暉。歌

Richard Strauss became a virtuoso of storytelling through music with his sequence of tone poems in the early part of his career. The experience he gathered from writing these rich orchestral narratives was indispensable for the technique that would make him into one of the great opera masters of the last century, thanks to the indelible musical characters he brought to life in such works as Der Rosenkavalier. Strauss benefited from partnering with one of the most brilliant librettists in the history of opera, the poet and dramatist Hugo von Hofmannsthal (1874-1929). The pair had decided to work as a team with Strauss’s radically innovative 1909 opera Elektra, the opera immediately preceding Der Rosenkavalier. Set in mid-18th century Vienna, Der Rosenkavalier was conceived as a period comedy centred around the boorish, self-infatuated Baron von Ochs and his quest to win the beautiful Sophie von Faninal as a trophy bride, for with her comes a tempting dowry promised by her nouveau riche father. But the Baron’s plot is foiled by a young count known as Octavian, who is cast as a female singer. Octavian and Sophie immediately fall in love with each other when he first encounters her as the bearer of the “silver rose” to announce Ochs’s engagement. Octavian works out a plan to unmask the true, ugly character of his rival and win Sophie for himself. Strauss wrote the music for Der Rosenkavalier between 1909 and 1910. After the opera premiered in January 1911, it made the already famous composer an even more wildly successful celebrity. Der Rosenkavalier has found a life in the concert hall as well with a rich score that blends inspiration from Mozart with the orchestral mastery Strauss learned from Wagner. This aspect comes to the fore in the purely instrumental suite.

劇的標題「玫瑰騎士」，就是從下一個場景而來：奧克塔文替歐克斯把銀玫瑰送給蘇菲。這對年輕人在狂喜中墮入愛河。簡短的間奏曲標誌着歐克斯現身，他一闖入，即以《玫瑰騎士》標誌性的圓舞曲，荒誕自娛地跳舞；守舊的評論家曾批評，若以十八世紀中期作為背景，這種圓舞曲實已過時，但史特勞斯其實是對前輩的偉大音樂致敬，不僅是華格納，還包括「圓舞曲之王」小約翰．史特勞斯（兩位史特勞斯並沒有血緣關係）；史特勞斯以他獨特的風格寫作，一點也沒有模仿拼砌的感覺，聽起來恰到好處。伴隨歌劇喜劇的一面，之後的中段從歌劇最後一幕取來，帶出《玫瑰騎士》悲喜交集的終極主題：元帥夫人明白愛人對蘇菲的愛最終會勝出，她明智地接受事情的發展，為一對年輕人的幸福，甘願放棄奧克塔文。音樂描述出痛苦和喜悅的交融，功力所達，難有樂曲與之匹敵。元帥夫人優雅地退出，新的戀人繼續簡單的二重唱，像童話般的迷人。組曲以歐克斯標誌性的圓舞曲結束。樂曲介紹湯馬士．梅

The first music we hear is from the Prelude: jubilant, masculine horns, which depict the teenage Octavian’s passion for the Marschallin (she is approaching middle age). The music, both lush and heroic, includes one of the most graphic depictions of the sexual act ever written, followed by a tender afterglow woven from leitmotifs representing the Marschallin and her reflections on aging. We move on to the scene that gives the opera its title (The Knight of the Rose), as Octavian executes his mission to present Sophie with the silver rose from Baron Ochs. The young pair fall in love to rapturously ecstatic strains. A brief interlude marks the entrance of Ochs, who intrudes and dances with absurd self-satisfaction to one of the waltzes that are a signature of Der Rosenkavalier. Pedantic critics have pointed out that such waltzes were anachronistic, given the mid-18th-century setting, yet they sound just right as part of Strauss’s homage to the great music of the past, which embraces not only Wagner but the great “waltz king” Johann Strauss, Jr (no relation). None of this is pastiche, however, for Richard Strauss writes in an unmistakable style of his own. Along with the opera’s comic side, the music of the Trio (taken from near the end of the final act) that follows is the pinnacle of Der Rosenkavalier’s bittersweet message. The Marschallin understands that her lover’s new attraction to Sophie will win out, and she wisely decides to resign herself to this new development and give up Octavian for the happiness of the younger couple. The blend of emotional anguish and ecstasy here has few parallels. The Marschallin makes a graceful exit, and the new lovers continue with a simple duet, as charming as a fairy-tale. The Suite ends with another of Ochs’s waltzes from earlier in the act. Programme Notes by Thomas May

早期製作的《玫瑰騎士》，由赫爾曼．米什金攝於約 1915 年。 An early production of Der Rosenkavalier. Photograph by Herman Mishkin, circa 1915.

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22.2.2019 伯恩斯坦

Leonard Bernstein (1918-1990)

《康第德》序曲

Candide Overture

魏拉 - 羅伯斯

Heitor Villa-Lobos (1887-1959)

《巴西的巴赫風格》第四首

Bachianas Brasileiras No 4 Prelúdio (Introdução) Coral (Canto do Sertão) Ária (Cantiga) Dança (Miudinho)

I. 前奏曲 ( 引言 ) II. 合唱 ( 賽爾圖之歌 ) III. 詠嘆調 ( 敘事曲 ) IV. 舞曲 ( 小步舞 )

— 中場休息 Interval —

艾伯多．吉納斯特拉《牧場》芭蕾舞曲選段，作品 8a

Alberto Ginastera (1916-1983) Dances from Estancia, Op 8a Los Trabadores Agricolas (The Land Workers) Danza del Trigo (Wheat Dance) Los Peones de Hacienda (The Cattle Men) Danza Final (Malambo)

農夫小麥舞牧牛人最後舞曲（馬蘭博）

林姆斯基 - 高沙可夫《天方夜譚》，作品 35

Nikolai Rimsky-Korsakov (1844-1908) Scheherazade, Op 35 Largo e maestoso – Allegro non troppo Lento – Andantino Andantino quasi allegretto Allegro molto

莊嚴的廣板︰不太快的快板緩板︰小行板近乎小快板的小行板很快的快板

是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

伯恩斯坦於 1973 在皇家艾伯特音樂廳彩排，由艾倫．華倫拍攝。 Leonard Bernstein rehearsing at Royal Albert Hall in 1973. Photographed by Allan Warren.

伯恩斯坦《康第德》序曲

Leonard Bernstein Overture to Candide 伯恩斯坦是瑪琳．艾爾梭的啟導恩師之一；對他來說，《康第德》是一首非常難寫的作品，更確切地說，這是一首很難讓他自己滿意的作品，但在去年大師百歲冥壽的紀念中，這首樂曲已被確立為他最優秀的作品之一。《康第德》在 1 9 5 6 年首演，但多年來作曲家都未滿意，直到離世前，仍在把作品修修改改。《康第德》是 1 7 5 9 年的短篇小說，由阿魯埃（即偉大的啟蒙思想家兼作家伏爾泰）所寫；伯恩斯坦的朋友、劇作家海爾曼建議把小說改編為劇作；她想把這部在腐敗世界中保持輕鬆樂觀的諷刺劇，重新演繹成舞台劇，並配上伯恩斯坦的配樂。當作曲家有興趣開展這個計劃，規模很快便擴張起來，不但在歌劇院演出，更有百老匯版本。第一次製作雖然獲得一致好評，但《康第德》在多方面挑戰了百老匯的市場規則，並沒有取得票房上的成功。伯恩斯坦不斷嘗試與不同新拍檔合作，改寫樂譜的各部分，以其生動風格，嘲弄古典音樂和歌劇的陳詞濫調，同時反映了伏爾泰原著中莽蕩、到處遊歷的步伐。這首「喜劇」也涉足一些嚴肅的領域，當中有像仿作樂曲的滑稽音樂，但也不乏觸動人心的效果。令人眼花繚亂的序曲當然成為聽眾的最愛，在演奏廳中獨當一面。序曲由大膽而明亮的號曲開始，包含音樂劇中的三首主要曲調。伯恩斯坦還加插一個僅在此出現的主題，是舞台版本沒有的。這個小品是伯恩斯坦作品中最常演奏曲目之一。高能量節奏和閃耀的旋律，都是伯恩斯坦的招牌，但更值得留心聆聽的，是把多個曲調編織成一個清新整體的技巧，顯示了伯恩斯坦的功

Candide was a very difficult work for Leonard Bernstein to write—or, more precisely, to write to his satisfaction—but its position among the finest of his creations was reinforced during last year’s celebrations of the centenary of this unparalleled figure, who was a significant mentor to Marin Alsop. The composer kept tweaking Candide until near the end of his life, which was many years after the show had first opened in 1956. Bernstein’s friend, the playwright Lillian Hellman, suggested making a theatrical adaptation of Candide, a novella written in 1759 by François-Marie Arouet (the great Enlightenment thinker and writer Voltaire). Hellman wanted to rework this satire of easy optimism amid a corrupt world into a stage play featuring incidental music by Bernstein. But when the composer got interested, the project quickly expanded into something rather more ambitious, with one foot in the opera house and the other on Broadway. The first production got critical raves, but Candide challenged too many conventions of Broadway business to become a box-office success. Bernstein kept signing on different collaborators and reworking parts of the score, which pokes fun at classical and operatic clichés, all in Bernstein’s vivid style, while at the same time reflecting the wild, globe-trotting pace of Voltaire’s story. Here is another “comedy” that opens up into more serious territory and includes music that is hilarious as parody but also at times deeply touching in its effect. The dazzling Overture has understandably become a favourite on its own terms, with an independent life in the concert hall. A bold, bright fanfare launches the Overture, which embeds three main tunes from the musical to follow. Bernstein also includes a theme that is used only here, never appearing in the show. This short piece is among the most frequently performed of Bernstein’s compositions. Listen for Bernstein’s trademark rhythmic energy and melodic sparkle. But there’s still more: the technique of weaving multiple musical tunes together into a zesty whole shows Bernstein’s skill. The Candide Overture brims over with lyricism, panache, and wit.

架。《康第德》序曲充滿了抒情、華麗和機智。

魏拉－羅伯斯《巴西的巴赫風格》第四首

Heitor Villa-Lobos Bachianas Brasileiras No 4 直到 1888 年，即魏拉 - 羅伯斯（1887 - 1959）

突顯了這個類比。《巴西的巴赫風格》第四首直

出生後的一年，他的祖國巴西才正式廢除奴隸

接參引巴赫的世界，卻利用括號標題融合巴西

制；換句話說，當這位年輕作曲家在里約熱內

的語境：前奏曲（引言），合唱（賽爾圖之歌），

盧成長時，是正值革命性變遷的時代。魏拉 - 羅

詠嘆調（敘事曲）和舞曲（小步舞）。在內容

伯斯吸收了他日常接觸的流行音樂語言，曾在

和形式上，樂曲巧妙地匯聚了巴羅克技巧和民

咖啡室演奏大提琴為生；1905 年，他開始蒐集

俗音樂，甚至糅合了巴西流行音樂元素和民間

巴西東北部各州豐富的民間音樂。有趣的是，

傳說，這些都是魏拉 - 羅伯斯的靈感源頭。

他為這次探險加入許多誇張奇幻的敘述，甚至吹噓自己被食人族捕獲後逃生的故事。

這個巴赫風格組曲部分為交響樂而寫，但有幾首原以室樂為本。第四首最初是鋼琴獨奏（1930

雖然他曾入讀里約熱內盧國家音樂學院，後來

年至 1941 年），但後來魏拉 - 羅伯斯把整套組

更建立了一個音樂教育體系，對巴西的文化生

曲改成管弦樂；並將四個樂章題獻給不同的人。

活影響深遠，但魏拉 - 羅伯斯也擺出一副與學術

開場的前奏曲圍繞樂思說是來自巴赫也不足為

界不沾邊的形象。他說：「我的音樂很自然，

奇，隨後緩慢的詠歌展示了魏拉 - 羅伯斯優雅、

就像瀑布一樣。」

清澈的旋律感性。《賽爾圖之歌》指的是巴西

以巴西本土元素為本的創作理想，一直啟發着魏拉 - 羅伯斯的整個創作生涯，而他的多產亦實在教人驚嘆。同時，他與歐洲的音樂傳統保持

東北部一個區域當中的鳥語鳴鳴。第三樂章的核心是一首歌曲，民謠藏於其中，而結尾的舞曲則以生動的節奏主導。

聯繫，於不同時段旅居巴黎，既把巴西的音樂語言輸出歐洲，也把古典音樂大師如其偶像巴赫的音樂帶回家鄉。《巴西的巴赫風格》表現出他對巴羅克先輩音樂家的敬愛，也是他為巴西新音樂教育體系的一份貢獻。魏拉 - 羅伯斯認為巴赫是「所有種族的調合者」。《巴西的巴赫風格》是他在 1930 年至 1 9 4 5 年間創作的一系列九首組曲的名稱；這些作品風格各異，由兩個到四個樂章組成。「組曲」一詞只為與巴赫的器樂組曲朋比，如大提琴獨奏組曲。魏拉 - 羅伯斯刻意利用作品中的一些樂章標題， ( 左 ) 魏拉 - 羅伯斯，攝於 1936 年，巴西國家檔案館收藏 Villa-Lobos (left) in 1936. Courtesy Arquivo Nacional Collection.

It was not until 1888, the year after Heitor VillaLobos was born, that his native Brazil legally abolished slavery. In other words, an era of revolutionary change was under way when the young composer came of age in Rio de Janeiro. Villa-Lobos absorbed the language of everyday popular music he encountered, for a time making his living as a café musician who played cello. In 1905, Villa-Lobos began collecting examples of the rich treasury of folk music in the north-eastern states of Brazil. Curiously, Villa-Lobos added in a lot of fanciful narratives (exaggerating what had actually happened during his excursions), even telling tales of surviving a capture by cannibals. Although he studied at the National Institute of Music in Rio de Janeiro and later became the architect of a system of music education that has had a deep impact on Brazil’s cultural life, VillaLobos also played up an image of being untainted by academia. “My music is natural, like a waterfall,” he once declared. The ideal of composing works that drew on indigenous Brazilian elements inspired Villa-Lobos across his career—and what an astonishingly prolific career it was. At the same time, he maintained an abiding connection with the European tradition. Villa-Lobos lived in Paris at various points in his life and was both an exporter of Brazilian idioms to Europe and an importer of classical masters such as Johann Sebastian Bach, who was a lifelong idol. The Bachianas Brasileiras manifest his preoccupation with his Baroque forerunner and were part of his efforts as a force in the new music education system in Brazil. Villa-Lobos considered Bach to be “a mediator among all races”. Bachianas brasileiras

is the name he gave to a widely ranging series of nine suites that he composed between 1930 and 1945. Each of these works makes up a world of its own that contains from two to four movements. The word “suite” in this context is meant to imply comparison with Bach’s instrumental suites (such as the Suites for Solo Cello). Villa-Lobos deliberately makes the comparison apparent in the titles he gives some of the movements in these works. Bachianas brasileiras No 4 alludes directly to the world of Bach, fusing it with the Brazilian context through parenthetical titles: Prelúdio (Introdução), Coral (Canto do Sertão), Ária (Cantiga), and Dança (Miudinho). In content and form, the Bachianas brasileiras overall establish an idiosyncratic meeting ground of Baroque techniques and ideas with the folk and popular musical sources and even folklore of Brazil that were fundamental sources of inspiration for Villa-Lobos. Some of the Bachianas were composed from the start for symphony orchestra, but several were conceived for chamber forces. No 4 was originally written for solo piano (over the period of 1930– 1941), but Villa-Lobos then orchestrated the entire suite; he dedicated each of the four movements to a different individual. The opening Prelude focuses on an idea that could be from Bach, while the ensuing slow Chorale showcases Villa-Lobos’s graceful, limpid melodic sensibility. Canto do Sertão (Song of the Sertão) refers to a geographic region in north-eastern Brazil and even incorporates its birdsong. The third movement is at heart a song and contains a folk tune, while the final dance is propelled by lively rhythms.

艾伯多．吉納斯特拉《牧場》芭蕾舞曲選段，作品 8a

Alberto Ginastera Dances from Estancia, Op 8a 與魏拉 - 羅伯斯一樣，吉納斯特拉探索拉丁美洲

斯特拉最著名的演奏曲目，甚至吸引了 1970 年

音樂的寶藏時發現自己的聲音。1941 年，他還

代初的搖滾音樂家。

在事業早期階段，即創作了芭蕾舞劇《牧場》，融合國家民俗元素與現代主義，讓他贏得了國際讚譽，並展現出他對家鄉阿根廷音樂傳統的關注。

第一首舞曲《農夫》以激動人心的節奏表達農夫的強壯。吉納斯特拉以其新鮮多彩的編排和撞擊性的和聲，為重複的節奏模式增添了變化。之後的《小麥舞》描繪出潘帕斯大草原閃閃發

當他還是音樂學院的學生時，吉納斯特拉已憑

光的地平線，幾乎是印象派手法。《牧牛人》

芭蕾舞劇《帕南比》闖出名堂，這是一部探索

比第一支舞曲更強而有力，吉納斯特拉以敲擊

美洲原住民音樂遺產的作品。《帕南比》引起

樂和銅管配合，喚起原始的力量。

了劇場經理柯爾斯坦的注意，他與編舞家喬治．巴蘭欽合作創辦了一個芭蕾舞團；他們的美國巡迴芭蕾舞團於 1 9 4 1 年在南美巡迴演出，是紐約芭蕾舞團的前身之一；柯爾斯坦委託吉納斯特拉寫一部新芭蕾舞劇，提議以阿根廷的鄉村生活作場景；不久前他的公司才製作了柯普蘭的《比利小子》，是柯普蘭對美國遼闊鄉郊的

《最後舞曲》取自舞劇的結局一幕，主角在傳統的馬蘭博舞蹈比賽，戰勝其他牛仔。馬蘭博是只讓男人跳的阿根廷鄉村舞蹈，這個舞曲節奏在管弦樂隊中來回傳遞，氣氛漸漸高漲。吉納斯特拉採用了豐富多彩的敲擊樂和小號令樂曲更加激昂。

頌歌。吉納斯特拉於 1941 年認識柯普蘭，後來與這位美國作曲家成為好友。此時只有廿五歲的吉納斯特拉，向阿根廷詩人赫南德斯創作的十九世紀史詩《馬丁．菲耶羅》找尋靈感。這套獨幕芭蕾舞劇以一天的故事，展示阿根廷牛仔在潘帕斯大草原上活力澎湃的生活。故事講述一個城市男孩愛上養牛場主人漂亮的女兒但被拒絕，他為了贏得芳心，必須與當地的牛仔競賽，以證明自己。在《牧場》上演前，美國巡迴芭蕾舞團已經解散。為此，吉納斯特拉從最初長半小時的樂譜，編輯了一套較短的四個舞曲組合， 1943 年在布宜諾斯艾利斯首演時，立即引起哄動，並使作曲家一夜成名。完整的芭蕾舞劇直到 1952 年才首演。這四首來自《牧場》的舞曲已成為吉納

吉納斯特拉，約 1960 年 Alberto Ginastera, circa 1960.

Like Villa-Lobos, Alberto Ginastera found his voice by exploring the treasury of Latin American music. He wrote the ballet score Estancia in 1941, at the beginning of a career that would bring him international acclaim for his synthesis of national, folkloric elements with modernism. Estancia (Ranch) shows him focusing on the musical traditions of his native Argentina. Ginastera had already made an impression while still a conservatory student with his early ballet Panambí, a piece exploring Amerindian musical heritage. Panambí caught the attention of the cultural impresario Lincoln Kirstein, who had teamed up with the choreographer George Balanchine to found an American ballet company. Their American Ballet Caravan, one of the forerunners of the New York City Ballet, toured South America in 1941. Kirstein commissioned Ginastera to write a new ballet, suggesting a scenario based on “Argentine country life”. His company had recently produced Billy the Kid, Aaron Copland’s ode to the American open country. Ginastera, who met Copland in 1941, would go on to develop a close friendship with the American composer. Only 25 at the time, Ginastera turned to a 19thcentury epic titled Martín Fierro by the Argentine poet José Hernández. The one-act ballet celebrates the vitality of the Argentine gaucho (cowboy) life on the pampas (grassy plains) over the course of a single day. Its action concerns a city boy who falls in love with the pretty daughter of a cattle ranch owner. But he has to win her over after her initial rejection by proving that he can compete against the local cowboys at their own game.

The American Ballet Caravan was dissolved before Estancia could be staged. Ginastera therefore made a shorter suite of four dances from the original half-hour score, which was a sensation when it premiered in Buenos Aires in 1943 and made the composer’s name. (The complete ballet was not performed until 1952.) These four dances from Estancia have become Ginastera’s best-known music in the concert hall and even attracted early 1970s rock musicians. The first dance, Los trabadores agrícolas (The Land Workers), is set to thrilling rhythms that convey the strength of field workers. Ginastera adds variety to the dance’s repeated rhythmic patterns through his freshly colourful orchestration and clashing harmonies. The following Danza del trigo (Wheat Dance) is almost Impressionist in its ecstatic homage to the shimmering horizons of the pampas at day. Los peones de hacienda (The Cattlemen) thunders with even more macho energy than the first dance. Ginastera pairs percussion and brass to evoke a sense of raw, elemental power. Danza final (Final Dance) is taken from the ballet’s concluding number, in which the protagonist engages in a traditional dancing tournament (the malambo) and outdoes the other cowboys. A malambo rhythm (from a country Argentine dance that was executed only by men) is passed back and forth in the orchestra with increasing frenzy. Ginastera employs a colourful array of percussion and trumpets to enhance the excitement.

林姆斯基 - 高沙可夫《天方夜譚》，作品 35

Nikolai Rimsky-Korsakov Scheherazade, Op 35 這首俄羅斯管弦樂傑作，延續着今晚節目中在音樂上對國族身分認同的追求。在聖彼得堡，幾位作曲家致力尋找一種正統的俄羅斯聲音，不受傳統西方模式約束，擺脫專業音樂學院訓練的學術性，他們當中最年輕的是林姆斯基 - 高沙可夫。雖然他後來也成為了音樂學院的權威，但憑着管弦樂的造詣和意象豐富的歌劇，他把俄羅斯音樂推至新方向；並啟發了如史特拉汶斯基的傑出門生。年輕的史特拉汶斯基突破之作是 1910 年首演的芭蕾舞劇《火鳥》，由巴黎的俄羅斯芭蕾舞團委約而作；同年，舞團另一受歡迎舞劇便是林姆斯基 - 高沙可夫的《天方夜譚》其中一個版本，這時作曲家已去世兩年。在 1 8 8 0 年代，林姆斯基 - 高沙可夫替較他年長的同事兼朋友鮑羅丁，完成帶有異國情調的歌劇《伊戈爾王子》，由此引起了他對《天方夜譚》童話世界的興趣；1 888 年的組曲以《天方夜譚》故事集主題作框架：「波斯蘇丹王相信所有女子都生性虛偽不忠，誓言要把所有妻子在初夜後殺死；但有急智的謝赫拉莎德卻用故事勾起蘇丹王的興趣，在好奇心驅使下，蘇丹王日復一日地聽故事，把她的處決推遲，故事講了一千零一夜，謝赫拉莎德挽救了自己的性命，蘇丹王最終更放棄了這個血腥做法。」以這故事為背景，林姆斯基 - 高沙可夫發展出一種管弦樂的協奏曲，或可說是帶有小提琴協奏曲元素的組曲，每個樂章都配上暗示性的標題，儘管他後來把這些都省略了：〈大海和辛巴達的船〉，第二樂章〈卡蘭德王子〉，第三樂章〈年

The quest for national identity in music explored in this programme continues with one of the masterpieces of Russian orchestration. Nikolai Rimsky-Korsakov was the youngest of a group of composers based in Saint Petersburg who were determined to find an authentic Russian voice that was liberated from conventional Western models— as well as from the academicism they associated with professional conservatory training. RimskyKorsakov himself became an authority figure at the conservatory, but he helped push Russian music in new directions through his mastery of the art of orchestration and his fantastically imaginative operas. Among his pupils was none other than Igor Stravinsky. Young Stravinsky made his breakthrough with his ballet The Firebird, commissioned for the Parisbased Ballets Russes and premiered in 1910. The company’s other hit ballet of the 1910 season was a version of Rimsky-Korsakov’s Scheherazade—two years after its composer had died. While completing his older colleague and friend Alexander Borodin’s exotically tinged, unfinished opera Prince Igor in the 1880s, Rimsky-Korsakov became attracted to the fairy-tale world of The Arabian Nights. As the general framework for his orchestral suite of 1888, Rimsky-Korsakov provided this scenario, borrowing the frame that holds together The Arabian Nights collection: “The Sultan Shahriar, convinced of the deceitfulness and infidelity of all women, had sworn an oath to put each of his wives to death after their first night. But the Sultana Scheherazade saved her life by the expedience of arousing the Sultan’s interest in a series of tales she recounted over a period of 1001 nights … Driven by curiosity, the Sultan postponed the execution of his

輕的王子與公主〉，第四是〈巴格達的盛宴— 海洋—船撞上聳立青銅騎士像的懸崖而破裂〉。樂曲一開始，立即建立起殘酷的蘇丹王和精於說故事的女主角之間的對比。首先聽到帶侵略性的銅管樂，代表蘇丹王的剛陽氣場；然後是一系列夢幻般的和弦，帶引出甜蜜憂鬱、綿長的小提琴獨奏，他的新任妻子，也是說書人的聲音。兩個主題既是前奏，也以各種形式重現，貫穿其後。謝赫拉莎德的小提琴音樂將穿針引線，連結起各樂章。林姆斯基 - 高沙可夫除了作曲，也當過海軍，所以在第一樂章中，音樂生動地呈現海洋的形象，第二樂章展現為主題和變奏，中間有較快的部分。在第三樂章，音樂充滿了熱情的抒發，夢幻愛情的浪漫主義音樂與國王的殘酷形成鮮明對比。終曲變化多端，作曲家炫耀了自己在製造色彩和織體對比的天賦，在這個姍姍來遲的結尾，林姆斯基 - 高沙可夫把戲劇性﹑音樂性和感性發揮得淋漓盡致。自 1888 年在聖彼得堡首演後，《天方夜譚》一直為觀眾帶來欣喜。樂曲介紹湯馬士．梅

wife from day to day, and eventually renounced his bloody plan.” From this scenario, Rimsky-Korsakov developed a kind of concerto for orchestra or suite with elements of a violin concerto, to each movement of which he added suggestive titles, although he later decided to omit these: The Sea and Sinbad’s Ship (I), The Kalendar Prince (II), The Young Prince and the Young Princess (III), and Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman (IV). At the outset, Scheherazade establishes a contrast between the cruel Sultan and the masterful narratorheroine. The aggressive, brass-laden music we first hear is associated with the unyielding masculine energy of the Sultan. This is followed by a series of dreamy chords, curtain-raiser to a sweetly melancholy, lengthy violin solo—the voice of his new wife, teller of tales. This dualism serves as a prelude but also returns, in varied forms, throughout what follows. Scheherazade’s violin music threads the movements together. The first includes one of the great musical images for the sea in the concert repertoire (Rimsky himself had had a naval career alongside his composing); the second movement unfolds as a kind of theme and variations, with a faster section interrupting. The music glows with ardent lyricism in the third movement, where romanticising music of ideal love is contrasted with the Sultan’s cruelty. In the widely varied final movement, the composer dazzles with his flair for colour and textural contrast. Dramatically, musically, and emotionally, RimskyKorsakov achieves the long-delayed closure. A hit at its premiere in Saint Petersburg in 1888, Scheherazade has delighted audiences ever since. Programme Notes by Thomas May

林姆斯基 - 高沙可夫，攝於約 1870 年 Nikolai Rimsky-Korsakov, circa 1870.

藝術絕不止於劇場或舞台，而是能延伸至生活的每個小節。無論您是藝術節的忠實擁躉、藝術愛好者或年輕藝術家，PLUS誠邀您透過一系列老少咸宜的節目與特備活動，一起探索與體驗香港藝術節「演出之外，更多精采！」 PLUS extends your festival experience to more than what you see on stage. Experienced festivalgoers, newcomers, budding artists, and the young and old alike will be delighted that there are "More than Great Performances" at the Hong Kong Arts Festival!

萊比錫歌劇院《歌劇探秘同樂日》 Oper Leipzig - Opera Adventure Day ��童樂� 兒童合唱團五天工作坊

��樂�� 展覽

Children‘s Choir

Leipzig Music Trail

Workshop (5 Day) : Sing,

Exhibition

Move and Have Fun 25/2 - 1/3 一至五 Mon - Fri 4:30 - 6:00pm (2/3 演出 performance) 香港文化中心 HK Cultural Centre

⯝顥 F R E E

香港文化中心大堂 Foyer, HK Cultural Centre

PLUS兒童合唱團大堂音樂會

� ��工作坊

Festival PLUS Children's

Workshop

Choir Foyer Performance

⯝顥 F R E E

28/2 - 3/2 四至日 Thu - Sun 12:00nn - 8:00pm

"We PLAY" Theatre

2/3 六 Sat 3:30 - 4:15pm

2/3 六 Sat I. 12:00nn - 1:00pm II. 3:00 - 4:00pm

香港文化中心大堂 Foyer, HK Cultural Centre

香港文化中心 HK Cultural Centre

報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org

藝術節加料節目

公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團與本地學生樂團

Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras 20.2（三 Wed）4:15-6:00pm ( 已舉行 Past Event）香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

歡迎前來欣賞瑪琳．艾爾梭和聖保羅交響樂團與兩隊本地學生交響樂團彩排伯恩斯坦的《康第德》序曲。

Join us to witness Marin Alsop and the São Paulo Symphony Orchestra rehearse Bernstein’s Candide Overture with two local student orchestras.

英語主講

In English

免費入場，需預先登記

Free admission. Registration required.

聖保羅交響樂團四重奏 SPSO String Quartet

20.2（三 Wed）8:00-9:00pm ( 已舉行 Past Event)

尖沙咀聖安德烈堂

St Andrew’s Church, Tsim Sha Tsui

曲目︰克里格《聲音的畫作》魏拉 – 羅伯斯第十一弦樂四重奏，W481 柴可夫斯基 D 大調第一弦樂四重奏，作品 11

Programme: Krieger Teles Sonoras (Sonic Paintings) Villa-Lobos String Quartet No 11, W481 Tchaikovsky String Quartet No 1 in D major, Op 11

由聖保羅交響樂團團長艾曼紐．保迪尼領導四重奏音樂會。

An intimate string quartet concert led by the São Paulo Symphony Orchestra’s concert master, Emmanuele Baldini.

港幣 $200

HK$200

演前講座 Pre-Performance Talk

22.2（五 Fri）6:45–7:15pm

香港文化中心平台工作室

Podium Workshop, Hong Kong Cultural Centre

歡迎前來細聽聖保羅交響樂團首席指揮及音樂總監瑪琳．艾爾梭訴說伯恩斯坦與她的指揮生涯。

Join us for a pre-performance talk with Marin Alsop, Principal Conductor and Music Director of the São Paulo Symphony Orchestra, on Bernstein and her conducting career.

英語主講

In English

持票觀眾免費入場，座位有限，先到先得

Free and open to all ticket holders on a first-come, first-served basis.

更多加料節目詳情及網上報名 More Festival PLUS and online registration: www.hk.artsfestivalplus.org

聖保羅交響樂團

São Paulo Symphony Orchestra MUSIC DIRECTOR & PRINCIPAL CONDUCTOR MARIN ALSOP

VIOLINS

DAVID MARQUES SILVA ÉDERSON FERNANDES GALINA RAKHIMOVA OLGA VASSILEVICH SIMEON GRINBERG VLADIMIR KLEMENTIEV ALEN BISCEVIC

EMMANUELE BALDINI CONCERTMASTER DAVI GRATON CONCERTMASTER YURIY RAKEVICH LEV VEKSLER IGOR SARUDIANSKY MATTHEW THORPE ALEXEY CHASHNIKOV AMANDA MARTINS ANDERSON FARINELLI ANDREAS UHLEMANN CAMILA YASUDA CAROLINA KLIEMANN CÉSAR A. MIRANDA CRISTIAN SANDU DÉBORAH WANDERLEY DOS SANTOS ELINA SURIS FLORIAN CRISTEA INNA MELTSER KATIA SPÁSSOVA LEANDRO DIAS MARCIO AUGUSTO KIM PAULO PASCHOAL RODOLFO LOTA SORAYA LANDIM GHEORGHE VOICU TATIANA VINOGRADOVA

CELLOS HELOISA MEIRELLES RODRIGO ANDRADE SILVEIRA ADRIANA HOLTZ BRÁULIO MARQUES LIMA MARIA LUÍSA CAMERON MARIALBI TRISOLIO REGINA VASCONCELLOS Douglas Kier

DOUBLE BASS ANA VALÉRIA POLES PEDRO GADELHA ALEXANDRE ROSA CLÁUDIO TOREZAN JEFFERSON COLLACICO LUCAS AMORIM ESPOSITO NEY VASCONCELOS

VIOLAS

HARP

HORÁCIO SCHAEFER PETER PAS ANDRÉS LEPAGE

LIUBA KLEVTSOVA

FLUTES

TRUMPETS

CLAUDIA NASCIMENTO FABÍOLA ALVES (PICCOLO) SÁVIO ARAÚJO

FERNANDO DISSENHA ANTONIO CARLOS LOPES JR. MARCELO MATOS

OBOES

TROMBONES

ARCÁDIO MINCZUK RICARDO BARBOSA NATAN ALBUQUERQUE JR. (ENGLISH HORN) PETER APPS

WAGNER POLISTCHUK ALEX TARTAGLIA

CLARINETS

DARRIN COLEMAN MILLING

OVANIR BUOSI NIVALDO ORSI (BASS CLARINET) DANIEL ROSAS GIULIANO ROSAS

TUBA

BASSOON

ELIZABETH DEL GRANDE RICARDO BOLOGNA

ALEXANDRE SILVÉRIO ROMEU RABELO (CONTRA BASSOON) FRANCISCO FORMIGA

FRENCH HORNS AUSTIN LARSON ANDRÉ GONÇALVES JOSÉ COSTA FILHO NIKOLAY GENOV EDUARDO MINCZUK

BASS TROMBONE

FILIPE QUEIRÓS

TIMPANI

PERCUSSION RICARDO RIGHINI PRINCIPAL ARMANDO YAMADA EDUARDO GIANESELLA RUBÉN ZÚÑIGA

KEYBOARDS OLGA KOPYLOVA

The São Paulo Symphony Orchestra thanks the following parties for supporting its China tour: CBMM – Companhia Brasileira de Metalurgia e Mineraçao (Master Sponsor of China Tour); Vale; Klabin; BMA – Barbosa, Müssnich e Aragão Advogados; Ministry of Foreign Affairs of Brazil; and Forum Macao.

鳴謝 Acknowledgements 香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Members

嘉里控股有限公司 Kerry Holdings Limited 新鴻基有限公司 Sun Hung Kai & Co. Limited

黃金會員 Gold Member

怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

銅鑼閣有限公司 Causeway Corner Limited 太古集團慈善信託基金 The Swire Group Charitable Trust

青銅會員 Bronze Members

鷹君集團有限公司 Great Eagle Holdings Limited 上海商業銀行 Shanghai Commercial Bank Limited

其他支持機構 Other Supporters •Agency for Cultural Affairs, Government of Japan •ANA Holdings Inc. •British Columbia Arts Council

•British Council •Canada Council for the Arts •HEED

實物支持機構 In-kind Supporters •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •In Technical Productions Limited •香港德迅貨運代理有限公司 Kuehne & Nagel Limited

•香港國際機場 Hong Kong International Airport •奧海城 Olympian City •信和集團 Sino Group •崇光 ( 香港 ) 百貨 SOGO Hong Kong •屯門市廣場 TMT Plaza

藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •Mrs Miriam Hwa •Lincoln & Yu-San Leong •Nine Queens Investment Limited •Yip Foundation Ltd 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •林護紀念基金有限公司 Lam Woo Foundation Limited •Martin Rogers & Janet Cheng •Mr & Mrs Stephen Suen 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •無名氏 Anonymous •Jeffrey & Helen Chan •Mrs K L Chan •陳求德醫生 Dr Chan Kow Tak •Mrs Mona Leong •Ms Leung Wai Yee Candice •林聖竤 Chris Lin •Ms Sun Tien Chen •Mr & Mrs David S Y Wong 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 (3) Anonymous (3) •Mr & Mrs S Cheng •Mr Edwin Choy •Consigliere Limited •Alex & Hanne Fung •Mr & Mrs Kenneth H C Fung •Richard & Ruth Herbst •Ms Jenny Hodgson •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Mrs A M Peyer

•Mr Stephen Tan •曹延洲醫生 Dr Tsao Yen Chow •Linda Wang •Samuel & Amy Wang •黃逸思先生夫人 Mr & Mrs Y S Wong •Mr Wong Yick Kam 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (3) Anonymous (3) •Dr York YN Chow •Ms Ka Shi Lau •Ms Lee Lai-Kuen Shelley •Mr & Mrs David S L Lin •Dr Michael Mak •Mr & Mrs Gilles Martin •Dr Poon Yee Ling Eligina •Ms Jacqueline Swain •Tsang Wing Fun •Ms Tse Chiu Ming •Ms Enoch Yiu •Ms Isabel Yiu 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (4) Anonymous (4) •AIA AGAPE A&F •Atkinson Lambert Limited •Ms Alice Au •Mrs Anson Chan •Mr Edmund Cheung •Dr David Fang •HUI Silvia •Ms Khoo Li Lian •Legrand Jewellery

•Ms Lim Geck Chin Mavis •Gary & Flavia Ma •So Ching

•Leland & Helen Sun •Ms Christine Tong •Mr Christopher Wong & Dr Ivo Chen •殷和順劉善萍伉儷

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund •C H Mak •無名氏 (2) Anonymous (2) •麥禮和醫生 Dr Mak Lai Wo •Burger Collection •Vernon & Karen Moore •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •Mrs A M Peyer •恒生銀行 Hang Seng Bank •Dr Poon Yee Ling Eligina 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •Mr & Mrs Kenneth Quinn •法國巴黎銀行 BNP Paribas •Tsang Wing Fun •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •曹延洲醫生 Dr Tsao Yen Chow •田家炳基金會 Tin Ka Ping Foundation •Martin Rogers & Janet Cheng •芝蘭基金會 Zhilan Foundation •黃乃正教授及陳頴儀醫生 •Mr Wong Yick Kam 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •林聖竤 Chris Lin •Roger & Lina Lui •Mr & Mrs Stephen Suen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •Mr & Mrs Herbert Au-Yeung •Ms Margaret Cheng •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •馮兆林先生 Mr Fung Shiu Lam •Richard & Ruth Herbst •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Yvonne Cheng & Kelvin Koo •Caroline & Stefan Kracht •Mrs Carol Murray •Nathaniel Foundation Limited •Diana d'Arenberg & Jay Parmanand •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •黃逸思先生夫人 Mr & Mrs Y S Wong •Ms Wong Yuen Mee Elsa •Mrs Wu Tseng Helen 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (2) Anonymous (2) •區燊耀先生 Mr Au Son Yiu •Mr Iain Bruce •趙穎雅 Winnie W N Chiu •天智合規顧問有限公司 CompliancePlus Consulting Limited •Mr & Mrs A R Hamilton •Ms Winnie W Ho •羅偉騫先生及夫人 Andy Law & Wendy Chan

•無名氏 (12) Anonymous (12) •Antonhill Company Limited •Biz Office Limited •Carthy Limited •Cynthia Cheng & Aaron Chan •Dr Chan Chun Yin •Dr Cindy Chan •Dr Chan Wan Tung •D Chang •Ms Cheung Kit Fung •張宏毅律師及江淑慧夫人 Mr & Mrs Joseph W N Cheung •Ms Grace Chiang •Mr & Mrs Norman Chui •Community Partner Foundation Limited •Mr & Mrs Kenneth H C Fung •giliproduction •HUI Silvia •Betty Hung •Dr Alfred Lau •Joanna Lau •Dr Nancy Leung •Savita Leung •Ms Janice Ritchie •Susan Lim & Neil Roberts •Mr Siddique Salleh •Mr So Kin Man •William Stork & Jasmine Wong •Dr Tam Oi Wo Joyce •Ms Wong Siu Yee Amy •殷和順劉善萍伉儷 •Ms Yim Chui Chu •Mr Desmond Yu •野豬先生 •皮皮

新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •Ms Sun Tien Chen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •Ms Winnie W Ho

•Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (3) Anonymous (3) •Star B Chan & MDB •Dr Xina Lo •Mrs A M Peyer •黃逸思先生夫人 Mr & Mrs Y S Wong

支持及協助 Support and Co-operation •Acorn Design •Alfie Leung Design •AMC Pacific Place •艺鵠 Arts and Culture Outreach •香港展能藝術會 Arts with the Disabled Association Hong Kong •教育局藝術教育組 Arts Education Section, Education Bureau •香港愉景灣酒店 Auberge Discovery Bay Hong Kong •樺利廣告有限公司 Avanny Advertising Co Ltd •庇理羅士女子中學 Belilios Public School •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •中國對外文化集團公司 China Arts and Entertainment Group (CAEG) •中華基督教會公理堂 China Congregational Church •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •思聯設計有限公司 CL3 Architects Ltd •阿根廷駐港總領事館 Consulate General of Argentina in Hong Kong •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •巴西駐港總領事館 Consulate General of Brazil in Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •希臘駐港總領事館 Consulate General of Greece in Hong Kong •愛爾蘭駐港澳總領事館 Consulate General of Ireland in Hong Kong and Macau •意大利駐港總領事館 Consulate General of Italy in Hong Kong •日本國駐香港總領事館 Consulate General of Japan in Hong Kong •馬來西亞駐港澳總領事館 Consulate General of Malaysia in Hong Kong and Macau SAR •印尼駐港總領事館 Consulate General of the Republic of Indonesia in Hong Kong •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •英國駐港總領事館 Consulate General of United Kingdom in Hong Kong •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •Die Konzertisten •拔萃男書院 Diocesan Boys' School •拔萃女小學 Diocesan Girls' Junior School •拔萃女書院 Diocesan Girls' School •香港荃灣帝盛酒店 Dorsett Tsuen Wan •Edge 'n Pointe Dance Centre •港威酒店 Gateway Hotel •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 •8 度海逸酒店 Harbour Plaza 8 Degrees •嘉湖海逸酒店 Harbour Plaza Resort City •快達票香港有限公司 HK Ticketing •香港聖公會聖保羅堂 HKSKH St. Paul's Church

•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 •香港藝術發展局 Hong Kong Arts Development Council •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme 政治及國際關係學系 Department of Government and International Studies •美國管風琴家協會香港分會 Hong Kong Chapter of the American Guild of Organists •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港文化博物館 Hong Kong Heritage Museum •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港公共圖書館 Hong Kong Public Libraries •香港唱片 Hong Kong Records •香港樹仁大學 Hong Kong Shue Yan University 圖書館 Library •香港旅遊發展局 Hong Kong Tourism Board •香港童聲合唱團 Hong Kong Treble Choir •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •富薈馬頭圍酒店 iclub Ma Tau Wai Hotel •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •益普索香港 Ipsos Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •賽馬會創意藝術中心 Jockey Club Creative Arts Centre •賽馬會官立中學 Jockey Club Government Secondary School •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Center •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 文學院 Faculty of Arts 黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit 學生服務中心 Student Service Centre •香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong •La Rotisserie •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •中華人民共和國文化和旅遊部 Ministry of Culture and Tourism, PRC •Mission Production Company Ltd •音樂事務處 Music Office •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •香港帝景酒店 Royal View Hotel •沙田大會堂 Sha Tin Town Hall •聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin Secondary School •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •香港西班牙商會 Spanish Chamber of Commerce in Hong Kong

•事必達推廣有限公司 Speedy Promotion Limited •聖雅各福群會 St. James' Settlement •辰衝圖書有限公司 Swindon Book Co. Ltd. •大館 Tai Kwun •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港八和會館 The Chinese Artists Association of Hong Kong •香港中文大學 The Chinese University of Hong Kong 戲曲資料中心 Chinese Opera Information Centre 音樂系 Department of Music 文學院 Faculty of Arts 和聲書院 Lee Woo Sing College 聯合書院 United College •香港城市大學 The City University of Hong Kong 中文系 Department of Chinese and History 英文系 Department of English 城大創意媒體學院 School of Creative Media •城景國際 The Cityview •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 •梅夫人婦女會 The Helena May •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港兒童合唱團 The Hong Kong Children’s Choir •香港理工大學 The Hong Kong Polytechnic University 圖書館 Library •香港科技大學 The Hong Kong University of Science and Technology 藝術中心 Center for the Arts 人文學部 Division of Humanities 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office HKUST Music Alive! •中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong Cultural Management Office 音樂系 Department of Music 通識教育部 General Education Unit 國際事務處 International Affairs Office 圖書館 Library 現代語言及文化學院 School of Modern Languages and Cultures 香港大學博物館學會 The University of Hong Kong Museum Society 香港大學美術博物館 University Museum and Art Gallery •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •通利琴行 Tom Lee Music Company Ltd •三角關係 Trinity Theatre •屯門大會堂 Tuen Mun Town Hall •UA CINEHUB •城市售票網 URBTIX •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •進富印刷公司 Wealthy Step Printing Co. •wine etc •油麻地戲院 Yau Ma Tei Theatre •葉氏兒童合唱團 Yip's Children's Choir •香港基督教青年會（港青） YMCA of Hong Kong •青年學院 Youth College •青年廣場 Youth Square •元朗劇院 Yuen Long Theatre •赤豚事務所 Zhu Graphizs

節目時間表 Programme Calendar 歌劇戲音樂 /曲 OPERA / CHINESE OPERA MUSIC

萊比錫歌劇院華格納《唐懷瑟》

CCGT

1/3 2/3

7pm 6pm

Madame White Snake by Zhou Long and Cerise Lim Jacobs

APAL

8-9/3

7:30pm

粵劇《百花亭贈劍》毛俊輝導演作品（更新版）

Cantonese Opera - Pavilion of a Hundred Flowers Directed by Fredric Mao (Reboot)

STTHAUD

1-2/3

8pm

粵劇越洋半世紀 -《紅了櫻桃碎了心》 - 白玉堂折子戲 -《胡不歸》 - 名伶花旦展演話當年

Cantonese Opera - Global Traces, Local Stages YMTT - Red Cherries and a Broken Heart - Vignettes of Pak Yuk-tong’s “Three Big Trials” - Why Don’t You Return? - A Long Passion – Talk, Demonstration and Performance

9/3 10/3 11/3 15-17/3

7:30pm 2:30pm 7:30pm 7:30pm

香港小交響樂團小號巨星納卡里亞科夫

Hong Kong Sinfonietta Sergei Nakariakov • The Art of the Trumpet

CHCH

16/2

8pm

瑪琳．艾爾梭與聖保羅交響樂團

Marin Alsop with the São Paulo Symphony Orchestra

CCCH

21-22/2

8pm

Hong Kong Chinese Orchestra Meeting Across Nine Millennia of Time

CHCH

22/2

8pm

鮮于睿權鋼琴獨奏會

Yekwon Sunwoo Piano Recital

CHCH

23/2

8pm

帕佛．約菲與 NHK 交響樂團

Paavo Järvi with the NHK Symphony Orchestra, Tokyo

CCCH

28/2

8pm

法國世紀樂團：白遼士 150 指揮：麥森．帕斯高

Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal

CCCH

2/3 3/3

8pm 4:30pm

萊比錫歌劇院合唱團《歌劇合唱盛會》

Chor der Oper Leipzig Opera Chorus Concert

CCCH

3/3

8:15pm

馬祖耶夫鋼琴獨奏會

Denis Matsuev Piano Recital

CHCH

7/3

8pm

馬祖耶夫與得獎新晉鋼琴家匯演

Matsuev and Young Laureates Piano Gala

CHCH

8/3

8pm

Quondam Spanish Renaissance Choral Masterpieces

CHCH

9/3 10/3

8pm 4pm

Li Biao Percussion Group - From Baroque to Tango

CCCH

15/3

8pm

P is for PERCUSSION! Family Concert by Li Biao Percussion Group

CCCH

16/3

8pm

洪儷僖管風琴獨奏會

Riyehee Hong Organ Recital

CCCH

18/3

8pm

克雷莫納弦樂四重奏

Quartetto di Cremona

CHCH

21-22/3

8pm

爵士新潮 - 馬可．梅斯基達三重奏《拉威爾的夢》

Nouveau Jazz Weekend - Marco Mezquida Trio - Ravel's Dreams

APAD 22/2 23/2 23/2 23/2

8pm 7:30pm 4pm 9:30pm

2-3/3 2/3 3/3

4:30pm 8pm 8pm

《白蛇傳》作曲：周龍 | 編劇：林曉英

香港中樂團《九千年的邂逅》

時光之音《西班牙文藝復興合唱代表作》李飈打擊樂團《巴羅克．探戈》《好！擊！動！》親子音樂會李飈打擊樂團

爵士樂世 / 界音樂 JAzz / WOrLD MUSIC

- 馬可．梅斯基達鋼琴獨奏會 - 佐治．達洛查低音大提琴獨奏獨唱會

Oper Leipzig Wagner’s Tannhäuser

- Marco Mezquida Piano Solo - Jorge da Rocha Solo

世界音樂週末營 - Criatures 二人組及 Belda & Sanjosex - 易莎．拉娜三重奏《路》 - 佐治．達洛查三重奏《放下．放開》

World Music Weekend - Criatures and Belda & Sanjosex - Yexza Lara - Camino - Jorge da Rocha - To Drop and Let Go

HKAC-ST

馬祖耶夫爵士樂隊

DANCE

舞蹈

Matsuev and Friends Play Jazz

CCCH

9/3

8pm

湯瑪士．夸斯托夫四重奏《Nice 'N' Easy》

Thomas Quasthoff Quartet Nice 'N' Easy

CCCH

14/3

8pm

希薇雅．佩瑞茲．克露絲《夜妝》

Sílvia Pérez Cruz Dressed by the Night (Vestida de Nit)

CCCH

22/3

8pm

香港藝術節 @ 大館

HKartsFestival@TaiKwun

2-3/3 9-10/3

雲門舞集 45 週年林懷民舞作精選

Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min's Works

CCGT

21-23/2 24/2

8:15pm 2pm

Euripides Laskaridis / Osmosis TITANS

APAD

26-27/2

8:15pm

歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊《泰坦 – 諸神之舞》

CCGT CCCH CCST CHCH

香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港大會堂音樂廳 Concert Hall, HK City Hall

CHT APAL APADT HKAC-ST

香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

DANCE

舞蹈

香港賽馬會當代舞蹈平台 -《舞鬥》 -《雙篇雙人舞》 -「兩地書」-《沒有大象》亞太舞蹈平台 -《由削木開始》 -《黃翊與庫卡》

The Hong Kong Jockey Club Contemporary Dance Series - Dance Off

CCST

- Double Bubble

CCST

- Dance Exchange - Elephant in the Room Asia Pacific Dance Platform - From starting to cut the wood - HUANG YI & KUKA

CCST

28/2, 1/3 2/3 15/3 16/3 20-21/3

8:15pm 3pm 8:15pm 2:45pm 8:15pm

KTT-BBT APA-DT

12-13/3 1-2/3

8pm 8:15pm

THEATrE

戲劇

漢堡芭蕾舞團 – 約翰．紐邁亞《胡桃夾子》

The Hamburg Ballet - John Neumeier The Nutcracker

CCGT

13-15/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《貝多芬計劃》

The Hamburg Ballet - John Neumeier Beethoven Project

CCGT

19-20/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《約翰．紐邁亞的世界》

The Hamburg Ballet - John Neumeier The World of John Neumeier

CCGT

23/3 24/3

7:30pm 2:30pm

重新劇團《追憶消逝的人生》

Theatre Re The Nature of Forgetting

CCST

21-24/2 23-24/2

8:30pm 4:30pm

瑞士默劇團《百變樂園》

Mummenschanz Reloaded

APAL YLT-AUD

21-22/2 24/2 24/2

7:30pm 1pm 5pm

倫敦燃料劇團、布里斯托爾老域劇團、愛丁堡皇家蘭心劇院與北安普敦皇家及德蓋特劇院聯合製作《攀越冰峰》

A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, and Royal & Derngate Northampton co-production Touching the Void

CHT

21-24, 8pm 26-28/2, 1-2/3 23-24/2, 2/3 3pm

機器神製作羅伯特．利柏殊創作及演出《887》

Ex Machina Created and performed by Robert Lepage 887

APAL

27-28/2, 1-2/3 8pm 2/3 3pm

賽馬會本地菁英創作系列《陪着你走》

Jockey Club Local Creative Talents Series Always by Your Side

KTT-AUD

2,6-9/3 3,9-10/3

8pm 3pm

正點劇團《哈姆尼特─莎士比亞之子》

Dead Centre Hamnet

CCST

4-5/3

8:15pm

正點劇團《契訶夫處女作》

Dead Centre Chekhov's First Play

CCST

8-9/3 9-10/3

8:15pm 3pm

北京李六乙戲劇工作室《哈姆雷特》

Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark

CCGT

7-8/3 9/3

7:30pm 2:30pm

《九江》

Gangsters of Hong Kong

CHTH

8-9,13-16, 20-23/3 10, 17, 24/3

8pm

Ontroerend Goed 《金錢世界》( 英語版 )

Ontroerend Goed - £¥€$ (LIES) (English Version)

TK-F Hall

《金錢世界》( 粵語版 )

- £¥€$ (LIES) (Cantonese Version)

12-17/3 12-15/3 16-17/3 20-24/3 20-22/3 23-24/3

6pm 9pm 3pm 6pm 9pm 3pm

離奇作業劇團《蛙人》

curious directive Frogman

CDAV

12-15/3 12-15/3 16-17/3 16-17/3

7pm 9pm 3pm 5pm

傑夫．索貝爾《家》

Geoff Sobelle Home

APAL

14-16/3 16/3

8pm 3pm

皮普．德爾邦諾劇團《快樂大本營》

Compagnia Pippo Delbono La Gioia (Joy)

APAL

22-23/3

8pm

馬里安諾．潘恩索廸及瑪利亞劇團《三個女人搞革命》

Mariano Pensotti / Grupo Marea Burning Bright in the Forest of the Night

CCST

23/3 24/3

8:15pm 5pm

3pm

資料截至 Information as of: Jan 2019

KTT-BBT KTT-AUD YLT-AUD STTH-AUD

葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre 元朗劇院演藝廳 Auditorium, Yuen Long Theatre 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

YMTT TK CDAV

油麻地戲院 Yau Ma Tei Theatre 大館 Tai Kwun 牛棚藝術村 Cattle Depot Artist Village

音樂大師班

M u s i c M a s t e rcla s s 李飈打擊樂團敲擊樂大師班 Li Biao Percussion Group Masterclasses 13/3 三 Wed 5:30 - 7:30pm (中西敲擊樂器 Chinese & Western Percussion Instrument) 香港演藝學院演奏廳 Recital Hall, HKAPA 14/3 四 Thu 7:30 - 9:30pm (敲擊樂隊 Percussion Ensemble) 香港文化中心 CR2 排演室 Rehearsal Room CR2, HK Cultural Centre

��樂大師班 Thomas Quasthoff Vocal Masterclass 13/3 三 Wed 7:00 - 9:00pm 香港文化中心 CR1 排演室 Rehearsal Room CR1, HK Cultural Centre

洪儷僖管風琴大師班 Riyehee Hong Organ Masterclasses 16/3 六 Sat 11:00am - 1:00pm (宗教禮儀音樂 Liturgical music) 香港聖公會聖保羅堂 HKSKH St. Paul's Church

h #FSOE #SVOEFSU

17/3 日 Sun 4:00 - 5:30pm (西班牙及法國 17 世紀及早期浪漫主義作品 Spanish and French 17th century to early romantic organ repertoire) 香港演藝學院音樂廳 Concert Hall, HKAPA

時光之音合唱與合唱指揮工作坊 Conducting and Singing Workshop with Quondam 9/3 六 Sat 2:30 - 5:00pm (合唱指揮 Choral Conducting) 11/3 一 Mon 4:00 - 6:30pm (合唱 Choral Singing) 循道衛理聯合教會國際禮拜堂 Methodist International Church

報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org

藝術節加料節目節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 音樂 MUSic

特備節目 SpecialS 25/1/2019

26/1/2019

樂與畫音樂會：《哥雅之畫》- 葛拉納多斯的音樂意境 Music and Art Concert: Goya’s World through Granados’s Goyescas 《風琴遊蹤》導賞遊與風琴獨奏會 Pipe Organ Walk & Organ Recital

20/2/2019

聖保羅交響樂團四重奏 SPSO String Quartet

22/2/2019

香港藝術節傑出文化領袖講座系列講者︰葉芠芠（雲門文化藝術基金會執行總監） HKAF Distinguished Cultural Leader Series (VI) Speaker: Yeh Wen-wen (Executive Director of Cloud Gate Cultural and Arts Foundation)

20/2/2019

公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras

22/2/2019

聖保羅交響樂團演前導賞講座 : 瑪琳．艾爾梭細說伯恩斯坦與她的指揮生涯 Sao Paulo Symphony Orchestra Pre-performance Talk: Marin Alsop on Bernstein and Her Conducting Career

22/2/2019

馬可．梅斯基達爵士樂工作坊 Marco Mezquida Jazz Improvisation Workshop

28/2/2019

NHK 交響樂團演前導賞講座︰細聽二十世紀改革之風 NHK Symphony Orchestra Pre-performance Talk: Listen to the Winds of Changes PLUS 兒童合唱團大堂音樂會 Festival PLUS Children's Choir Foyer Performance

22/2/2019 24/2/2019

《舞城遊蹤》 Choreography Walk

26/2/2019 3/3/2019

《家常便飯》 Family Dinner

2/3/2019

《歌劇探秘同樂日》Opera Adventure Day

2/3/2019

28/2 - 3/3/ 2019

「萊比錫樂韻之路」展覽 Leipzig Music Trail (Leipziger Notenspur) Exhibition

《萊比錫樂韻之路》室樂音樂會 Leipzig Music Trail Chamber Concert

2/3/2019

《一齊玩》戲劇工作坊 We PLAY Theatre Workshop

16/3/2019

《好！擊！動！》同樂日 P is for Percussion! Family Day

2/3/2019

法國世紀樂團演前導賞講座︰幻想交響曲 Les Siècles Pre-performance Talk: Symphonie Fantastique

3/3/2019

萊比錫布業大廳樂團雙簧管、圓號、長號大師班 Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig

3/3/2019

法國世紀樂團演前導賞講座︰白遼士的一生 Les Siècles Pre-performance Talk: The Life of Berlioz

3/3/2019

萊比錫歌劇院演前導賞講座︰《歌劇合唱盛會》 Oper Leipzig Pre-performance Talk: Opera Chorus Concert

21/3/2019

藝術家沙龍︰約翰．紐邁亞 Artist Salon: John Neumeier

舞蹈 DaNce 19, 23/2/2019

雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop

1/3/2019

公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble

11/3/2019

藝術家對談︰從工藝到舞蹈 Arts Chat: From Crafting to Dancing

13/3/2019

漢堡芭蕾舞團演前導賞講座 : 交流網絡的藝術 The Hamburg Ballet Pre-Performance Talk: The Art of Networking

15/3/2019

漢堡芭蕾舞團早課參觀 Observing Company Class

15/3/2019

《胡桃夾子》後台參觀 Backstage at The Nutcracker

4/3/2019

《白蛇傳》歌劇創作講座 Madame White Snake Reimagined

9, 11/3/2019

時光之音合唱指揮工作坊 Choral Conducting and Choral Singing Workshop with Rupert Damerell

9/3/2019

馬祖耶夫爵士樂隊演前導賞講座︰古典音樂與爵士音樂的交匯 Matsuev and Friends Play Jazz Pre-performance Talk: Harmony between Classical and Jazz

16, 24/3/2019

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

17/3/2019

漢堡芭蕾舞團《胡桃夾子》兒童工作坊 Hamburg Ballet The Nutcracker Ballet Introductory Class for Kids

13/3/2019

湯瑪士．夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass

19/3/2019

漢堡芭蕾舞團《貝多芬計劃》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: Beethoven Project

14/3/2019

23/3/2019

漢堡芭蕾舞團《約翰．紐邁亞的世界》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: The World of John Neumeier

湯瑪士．夸斯托夫四重奏演前導賞講座 : 古典音樂與爵士音樂的交匯（二） Thomas Quasthoff Quartet Pre-Performance Talk: Harmony between Classical and Jazz II

13, 14/3/2019

李飈打擊樂團敲擊樂大師班 Percussion Ensemble Masterclass by Li Biao Percussion Group

15/3/2019

李飈打擊樂團演前導賞講座︰《巴羅克．探戈》 Li Biao Percussion Group Pre-Performance Talk : From Baroque to Tango

16, 17/3/2019

洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass

歌劇／戲曲 OpeRa 1, 2/3/2019

萊比錫歌劇院演前導賞講座︰《唐懷瑟》 Oper Leipzig Pre-performance Talk: Tannhäuser

2/3/2019

萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig's Tannhäuser Backstage Tour

12/3/2019

蔡艷香粵劇南派工作坊 Southern School of Cantonese Opera Workshop with Choy Him-heong

戲劇 THeaTRe

16/3/2019

《好！擊！動！》互動敲擊展覽 P is for Percussion Interactive Percussion Exhibition

16/3/2019

拇指琴及「升」樂樽工作坊 Thumbiano and Musical Bottle Workshop 《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance

28/2/2019

藝術家對談︰與劇場大師羅伯特．利柏殊對話 Arts Chat: In Conversation with Robert Lepage

16/3/2019

9/3/2019

藝術家對談︰導演李六乙的莎士比亞 Arts Chat: Director Li Liuyi's Interpretation of Shakespeare

20/3/2019

克雷莫納弦樂四重奏示範講座 Quartetto di Cremona Lecture Demonstration

22/3/2019

希薇雅．佩瑞茲．克露絲演前導賞講座︰皆有可能 Sílvia Pérez Cruz Pre-Performance Talk: Everything Possible

電影 FilM 27/2/2019 2, 24, 30/3/ 2019

《攀越冰峰》電影放映與影後分享會 Touching the Void: Screening and Post-screening Talk 漢堡芭蕾舞團 - 舞蹈電影系列 Hamburg Ballet at the Cinema

贊助人

林鄭月娥女士

PATrON

永遠名譽會長執行委員會主席副主席義務司庫委員

邵逸夫爵士

HONOrArY LIFE PrESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members

節目委員會主席委員

財務委員會主席委員發展委員會主席副主席委員

顧問

名譽法律顧問核數師

查懋成先生盧景文教授李錦榮先生鄭維新先生鄭惠貞女士劉鎮漢先生梁靳羽珊女士梁卓偉教授姚潔莉女士楊光先生盧景文教授白諾信先生紀大衛教授羅志力先生毛俊輝先生李義法官約瑟．施力先生 + 譚榮邦先生姚珏女士李錦榮先生鄭惠貞女士梁國輝先生梁靳羽珊女士雍景欣女士鄭阮培恩女士邱詠筠女士龐建貽先生孫林宣雅女士姚祖輝先生夏佳理先生鮑磊先生李業廣先生梁紹榮夫人李國寶博士孖士打律師行羅兵咸永道會計師事務所

香港藝術節基金會主席霍璽先生管理人陳祖澤博士陳達文先生梁紹榮夫人 +

PrOGrAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

HONOrArY SOLICITOr AUDITOr

Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman Vice Chairman Members

ADVISOrS

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)

Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown PricewaterhouseCoopers

HONG KONG ArTS FESTIVAL TrUST Chairman Mr Angus H Forsyth Trustees Dr John C C Chan, GBS JP Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP

榮譽節目顧問 Honorary Programme Advisor

地址 : 香港灣仔港灣道 2 號 12 樓 1205 室電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430

電子郵箱 : afgen@hkaf.org

Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430

職員行政總監行政總監助理節目節目總監副節目總監節目經理節目經理（行政）助理節目經理節目統籌節目行政主任物流及接待經理 •技術製作經理助理製作經理 •出版英文編輯中文編輯助理編輯 •外展高級外展經理助理外展經理外展統籌外展助理藝術行政見習員市場推廣市場總監副市場總監市場經理副市場經理助理市場經理數碼營銷專員市場主任藝術行政見習員市場經理（票務）客戶服務主任發展發展總監發展經理副發展經理助理發展經理發展統籌發展助理會計會計主管助理會計經理會計主任人力資源及行政人力資源及行政經理人力資源及行政主任接待員 / 初級秘書助理無限亮高級項目經理助理節目及製作經理助理外展經理助理技術經理市場統籌高級會計主任項目主任香港藝術節 @ 大館製作人技術統籌

STAFF Executive Director Assistant to Executive Director Programme Programme Director Associate Programme Director Programme Managers

何嘉坤何丹蓉梁掌瑋蘇國雲葉健鈴余瑞婷 * 蘇雪凌黃傲軒 * 譚小敏 * 張翠騫 * 金學忠 *

陳韻妍林淦鈞 * 胡鎮華 *

梁雅芝 * 莫賦斌 * 林秋美 * 廖健邦 * 林惠賢 * 李冠輝張鼎丞 * 譚曉峯 * 李玨熙 * 李萬祺 * 鄭尚榮胡銘堯周怡楊璞* 許慧儀 * 陳閏霖 * 鄭佩欣 * 鄭鈞澤 * 梁彩雲黃煒城 * 余潔儀張慧芝 * 譚樂瑤蘇寶蓮 * 莫穎哲 * 袁愷晴 *

黎家欣 *

林嘉敏 *

鍾玉如 *

張嘉麟 *

楊恆怡 *

麥紫琴 *

鄺敬婷杜詩麗 * 蘇永恆 * 馮紹昌簡凱彤 * 李美娟黃國愛楊文秀 * 陳慧晶 * 鄧冠恒 * 鄺嘉欣 * 蔡珮珊 * 彭健欣 * 雲希朗 * 羅雪芬 * 梁嘉倩 * 李菁菁 * 周怡 *

陳穎業 *

Tisa Ho Connie Ho

Grace Lang So Kwok-wan Linda Yip Vanessa Chan Susanna Yu* Lam Kam-kwan* Programme Manager (Administration) Shirley So Assistant Programme Manager Joseph Wong* Programme Coordinators Tracy Tam* Angus Wu* Programme Administration Officer Tracy Cheung* Logistic Manager Elvis King* • Technical Production Manager Shirley Leung* Assistant Production Manager Benny Mok* • Publications English Editor Gloria Furness* Chinese Editor James Liu* Assistant Editors Grace Lam* Melody Lai* • Outreach Senior Outreach Manager Kenneth Lee Assistant Outreach Manager Bell Cheung* Outreach Coordinators Mitch Tam* Carmen Lam* Joey Chung* Outreach Assistant Michael Lee* Arts Administrator Trainee Kelvin Li* MArKETING Marketing Director Katy Cheng Associate Marketing Director Dennis Wu Marketing Managers Alexia Chow Louis Cheung* Deputy Marketing Manager Michelle Yeung* Assistant Marketing Manager Surina Hui* Digital Marketing Specialist Ben Chan* Marketing Officer Bonnie Cheng* Arts Administrator Trainee Jeff Cheng* Marketing Manager (Ticketing) Eppie Leung Customer Service Officers Benny Wong* Hayley Yeung* DEVELOPMENT Development Director Flora Yu Development Managers Anna Cheung* Mak Tsz-kam* Deputy Development Manager Lorna Tam Assistant Development Manager Conny Souw* Development Coordinator Esther Mok* Development Assistant Antonia Yuen* ACCOUNTS Head of Accounts Department Teresa Kwong Assistant Accounting Manager Connie To* Accounting Officer Peter So* Hr & ADMINISTrATION HR & Administration Manager Calvin Fung HR & Administration Officer Vivian Kan* Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong NO LIMITS Senior Project Manager Camelia Yeung* Assistant Programme Ainslee Chan* and Production Manager Assistant Outreach Manager Joe Tang* Assistant Technical Manager Karen Kwong* Marketing Coordinator Silvia Choy* Senior Accounting Officer Janice Pang* Project Officer Alana Wan* HKAF@TAIKWUN Producers Georgina Lo* Leung Ka Sin* Chan Wing Yip* Cheryl Li* Eva Chau* Technicial Coordinators

技術統籌 * Technical Coordinators*

歐慧瑜 Rachel Au、陳佩儀 Claudia Chan、陳詠杰 Chan Wing Kit、陳家彤 Doris Chen、范文恩 Fan Man Yan、許肇麟 Boolu Hui 、黎智勇 Martin Lai、李浩賢 Lawrence Lee、羅瑞麟 Wheel Lo、蕭健邦 Leo Siu

藝術家統籌 * Artist Coordinators*

鄭瑋菁 Virginia Cheng 、竺諺民 Edwin Chuk、張素真 Susan Hayden、向怡君 Cassandra Heung 、何嘉露 Carrol Ho、洪飛鳴 Fei Hung、李仲文 Conan Lee、李海盈 Jane Li、彭慧雯 Jan Pang、樊明媚 Tess Pham、潘頴詩 Renee Poon、譚善渝 Sally Tam * 合約職員 Contract Staff