Oper Leipzig : Wagner’s Tannhäuser - 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

萊比錫歌劇院

華格納《唐懷瑟》 Oper Leipzig

Wagner’s Tannhäuser 1-2 3月 MAR

香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 演出長約 4 小時，包括兩節中場休息 Approximately 4 hours including two intervals 德語演出，附中、英文字幕 Performed in German, with English and Chinese surtitles

萊比錫歌劇院部分成員乘坐第 47 屆香港藝術節指定航空公司芬蘭航空來回香港 Part of the members of the Oper Leipzig flew to and from Hong Kong on Finnair, Official Airline of the 47th Hong Kong Arts Festival 封面及製作劇照 Cover and production photographs: ©Tom Schulze

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

華格納《唐懷瑟》

Wagner's Tannhäuser 作曲及文本

Composer and Librettist Richard Wagner

華格納

指揮 Conductor 伍爾夫．舒爾瑪

Ulf Schirmer

導演 Director 卡歷圖．彼耶多

Calixto Bieito

佈景設計

Set Designer Rebecca Ringst

麗貝卡．靈斯特服裝設計

Costume Designer Ingo Krügler

英戈．克古拿燈光設計

Lighting Designer Michael Bauer

米高．鮑華合唱指導

Chorus Master Thomas Eitler-de Lint

湯瑪士．埃徹拿 - 德林特

樂團 Orchestra 萊比錫布業大廳樂團

Gewandhausorchester Leipzig

合唱團 Chorus 萊比錫歌劇院合唱團

Chor der Oper Leipzig

角色 Cast 唐懷瑟史提芬．維金（3 月 1 日）丹尼爾．法蘭克（3 月 2 日）

Tannhäuser Stefan Vinke (1 Mar) Daniel Frank (2 Mar)

伊莉莎白 Elisabeth 伊莉莎白．斯特

Elisabet Strid

維納斯 Venus 嘉芙蓮．歌靈

Kathrin Göring

沃夫拉姆．馮埃辛巴赫

Wolfram von Eschenbach Markus Eiche

馬庫斯．埃沙赫爾曼侯爵

Landgrave Hermann Ante Jerkunica

安迪．謝歐尼卡

華特．馮德沃高維德

Walther von der Vogelweide Patrick Vogel

柏德烈．沃戈彼得洛夫

Biterolf Randall Jakobsh

蘭多．雅各斯作家海因里希

Heinrich der Schreiber Kyungho Kim ( 김경호 )

金經昊萊因馬爾．馮茲維特

Reinmar von Zweter Sejong Chang ( 장세종 )

張世宗年青的牧羊人

Ein junger Hirt Bianca Tognocchi

比安卡．唐諾奇

替角 Understudies 唐懷瑟 Tannhäuser 米高．西蒙 Michael Siemon 伊莉莎白及維納斯貝蒂妮．坎普

Elisabeth and Venus Bettine Kampp

赫爾曼侯爵及彼得洛夫蘭多．雅各斯作家海因里希及華特．馮德沃高維德丹．卡斯特朗

Landgrave Hermann and Biterolf Randall Jakobsh Heinrich der Schreiber and Walter von der Vogelweide Dan Karlström

萊因馬爾．馮茲維特及彼得洛夫拉爾夫．盧卡斯

Reinmar von Zweter and Biterolf Ralf Lukas

中文字幕

English Surtitles Ernest Newman

王明宇及改編自台北世界文物出版社歌劇經典《華格納：唐懷瑟》（吳祖強主編）

香港兒童合唱團以下成員參與演出：陳朗、周啟晞、劉心悅、劉睿曦、馬潔欣、潘梓博、孫柏驊及曾晞堯 Members of the Hong Kong Children's Choir participating in this performance: Chan Long, Issac Samuel Chau, Clarice Lau Sum-yuet , Felicity Dawn Low, Ma Kit-yan, Jensen Poon Tsz-pok, Paxton Sun Pak-wah and Tsang Hei-yiu 此版本之《唐懷瑟》於 2018 年 3 月 17 日首演於萊比錫歌劇院 This production of Tannhäuser premiered at the Oper Leipzig on 17 Mar 2018 與法蘭德斯歌劇院及威尼斯鳳凰歌劇院聯合製作（德累斯頓版本） A co-production by Opera Vlaanderen and Teatro La Fenice di Venezia (Dresden Verison)

藝術節加料節目

演前講座 Pre-Performance Talk 香港文化中心平台工作室講者︰基斯蒂安．祖德爾（萊比錫歌劇院首席戲劇顧問）

1.3（五 Fri） 6:00-6:30pm 2.3（六 Sat）5:00-5:30pm Podium Workshop, Hong Kong Cultural Centre Speaker: Christian Geltinger, Chief Dramaturg, Oper Leipzig

英語主講

In English

持票觀眾免費入場，先到先得

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

歌劇探秘同樂日 Opera Adventure Day

2.3（六 Sat）12:00nn-8:00pm

香港文化中心透過展覽、兒童合唱團及戲劇工作坊、後台參觀及免費音樂會等有趣活動，了解萊比錫這座音樂之城。

Hong Kong Cultural Centre Learn about the musical heritage of Leipzig in a series of events that include an exhibition, children's choir performances, theatre workshops, backstage tours and free performances.

《聲動童樂》兒童合唱團五天工作坊

24.2-2.3 （日至六 Sun-Sat） Children‘s Choir Workshop Sing, Move and Have Fun 兒童合唱團大堂音樂會

2.3（六 Sat）3:30-4:15pm

Children's Choir Foyer Performance 香港文化中心

Hong Kong Cultural Centre

萊比錫歌劇院兒童與青少年合唱團總監蘇菲．鮑爾帶領本地兒童合唱團進行五天工作坊，並於文化中心大堂以一場免費音樂會展演作結，分享學習成果。

Leipzig Opera's Children and Youth Choir Director Sophie Bauer brings singing and fun together in this five-day workshop, which culminates in a public performance at the Cultural Centre.

港幣 $600（工作坊）

HK$600 (Workshop)

萊比錫布業大廳樂團雙簧管、圓號、長號大師班 3.3（日 Sun）12:00nn-6:00pm Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig 香港演藝學院

Hong Kong Academy for Performing Arts

由萊比錫布業大廳樂團的首席及樂手親身指導香港演藝學院的學生，並分享演奏心得。誠邀您旁觀頂尖樂手與本地學生分享在樂團裏的多年經驗。

Principals and musicians of Gewandhausorchester will conduct a masterclass for local music students at the HKAPA to pass on their insights and performance techniques.

英語主講

In English

更多加料節目詳情 More Festival PLUS

萊比錫歌劇院

Oper Leipzig 德國萊比錫歌劇院由歌劇團、芭蕾舞團及喜歌劇團三個分支組成，共有兩個排練及演出場地，分別是歌劇院（歌劇團及芭蕾舞團）和三椴樹街大樓（喜歌劇團），前者位於萊比錫市中心；後者位於萊比錫市西區的林登瑙，兩處都是萊比錫的歌劇之家，擁有超過三百二十五年歷史。 1 6 9 3 年，萊比錫首間歌劇院在布雷爾街開幕，是歐洲第三古老公共音樂劇院，僅次於威尼斯鳳凰劇院和漢堡國家歌劇院。自 1 8 4 0 年起，萊比錫歌劇院的所有歌劇和芭蕾舞演出均由著名的萊比錫布業大廳樂團伴奏。伍爾夫．舒爾瑪由 2 0 0 9/ 1 0樂季開始擔任萊比錫歌劇院音樂總監。在他的領導下，華格納和李察．史特勞斯的作品成為歌劇院重要劇目之一，並希望能於 2 0 2 2 年前將華格納所有作品納入表演劇目之中，這將會是世界上無可媲美的創舉。舒爾瑪獲委任萊比錫歌劇院總監一職後，為歌劇團和布業大廳樂團的藝術合作增添多一重意義。此外，萊比錫歌劇院的音樂和技術造詣都公認為頂尖級水平，而且劇團文化積極活躍，更致力發掘年輕有為的歌唱家。他們的節目涵蓋歌劇、歌唱劇、輕歌劇和音樂劇，以及古典和現代芭蕾舞，也為兒童、青少年和家庭觀眾舉辦不少活動和原創節目。歌劇院是由萊比錫市政府營運的企業，聘請了超過六百人，是市內數一數二的中型機構。除了上述的三個分支，他們的服裝和劇場工作室亦有為萊比錫劇院和新世界劇院服務。

Oper Leipzig is an umbrella organization consisting of three divisions: the Opera, the Leipzig Ballet, and the Musikalische Komödie (Musical Comedy Theatre). Oper Leipzig makes it home in two theaters: the Opera House (Opera and Leipzig Ballet), which is located in the city centre, and the Haus Drei Linden (Musikalische Komödie), which is in Leipzig’s western district of Lindenau. Together, they have been Leipzig’s home for music theater for over 325 years. Leipzig’s first opera house, it was opened on the Brühl in 1693, making it Europe’s third oldest public musical theatre (after Venice and Hamburg). Since 1840, the renowned Gewandhausorchester has accompanied all of the company’s opera and ballet performances. Ulf Schirmer has been General Musical Director of the Oper Leipzig since the 2009/10 season. Under his musical direction, the works of Richard Wagner and Richard Strauss have become a key part of the repertoire, with a goal of having all of Wagner’s works in the house’s repertoire by 2022. This would be an unparalleled accomplishment worldwide. Schirmer’s appointment as General Director of Oper Leipzig added another dimension to the artistic cooperation between the Opera and Gewandhausorchester. Oper Leipzig is synonymous with the highest in musical and technical quality. The organization emphasizes an active ensemble culture as well as the promotion of talented young singers. Its programme ranges from operas, Singspiel, operettas, and musicals to classical and modern ballets. There are also numerous activities and original productions for children, young adults and families. Oper Leipzig is a municipal venture operated by the City of Leipzig. With over 600 employees, it is one of the largest medium-sized employers in the city. In addition to the three divisions mentioned above, the Opera’s costume and theatre workshops provide services to the Schauspiel Leipzig and the Theater der Jungen Welt (Young World Theater).

萊比錫布業大廳樂團

Gewandhausorchester 萊比錫布業大廳樂團歷史悠久，為歌劇院多部製作伴奏。2 0 1 8年，樂團慶祝其二百七十五週年紀念，延續他們頂尖的音樂質素。布業大廳樂團自 1 8 4 0 年由萊比錫市政府營運，扎根於三個舉足輕重的表演場地，包括萊比錫聖多馬大教堂、布業大廳及座落布業大廳對面的歌劇院。海因里希．馬施納、阿爾伯特．洛爾青、馬勒和尼基什等指揮家曾指揮多套歌劇，例如馬施納的《吸血鬼》（1 8 2 8）、洛爾青的《沙皇與木匠》（1 8 3 7）及《偷獵者》（ 1 8 4 2 ），以及舒曼唯一歌劇作品《格諾費娃》（ 1 8 5 0 ）、庫特．威爾的《馬哈哥尼域的興衰》（ 1 9 3 0 ），都曾於萊比錫歌劇院首演。 1 8 7 8 年，華格納的《尼伯龍根的指環》首次在拜羅伊特節日劇院以外的演出，就是在萊比錫歌劇院上演。自樂團成立以來，歷任的音樂總監共有二十位，分別是孟德爾頌、法蘭斯．孔維茲尼、法克拉夫．諾伊曼、庫爾特．馬素爾、比奧斯特和列卡度．沙爾。安德里斯．尼爾森斯則於2017/18樂季擔任此職。

2 0 0 9/ 1 0樂季，伍爾夫．舒爾瑪接任萊比錫歌劇院音樂總監，華格納和李察．史特勞斯的作品亦因此成為歌劇院重要劇目之一，連同華格納早期的三套歌劇，一併納入萊比錫布業大廳樂團的伴奏劇目之中。樂團因其德國浪漫主義的特色而享譽盛名，舒爾瑪亦秉承傳統，於 2 0 1 4 年製作《沒有影子的女人》，成為史特勞斯週年慶典的焦點節目之一，當有華格納和史特勞斯的歌劇製作，他更會親自指揮樂團。其他演出則由副音樂總監安東尼．布拉摩爾、首席客席指揮馬蒂亞斯．福里米及指揮克利斯多夫．基索負責。

Gewandhausorchester, an ensemble rich with history, accompanies the Opera House’s productions. The Orchestra celebrates its 275th anniversary in 2018 and helps guarantee musical continuity at the highest artistic standard. Run by the City of Leipzig since 1840, Gewandhausorchester has three equally important venues: the Thomaskirche, the Gewandhaus and, directly opposite, the Opera House. Conductors such as Heinrich Marschner, Albert Lortzing, Gustav Mahler, and Arthur Nikisch have led operatic performances. Works such as Marschner’s Vampyr (1828), Lortzing’s Zar und Zimmermann (1837) and Der Wildschütz (1842), as well as Schumann’s only opera, Genoveva (1850), and Kurt Weill’s Aufstieg und Fall der Stadt Mahagonny (1930) were premiered at the Oper Leipzig. It was also here, in 1878, that Richard Wagner’s Der Ring des Nibelungen was performed for the first time outside the Bayreuther Festspielhaus. Since its founding, Gewandhausorchester has had 20 musical directors, including Felix Mendelssohn, Franz Konwitschny, Václav Neumann, Kurt Masur, Herbert Blomstedt, and Riccardo Chailly. Andris Nelsons took up the position of Gewandhauskapellmeister with the 2017/18 season. Under Ulf Schirmer’s directorship of the Oper Leipzig since the 2009/10 season, the works of Richard Wagner and Richard Strauss have become key parts of the house’s repertoire. With the inclusion of Wagner’s three early operas, Gewandhausorchester has all of the composer’s stage works in its repertoire. The Orchestra is well-regarded for its German Romantic tradition. Schirmer drew on this expertise for the production of Die Frau ohne Schatten in 2014, making this show a highlight of Strauss’ anniversary-year celebrations. When Wagner and Strauss are on the programme, Schirmer conducts Gewandhausorchester himself. Other performances are conducted by Deputy General Musical Director Anthony Bramall, Principal Guest Conductor Matthias Foremny and Kapellmeister Christoph Gedschold.

萊比錫歌劇院合唱團

Chor der Oper Leipzig 萊比錫專業的歌劇合唱團於十九世紀初在萊比錫國立劇院成立後出現，但現有逾七十名團員的規模是自 1 9 6 0 年哈勒新歌劇院啟用後才建立。自此，他們便與多位指揮家合作，包括法蘭斯．孔維茲尼、保羅．舒密茲、法克拉夫．諾伊曼、庫爾特．馬素爾，以及帶領合唱團逾30年的前合唱團總監安德拉斯．皮也斯克，由此奠下了現今的成就。

1 9 9 0 年代，合唱團在總監尤杜．茨馬曼的帶領下，獲頒萊比錫市藝術獎以表揚他們的卓越成就，更因而發掘出新的藝術力量。

1 9 9 1 年始，多位指揮分別掌舵合唱團，計有沃克馬．奧爾布利希、安東．特利姆爾、索仁．艾克霍夫，以及剛卸任的合唱指導亞歷桑德羅．祖帕多（2011-2017）。近年，多位指揮家如洛德．扎戈錫、馬雷克．雅諾夫斯基、佐治．阿布雷希特、伊里．考特、內洛．桑提、法比奧．雷西、列卡度．沙爾及伍爾夫．舒爾瑪，合力塑造出合唱團獨有的藝術素質。而超卓、具戲劇張力的歌藝更是他們的標誌象徵，這全賴現實主義音樂劇導演姚阿辛．赫茨所奠下的基礎，並配合後來的露芙．貝格豪斯、彼得．孔維茲尼和狄特里克． W．希斯朵夫等導演的努力而成。此外，湯瑪士．埃徹拿-德林

Leipzig’s professional opera chorus was created with the founding of the Theater der Stadt Leipzig in the early nineteenth century, but the Chor der Oper Leipzig only attained its present structure—a complement of nearly 70 singers—when the Neues Opernhaus opened in 1960. From this point on, the ensemble worked with conductors such as Franz Konwitschny, Paul Schmitz, Václav Neumann, and Kurt Masur, who helped lay the foundation for its present quality alongside the 30-year leadership of former choral director Andreas Pieske. Awarded the Art Prize of the City of Leipzig for its achievements, the chorus found renewed artistic energy in the 1990s under the general directorship of Udo Zimmermann. Beginning in 1991, the opera chorus was helmed by choral directors Volkmar Olbrich, Anton Tremmel, Sören Eckhoff, and recently Alessandro Zuppardo, who was chorus master from 2011-2017. More recently, conductors such as Lothar Zagrosek, Marek Janowski, George Albrecht, Ji í Kout, Nello Santi, Fabio Luisi, Riccardo Chailly and Ulf Schirmer have shaped the artistic quality of the opera ensemble. Extraordinary dramatic prowess is a hallmark of this ensemble, based on its foundation in realist musical theatre under Joachim Herz and, more recently, directors such as Ruth Berghaus, Peter Konwitschny and Dietrich W. Hilsdorf. Thomas Eitler-de-Lint was named as the new director of the opera chorus in November 2017—the very same year the chorus celebrated its 200th anniversary.

特於 2 0 1 7年 1 1月成為合唱團新任總監，同年更是慶祝合唱團成立二百週年的紀念。

華格納

Richard Wagner 國式大歌劇的《黎恩濟》一鳴驚人。因為該劇大受歡迎，他受聘於德累斯頓宮廷歌劇院為音樂總監，並推出首批表達他真實心聲的歌劇。華格納於 1845 年寫成他第五部歌劇《唐懷瑟》，並在德累斯頓宮廷歌劇院舉行首演。他後來不斷修改《唐懷瑟》，1861 年在法國巴黎首演的版本也與原本的有所分別。萊比錫歌劇院和萊比錫布業大廳樂團是次上演的製作，正是德累斯頓版本。華格納後來參與左翼活動，在 1849 年席捲德累斯頓的革命運動中失敗後，被迫流亡瑞士。他在流亡期間，逐漸產生了對歌劇進行徹底改革的想法，決意將音樂和戲劇融為一體，樂團也要更充分發揮交響樂效果。他開始把想法付諸實踐，華格納生於艱險時代。1813 年 5 月 22

創作不朽的歌劇四部曲《尼伯龍根的指

日出生於萊比錫，其後幾個月，城外集

環》。直到 1862 年政府頒下特赦，華格

結着大批軍隊，拿破崙時期幾場重大戰

納才返回故鄉。

役一觸即發。翌年，守寡的母親嫁給了華格納家的故交路德維．蓋耶。蓋耶是一名出色的演員，蒙他薰陶，華格納自幼在一個充滿戲劇氣氛的家庭中成長。由於這個緣故，華格納通過戲劇和文學而走向音樂，所以後來他的藝術視野和戲劇境界有着密不可分的關係。

儘管他在巴伐利亞的小鎮拜羅伊特建成了自己的劇院，但其事業和生平仍然坎坷曲折。這個劇院的理念主要是讓華格納全面掌控歌劇各個方面的製作。劇院在 1876 年啟用，首演了《尼伯龍根的指環》四部曲。華格納最後一部歌劇《帕西法爾》亦於 1882 年在這個劇院首演。

華格納年少時已決心集戲劇家和作曲家、作詞家和音樂家的身分於一身。他在鄉鎮歌劇團當指揮，奮鬥多年，又在巴黎當過自由身音樂家，終於以仿效法

翌年 2 月他在威尼斯逝世。很少有作曲家像華格納那樣惹人爭論，能令愛者欲其生，恨者欲其死。但他的音樂觀念影響深遠，是無可辯駁的事實。

Richard Wagner was born in dangerous times. Outside his native city of Leipzig, massive armies readied themselves, for some of the decisive battles of the Napoleonic era took place in the months after Wagner's birth on 22 May 1813. The next year, his mother, who had become a widow, married a family friend and talented actor named Ludwig Geyer. Thanks to Geyer, Wagner grew up in a household dominated by theatre. His journey toward music was through the world of theatre and literature. Ultimately, Wagner’s artistic vision became inseparable from the theatrical world of heightened reality. Even as a teenager, Wagner became determined to combine the roles of dramatist and composer, librettist and musician. Years of struggle as a conductor with provincial opera companies and as a freelance artist in Paris were followed by his first great public breakthrough with Rienzi, a work modelled on French grand opera. Its success landed him a job as music director with the Dresden Court Opera, where Wagner introduced the first operas that represent his authentic voice. He finished writing his fifth opera, Tannhauser, in 1845 and premiered it at the Dresden Court Opera. Wagner continued to revise the work, holding another premiere of a different version in Paris, France in 1861. The current production by Oper Leipzig and Gewandhausorchester Leipzig is the Dresden version. Wagner’s involvement as a leftist in the failed Revolution that swept through Dresden in 1849 forced him into political exile in Switzerland.

symphonic use of the orchestra. He began putting these ideas into practice in the monumental cycle of four operas, The Ring of the Nibelung. Amnesty was granted in 1862, allowing the composer to return to German soil. Wagner’s career and personal life continued to be stormy, though he succeeded in having his own theatre built in the small Bavarian town of Bayreuth. The concept behind Bayreuth was to give Wagner control over all aspects of operatic production, and the theatre was inaugurated in 1876 with the first-ever Ring cycle. Wagner’s final opera, Parsifal, premiered there in 1882. In February 1883, he died in Venice. There are few, if any, composers who have proved as controversial as Wagner, inspiring intense reactions of admiration and loathing alike. But what is indisputable is the profound influence of Wagner’s musical ideas.

It was during his Swiss exile that Wagner evolved his ideas for a radical reform of opera into a true synthesis of music and drama, calling for a more

故事大綱

Synopsis 第一幕

Act I

「夠了！夠了！」唐懷瑟在驚恐中叫喊起來。

“Too much! Too much!” Tannhäuser cries out in alarm. Far away from his fellow man, he lives with Venus, the goddess of love, in the freedom of the wilderness. But despite the constant state of ecstasy in which he finds himself, he longs for purity and emotional change. He wishes to return to the camaraderie of his friends. Venus, in a rage, fights to keep him with her. But neither her threats nor her seductions are of any use, and although he finds himself torn, Tannhäuser departs. He wanders, driven by his search for peace, but it evades him. Only when he meets a young boy singing about

他遠離友群，與愛神維納斯相伴，在原野間逍遙自在。儘管他一直沉浸在極樂的境界，但他還是渴望得到純潔和各種情感的轉變，並希望重拾故友的舊情。然而，憤怒的維納斯拼了命也要把他留在身邊，但她一切的威逼利誘也是徒然，唐懷瑟最終選擇背負沉痛，黯然離開。他流離浪蕩，尋求平靜，卻始終無法安寧。直至遇上一個年輕小伙子歌頌初春將至，他才第一次得到片刻安息。虔誠的歌聲彷如記憶般傳

來，在懺悔中懇求憐憫。此時，赫爾曼侯爵、華特、沃夫拉姆、海因里希、彼得洛夫和萊茵馬爾從狩獵歸來時，遇上顛沛流離的唐懷瑟。他們在瓦特堡最後一次見面時不歡而散；如今，唐懷瑟必須接受剛烈的歡迎儀式，才可再次得到友群接納。沃夫拉姆告訴唐懷瑟，伊莉莎白在他離開以後也不再與他們來往。唐懷瑟決定重過以前的生活。

the approaching spring does he find his first moment of rest. As if from a memory, pious voices sing out, begging for mercy through penance. As Landgrave Hermann, Walther, Wolfram, Heinrich, Biterold, and Reinmar return from the hunt, they encounter the wandering Tannhäuser. Their last meeting at the Wartburg ended in conflict; now, Tannhäuser must undergo a masculine welcoming ritual before he is once again accepted into the group. Wolfram reminds Tannhäuser of Elisabeth, who, during Tannhäuser’s absence, withdrew from their company. Tannhäuser decides to return to his former life.

第二幕

Act II

伊莉莎白懷着矛盾的心情等待唐懷瑟，當他一

Elisabeth waits for Tannhäuser’s arrival with conflicting emotions. He appears, and she at once confides in him. But no matter how hard he tries, Tannhäuser cannot remember where he had been. Wolfram observes the two, reluctantly admitting to himself that his own love for Elisabeth is hopeless. The Landgrave has prepared a festival to mark Tannhäuser’s return; in the old tradition, it will culminate in a singing competition. Once the guests have all assembled, the Landgrave tasks the singers with explaining the nature of love. As a prize, Elisabeth must give the winning singer whatever he wishes of her. While Wolfram, Walther, and Biterold exalt love as a purely spiritual matter, Tannhäuser, in contrast, extols physical enjoyment as the only true expression of love. The assembled guests are aghast. Feeling cornered and spurned on by the guests’ hypocrisy, Tannhäuser sings a song of praise to Venus, the goddess of love. He invites the entire crowd to come with him to the Venusberg, inciting a riot. As the crowd’s disgust spirals, Elisabeth shields her beloved Tannhäuser with her body, although his indiscretion has deeply hurt her. She begs the others to give Tannhäuser the chance to atone for his transgression. The Landgrave casts Tannhäuser from the group and urges him to seek penance through a pilgrimage to Rome.

出現，她再也忍不住向他盡訴衷情，但唐懷瑟無論如何努力，始終無法想起之前到哪裏去了。沃夫拉姆目睹一切，無奈自認對伊莉莎白的愛已是無望。侯爵為迎接唐懷瑟歸來而舉行慶典；依照傳統，這將以一場歌唱比賽為高潮。當所有賓客聚首一堂，侯爵便要求歌手演繹愛的本義，而伊莉莎白必須答應優勝者的任何要求以作獎賞。沃夫拉姆、華特和彼得洛夫都高舉愛情純粹的精神層面，而唐懷瑟則崇尚肉慾享樂才是愛情唯一真正的體現，聚眾聽罷無不瞪目結舌。唐懷瑟深感被孤立，亦不屑眾人的虛偽態度，便唱起愛神維納斯的頌歌。他邀請所有人與他共赴維納斯堡，此話一出即引起騷動。隨着賓客越來越厭惡唐懷瑟，儘管伊莉莎白被唐懷瑟的不智傷入心坎，仍不惜以身保護愛郎，懇求眾人給予他懺悔己過的機會。候爵將唐懷瑟驅逐離群，並要求他前往羅馬朝聖，思過求恕。

第三幕

Act III

多年劫難過後，伊莉莎白仍默默守候唐懷瑟歸

Many years later, after a catastrophe, Wolfram sees how Elisabeth still yearns for Tannhäuser’s return. The pilgrims return from Rome, but Tannhäuser is not among them. In her despair, Elisabeth longs for death. When she departs, Wolfram sends a final farewell to this "angel". Tannhäuser returns, completely broken. Only when Wolfram insists does Tannhäuser tell of his fanatical pilgrimage of repentance to Rome and how the Pope refused to grant him forgiveness. Tannhäuser resolves to return to Venus. But when Wolfram reminds him of Elisabeth, the "angel", Tannhäuser snaps back to his senses. Elisabeth has become a victim of a sanctimonious society, which in turn now praises her as a saint. In the end, all that is left is despair.

來，沃夫拉姆把一切看在眼裏。伊莉莎白在從羅馬回來的朝聖隊伍中不見唐懷瑟，萬念俱灰，痛不欲生。在她離世一刻，沃夫拉姆特意送別這位「天使」。唐懷瑟回來後得悉一切，肝腸寸斷。在沃夫拉姆再三堅持下，唐懷瑟才肯娓娓道來，往羅馬罪己的路上虔誠之至，教宗卻拒絕賜予寬恕。唐懷瑟決意與維納斯重修舊好，但當沃夫拉姆提起已化身成「天使」的伊莉莎白，唐懷瑟恍然大悟，頓時清醒過來。如今，這個自命清高、道德高尚的社群把伊莉莎白奉為「天使」，然而，她才是受害者。最終，一切落幕，只剩下無盡嘆息。

《唐懷瑟》導演訪談

In Conversation with Director Calixto Bieito 《唐懷瑟》是你繼《漂泊的荷蘭人》及《帕西法爾》後導演的第三部華格納作品，你會否覺得自己與華格納有種特別的聯繫？我對華格納的感受和想法很難一言蔽之，對其他歌劇作曲家也是一樣。不過《唐懷瑟》是個特例，這是我第一部聽的歌劇。那是在巴塞隆拿那利西厄大劇院，當年我十五歲，我弟弟十歲。《唐懷瑟》的音樂開啟了我們的想像，那場演出後，我們不停翻聽劇中音樂，又會扮成騎士，玩鬥劍遊戲……我還記得聽着隨身聽，在「序曲」中踏單車飛馳，所以《唐懷瑟》在那時的生活中佔據了很重要的一席之地。除了音樂，這部作品的戲劇方面是否也啟發了你

Tannhäuser is your third Wagner production, after the Flying Dutchman and Parsifal. Do you feel you have a special relationship with Wagner? Just like for other opera composers, I have different feelings and thoughts about Wagner. But Tannhäuser belongs in a different category, as it was the very first opera that I ever listened to. It was at the opera in Barcelona (Liceu); I was fifteen then and I was there with my ten year old brother. We listened and began to dream. After that we listened to the music endlessly. We fought with swords like knights…I also remember that I rode my bicycle very fast listening to the overture on my Walkman. Tannhäuser was very present in my life then.

的幻想？沒有。［那時］我們坐的位置太高、太遠，什麼也看不到［笑］。直到中場休息，我們才發現那其實是一場音樂會！所以，我和弟弟在華格納的音樂中創造了我們自己的幻想世界。那時我以為，華格納能譜寫出那麼宏偉、驚人的音樂，他本人一定是位英雄。後來才知道其實恰恰相反。你的《唐懷瑟》最後一幕宛若地獄，給人一種末世感覺。而你之前為史圖加特歌劇院導演的《漂泊的荷蘭人》和《帕西法爾》，佈景也有種世界末日的感覺。在你看來，這三部歌劇是否都與文明終結的概念有關？從某種意義上來說，是的。但華格納的故事不止於此。沒錯，這幾部歌劇都表達出某種社會的衰敗。總的來說，華格納很迷戀這類主題：死亡，以及世界或時代的終結。

Aside from the music, did the drama also make you fantasise? No, at the time we sat too high up to see anything [laughter]. During the interval we discovered that it was a concert performance! So my brother and I created our own fantasy world within Wagner’s music. I thought Wagner was a hero, given the grandiose and overwhelming nature of his music; today I know the opposite is the case. Your production of Tannhäuser ends in an inferno, an apocalyptic atmosphere. In your productions of the Flying Dutchman and Parsifal for the Oper Stuttgart, you also had apocalyptic set designs. In your opinion, do these three operas relate to the concept of the end of civilisation? In a certain sense, yes, but the story that Wagner is telling goes beyond that. It is true, these operas convey a sense that society is in decline. In general, Wagner had a fascination with death and the end of the world or of an era. ©Tom Schulze

劇中，唐懷瑟似乎是個對自己和環境都不滿意的人，在神界的維納斯堡中如是，在人間的瓦特堡歌唱比賽上也如是。這算是一種抑鬱嗎？唐懷瑟想重修與維納斯和伊莉莎白的關係，但真正的衝突並不在兩位女人之間，而在他自己內心。他在社會中找不到自己的位置，無法解決人類所面對的典型問題，也找不到生命的意義。他看起來像是個抑鬱的人，但我認為撕裂他的不是憂鬱，而是恐懼。細看劇中兩位女性角色，便會發現只有維納斯的情感是豐滿、鮮活的。在第一幕中，我們能看出維納斯和唐懷瑟之間的複雜關係破裂…… 但在第二幕中，我們只能猜測伊莉莎白和唐懷瑟之間的事。我希望把維納斯塑造成一個真實的人物。她是一位住在森林中的女人，與大自然十分親密。她的身體不受壓抑，不像唐懷瑟的身體是被壓抑和限制的。因此，「自由」成了歌劇的主題之一。我們如何才能得到身體和精神上的自由？作為個體，我們該如何處理與社會的關係？我的版本提出了一些現代問題，如「我們生活在一個怎樣的社會？」或「如今的歐洲是怎樣的？」。對於伊莉莎白，我希望她是個有血有肉的人，而絕非聖女。她其實是一位被社會緊緊壓迫的女性。雖然我在找尋兩種截然不同的女性，但不管哪種，個性都是真實的。[ 伊莉莎白在第三幕中的歇斯底里 ] 是在精神上對社會的一種逃脫，而最後也正是這個社會殺死她。她再也無法忍受瓦特堡的世界了，這世界毀了她，亦逼她發了瘋。在你看來，唐懷瑟是藝術家嗎？

Tannhäuser appears in the opera as a person unhappy with himself and his environment, whether at the Venusberg or at the Wartburg Song Contest. Is this a type of depression? Tannhäuser wants to reconcile his feelings for both Venus and Elisabeth, but the conflict is more within himself, rather than being torn between two women. He has trouble finding his place in society; he is unable to solve typically human problems. He fails to find the meaning of life. He gives the impression of someone in depression, but I would characterise it more as a fear that is tearing him apart. If we look at the two women in the opera, we notice that only Venus is emotionally fleshed out. We can assume that during the first act, a complex relationship between Venus and Tannhäuser is coming to an end…in the second we can only guess at what had happened between Elisabeth and Tannhäuser. I wanted to create a realistic character for Venus. She is a woman who resides in a forest, in direct contact with nature. She feels physically uninhibited, in contrast to Tannhäuser, who feels physically inhibited and confined. "Freedom" is therefore a theme in the opera—how can we be physically and spiritually free? How do we stand as individuals in relation to the society? My staging asks modern questions like, “What kind of society are we living in?” or “What is today’s Europe?” For Elisabeth I wanted a person of flesh and blood, certainly no holy figure. She is a woman who has been massively oppressed by society. I looked for two very different types of women, but it’s always about real personalities. [Elisabeth’s hysteria in the third act] is a mental escape from the society that ultimately kills her. She can no longer bear with the world of Wartburg; it destroys her and she goes insane.

藝術性與人性間的微妙界限，顯然是這部歌劇的主題之一，但我很厭惡把自己的作品建立在一個藝術家的形象之上。我的重心不在於這種為藝術而藝術的所謂形上劇場。華格納賦予了唐懷瑟他的折磨、他的驕傲、他的自私，這些都是強而有力的動機，而且我們也能看出華格納對性的憎恨與着迷。所有這些感覺和體驗的匯聚，才是這部歌劇的精髓所在。由法蘭德斯歌劇院戲劇顧問彼特．德．福爾德訪問卡歷圖．彼耶多

In your opinion, is Tannhäuser an artist? The ambiguous line between artist and human is obviously a theme in the opera, but I am loathe to use the figure of an artist as a basis for my production. I don’t put much weight on this type of meta-theatre—art for art's sake. Wagner instilled Tannhäuser with all his suffering, pride and selfishness. All these were strong drivers. In addition, we see Wagner’s hatred and his fascination for sexuality. The convergence of these sensations and experiences are essential in this opera. Calixto Bieito was interviewed by Piet de Volder, dramaturg of the Opera Vlaanderen

何謂真理？

What is Truth? 「我想擺脫的就是你勢不可擋的魅力。」唐懷瑟在華格納以他命名的歌劇中，邊說着這句話，邊試圖逃離女神維納斯。新的刺激、下一個禁忌總有一天會失效，屆時即使最盛大的享樂也無法滿足人。掙扎於放蕩和厭倦之間，面對死亡的塵世局限，這個無家可歸的人在尋求救贖和生命的意義。因為正如他唱道─他仍舊是一個凡人。帶着宿命感、探險的渴求和對維繫這個世界之物的追尋，唐懷瑟投身於維納斯堡的奧秘之中，尋找自己心之所向的滿足，一種在瓦特堡封閉世界裏無法提供的滿足。他的動力是探索「愛的本質」，這後來成為他在歌手競賽上馬失前蹄的原因，也是他個人追尋意義的指南針。可是，獲得永恆的幸福是一個藝術家應該嚮往的目標嗎？闖入這個神秘的世界，離開一個邊界牢固的體系，能夠帶來期望之中的愉悅嗎？這些不足和局限之間的張力就是他存在困境的根源嗎？我們第一次見到唐懷瑟時，即便他身處維納斯堡，但他對生命本身意義的追尋，也無法再帶來新的答案。在音樂層面上，第二場裏他致維納斯的頌歌的一部曲式結構，明顯地體現這點。這些歌手只是藝術家的影子，在愛情女神的命令下，他們唱着得獎歌曲。作為維納斯的奴隸，他的工作在兩方面都令他筋疲力盡。他需要現實生活的衝擊以作為他藝術創作的參照，但維納斯對這點感到厭惡。他也不想做一個超時空世界裏的神，而

"Your overwhelming charm is what I am fleeing from." With these words, the titular hero tries to escape the goddess Venus in Richard Wagner's opera Tannhäuser. Eventually, even the most exuberant hedonism fails to satisfy when the new stimulus, the next taboo falls short. Torn between debauchery and weariness, the outsider is looking for salvation and the meaning of life in the face of his earthly limitation through death. For mortal, he sings, he has remained. With a mixture of fatalism, thirst for adventure and a restless search for what holds the world together, Tannhäuser plunges himself into the mystery of the Venusberg to find the hoped-for fulfillment that the hermetically sealed world of the Wartburg society could not provide. His motivation is the quest for "the essence of love", which later becomes a stumbling block in the Minnesingers' contest and which also becomes the cipher for his own search for meaning. But is entering eternal bliss a desirable goal for an artist, or does the crossing into this mysterious world, leaving a system beset with rigid boundaries, result in the hoped-for pleasure? Is the tension between these inadequacies and limitations the source of his existential dilemma? We meet Tannhäuser at a point when the search for the meaning of life itself no longer gives him new answers, not even in the Venusberg. Musically, this is evident in the strophic structure of his hymn to Venus in the second scene. The singer is only a shadow of the artist who sings his prize song at the behest of the goddess of love. As Venus’ slave, his work is exhausting in two respects. He needs the friction of real life, which Venus so detests, as a reference for his art. Tannhäuser does not want to be a god in a world beyond space and time, but a man at mercy to life’s changes.

希望是一個受制於生命流變的人。

像唐懷瑟這樣的藝術家，內心需要在愉悅和痛苦、癲狂的勞作和抑鬱的困倦、歡欣鼓舞和毀滅性的自厭之間撕扯，才能獲得創造力。他既不能僅僅是神，也不能僅僅是人。他遊蕩在多個世界之間，只有在極端的人類體驗中，他豎琴的弦才能一直保持繃緊狀態。為此，他願意付出高昂的代價。

An artist of Tannhäuser's type needs the inner tension between pleasure and pain, manic productivity and depressive lethargy, euphoric exaltation and devastating self-pique, in order to become creative. Neither can he be just a god, nor can he only be just a man. He is a nomad wandering between worlds. Only through the delimiting experience of extreme human situations, are the strings of his harp kept in tension. For this, he is willing to pay a high price.

唐懷瑟需要通過與真實對手的競爭來為他的藝術尋找支點，即便自己因此毀滅也在所不惜。他的所作所為不能存在於真空之中。他不顧一切追求生命的純粹，即使代價是徹底的自我毀滅，也無法阻止他：他試圖逃避永恆的詛咒，以便在一場漫長的旅程之後可以得救而死。

Tannhäuser needs the reassurance of his art through competition against real opponents, even if he perishes in the process. His actions cannot exist in a vacuum. In his unconditional longing for the purity of life, even at the price of total self-destruction, he seeks to escape the curse of eternity in order to finally die redeemed after a long odyssey.

©Tom Schulze

當歌手們遇見唐懷瑟時，他可以說是剛被維納斯堡驅趕出來。對他來說，既不能停步，也不能回頭。他不知道該往哪裏走，然而對意義的渴望卻不斷鞭打着他，讓他無法安寧：「我的路命令我永遠前行，哪怕一眼都

When the singers meet Tannhäuser, they find him, as it were, spewed out of the Venusberg. For him, he can neither linger nor go back. Restless, he is at the mercy of the search for meaning, without having a concrete goal in mind: “My way bids me only hasten onward, and never may I cast a backward glance!”

不能回望！」雖然路上遇見朝聖者，但既不是懺悔的機會，也不是回到歌手們身邊的歸途，唯有沃夫拉姆提到了伊莉莎白的名字，讓唐懷瑟願意回歸社團。歌手說他們陷入了一種「瘋狂」（一個華格納經常用來描述極度抑鬱時刻的詞語）狀態和只有唐懷瑟才能破解的「魔法」中。十九世紀沒有指稱這種狀態的其他詞語，更遑論在十三世紀。這魔法正是在這個充滿男性荷爾蒙的團體中，侵襲伊莉莎白的憂傷、陰暗和抑鬱。

Despite a passing pilgrimage, it is not so much the hope of repentance, nor the return to the circle of singers, but Wolfram’s mention of Elisabeth’s name that makes him receptive to the return to that society. The singers describe their condition as "madness" (a term that keeps cropping up in Wagner to describe moments of extreme depression) and the “spell”, that only Tannhäuser can break. The 19th century, let alone the 13th century, knew of no other expression for it. It is the spell of melancholy, the dreariness, the depression that has befallen Elisabeth in the midst of this testosterone-laden male society.

唐懷瑟和伊莉莎白與世界失去了聯繫，他們共同的心性成為了維繫他們的連結，分離讓兩人都幾乎喪失自我。另一方面，在他們的二重唱中，他們歌頌重聚的時刻，慶祝開啟了「剛剛覺醒的生命」，一段完全世俗的生命。與此同時，伊莉莎白重新獲得自信，解放自己，成為一個自主的女人。後來，在與男人爭論時，她甚至宣稱自己是上帝意志的喉舌，這完全可以被視為瀆神。對於赫爾曼侯爵而言，唐懷瑟的回歸恢復了瓦特堡會的舊有秩序。從他們對待這個外來者的方式來看，「恩典」、「禮儀」、「美德」和「純潔的信仰」等儀式化的吟誦與虔敬的基督徒生活到底有多大關係，是值得懷疑的。赫爾曼侯爵認為，藝術必須是「明智的」，並且像戰爭的藝術一樣，必須有助於鞏固這個秩序。唐懷瑟於歌唱比賽上唱的歌裏，華格納引用了一個中世紀的傳統命題：所謂的高尚、純粹的愛與塵世慾望的對立，這命題亦反映了他前往維納斯堡時的內心衝突。也許這也是沃夫拉姆所面對、也不能接受的矛盾，他也一樣無法調和藝術與生活之間的矛盾，他不敢直接對伊莉莎白說話，因為在她眼中，他不是一個真正的人，只是一段「宮廷愛情」的象徵。沃夫拉姆的歌提到了天堂中的永恆幸福，既把它當作與維納斯堡相反的理想國，也當作唐懷瑟對救贖的永恆追尋的另一種選擇。為了以藝術歌唱愛，海因里希必須為愛冒險；為了領悟作為人對伊莉莎白的愛有多深，他必須到維納斯堡一趟。由此可以解釋他去羅馬的原因：不是為了洗清某種抽象的罪孽，而是出於對伊莉莎白的愛，而她為了支持唐懷瑟，打破了瓦特堡會的壁壘。作為主動追求愛情的例子，伊莉莎白站在唐懷瑟與社團之間，因而指出了一條新的道路，與唐懷瑟

Tannhäuser and Elisabeth are lost to the world. Their shared mental disposition becomes a unifying bond for her. The separation brought them both to the limit of the loss of identity. On the other hand, in their duet, they celebrate in unison the hour of reunion as the beginning of a “newly awakened life”, one that is completely secular. At the same time, Elisabeth regains confidence and emancipates herself into a self-determined woman. Later, during a dispute with the men, she goes so far as to declare herself as mouthpiece of God’s will, which could well be regarded as blasphemy. For Landgrave Hermann, the return of Tannhäuser restores the old order in the Wartburg society. Just how much the ritualized incantations of “grace”, “good manners”, “virtue” and “pure faith” have to do with Christian life can be questioned in the face of dealings with an outsider. In his view, art has to be "sensible" and, like the art of war, serves to stabilize this order. What is quoted by Wagner in Tannhäuser’s song at the singing competition as a medieval theme—the antithesis of the so-called high, pure love versus earthly lust—is symptomatic of the inner conflict with which Tannhäuser embarked on his journey to the Venusberg. Perhaps it is also the contradiction Wolfram is facing, which he cannot allow. He too cannot reconcile the contradiction between art and life. He does not dare to address Elisabeth directly, for in her eyes he is not a real man, but an allegory of “courtly love”. Wolfram's song speaks of the eternal bliss in the heavenly paradise as a counter-model to the Venusberg as well as an alternative to Tannhäuser's eternal search for salvation. In order to sing of love as an artist, Tannhäuser had to risk for love. In order to grasp the extent of his love for Elisabeth as a human, he had to experience the Venusberg. This can explain his decision to go to Rome: not to wash himself clean of an abstract guilt, but out of love for Elisabeth, who as Tannhäuser's advocate broke through the barriers of the Wartburg society. As an example of active love, she stands between Tannhäuser and the rest of society and thus shows a new way. It is in opposition to Tannhäuser's activism and Wolfram's passive self-control.

©Tom Schulze

的行動主義及沃夫拉姆被動的自我控制形成對比。將自己的挑釁行為推向極致之後，唐懷瑟重新陷入了過往的自我指控模式。這意味他的突變更像是一種衝動，難以令人信服是由心而發。到羅馬朝聖，是真的渴望寬恕，抑或只是他永不止息地尋求意義的另一段旅程？他是希望償還虧欠伊莉莎白的債，還是意識到自己既不能和伊莉莎白在這個社團中一起生活，也永遠無法公平看待社團？伊莉莎白在第三幕中的祈禱中反映了「罪」與「寬恕」之間的張力。伊莉莎白未能在歸來的朝聖者中找到唐懷瑟，之後她選擇向這個世界告別。通過自我犧牲，希望解決唐懷瑟在這個世界中無法調和的人類精神與自然、宮廷愛情與感官愉悅之間的矛盾。她的死亡再次證明她是一個自由、對自己負責的女性，令她在身處的環境中成為一個特例。我們最後一次看到唐懷瑟：與教會權威的會面令他的幻想破滅，他在極端之間掙扎。在羅馬這一段落中，教宗把他逐出教會，而他對救贖的期望看上去愈是可行時，卻會像紙牌屋一樣崩塌得愈徹底。唐懷瑟一無所有，因而一無所懼；他被教宗預言要在地獄永世不得超生時，返回維納斯堡是他唯一的選擇。對沃夫拉姆和唐懷瑟來說，從第一幕的相遇到現在，他們經歷了一次完整的循環：提起伊莉莎白的名字再次給予唐懷瑟一個支點。畢竟，當人們舉着伊莉莎白的屍體經過他身邊時，是唐懷瑟把她當作一個聖徒來崇拜。唐懷瑟有沒有得到救贖的希望？歌手看到朝聖者的手杖開花，這似乎給了肯定的答案。舞台提示平鋪直敘：「他死了。」無論是伊莉莎白還是唐懷瑟，劇本裏都沒有寫到他們化神或升天。音樂似乎對

Having taken his provocations to the extreme, Tannhäuser falls back into the old self-incriminating pattern, making his sudden change more impulsive than convincingly coming from the bottom of his heart. Behind the pilgrimage to Rome, is there a real longing for absolution or is it just another facet in his restless search for meaning? Does he want to atone for his debt to Elisabeth or is he aware that he can neither live with Elisabeth in this society nor ever be able to do justice to it? Elisabeth's prayer in the third act picks up the tension between “guilt” and “forgiveness”. When Elisabeth fails to find Tannhäuser within the crowd of returning pilgrims, she withdraws from the world. In her self-sacrifice, she hopes to resolve the contradictions between human spirit and nature, courtly love and sensual pleasure that Tannhäuser is unable to reconcile in this world. In her death, she once again proves herself to be a free and self-responsible woman, which makes her exceptional from the perspective of her environment. One last time we watch Tannhäuser, torn between extremes after the disillusioning encounter with the authority of the Church. The more believable his hope for salvation appears in the Rome narrative, the more it collapses like a house of cards through the excommunication of the pope. For him who was accorded a prophecy of eternal damnation by the representative of Christ on earth, who has nothing to lose, the return to Venusberg was the only alternative. This also closes a circle for Wolfram and Tannhäuser, which began when they first encountered in Act I: it is again the mention of the name Elisabeth which grounds Tannhäuser. After all, it is Tannhäuser who worships Elisabeth as a saint, when her corpse is carried past him. Is there hope for salvation for Tannhäuser? The report by the singers of the blossoming pilgrim staff seems to indicate that. The stage direction is relatively prosaic: “He dies.” For neither Elisabeth nor Tannhäuser does the libretto mention an apotheosis or ascension. The music seems to make things clearer.

結局有更清楚的交待。

至於為甚麼會有救贖，華格納沒有給我們留下答案。救贖來自伊莉莎白充滿愛的犧牲？來自純粹的神恩？或者來自自然生生不息的永恆輪迴？華格納這樣描述《唐懷瑟》序曲：「如此，所有的生命律動都隨着救贖之歌跳躍、舞蹈；相互分離的兩個元素：感官和精神、上帝和自然，在神聖的愛之吻中交融為一。」華格納眾多浪漫歌劇裏，當中古代和西方文明、永恆的輪迴和對永生的盼望、古代自然哲學和基督教末世論、非基督教習俗和神秘信仰、天主教的聖徒崇拜和新教的稱義學說，混合而成一個「個人的神話體系」。正如復活節慶典吸收了非基督教習俗，他的劇本也同樣由一些基督教、神話和文學元素糅合而成，當中的人物無法言說不可言說之物。與此同時，純粹基督教末世論的解讀會引發許多矛盾，若我們參照華格納的基督教理論著作的話，情況更甚。相反，唐懷瑟對生命意義的浮士德式追尋反映了充滿內在矛盾的當代人性。在這種語境下，如何闡釋歌劇末段的救贖概念呢？是將它當作一種虛無主義的預期，認為我們所認識的世界將會終結，只有死亡可以止息唐懷瑟所代表的、對真理的索求？當作對沃夫拉姆宣揚的、以愛超越一切及消除矛盾對立的篤信？還是當作一種堅定的信仰，正如朝聖者在歌劇結尾時大聲宣告的那樣？這個問題只能靠我們自己解答。餘下的是愛，套用聖經內的一句：「如今常存的有信、有望、有愛；其中最大的是愛。」（《哥林多前書》第十三章，十三節）

But as to why there is salvation, here Wagner abandons us. By Elisabeth’s loving sacrifice? By grace alone? Or through the power of the eternal cycle of nature, which produces new life again and again? Wagner describes the overture to Tannhäuser as follows: “Thus all the pulses of life leap and jump to the song of salvation; and both separate elements, the sense and the spirit, God and nature, are entwined in the sacred, unifying kiss of love.” As in Wagner's romantic operas, the ancient and occidental, reincarnation and hope for eternal life, ancient natural philosophy and Christian eschatology, pagan customs and mystical beliefs, Catholic veneration of the saints and Protestant doctrines of justification, are mixed together to form a personal mythology. Just as Easter celebrations absorbed pagan customs, Wagner's libretto is a conglomeration of Christian, mythological and literary set pieces in which the characters are unable to speak the unspeakable. On the other hand, a purely Christian-eschatological interpretation repeatedly raises contradictions, especially if Wagner's theoretical writings on Christianity are included. Rather, Tannhäuser's Faustian search for the meaning of life is a reflection of the contemporary human in his inner contradiction. In this context, how is the concept of salvation at the end of the opera to be interpreted? As a nihilistic expectation that the world as we know it would come to an end, that only death can still the search for truth, as represented by Tannhäuser? As a faith in the transcendent power of love that nullifies all opposites, as propagated by Wolfram? Or as a firm conviction in their faith, as the pilgrims loudly proclaim at the end of the opera? Here we are left to our own devices. What remains is love. To put it biblically: “And now these three remain: faith, hope and love. But the greatest of these is love.” (1 Corinthians, 13:13) Christian Geltinger, Oper Leipzig's Chief Dramaturg

萊比錫歌劇院首席戲劇顧問基斯蒂安·祖德爾

伍爾夫．舒爾瑪

Ulf Schirmer 指揮 Conductor

伍爾夫．舒爾瑪自 2009 年起擔任萊比

哥本哈根丹麥國家交響樂團的音樂總監；

錫歌劇院的音樂總監，其後在 2011 年 8

2000 年更成為母校漢堡音樂與戲劇學院

月出任萊比錫歌劇院總監。在他的帶領

的教授。

下，萊比錫歌劇院得到國際公眾及傳媒肯定。雖然他以在萊比錫出生的作曲家華格納之作品為重心，但與此同時，他對音樂和製作品質的要求也令萊比錫歌劇院再次成為歐洲首屈一指的歌劇團之一。

舒爾瑪在 2006 年至 2017 年擔任慕尼黑廣播電台管弦樂團藝術總監和首席指揮，並重塑樂團形象，指揮曲目非常廣泛，更開展了多個視聽項目。多年來，他的曲目越見多元，涵蓋古典音樂和歌劇，以及二十和二十一世紀的聖樂及電

舒爾瑪出生於德國埃舍爾斯豪森，早期

影音樂，但他特別着重十九世紀末至

在不萊梅的音樂學院接受音樂教育，其

二十世紀初的德國曲目。

後轉到漢堡音樂與戲劇學院繼續進修，師從多位著名音樂家，如霍斯特．斯坦因、鐸南夷和利蓋蒂。1980 年，他與曼海姆國家劇院合作，首次受聘於歌劇院。不久後，更被邀請成為維也納國家歌劇院總監羅連．馬捷爾的副手，經過無數次的指揮和排練，舒爾瑪成為該樂團的重要成員之一。

他常以客席身份參與多個國際藝術團體和樂團的演出。除了與日本藝術團體如東京新國立劇院和東京．春．音樂祭的持續合作關係，他亦定期在維也納國家歌劇院、柏林德意志歌劇院、史圖加歌劇院和蘇黎世歌劇院演出，並為布雷根茨音樂節、薩爾斯堡藝術節、巴黎巴士底歌劇院和米蘭史卡拉歌劇院擔任指

1 9 8 8 年至 1991 年期間，舒爾瑪在威斯

揮。純音樂演出方面，舒爾瑪則與維也

巴登黑森州立劇院為音樂會系列擔任音

納愛樂樂團、柏林愛樂樂團、維也納交

樂總監。1991 年，他成為維也納國家歌

響樂團、班堡交響樂團、科隆古澤尼克

劇院的駐團指揮，往後亦多次與該劇院

樂團、德累斯頓國家管弦樂團和瑞士羅

合作演出；1995 年至 1998 年，他出任

曼德管弦樂團等合作。

Ulf Schirmer has been the General Director of the Oper Leipzig since August 2011, after having been Music Director since 2009. During his directorship, Schirmer has brought Oper Leipzig to a renewed level of international public and press acclaim. Though the works of Leipzig-born composer Richard Wagner have been at the centre of his attention, his concern for music and production quality has brought Oper Leipzig back amongst the leading European opera companies. Schirmer was born in Eschenhausen, Germany, and received his early musical education at the conservatory in Bremen. Later, he moved to the Hamburg University of Music and Theatre, where he was a student of distinguished teachers Horst Stein, Christoph von Dohnányi and György Ligeti. His first opera house engagement was in 1980 at the National Theatre in Mannheim. Soon afterwards, he was invited to be the assistant to Lorin Maazel, Director of the Vienna State Opera, where he became an important member of the company through conducting and rehearsing numerous productions.

centuries, but special attention is given to German repertoire of the late 19th to early 20th centuries. Schirmer is a regular guest with a number of international companies and orchestras. Next to his ongoing artistic relations with Japanese companies like the New National Theatre and the Tokyo Spring Festival, he regularly appears at the Vienna State Opera, the Deutsche Oper Berlin, Oper Stuttgart and Opernhaus Zürich, and has been conducting at the Bregenz Festival, Salzburg Festival, Paris Ópera Bastille, and Teatro alla Scala in Milano. In concert halls, he can be heard with such orchestras as the Vienna and Berlin Philharmonic, Vienna Symphony Orc hestra, Bamberg Symphony Orc hestra, Gürzenich Orchestra Cologne, Staatskapelle Dresden and the Orchestre de la Suisse Romande.

From 1988 to 1991, Schirmer was Music Director of the city of Wiesbaden and Artistic Director of the concert series at the city’s Hessisches Staatstheater. In 1991, he became Resident Conductor at the Vienna State Opera and has continuously returned to this company since. 1995 to 1998 saw Schirmer become Music Director of the Danish Radio Symphony Orchestra in Copenhagen. In 2000, he became a professor at his alma mater, the Hamburg University of Music and Theatre. From 2006 to 2017, Schirmer was Artistic Director and Chief Conductor of the Munich Radio Orchestra, renewing the image of this orchestra, conducting an extremely wide repertoire, and initiating a number of audio-visual projects. Over the years, Schirmer’s repertoire has become highly diversified, ranging from classical and opera to sacred and film music of the 20th and 21st

卡歷圖．彼耶多

Calixto Bieito 導演 Director

卡歷圖．彼耶多出生於西班牙布哥斯的

劇《士兵們》（蘇黎世、柏林喜歌劇院

埃布羅河畔米蘭達。1999 年至 2011 年，

及馬德里）；帕拉歌劇《王爾德》（施

他是巴塞隆拿羅米亞劇院的總監，其藝

韋青根）；華格納歌劇《唐懷瑟》（法

術事業亦由此展開。彼耶多曾策劃卡斯

蘭德斯、威尼斯及萊比錫）；浦塞爾歌

提亞與萊昂國際藝術節，以及籌辦巴塞

劇《仙后》（史圖加）；伊格納歌劇《李

隆拿國際劇團，是一個讓獨立藝術家和

爾王》（巴黎）；阿勒維歌劇《猶太女》

劇團表演的國際舞台。他首次與歌劇結

（慕尼黑）；普契尼歌劇《托斯卡》（奧

緣，是在巴塞隆拿蒂沃利劇院執導布里

斯陸）；比才歌劇《卡門》（巴黎、威

頓的查瑞拉歌劇《帕洛瑪聖母節狂歡晚

尼斯和馬德里）；塞納基斯歌劇《奧瑞

會》（1996），及之後在巴塞隆拿勒呂

斯提亞》（巴塞爾）；普羅科菲耶夫歌

爾歌劇院執導荀伯格的《月光下的彼埃

劇《火天使》（蘇黎世）；以及白遼士

羅》（1998）。

歌劇《特洛伊人》（紐倫堡）。

他在 2001 年的薩爾斯堡藝術節中執導莎

彼耶多 2018 年的作品包括柏林喜歌劇

士比亞的《馬克白》，以及 2002 年在

院首演史瑞克的《命中注定》，以及在

漢諾威與倫敦英國國家歌劇團及巴塞隆

漢堡公演威爾第的《安魂曲》，而曾於

拿李世奧歌劇院聯合製作的莫扎特歌劇《唐．喬望尼》，並在 2004 年在柏林喜

2015 年在倫敦英國國家歌劇團首演成功的威爾第歌劇《命運之力》將會在 2020

歌劇院執導製作備受爭議的莫扎特歌劇

年移師到多倫多演出。

《後宮誘逃》。這些製作確立了他作為歐洲歌劇導演翹楚的聲譽。彼耶多對殘酷和性有驚人想像，並以直率的當代戲劇方式呈現出來，人們對此評語好壞參半。

2009 年，他獲歐洲文化基金會授予歐洲文化獎；2012 年，獲頒意大利法蘭科．阿比亞蒂獎；接着在 2014 年奧維耶多獲得西班牙備受尊崇的坎普阿莫劇院獎。此外，他從 2013 年至 2015 年出任巴塞

彼耶多的歌劇及舞台劇風格隨時間變化

爾劇院的駐場藝術家，並於 2017 年起擔

多端、更趨成熟。近作包括齊默爾曼歌

任畢爾包阿里亞加劇院的藝術總監。

Calixto Bieito was born in Miranda de Ebro, Burgos, Spain. He directed the Teatre Romea in Barcelona from 1999 till 2011, where his artist career began to unfold. He organized the Festival Internacional de las Artes de Castilla y León and the Barcelona Internacional Teatre, a worldwide platform for projects by individual artists and theatres. Bretón’s zarzuela La verbena de la Paloma (1996) at the Teatro Tivoli in Barcelona was his first encounter with musical theatre, followed by Schönberg’s Pierrot Lunaire (1998) at the Teatre Lliure in Barcelona.

to be followed by Spain’s highly respected Premios Líricos Campoamor in Oviedo in 2014. He was artist-in-residence at Theatre Basel from 2013 to 2015. He has been Artistic Director at Bilbao’s Teatro Arriaga since 2017.

Bieito’s versions of Shakespeare’s Macbeth at the Salzburg Festival (2001) and Mozart’s Don Giovanni in Hanover (2002), co-produced with London’s ENO and Barcelona’s Teatre Liceu, were followed by a widely scandalized production of Mozart’s Die Entführung aus dem Serail at Berlin’s Komische Oper (2004). These productions established his fame as one of Europe’s foremost opera directors, both loved and hated for his shocking visions of cruelty and sexuality within theatrical interpretations of outright contemporaneity. Bieito’s style in both opera and drama has greatly changed and matured over the years. His recent works include: Zimmermann’s Die Soldaten in Zurich; Berlin’s Komische Oper and Madrid; Parra’s Wilde in Schwetzingen; Wagner’s Tannhäuser in Flanders, Venice and Leipzig; Purcell’s The Fairy Queen in Stuttgart; Reimann’s Lear in Paris; Halevy's La Juive in Munich; Puccini’s Tosca in Oslo; Bizet’s Carmen in Paris, Venice and Madrid; Xenakis’ Oresteïa in Basel; Prokofiev’s The Fiery Angel in Zurich; and Berlioz’ Les Troyens in Nuremberg. Bieito’s 2018 schedule opened with Schreker’s Die Gezeichneten, premiered at Berlin’s Komische Oper, and Verdi’s Messa da Requiem in Hamburg. Verdi’s La forza del destino successfully premiered at London’s ENO in 2015, will be transferred to Toronto in 2020. Bieito was honoured with the European Cultural Prize by Basel’s Kulturstiftung Pro Europa in 2009. In 2012, he received the Italian Franco Abbiati Prize,

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麗貝卡．靈斯特佈景設計

Rebecca Ringst Set Designer 麗貝卡．靈斯特在德累斯頓美術學院修讀舞台和服裝設計，之後到巴塞隆拿艾利薩瓦設計學院修讀錄像藝術。2006 年起與卡歷圖．彼耶多合作，分別為在法蘭德斯、伯恩、威尼斯及萊比錫公演的《唐懷瑟》、奧斯陸公演的《神祕故事》、巴黎公演的《李爾王》及慕尼黑公演的《猶太女》擔任設計師。威爾第的《命運之力》在英國國家歌劇團首演成功後，將會在 2021 年移師多倫多繼續公演。靈斯特也分別在德累斯頓森培歌劇院與麗莎．史托伯菈、在柏林德意志劇院與安德烈．摩斯，以及在慕尼黑的巴伐利亞國立歌劇院、柏林喜歌劇院和拜羅伊特音樂節與巴利．科斯基合作。 2010 年，她憑《玫瑰騎士》（斯蒂芬．赫爾海姆執導）被德國雜誌《歌劇世界》提名為「年度設計師」；2014 年，又因《森林》（彼耶多執導）的場景設計獲頒西班牙美克斯大獎；也曾被提名 2016 年國際歌劇獎及 2015 年海達獎。 Rebecca Ringst studied stage and costume design at the Hochschule für Bildende Künste in Dresden, followed by further studies in video art at Barcelona’s Escola Superior de Disseny. In 2006, she began collaborating with Calixto Bieito, designing Tannhäuser in Flanders, Berne, Venice and Leipzig, Mysteries in Oslo, Lear in Paris, and La Juive in Munich. A production of Verdi’s La forza del destino, successfully premiered at London’s English National Opera, will move on to Toronto in 2021. Ringst has also worked with Lisa Stöppler at Dresden’s Semperoper, Andrea Moses at Berlin’s Deutsches Theatre, and Barrie Kosky at Munich’s Bayerische Staatsoper, Berlin’s Komische Oper and the Bayreuther Festspiele. In 2010, Opernwelt nominated her “Designer of the Year” for Der Rosenkavalier (Stefan Herheim). In 2014, she was awarded the Spanish Premios Max for her set in Forests (Bieito). She has been nominated twice for the International Opera Awards and the Hedda Award.

英戈．克古拿服裝設計

Ingo Krügler Costume Designer 英戈．克古拿出生於美茵茲，分別在柏林和倫敦修讀時裝設計。他曾跟隨尚 - 保羅．高緹耶和約翰．加利亞諾工作，亦曾與大衛．奧爾登和哈里．庫布弗及等導演合作。他自 2007 年起與卡歷圖．彼耶多合作無間，作品包括《耶奴法》、《李爾王》、《猶太女》、《沙皇鮑里斯》及《費黛里奧》。此外，他亦被邀請到德累斯頓、奧斯陸、布雷根茨、格拉茨、哥本哈根、布宜諾斯艾利斯及巴塞隆拿等地的歌劇院，以及倫敦英國國家歌劇團和在比利時的弗南斯歌劇團擔任服裝設計師，也曾與塔堤亞娜．格林貝格、伊莉莎白．史托伯菈和莉迪婭．施泰爾等導演合作。往作包括為萊比錫歌劇院的《馬哈哥尼域的興衰》，以及在 2017/18 樂季為《唐懷瑟》設計戲服。 Born in Mainz, Ingo Krügler studied fashion design in Berlin and London. His early work in the industry was with Jean-Paul Gaultier, John Galliano, David Alden, Harry Kupfer and Robert Carsen. He has collaborated closely with Calixto Bieito since 2007, including productions of Jenüfa, Lear, La Juive, Boris Godunov and Fidelio. He has been invited to the opera houses of Dresden, Oslo, Bregenz, Graz, Copenhagen, Buenos Aires and Barcelona, as well as to the ENO in London and the Vlaamse Opera in Belgium. He has also collaborated with directors such as Tatjana Gürbaca, Elisabeth Stöpler and Lydia Steier. He previously designed costumes for the Oper Leipzig for Aufstieg und Fall der Stadt Mahagonny, and during the 2017/18 season designed the costumes for Tannhäuser.

米高．鮑華燈光設計

Michael Bauer Lighting Designer 米高．鮑華出生於慕尼黑，在 19 8 0 年以實習生身份加入巴伐利亞國立歌劇院，並於 1998 年成為首席燈光設計師。從 1993 年開始，他在慕尼黑音樂戲劇學院任教戲劇及舞台燈光。鮑華在巴伐利亞國立歌劇院擔任燈光設計師時所參與的製作包括《托斯卡》、《唐卡羅》、《蝙蝠》、《愛情靈藥》、《崔斯坦與依索爾德》、《耶奴法》、《魔笛》、《漂泊的荷蘭人》和《沙皇鮑里斯》，他也曾與漢堡、巴黎、馬德里、三藩市、紐約、米蘭、安特衛普、巴塞爾、日內瓦、雅典及聖彼得堡的劇院合作。 Michael Bauer was born in Munich and has worked at the Bayerische Staatsoper since 1980, which he joined as a trainee; since 1998, he has been Head Lighting Designer. Since 1993, he has taught theatre and stage lighting at the Hochschule für Musik und Theater in Munich. Bauer’s works at the Bayerische Staatsoper include the lighting for such productions as Tosca, Don Carlo, Die Fledermaus, L’elisir d’amore, Tristan und Isolde, Jenüfa, Die Zauberflöte, Der fliegende Holländer and Boris Godunov. Bauer has collaborated with theatres in Hamburg, Paris, Madrid, San Francisco, New York, Milan, Antwerp, Basel, Geneva, Athens and St. Petersburg.

湯瑪士．埃徹拿-德林特合唱指導

Thomas Eitler-de Lint Chorus Master 湯瑪士．埃徹拿 - 德林特出生於奧地利，並在維也納就學。他曾在維也納人民歌劇團擔任副合唱團指導及指揮、在科布倫茨劇院擔任合唱團指導及首席指揮，以及在不萊梅劇院擔任合唱團指導。此外，他為荷蘭國家歌劇院合唱團擔任藝術總監，並在其他電台合唱團擔任合唱團指導，也曾於拜羅伊特音樂節擔任合唱團助理，以及在蘇黎世和漢諾威的歌劇院擔任客席合唱團指導。自 2 0 1 6 年，他是上海歌劇院的客席合唱團指導，亦曾以指揮的身份參與萊茵愛樂樂團、新布蘭登堡愛樂樂團、哥廷根交響樂團和科隆西德廣播交響樂團等的演出。2008 年至 2014 年期間，湯瑪士在不萊梅藝術學院任教管弦樂指揮；在 2014 年至 2017 年擔任達姆施塔特州立劇院的合唱團指導； 2017 年 11 月起成為萊比錫歌劇院的合唱團指導。 Born in Austria, Thomas Eitler-de Lint studied in Vienna. He was deputy chorus master and stage conductor at the Vienna Volksoper, chorus master and First Kapellmeister at the Stadttheater Koblenz, and chorus master at the Bremer Theater. He has served as artistic director of the choir of the National Opera in Amsterdam and as chorus master with various radio choruses. He was choir assistant at the Bayreuth Festival and guest chorus master at the Zurich and Hanover opera houses. He has been a guest chorus master for the Shanghai Opera since 2016. Eitlerde Lint has appeared as a conductor with the Rheinische Philharmonie, the Neubrandenburger Philharmonie, the Göttingen Symphony Orchestra, and the WDR Radio Orchestra, among others. He taught orchestral conducting at the Hochschule für Künste in Bremen from 2008 to 2014. He was chorus master at the Staatstheater Darmstadt from 2014-2017, and has been the chorus master at the Oper Leipzig since November 2017.

史提芬．維金唐懷瑟（3月1日）

Stefan Vinke Tannhäuser (1 Mar)

史提芬．維金出生於德國格奧爾格斯馬林許特，並在科隆音樂與舞蹈學院修讀聲樂和聖樂。1999 年至 2005 年，他加入曼海姆國家劇院，在歌劇中飾演年輕英雄角色； 2 006 年，他首次在科隆歌劇院飾演齊格弗里德，其後在拜羅伊特音樂節、維也納國家歌劇院、巴伐利亞國立歌劇院、柏林德意志歌劇院、澳洲歌劇團、「華格納在布達佩斯」歌劇節、安奈斯可國際音樂節和西雅圖歌劇院演出同一角色。其他值得一提的角色包括羅恩格林、唐懷瑟、崔斯坦、帕西法爾、梅涅洛斯（《埃及的海倫》）、巴克斯（《納克索斯的阿莉安妮》）、保羅（《死城》）及鼓樂隊隊長（《伍采克》）。 Stefan Vinke was born in Georgsmarienhütte, Germany and studied singing and church music at the Hochschule für Musik und Tanz in Cologne. From 1999 to 2005, he was a member of the Mannheim National Theatre, singing Jugendlicher Heldentenor (youthful heroic) roles. He first sang Siegfried in 2006 for the Cologne Opera and has gone on to sing the role for Bayreuth Festival, Vienna State Opera, Bavarian State Opera, Deutsche Oper Berlin, Opera Australia, the Wagner in Budapest Festival, the George Enescu Festival and for the Seattle Opera. Other notable appearances include: Lohengrin, Tannhäuser, Tristan, Parsifal, Menelas (Die ägyptische Helena), Bacchus (Ariadne auf Naxos), Paul (Die tote Stadt) and Drum Major (Wozzeck).

丹尼爾．法蘭克唐懷瑟（3月2日）

Daniel Frank Tannhäuser (2 Mar) 丹尼爾．法蘭克在烏普薩拉出生和成長，師從克里斯特．索倫、漢斯．多恩布什、索爾維格．阿格仁及比約恩．布羅姆奎斯特修讀聲樂。經過十年搖滾歌手、聲樂導師及老師的事業生涯，法蘭克在 2009 年於瑞典斯德哥爾摩人民歌劇院首演歌劇，飾演《領事》的約翰．索雷爾，並在 2010 年由男中音轉為男高音。法蘭克也曾到杜塞道夫的德國萊茵歌劇院，及在基爾、威瑪和伯恩等地客席演出。 2013 年至 2014 年，他在杜塞道夫、哥倫比亞波哥大的蓋坦歌劇院、秘魯利馬、斯德哥爾摩的瑞典皇家歌劇團及布拉格國家歌劇院飾演唐懷瑟一角。近年，他亦出演布列頓的彼得．格里姆斯（《彼德．格蘭姆斯》）、弗洛斯坦（《費黛里奧》）、拉達梅斯（《阿依達》）、華格納的羅恩格林、保羅（《死城》）、齊格弗里德（《諸神的黃昏》）、酒神（《納克索斯的阿莉安妮》）及齊格蒙德（《女武神》）。 Born and raised in Uppsala, Daniel Frank studied singing with Christer Solén, Hans Dornbusch, Solvieg Ågren and Björn Blomqvist. After a ten-year career as a rock singer, vocal coach and teacher, Frank made his operatic debut in 2009 as John Sorel in The Consul at Folkoperan in Stockholm. In 2010, he made a transition from baritone to tenor. Frank has made guest appearances at the Deutsche Oper am Rhein in Düsseldorf and in Kiel, Weimar and Bern. From 2013 to 2014, he performed the role of Tannhäuser in Düsseldorf, at the Teatro Jorge Eliécer Gaitán in Bogotá, Columbia, in Lima, Peru, at the Royal Swedish Opera in Stockholm, and at the Prague State Opera. Recently, he added to his repertoire the roles of Britten’s Peter Grimes, Florestan (Fidelio), Radames (Aïda), Wagner’s Lohengrin, Paul (Die tote Stadt) Siegfried (Götterdämmerung), Bacchus (Ariadne auf Naxos) and Siegmund (Die Walküre).

伊莉莎白．斯特伊莉莎白

Elisabet Strid Elisabeth

伊莉莎白．斯特在 2010 年展開她的國際演藝事業生涯。其後，她於世界各地多個場合演出，包括德累斯頓的森柏歌劇院、奧斯陸挪威國家歌劇院、芬蘭國家歌劇院、里爾歌劇院、安特衛普法蘭德斯歌劇院、墨西哥藝術宮劇院、開普敦歌劇院、底特律密西根歌劇院、坦佩雷夏季戲劇節、波羅的海音樂節、布達佩斯華格納節、威斯巴登國際五月藝術節及拜羅伊特音樂節。她曾與多位著名指揮家和導演合作，包括安德里斯．尼爾森斯、基里爾．佩特連科、亞當．費雪、埃薩 - 具卡．沙羅倫、柯尼流斯．曼斯特、艾塞．歌伯、艾雲．安古諾富、洛林．馬捷爾、伍爾夫．舒爾瑪、長野健、法蘭克．卡斯多夫和卡歷圖．彼耶多等。未來她的演出包括飾演珊塔、焦爾杰塔、麗莎（《黑桃皇后》）；瑪麗埃塔（《死城》）；莎樂美、齊格林德、維納斯及伊莉莎白（《唐懷瑟》）。 Elisabet Strid started her international career in 2010. Since then, she has been singing at the Dresden Semper Opera, the Norske Opera, the Helsinki National Opera, the Opéra de Lille, the Antwerp Flemish Opera, the Teatro de Bellas Artes Mexico, the Cape Town Opera, the Michigan Opera, the Tampere Festival, the Baltic Sea Festival, the Budapest Wagner Days, the Wiesbaden May Festival and the Bayreuth Festival. Strid works with renowned conductors and stage directors, such as Andris Nelsons, Kirill Petrenko, Ádám Fischer, Esa-Pekka Salonen, Cornelius Meister, Axel Kober, Ivan Anguélov, Lorin Maazel, Ulf Schirmer, Kent Nagano, Frank Castorf and Calixto Bieito. Her future engagements include Salome, Senta (The Flying Dutchman), Sieglinde (Die Walküre) and Marietta (Doe tote Stadt), among others.

嘉芙蓮．歌靈維納斯

Kathrin Göring Venus 嘉芙蓮．歌靈在萊比錫及德累斯頓鑽研聲樂，是歐盟歌劇團的成員，也曾入讀科隆市歌劇團歌劇學院。歌靈多次在不同樂團的音樂會及獨唱會演出，包括萊比錫布業大廳樂團、漢諾威廣播站、巴伐利亞廣播交響樂團及班堡交響樂團。此外，她曾以客席身份亮相柏林德意志歌劇院、德國萊茵歌劇院及埃森阿爾托歌劇院。在 2018/ 19 樂季，她飾演了多個角色，包括維納斯（《唐懷瑟》）、伊波莉公主（《唐卡羅》）、費莉卡（《女武神》）、鄰國公主（《水仙子》）、瓦爾特洛德和第二命運女神（《諸神的黃昏》）、威登堡公爵夫人（《玫瑰騎士》）、《卡門》、瑪達琳娜（《弄臣》）和監督者（《艾蕾克特拉》）。歌靈獲頒萊比錫華格納協會及 2 0 0 1 年德國音樂委員會獎學金，同年勝出在科堡舉行的亞歷山大吉拉狄國際歌唱比賽。 Kathrin Göring studied voice in Leipzig and Dresden. She was a member of the European Union Opera and the opera studio at the Bühnen der Stadt Köln. Göring has performed extensively in concerts and recitals at the Gewandhausorchester Leipzig, the Landesfunkhaus Niedersachsen, the Bavarian Radio Orchestra, and the Bamberg Symphony. She has made guest appearances at the Deutsche Oper Berlin, the Deutsche Oper am Rhein, and the Aalto Theater Essen. Roles in the 2018/19 season include: Venus (Tannhäuser), Princess Eboli (Don Carlo), Fricka (Die Walküre), the foreign Princess (Rusalka), and Waltraute and 2nd Norn (Götterdämmerung), the Feldmarschallin (Der Rosenkavalier), Carmen, Maddalena (Rigoletto) and the Overseer (Elektra). Göring is a scholarship holder of the Richard Wagner Association Leipzig and, in 2001, the German Music Council. She was the winner of the International Singer’s Contest Alexander Girardi in Coburg in 2001.

比安卡．唐諾奇年青的牧羊人

Bianca Tognocchi Ein junger Hirt 意大利花腔女高音比安卡．唐諾奇是多個歌唱比賽的得獎者，2010 年在米蘭音樂學院畢業，其後與意大利歌劇與音樂會協會合作演出的角色包括雅典娜（《愛情靈藥》）、巴巴麗娜（《費加羅的婚禮》）、蓮尼塔（《善意的謊言》）及賽皮娜（《管家女僕》）等，也曾亮相多尼采蒂劇院、都靈皇家劇院、拉維納音樂節、米蘭史卡拉歌劇院、日內瓦室內歌劇院、馬爾默歌劇院、波納音樂節及奧地利埃爾特羅爾藝術節演出。2018 年，她加入萊比錫歌劇院，出演《弄臣》的吉爾達、《拉莫美的露契亞》的露琪亞、《卡門》的法斯蓋達和《齊格弗里德》的林中鳥。 Italian coloratura soprano Bianca Tognocchi is a prize-winner of numerous singing competitions. She graduated from the Giuseppe Verdi Conservatory in Milan in 2010; since then, she has performed with the As.Li.Co as Adina (L’Elisir d’Amore), Barbarina Waldvogel (Le Nozze di Figaro), Ninetta (La finta semplice), and Serpina (La Serva Padrona), among others. She has appeared at the Teatro Donizetti, the Teatro Regio Torino, the Ravenna Festival, the Teatro alla Scala, the Opéra de Chambre de Genève, the Malmö Opera, the Festival de Beaune and the Tiroler Festspiele. In 2018, Tognocchi joined the Leipzig Opera ensemble with repertoire including Gilda, Lucia di Lammermoor, Frasquita and Waldvogel (Siegfried).

馬庫斯．埃沙沃夫拉姆．馮埃辛巴赫

Markus Eiche Wolfram von Eschenbach 馬庫斯．埃沙在史圖加音樂學院學習聲樂，2001 至 2007 年效力曼海姆國家劇院後，於 2007 至 2010 年加入維也納國家歌劇院。自 2011 年起，他分別是維也納國家歌劇院及巴伐利亞國立歌劇院的合約駐場歌唱家，在這些劇團輪演的角色包括沃夫拉姆．馮埃辛巴赫（《唐懷瑟》）、國王的使者（《羅恩格林》）、多納（《萊茵的黃金》）、貝克梅瑟（《紐倫堡的名歌手》）、庫文納爾（《崔斯坦與依索德》）、龔特爾（《諸神的黃昏》）、彼得（《漢澤爾與格蕾太爾》）及法尼納爾（《玫瑰騎士》）等。他的其他劇目也包括法國、意大利及俄羅斯角色如瓦倫丁（《浮士德》）、萊斯科（《曼儂》及《曼儂．萊斯科》）、阿爾伯特（《維特》）和保羅（《父女情深》）等。埃沙曾在拜羅伊特音樂節飾演柯特納（《紐倫堡的名歌手》）、沃夫拉姆、多納和龔特爾，以及出席荷蘭阿姆斯特丹國家歌劇院、米蘭史卡拉歌劇院、巴塞隆拿李世奧歌劇院等的演出。 Markus Eiche studied singing at the Hochschule für Musik in Stuttgart. After some years at the National Theatre Mannheim (2001-2007), he became a member of the Vienna State Opera (2007-2010). Since 2011, he has held residential contracts with both the Vienna State Opera and Bavarian State Opera. His repertory for these companies includes Wolfram von Eschenbach (Tannhäuser), Herald (Lohengrin), Donner (Das Rheingold), Sixtus Beckmesser (Die Meistersinger von Nürnberg), Kurwenal (Tristan und Isolde), Gunther (Götterdämmerung), Peter (Hänsel und Gretel), Faninal (Der Rosenkavalier) and others. His repertory also includes French, Italian and Russian roles such as Valentin (Faust), Lescaut (Manon and Manon Lescaut), Albert (Werther), Paolo Albiani (Simon Boccanegra) and others. Eiche has sung Fritz Kothner (Die Meistersinger von Nürnberg), Wolfram, Donner and Gunther for Bayreuth Festival and appeared with the Dutch National Opera, La Scala (Milan) and the Liceu (Barcelona), among others.

安迪‧謝歐尼卡赫爾曼侯爵

Ante Jerkunica Landgrave Hermann 克羅地亞男低音安迪 ‧ 謝歐尼卡自 2006 年起成為柏林德國歌劇院成員之一，期間曾出演《魔笛》的薩拉斯托、《馬克白》的班柯、《尤金．奧尼金》的格列名，及大量華格納劇目的角色。2005 年，他於薩格勒布贏得首個國際比賽的冠軍；2 0 0 7 年，他代表克羅地亞參加英國廣播公司的卡迪夫國際聲樂比賽。謝歐尼卡亦曾於薩爾斯堡藝術節及漢堡、慕尼黑及柏林的國立歌劇院演出；他亦常於德國、法國、西班牙、荷蘭、比利時及阿根廷作客席演出。2017 年，他首次於美國（西雅圖歌劇院）及倫敦皇家阿爾伯特音樂廳（英國廣播公司逍遙音樂會）演出。未來他將與柏林德國歌劇院保持長期合作關係，其他計劃包括於巴塞隆拿、阿姆斯特丹及比利時演出；及於維也納劇院（格蘭特堡歌劇節）及紐約大都會歌劇院的首次演出。 The Croatian bass Ante Jerkunica has been in the ensemble of Deutsche Oper Berlin since 2006, where he has performed roles including: Sarastro (Die Zauberflöte), Banco (Macbeth), Gremin (Eugene Onegin), and many roles from the Wagner repertoire, among others. In 2005, Jerkunica won the first prize at the first National Competition in Zagreb; in 2007, he represented Croatia at the BBC Cardiff Singer of the World Competition. Jerkunica has performed at the Salzburg Festival and the state operas of Hamburg, Munich and Berlin. He has been a guest performer in Germany, France, Spain, the Netherlands, Belgium and Argentina. In 2017, he made his US debut at Seattle Opera and sang for the first time at Royal Albert Hall London for the BBC Proms. Future plans include a long-term collaboration with Deutsche Oper Berlin and returns to Barcelona, Amsterdam and Belgium, as well as debuts at Theater an der Wien, Glyndebourne Festival and Metropolitan Opera New York.

柏德烈．沃戈華特．馮德沃高維德

Patrick Vogel Walther von der Vogelweide 柏德烈．沃戈出生於柏林並在漢斯．艾斯勒音樂學院學習聲樂，畢業後再入讀蘇黎世國際歌劇學院，並與奧地利克拉根福劇院簽約兩年。自 2015/ 16 樂季起，他加入了萊比錫歌劇院，在熱那亞卡羅費利切劇院成功首演維爾船長（《比利．巴德》），於其後樂季飾演唐．奧特費奧（《唐．喬望尼》）和納拉博特（《莎樂美》）。他以《大地之歌》（約翰．紐邁亞編導的芭蕾舞版本）首度亮相漢堡國家歌劇院，並以飾演《嵐嶺痴盟》的阿圖羅完成他在德累斯頓森培歌劇院的首演。2 0 1 7 年，他在伍爾夫．舒爾瑪的音樂指導下完成他在東京．春．音樂祭的首演，更首次在薩爾斯堡藝術節演出，並於 2018 年再次出演。 Patrick Vogel was born in Berlin and studied singing at the Hochschule für Musik Hanns Eisler. After finishing his studies, Patrick joined the International Opera Studio in Zurich and was subsequently offered a two-year contract at the Stadttheater Klagenfurt in Austria. From the 2015/16 season onwards, he has been a member of the Leipzig Opera. At Genoa’s Teatro Carlo Felice, he made a successful debut as Captain Vere (Billy Budd), and returned the following season as Don Ottavio (Don Giovanni) and as Narraboth (Salome). He made his Hamburg State Opera debut in a ballet version of Das Lied von der Erde (John Neumeier) and his debut at the Semperoper Dresden with Arturo in Lucia di Lammermoor. In 2017, Patrick made his debut at the Tokyo Spring festival under the musical direction of Ulf Schirmer and appeared for the first time at the Salzburg Festival, to which he returned in 2018.

金經昊作家海因里希

Kyungho Kim Heinrich der Schreiber

韓國男高音金經昊畢業於韓國藝術綜合學校。2011 至 2013 年間，他是柏林德意志國家歌劇院國際歌劇學院的成員，並飾演《諾爾瑪》的弗拉維奧。2 0 1 2 年 1 2 月，他在多特蒙德劇院首次飾演《曼儂》的騎士德格魯獲得好評，並接着到柏林德意志國家歌劇院作客席演出，及經常在布拉迪斯拉發的斯洛伐克國家劇院飾演公爵（《弄臣》）、魯道夫（《波希米亞人》）、羅密歐（《羅密歐與茱麗葉》）及加百列．阿多諾（《父女情深》）。自 2015 年，他經常在萊比錫歌劇院作客席演員，演出包括伊斯梅爾（《拿布果》）、阿菲度（《茶花女》）、海恩里希（《唐懷瑟》）、魯道夫（《波希米亞人》）、塔米諾（《魔笛》）和埃德加（《拉莫美的露契亞》）。2 0 1 6 年，他在布雷根茨音樂節首次飾演龐（《杜蘭朵》）。他曾獲得利貝里尼國際聲樂大賽等多個獎項。 The Korean tenor Kyungho Kim is a graduate of the National University of Arts in Seoul. From 2011 to 2013, he was a member of the International Opera Studio of the Staatsoper in Berlin, where he performed as Flavio (Norma). In December 2012, he debuted to great acclaim as Chevalier des Grieux (Manon) in Dortmund, followed by guest performances at the Staatsoper in Berlin and regular appearances at the Slovak National Theatre in Bratislava as the Duke (Rigoletto), Rodolfo (La bohème), Roméo (Roméo et Juliette), and Gabriele Adorno (Simon Boccanegra). Since 2015, he has regularly performed as a guest at the Oper Leipzig, with roles including Ismael (Nabucco), Alfredo (La raviata), Heinrich (Tannhäuser), Rodolfo (La bohème), Tamino (Die Zauberflöte), and Edgardo (Lucie di Lammermoor). In 2016, Kim made his debut at the Bregenzer Festspiele as Pong (Turandot). Kim has garnered a number of prizes, including at the Bellini International Vocal Competition.

張世宗萊因馬爾．馮茲維特

Sejong Chang Reinmar von Zweter 張世宗出生於南韓，於首爾的漢陽大學及科隆音樂學院完成聲樂課程。在 2011/ 12 年樂季，他入讀葛森克臣市立歌劇院學院，更於首爾首次以歌劇歌手演出不同角色，例如古烈爾摩（《女人心》）及薩拉斯妥（《魔笛》），並在韓國基督教男合唱團擔任低音獨唱家。自 2012/ 13 年樂季開始，張世宗便是萊比錫歌劇院的固定成員，並擔任了多個角色，如費加羅（《費加羅的婚禮》）、艾里多羅（《灰姑娘》）、雷蒙德（《拉莫美的露契亞》）、薩拉斯妥（《魔笛》）、柯林（《波希米亞人》）、傳令官（《杜蘭朵》）、祖尼伽（《卡門》）、國王（《仙女》）、雷蒙德主教（《黎恩濟》）、萊因馬爾（《唐懷瑟》）和丹尼爾（《禁戀》）。 Sejong Chang was born in South Korea. He completed his vocal studies at Hanyang University in Seoul and at University of Music in Cologne. During the 2011/2012 season, he was a member of the Opera Studio at the Musiktheater im Revier. He made his debut as an opera singer in South Korea with roles such as Guglielmo (Cosi fan tutte) and Sarastro (Die Zauberflöte). In addition, he sang in the Korean Christian Male Choir as a bass soloist. Since the 2012/2013 season, Chang became a fixed ensemble member at the Opera Leipzig with various roles such as Figaro, Alidoro (La Cenerentola), Raimondo (Lucia di Lammermoor), Sarastro (Die Zauberflöte), Colline (La Bohème), Zuniga (Carmen), Raimondo (Rienzi), Reinmar (Tannhäuser) and Danieli (Das Liebesverbot).

米高．西蒙唐懷瑟（替角）

Michael Siemon Tannhäuser (Understudy) 米高．西蒙於德國薩爾布魯根音樂學校修讀音樂，師承赫希菲爾德。在學期間，他以客席身份於德國比勒費爾德劇院、布倫瑞克國家劇院、烏姆劇院及梅爾齊希和海登海姆的歌劇節演出，其後亦曾於埃森阿爾托劇院、美茵茲國家歌劇院、科布倫茲劇院及特里爾劇院演出。2009 至 2012 年間，他是格拉 - 阿爾滕劇院的成員之一。2012 至 2016 年間，他加入門興格拉德巴赫的克雷費爾德劇院。2 0 1 7 年，他於愛沙尼亞薩雷馬島歌劇節中飾演羅恩格林一角，同年於基森劇院首次飾演《納克索斯的亞莉安妮》的巴庫斯。2018 年 5 月，他於杜塞道夫的萊茵德意志歌劇院首次飾演奧托．尼古拉的《溫莎的風流婦人》中的芬頓；於邁寧根國家歌劇院，飾演巴庫斯、唐懷瑟、《漂泊的荷蘭人》的艾力克；於薩爾布魯根國家歌劇院，飾演《死城》的保羅。 Michael Siemon received his musical education at the Musikhochschule Saarbrücken with Berthold Hirschfeld. During his studies, he was engaged as a guest at the Theater Bielefeld, the Staatstheater Braunschweig, the Theater Ulm as well as opera festivals in Merzig and Heidenheim. Further guest engagements followed at Aalto Theater Essen, Staatstheater Mainz, Theater Koblenz and Theater Trier. From 2009–2012, he belonged to the ensemble of the GeraAltenburg Theatre. From 2012–2016, he was engaged at the Theatres Krefeld– Mönchengladbach. In 2017, he sang Lohengrin at the Saaremaa Festival in Estonia and made his debut as Bacchus in Ariadne auf Naxos at the Theater Gießen. In May 2018, he made his debut at the Deutsche Oper am Rhein in Düsseldorf as Fenton in Otto Nicolais’s Die lustigen Weiber von Windsor. At the Staatstheater Meiningen, he appeared in roles like Bacchus, Tannhäuser, Erik in a new production of Der fliegende Holländer, and as Paul the Staatstheater Saarbrücken in a new production of Die tote Stadt.

蘭多．雅各斯彼得洛夫 / 赫爾曼侯爵（替角）

Randall Jakobsh Biterolf / Landgrave Hermann (Understudy) 蘭多．雅各斯是加拿大歌劇院學院的學生，首次在薩爾斯堡藝術節、在長野健的指揮下飾演法納西茲（《坎道列斯國王》），並在洛林國家歌劇院、加那利群島國際音樂節、列日歌劇院及哥倫布劇院重演這角色。他亦首次在巴塞隆納的李世奧歌劇院飾演幽靈（《哈姆雷特》）和重演尼諾的幽靈（《賽密拉米德》）。他曾在洛林、盧森堡、蒙特利爾及華盛頓等地的歌劇院演出，也曾與德國的歌劇院合作，包括漢諾威國立歌劇院。在 2013/2014 年樂季，他在紐倫堡國家劇院飾演沃坦（《萊茵的黃金》）、洪丁（《女武神》）、瓦德納（《阿拉貝拉》）和雷恩（《新教徒》），並在薩翁林納歌劇節飾演埃斯卡密歐（《卡門》）。他由 2016/2017 樂季起加入萊比錫歌劇院。 A member of the Canadian Opera studio, Randall Jakobsh made his Salzburg debut under the baton of Kent Nagano as Pharnaces ( König Kandaules), a role he reprised at the Opéra National de Lorraine-Nancy, at the Festival de Musica de Gran Canarias, in Liege and at Teatro Colon de Buenos Aires. He debuted at Teatro Liceu in Barcelona as The Ghost (Hamlet) and returned as L’Ombra di Nino (Semiramide). Jakobsh has also performed in theatres in Nancy, Luxembourg, Montreal, Washington and others. He has been engaged by the opera houses throughout Germany, including the Niedersächsische Staatsoper Hannover. In 2013/2014, he appeared as Wotan (Das Rheingold), Hunding (Die Walküre), Waldner (Arabella) and Rene (Les Huguenots) at the Staatstheater Nürnberg, as well as Escamillo (Carmen) at the Savonlinna Festival. He has been an ensemble member at Opera Leipzig since the 2016/17 season.

拉爾夫．盧卡斯彼得洛夫 / 萊因馬爾．馮茲維特（替角）

Ralf Lukas Biterolf / Reinmar von Zweeter (Understudy)

盧卡斯出生於德國拜羅伊特並就讀於柏林藝術學院。他在 1 9 9 1 年斯海爾托亨博希國際聲樂比賽中獲勝，並首次在柏林德國歌劇院飾演帕帕基諾（《魔笛》）、雷波列洛（《唐．喬望尼》）、保羅（《父女情深》）和國王的使者（《羅恩格林》），也在威斯巴登、達姆、科隆、羅馬、里加及澳門等地飾演《尼伯龍根的指環》的沃坦及浪人。2006 至 2012 年期間，他經常獲邀到拜羅伊特音樂節演出，飾演過多納（《萊茵的黃金》）、龔特爾（《諸神的黃昏》）及梅洛特（《崔斯坦與伊索德》），也曾飾演薩克斯（《紐倫堡的名歌手》）和巴拉克（《沒有影子的女人》）。盧卡斯曾與多位著名指揮家合作，例如克勞迪奧．阿巴多、列卡度．沙爾、科林．雷克斯、戴維斯爵士、亞敏．約丹、洛林．馬捷爾、祖賓．梅塔、羅傑．諾林頓爵士、小澤征爾、沃爾夫岡．薩瓦利希及朱塞佩．西諾波利等。 Ralf Lukas was born in Bayreuth and studied at the Hochschule der Künste in Berlin. In 1991, he was awarded first prize at the Hertogenbosch International Competition. He made his debut at the Berlin Deutsche Oper as Papageno (Die Zauberflöte), Leporello (Don Giovanni), Paolo Albiani (Simon Boccanegra) and the Herald (Lohengrin). He has performed the roles of Wotan and the Wanderer (Der Ring des Nibelungen) in Wiesbaden, Darmstadt, Cologne, Rome, Riga and Macau. From 2006 to 2012, he was regularly invited to the Bayreuth Festival, where he interpreted the roles of Donner (Das Rheingold), Gunther (Götterdämmerung) and Melot (Tristan and Isolde). He has performed as Hans Sachs (Die Meistersinger) and Barak (Die Frau ohne Schatten). Lukas has performed with many renowned conductors, such as Claudio Abbado, Riccardo Chailly, Sir Colin Davis, Armin Jordan, Lorin Maazel, Zubin Mehta, Sir Roger Norrington, Seiji Ozawa, Wolfgang Sawallisch and Giuseppe Sinopoli, among others.

貝蒂妮．坎普伊莉莎白 / 維納斯 (替角)

Bettine Kampp Elisabeth / Venus (Understudy) 貝蒂妮．坎普出生於德國史圖加，在維爾茨堡修讀音樂教育及聲樂表演，於杜塞道夫德國萊茵歌劇院的歌劇學院完成學業，其後加入施威林歌劇院。她常以客席身份在德國多地的歌劇院演出，當中包括漢堡國立歌劇院，亦多次亮相於布拉格、貝爾格勒、索菲亞、巴登、維也納、日本各地和奧地利蒂羅爾音樂節等國際舞台。2015 年，她在上海飾演《諸神的黃昏》的布崙希爾德，近期的演出角色則有維納斯及伊莉莎白（《唐懷瑟》）和布崙希爾德（《女武神》）。 Bettine Kampp was born in Stuttgart, Germany and studied music education and vocal performance in Würzburg. After continuing her education as a member of the opera studio of the Deutsche Oper am Rhein in Düsseldorf, she joined the ensemble of the Schwerin State Opera. Kampp has been a frequent guest at the Staatsoper Hamburg and other theatres throughout Germany. She has repeatedly appeared on international stages in Prague, Belgrade, Sofia, Baden, Vienna, throughout Japan and at the Tirol Festival of Erl. In 2015, Kampp appeared as Brünnhilde (Götterdämmerung) in Shanghai. More recent engagements include Venus and Elisabeth (Tannhäuser) and Brünnhilde (Die Walküre).

丹．卡斯特朗華特．馮德沃高維德 / 作家海因里希（替角）

Dan Karlström Walter von der Vogelweide / Heinrich der Schreiber (Understudy) 芬蘭男高音丹．卡斯特朗在奧博學術大學商學院畢業後，於赫爾辛基藝術大學西貝流士音樂學院學習聲樂。他在其職業歌唱家生涯開端先到德國北萊茵威斯特法倫邦的席勒劇院及達姆施塔特州立劇院演出，更被邀請到柏林等德國多地、薩翁林納、赫爾辛基及北京演出。自 2001 年，他成為萊比錫歌劇院演出團隊的固定成員。他在 2018/19 樂季將飾演多個角色，包括米密（《萊茵的黃金》）、齊格弗里德、舵手（《漂泊的荷蘭人》）、女巫（《漢澤爾與格蕾太爾》）、巴西利奧（《費加羅的婚禮》）、龐（《杜蘭朵》）、斯波勒塔（《托斯卡》）、諾爾曼（《拉莫美的露契亞》）、摩諾史塔托斯（《魔笛》）及四位僕人（《荷夫曼的故事》）；亦會以客席演員身份在芬蘭國家歌劇院飾演林道夫、科佩留斯、達佩圖特及米拉克萊博士（《荷夫曼的故事》）；在德累斯頓森培歌劇院飾演巴西利奧（《費加羅的婚禮》）；在日內瓦大劇院飾演米密（《尼伯龍根的指環》）。 The Finnish tenor Dan Karlström graduated from the Business School of Åbo Academy before starting his singing studies at the Sibelius-Academy in Helsinki. His first ensemble contract took him to the Schillertheater NRW and to the Staatstheater Darmstadt. He was also invited to Savonlinna, Helsinki, Beijing and cities throughout Germany. Since 2001, Karlström has been a stable member of the Opera Leipzig ensemble. In the 2018/19 season, Karlström will perform roles including Mime (Das Rheingold), Siegfried, Steuermann (Der fliegende Holländer), Hexe (Hänsel und Gretel), Don Basilio (Le nozze di Figaro), Pong (Turandot), Spoletta (Tosca), Normanno (Lucia di Lammermoor), Monostatos (Die Zauberflöte), and Four Servants (Les contes d’Hoffmann). Karlström will also be a guest with the Finnish National Opera Helsinki as Lindorf, Coppélius, Dapertutto and Dr Miracle (Les contes d’Hoffmann), with Dresden’s Semperoper as Don Basilio (Le nozze di Figaro), and with the Grand Théâtre de Geneve as Mime (Der Ring des Nibelungen).

萊比錫歌劇院合唱團

Chor der Oper Leipzig Chorus Master: Thomas Eitler-de Lint

Soprano 1

Alto 1

Tenor 2

Ilaria Baggioli Christiane Bläß Dorota Bronikowska Kamila Dziadko Christiane Feige Karen ter Glane Sarah Kollé Antje Ligeti Hitomi Sakamoto Claudia Sturm Karin Ullrich

Katerina Banse Reba Evans Haike Hauptmann Margit Pitt Ines Reintzsch Catrin von Rhein Cornelia Röser Dorothee Schlemm-Gál Angela Siebert

Stephan Breithaupt Åke Holmkvist Dr. Reinhard Jeromin Tae Hee Kwon Michael Mehnert Evgeni Nedev Detlef Thamm

Alto 2

Soprano 2

Karola Graszt Mirjam Kapelari Bärbel Kirschning Anna Michelsen Angelika Richter Eliza Rudnicka Claudia Schwarzmann

Andreas David Tobias Deckelmann Thomas Döhler Andreas Hanke Christian Ludwig Wolfram Protze Andreas Scholz

Cordula Albrecht-Procher Katrin Bräunlich Julia Ifland Anika Paulick Jacqueline Renner Marlen Saß Ulrike Thamm-Pohle Alice Ungerer

Tenor 1 Hunyoung Choi Michael Chu Victor Gaviola Daniel Gundermann Thomas Heymann Tino Hölzel Ki Jun Jung Young-Bin Lee Jordi Molina Viktor Sawaley Ingo Zach

Bass 1

Bass 2 Klaus Bernewitz Manfred Buller Günther Fröb Andreas Ifland Kwangmin Seo Ivo Spa ek Thomas Spallek Frank Wernstedt Axel Wieschebrink

萊比錫布業大廳樂團

Gewandhausorchester FIRST VIOLIN

CELLO

Julius Bekesch† Yun-Jin Cho† Thomas Tauber Liane Unger Brita Zühlke Dorothea Vogel Ina Wiehe Gunnar Harms Christian Krug Marcello Miramonti Daniel Tauber Sophie Schüler

Veronika Wilhelm* Matthias Schreiber Gayane Khachatryan Pedro Pelaez Uwe Stahlbaum Christian Erben Dorothée Erbiner Michal Beck^

DOUBLE BASS Burak Marlali* Tobias Martin Christoph Krüger Eberhard Spree Christoph Winkler

SECOND VIOLIN Peter Gerlach† Miho Tomiyasu-Palama Marques Markus Pinquart Jennifer Banks Mariya Krasnyuk Rudolf Conrad Andrea Pleß Nemanja Bugarcic Minah Lee Tilmann Büning Kana Ohashi

HARP Carmen Alcántara Fernández‡ Alma Klemm‡

FLUTE Sébastian Jacot* Johanna Schlag

VIOLA

PICCOLO FLUTE

Dorothea Hemken* Olaf Hallmann Alice Wedel Ruth Bernewitz Katharina Dargel David Lau Anton Jivaev Ivo Bauer

Tünde Molnár-Grepling*

OBOE Henrik Wahlgren* Jesús Pinillos Rivera^

ENGLISH HORN

TUBA

Simon Sommerhalder*#

David Cribb

CLARINET

TIMPANI

Thomas Ziesch*

Mathias Müller*

BASS CLARINET

PERCUSSION

Ingolf Barchmann*

Philipp Schroeder Severin Stitzenberger Johann-Georg Baumgärtel

BASSOON Riccardo Terzo* Albert Kegel

FRENCH HORN

Orchestra Management

Bernhard Krug* Jan Wessely Wolfram Straßer Simen Fegran

Daniel Richwien Nele Kemmerich

TRUMPET

Tobias Göthert

Jonathan Müller* Ulf Lehmann Gunter Navratil Gábor Richter*# Johann Clemens# Karl-Heinz Georgi#

Stage Crew

TROMBONE Jörg Richter* Florian Zerbaum‡ Turgutcan Carikci^

Stage Manager

Matthias Schäfer Tony Kreyß

† Concertmaster * Solo ^ Mendelssohn-Orchesterakademie # Stage music ‡ Guest Performer

香港兒童合唱團

The Hong Kong Children's Choir

音樂總監兼首席指揮：霍嘉敏

Music Director / Principal Conductor: Kathy Fok

香港兒童合唱團成立於 1969 年，為香港首

The Hong Kong Children’s Choir (HKCC) was founded in 1969 as the first children’s choir in Hong Kong. HKCC is a registered non-profit-making charitable organization and has made tremendous contributions to children’s arts training in Hong Kong. It now has over 5,000 members and has grown into a diversified arts organization for children.

隊兒童合唱團，並為政府註冊非牟利慈善團體，多年來積極推動藝術培訓，為香港音樂及文化界培育不少人才。現時香港兒童合唱團擁有超過五千名團員，更發展為一個多元兒童藝術團體。合唱團每年均獲不同團體邀請到外地演出，把愛與和平的訊息傳遍世界，足跡遍佈多個國家，並被譽為「小小音樂親善大使」和「世界最傑出兒童合唱團之一」。合唱團經常在香港的歷史性時刻演出，包括 1997 年香港政權交接儀式、1 9 9 8 年香港國際機場開幕典禮，以及近年慶祝香港回歸十五週年及二十週年之文藝晚會及活動。

2 0 1 9 年，合唱團共派出八名團員參與萊比錫歌劇院製作的《唐懷瑟》之演出。

HKCC is invited to perform overseas each year, spreading the message of love and peace in different parts of the world. The choir has been well-received and appreciated in many countries, gaining an international reputation as the “Little Goodwill Singing Ambassadors” and “one of the best children’s choirs in the world”. HKCC has taken part in many historical moments, including the Hong Kong Handover Ceremony in 1997, the opening ceremony of the Hong Kong International Airport in 1998, the Hong Kong Disneyland Grand Opening in 2005, and recently performances celebrating the 15th Anniversary as well as the 20th Anniversary of the establishment of HKSAR in 2012 and 2017. The choir has supplied eight singers to provide supporting vocals for this production of Oper Leipzig's Tannhäuser.

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

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