Lea et Front
特首獻辭
CHIEF EXECUTIVE'S MESSAGE
二零二五年度香港藝術節隆重揭幕，這項名聞 中外的國際文化盛事昂然踏入第五十三屆，可 喜可賀。
今年藝術節匯聚逾 1,300 名本地及海外藝術家， 帶來約 125 場文藝節目，包括音樂、舞蹈、戲 劇、戲曲、歌劇等，多彩多姿。其中，意大 利的博洛尼亞市立歌劇院樂團在大師級指揮家 杜拿多．倫澤第領導下，演奏經典的意大利歌 劇詠嘆調，為藝術節揭開序幕。藝術節閉幕當 日，著名中國指揮家呂嘉將率領中國國家大劇 院管弦樂團，與國際鋼琴家張昊辰和女高音宋 元明攜手演出，獻上音樂盛宴，為今屆藝術節 畫上圓滿句號。
一如往年，今屆藝術節推出多個「加料節目」， 包括大師班、工作坊、後台參觀、文化導賞團 等，讓藝術家與觀眾互動交流。藝術節「青少年 之友」計劃則籌備了學校巡演、演前講座、藝術 示範及其他特備節目，讓本地年輕人有更豐富 的文化與藝術體驗。
政府銳意加強香港文化影響力。為進一步鞏固 香港作為中外文化藝術交流中心的地位，政府 於去年 11 月公佈《文藝創意產業發展藍圖》，提 出四個發展方向共 71 項具體措施，並正積極推 展相關工作。
感謝香港藝術節及其團隊盡心竭力推動香港、 整個地區以至全球的文化藝術發展；亦感謝贊 助商和捐款者慷慨解囊和鼎力支持，令藝術節 綻放異彩。
祝願今屆香港藝術節續創輝煌，再度呈獻文藝 盛宴，讓市民樂在其中，回味無窮。
香港特別行政區行政長官 李家超
This year’s Festival brings together over 1,300 international and local artists in some 125 performances covering music, dance, theatre, Chinese and Western opera and much more. The Festival-opening performance, by Italy’s Orchestra of the Teatro Comunale di Bologna, conducted by Maestro Donato Renzetti, features classic Italian opera arias. Renowned Chinese conductor Lü Jia and the China National Centre for the Performing Arts Orchestra, together with international pianist Zhang Haochen and soprano Song Yuanming, bring the Festival to a close in grand style. Festival PLUS returns, presenting a wealth of artistaudience events, including masterclasses and workshops, backstage visits, guided cultural tours and more. Besides, the Festival’s “Young Friends” programme features school tours, pre-performance talks, arts demonstrations and other special events designed to engage local young people with a world of arts and culture.
The Government is determined to enhance the appeal of Hong Kong’s culture. To further solidify Hong Kong’s position as a vibrant East-meets-West centre for international cultural exchanges, the Government has launched the Blueprint for Arts and Culture and Creative Industries Development in November 2024, and has been actively working on the 71 measures under four key strategic directions as outlined in the Blueprint.
I am grateful to the Hong Kong Arts Festival and its dedicated team for their unremitting efforts in promoting arts and culture in Hong Kong, throughout the region and around the world. I am grateful, too, to the many sponsors and donors for their generous support for the Festival.
I wish this year’s Hong Kong Arts Festival another resplendent season of arts and culture, entertainment and memorable community engagement.
John KC LEE Chief Executive Hong Kong Special Administrative Region
主席獻辭
CHAIRMAN'S MESSAGE
歡迎閣下蒞臨第 53 屆香港藝術節。作為一個具 領導地位的國際表演藝術盛事，藝術節將在今 年繼續肩負重任，拓寬香港文化景觀，透過邀 請超過 1,300 位國際及本地的優秀藝術家，為 觀眾帶來超過 45 套節目、合共逾 125 場精采演 出，並同時舉辦約 300 項加料節目及教育活動， 促進香港的藝術文化發展。
我感謝香港特別行政區政府透過康樂及文化事 務署提供年度恆常撥款及配對資助，對我們的 工作予以鼓勵和肯定。此外，我亦由衷感謝香 港賽馬會慈善信託基金在過去 53 年的堅定支 持，以及其他贊助機構、慈善基金會和捐助者 的慷慨解囊，讓我們得以透過表演藝術為社會 各界帶來裨益。
與此同時，我亦向我們的藝術家深表謝意，感 謝你們不斷追求藝術上突破，為觀眾帶來無與 倫比的藝術享受。我也份外感激藝術節團隊一 直以來努力不懈，令藝術節得以順利舉行。
最重要的是，我衷心感謝所有觀眾的參與與支 持。希望您享受在藝術節的節目及活動，並從 中找到喜悅和靈感。
香港藝術節主席 盧景文
A warm welcome to the 53rd Hong Kong Arts Festival. As a leading international performing arts event, the Festival is continuing its mission of enhancing Hong Kong’s cultural landscape by showcasing over 1,300 exceptional international and local artists in more than 125 performances of over 45 unique programmes, as well as organising about 300 PLUS and educational activities for the community.
I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant which are not only essential to our operations, but also an important recognition of the work we do. I also want to thank The Hong Kong Jockey Club Charities Trust for its unwavering support during the past 53 years, as well as other corporate sponsors, charitable foundations and donors, whose contributions have enabled us to reach out to different sectors of the community and positively impact society through the performing arts.
My deepest gratitude goes to all participating artists for their dedication and exceptional performances. I also thank all HKAF staff, who worked extremely hard to bring this Festival to life.
Most importantly, I extend my heartfelt appreciation to all audience members for your participation and support. May you find joy and inspiration in our programmes and events.
Lo Kingman Chairman Hong Kong Arts Festival
支持機構： Supporting Organisation:
前言 FOREWORD
香港藝術節的其中一個主要目標，就是推動國 際文化交流。本屆香港藝術節秉承一貫既尊重
傳統又開創新猷的精神，邀請了一眾來自世界 各地殿堂級的大師，以及國際上備受矚目的年 輕藝術拓荒者，為我們獻上優秀的名作。當中 不少取材自經典文學，甚至是原汁原味地呈現 原著的創作，為觀眾帶來豐富的藝術享受。
與此同時，我們還獻上一系列以「幻想與冒險」 為主題的節目，部分以虛擬實境及擴增實境等 技術，把藝術與科技完美融合，部分則借鑑傳 統的戲偶與馬戲演出，創造出引人入勝的新作 品。本屆藝術節亦繼續積極支持本地藝術家， 鼓勵交流，共同建構一個充滿活力的多元化藝 術平台。
演出精采可期之外，我們更不忘在藝術教育和 觀眾拓展方面努力耕耘，一方面送上一連串精 心準備的「加料節目」，包括展覽、大師班、後 台參觀、演後藝人談等，另一方面亦策劃了豐 富多元的青少年之友及教育活動，冀望從不同 的層面、角度，為大家塑造更立體而深刻的藝 術體驗。
希望您會喜歡香港藝術節團隊今年為您準備的 藝術盛宴。
香港藝術節行政總監 余潔儀
香港藝術節的資助來自：
The Hong Kong Arts Festival is made possible with the funding support of:
Promoting international cultural exchange has always been a key objective of the Hong Kong Arts Festival. This year’s Festival continues to invite renowned global masters and internationally recognised young pioneers to present a range of world-class programmes, respecting tradition while encouraging new, innovative initiatives. Many of these works are inspired by classic literature or offer rediscoveries of the original, bringing vibrant artistic experiences to the city.
We will also present a series of programmes centred around “fantasy and adventure”. These include works that seamlessly blend the arts with VR and AR technology, as well as captivating new creations that draw on traditional puppetry and circus performances. The Festival will also continue to support local artists and encourage exchanges to foster a vibrant and diversified platform for the arts.
We also remain dedicated to advancing arts education and audience building. Our PLUS programmes will present a series of thoughtfully curated masterclasses, backstage visits, post-performance artist talks and an exhibition. And our Young Friends and educational activities will continue to offer multi-dimensional arts experiences to students.
We hope that you will enjoy this year’s arts extravaganza prepared by the Hong Kong Arts Festival team.
Flora Yu Executive Director Hong Kong Arts Festival
香港藝術節
HONG KONG ARTS FESTIVAL
扎根香港的國際藝壇盛事 聯繫中國與世界
An International Arts Festival in Hong Kong Connecting China and the World
香港藝術節 於 1973 年正式揭幕，是國際藝壇中重要 的文化盛事，於每年 2、3 月期間呈獻眾多優秀本地及 國際藝術家的演出，以及舉辦多元化的「加料」和教 育活動，致力豐富香港的文化生活。
香港藝術節 是一所非牟利機構，2024/25 財政年度 預計收入（包括第 53 屆香港藝術節及 2025 年「無限 亮」）約港幣一億五千萬，當中香港特區政府的年度 恆常撥款佔總收入約 12%，另外約 23% 需來自票房 收入，約 45% 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 海崑劇團、上海張軍崑曲藝術中心、江蘇省蘇州 崑劇院、浙江小百花越劇團
• 古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、 趙成珍、古斯塔沃．杜達美、菲力普．格拉斯、 劉曉禹、馬友友、丹尼斯．馬祖耶夫、安娜．涅翠 柯、詹安德列亞．諾斯達、小澤征爾、湯瑪士． 夸斯托夫、甘拿迪．羅傑斯特汶斯基、譚盾、 湯沐海、克里斯蒂安．泰利曼、班貝格交響樂團、 倫敦交響樂團、NHK 交響樂團、皇家阿姆斯特丹 音樂廳樂團、柏林廣播電台合唱團、萊比錫聖 多馬合唱團、維也納愛樂樂團
• 爵士樂及世界音樂：波比．麥非年、尤蘇．恩多 爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
• 舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘． 漢、娜塔麗亞．奧斯波娃、美國芭蕾舞劇院、雲門舞 集、漢堡芭蕾舞團—約翰．紐邁亞、紐約市芭蕾 舞團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏珀塔爾 舞蹈劇場、米蘭史卡拉歌劇院芭蕾舞團
• 戲劇：彼得．布祿克、羅伯特．利柏殊、蜷川幸雄、 羅柏特．威爾遜、柏林劇團、中國國家話劇院、皇家 莎士比亞劇團
• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇 藝坊
• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》 香港藝術節積極與本地演藝人才合作，並致力為新進 藝術家提供展示才華 的平台。藝術節至今委約及 製作逾 250 套本地全新創作，包括粵劇、戲劇、室內 歌劇、音樂和舞蹈作品，不少製作更已在香港及海外 多度重演。近年的藝術節新製作包括《茱莉小姐》、 《飯戲攻心》踏台版、《末戀 · 無愛合約》、《我們最 快樂》、《鼠疫》、《陪着你走》、《百花亭贈劍》、 《香港家族》三部曲、《世紀．香港》、《炫舞場》、 《大同》、《金蘭姊妹》、《聖荷西謀殺案》等。
香港藝術節 多年來與知名 海外藝術家及團體聯合製 作不少優秀作品，當中包括 由香港藝術節、香港歌
The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.
The HKAF is a non-profit organisation. The total estimated income for FY2024/25 (including the 53rd Hong Kong Arts Festival and 2025 “No Limits”) is approximately HK$150 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 23% of the Festival’s income needs to come from the box office, and around 45% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations.
The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include Miss Julie, Table for Six On Stage, Loveless Romance, We Are Gay, The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family—A Trilogy, Hong Kong Odyssey, Danz Up, Datong—The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III
德學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的 《抹窗人》、由倫敦老域劇院、布魯克林音樂學院與 尼爾街製作公司製作、香港藝術節為聯合委約機構 之一的「橫貫計劃」之《暴風雨》及《李察三世》、
由香港藝術節及上海國際藝術節聯合委約的《青 蛇》、香港藝術節與三藩市歌劇院聯合製作的《紅樓 夢》、香港藝術節與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《拉娜》等。
香港藝術節大力投資下一代的藝術教育。「青少年之 友」成立32年來，已為約836,000位本地中學 生及 大專生提供藝術體驗活動。藝術節近年亦開展多項 針對大、中、小學生的藝術教育活動，包括由 國際及本地藝術家主持的示範講座及工作坊、學生 展演、演前講座、公開彩排、以及欣賞藝術節演 出。同時，通過「學生票捐助計劃」，藝術節每年提 供約 10,000 張半價學生票。
香港藝術節 每年主辦一系列多元化並深入社區的 「加料節目」， 例如電影放映、示範講座、大師班、 工作坊、座談會、後台參觀、展覽、藝人談、文化 導賞團等，鼓勵觀眾與藝術家互動接觸。
香港藝術節 亦銳意將共融藝術理念拓展到社區每一 角落。由藝術節與香港賽馬會慈善信託基金聯合呈 獻 的「無限亮」計劃於20 19 年正式開展，透過一系 列的演出及多元的教育及社區外展節目，「無限亮」 致力創造共融空間，讓不同能力人士均可以一同欣 賞、參與、擁抱藝術。
為創造更穩健的財政環境以及確保藝術節的長期可 持續性， 香港藝術節基金會 於 2022 年成立，旨在讓 藝術節在未來進行年度預算以外的大型或特別項目。
(2025年2月更新 Updated February 2025)
and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution, Green Snake co-commissioned with the Shanghai International Arts Festival, Dream of the Red Chamber co-produced with the San Francisco Opera, and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. Over the past 32 years, our “Young Friends” scheme has reached around 836,000 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.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.
The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future largescale or special projects which its annual budget cannot cater for.
*有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2024.html
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
香港藝術節協會2024/25年度預計收入來源（約港幣一億五千萬）
電郵 Email: dev@hkaf.org
直線 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
Estimated Income Sources for the Hong Kong Arts Festival Society in FY2024/25 (About HK$150 million)
約Around 45%
贊助和捐款 Sponsorship & Donations
約Around 23%
票房收入 Box Office
約Around 12%
政府的年度 恆常撥款 Current Government annual baseline funding
約Around 20%
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 Revenues (including possible Government Matching Grant for Sponsorship and Donation Income)
博洛尼亞市立歌劇院樂團
Orchestra of the Teatro Comunale di Bologna
28.02.2025 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 1 小時 55 分鐘，包括一節中場休息
Approximately one hour and 55 minutes including one interval
01.03.2025 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 1 小時 55 分鐘，包括一節中場休息
Approximately one hour and 55 minutes including one interval
封面照片Cover Photographs
© Monica Ramaccioni
© Casalucci Ranzi
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線， 影響表演者及其他觀眾。
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don't wish to keep this booklet, please return it to the admission point.
香港賽馬會慈善信託基金、香港賽馬會、其各自關聯公司或任何參與彙編此載 內容或與彙編此載內容有關的第三方（統稱「馬會各方」）皆無就內容是否準 確、適時或完整或使用內容所得之結果作任何明示或隱含的保證或聲明。任何 情況下，馬會各方皆不會對任何人或法律實體因此載內容而作出或沒有作出的 任何行為負上任何法律責任。
None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.
適合 6 歲或以上的兒童及家長觀看
Suitable for children aged six and above and their families
本節目內容及本刊物所載之藝術家/客席撰文者言論屬於個人觀點，並不代表 香港藝術節(「本會」)之立場或意見。
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival ( “HKAF”).
為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中場休 息後遲到和在演出期間中途離場的觀眾重新入場。
Ticket holders are strongly advised to arrive punctually. HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會保留全權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能 性及方式。
The HKAF also reserves the sole discretion to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking readmission), as well as the manner in which they are admitted.
在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點入 場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任何爭 議，本會保留最終決定權。
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
© Michele Lapini
博洛尼亞市立歌劇院樂團
博洛尼亞市立歌劇院樂團擁有悠久歷史，曾 歷經多位著名音樂總監的領導，包括傑利畢
達克、培斯高、弗拉迪米爾．德爾曼、沙 爾、嘉提和米歇爾．馬里奧蒂等。樂團經常 獲邀到海外進行巡迴演出，並曾在許多知名
國內外音樂節演出，包括羅西尼歌劇節（佩 沙洛）、威爾第音樂節（巴馬）、艾克斯普羅 旺斯藝術節和薩翁林納歌劇節等。樂團在馬 里奧蒂指揮下，經迪卡唱片公司發行了一張
唱片，當中收錄了唐．迪亞戈．弗洛雷茲演 唱的神聖詠嘆調；又經索尼唱片公司發行了 一張專輯，收錄妮諾．瑪凱茲演唱的浪漫時 期詠嘆調；以及經德意志留聲機唱片公司發 行了《奧里伯爵》歌劇專輯。自 2022 年 1 月 起，由奧莎娜．林尼夫擔任博洛尼亞市立歌 劇院音樂總監一職。
Orchestra of the Teatro Comunale di Bologna
With a long-standing tradition, the Orchestra of the Teatro Comunale di Bologna has been led by illustrious musical directors such as Sergiu Celibidache, Zoltán Peskó, Vladimir Delman, Riccardo Chailly, Daniele Gatti and Michele Mariotti. The orchestra is often invited abroad on tour and has performed at many prestigious national and international festivals such as the Rossini Opera Festival in Pesaro, Festival Verdi in Parma, the Aix-en-Provence Festival and the Savonlinna Opera Festival. The orchestra, conducted by Mariotti, released a CD on the Decca label featuring sacred arias sung by Juan Diego Flórez; an album on Sony with Romantic arias sung by Nino Machaidze; and the Le Comte Ory album on Deutsche Grammophon. Since January 2022, Oksana Lyniv has served as the Musical Director of the Teatro Comunale di Bologna.
©Rocco Casaluci
指揮
杜拿多．倫澤第
杜拿多．倫澤第是意大利學派的代表性指揮 家，曾指揮逾一百部歌劇，是當今最多產 的歌劇指揮家之一。他同時也是熱那亞的卡 洛．費利切劇院榮譽指揮。
倫澤第曾在世界多個著名歌劇院擔任指揮， 包括巴黎歌劇院、慕尼黑歌劇院和紐約大都 會歌劇院等，又曾在格蘭特堡和斯波萊托等 地的藝術節擔任客席指揮。他合作過的知名 樂團包括倫敦小交響樂團、柏林德意志交響 樂團和東京愛樂樂團等。
在 1987 至 1992 年間，他在托斯卡納管弦樂 團擔任首席指揮，後來又擔任聖卡洛斯國 家劇院首席客席指揮。此外，他曾在 2019 年指揮赫爾辛基愛樂樂團，並在 2021 年 10 月於意大利為艾曼諾．胡夫 - 費拉里的《新 生》首演擔任指揮。
倫澤第參與灌錄的專輯包括舒伯特、莫扎 特和柴可夫斯基的作品，歌劇專輯則有《軍 中女郎》和《灰姑娘》等。他教授指揮長達 三十年之久，培育了許多意大利頂尖指揮， 並獲得多項殊榮，包括 1980 年在米蘭史卡 拉歌劇院贏得吉多．簡泰利國際指揮比賽。
Conductor
Donato Renzetti
Donato Renzetti is a distinguished conductor of the Italian School, having conducted more than 100 operas from diverse repertoires, making him one of today's most prolific opera conductors. He holds the title of Conductor Emeritus of the Teatro Carlo Felice in Genoa. Renzetti has led productions in prestigious opera houses worldwide, including the Opéra de Paris, the Staatsoper in Munich and the Metropolitan Opera in New York. He has also guest conducted at festivals like Glyndebourne and Spoleto, while his work with renowned orchestras includes the London Sinfonietta, DSO Berlin and the Tokyo Philharmonic.
From 1987-92, he served as Principal Conductor of the Orchestra Regionale Toscana and later as Principal Guest Conductor of the Teatro Real de Sao Carlos. In 2019, he conducted the Helsinki Philharmonic Orchestra, and in October 2021, he premiered La vita nuova by Ermanno Wolf-Ferrari in Italy.
Renzetti's extensive recording credits include works by Schubert, Mozart, and Tchaikovsky, with notable opera recordings such as La fille durégiment and La Cenerentola. He has taught conducting for 30 years, nurturing many of Italy's leading conductors, and has received several accolades, including winning the Guido Cantelli Competition at the Teatro alla Scala in 1980.
© Monica Ramaccioni
低男中音
西蒙．艾布堅尼
低男中音西蒙．艾布堅尼出生於博洛尼亞，並於 1993 年在都靈皇家劇院首次登台。自 1994 年贏得杜 鳴高世界歌劇大賽後，他便活躍於國內外的各大歌劇 院，並曾與多位國際知名指揮家合作演出。
艾布堅尼近期和即將參與的演出包括在東京飾演 《唐．喬望尼》的同名主角、《父女情深》中的保羅 和《愛情靈藥》中的貝戈爾；在博洛尼亞演出馬替奴 的《美蘭度蓮娜》；在都靈演出《軍中女郎》；在薩 沃納、莫德納和都靈飾演《愛情靈藥》中的杜爾卡馬 拉；在諾瓦拉飾演《波希米亞人》的馬切洛和《意大 利的土耳其人》中的塞利姆；在雷焦艾米利亞、皮亞 琴察和莫德納演出《安娜．波萊娜》的恩里科八世； 以及在威尼斯鳳凰劇院演出雷史碧基的《埃及瑪利 亞》、普契尼的《杜蘭朵》和馬利皮耶羅的《人生如 夢》。
Bass-baritone
Simone Alberghini
Born in Bologna, bass-baritone Simone Alberghini made his debut in 1993 at Teatro Regio in Turin. Since winning the Operalia competition in 1994, he has and continues to appear in the most important national and international opera houses under the baton of internationally renowned conductors. Among his recent and future engagements are the title role in DonGiovanni, Paolo in Simon Boccanegra and Belcore in L’elisir d’amore in Tokyo; Martinu's Mirandolina in Bologna; La fille du régiment in Turin; L’elisir d’amore (Dulcamara) in Savona, Modena and Turin; La bohème (Marcello) and Il turco in Italia (Selim) in Novara; Anna Bolena (Enrico VIII) in Reggio Emilia, Piacenza and Modena; Respighi's MariaEgiziaca, Puccini's Turandot and Malipiero's Lavitaèsogno at La Fenice in Venice.
女中音 西西莉亞・莫蓮娜莉
意大利女中音西西莉亞．莫蓮娜莉以渾厚圓潤的嗓 音著稱，更被法國《世界報》描述為「完全為劇情 服務的歌手，對花腔還有輕盈、熱情的樂句已臻爐 火純青」。
她在十七歲修畢長笛專科後，於 2009 年入讀帕多瓦 音樂學院的聲樂系，並以優秀的成績畢業。後來， 她獲選進入位於佩沙洛的羅西尼音樂研究院。在那 裏，她遇到了鼓勵她踏上歌劇之路的恩師——阿貝 托．澤達。
莫蓮娜莉近期有多個亮眼演出，包括在維也納國家 歌劇院飾演《塞維利亞的理髮師》中的羅西娜；在 德累斯頓森培歌劇院擔綱《費加羅的婚禮》中的凱 魯比諾；以及在熱那亞的卡洛．費利切劇院飾演 《依多美尼歐》中的伊達曼特。
Mezzo-soprano
Cecilia Molinari
The Italian mezzo-soprano Cecilia Molinari is celebrated for her smooth, burnished voice and “daring mastery of coloratura and light, ardent phrasing, entirely at the service of the dramaturgy” (Le Monde).
After graduating in flute at the age of 17, she began vocal studies in 2009 at the Conservatory of Music in Padova, where she graduated with high honours. She was later selected for the prestigious Accademia Rossiniana in Pesaro, where she met Maestro Alberto Zedda, who encouraged her operatic journey.
Her recent highlights include Rosina in Il barbiere di Siviglia at the Wiener Staatsoper, Cherubino in Le nozze di Figaro at Semperoper Dresden and Idamante in Idomeneo at Teatro Carlo Felice in Genoa.
羅西尼 Gioachino Rossini (1792-1868)
序曲，選自《賊鵲》
孟德爾頌
A大調第四交響曲，作品90，「意大利」
Overture from La gazza ladra
Felix Mendelssohn (1809-47)
Symphony No 4 in A Major, Op 90, “Italian”
中場休息 INTERVAL
羅西尼 Gioachino Rossini
〈我的睫毛在流淚，是真的〉， 選自《沙布朗的瑪蒂爾達》 （西西莉亞．莫蓮娜莉）
“Piange il mio ciglio, è vero” from Matilde di Shabran (Cecilia Molinari)
羅西尼 Gioachino Rossini
〈請停止…懇求你…原諒我〉，
選自《賽密拉米德》
（西蒙．艾布堅尼）
“Deh ti ferma... Ti placa... Perdona” from Semiramide (Simone Alberghini)
羅西尼 Gioachino Rossini
〈坐在楊柳樹下〉，選自《奧塞羅》 （西西莉亞．莫蓮娜莉）
“Assisa ai piè d’un salce” from Otello (Cecilia Molinari)
羅西尼 Gioachino Rossini
〈她被控偷竊！〉，選自《賊鵲》 （西蒙．艾布堅尼）
“Accusata di furto!” from La gazza ladra (Simone Alberghini)
羅西尼 Gioachino Rossini
〈如你仍珍視自己的生命〉，選自 《賽密拉米德》
（西西莉亞．莫蓮娜莉、西蒙．艾布堅尼）
“Se la vita ancor t'è cara” from Semiramide (Cecilia Molinari, Simone Alberghini)
An Italian Excursion, Courtesy of Rossini and Mendelssohn
1817 年，羅西尼歌劇《賊鵲》在米蘭史卡 拉歌劇院首演。彼時這位年僅二十五歲的作 曲家，已是意大利歌劇圈舉足輕重的人物。
前一年，他交出了歌劇《塞維利亞的理髮 師》，震撼樂壇；隨後他的新作接連面世， 在在推進歌劇的創作水平。羅西尼在配器
方面別開生面，和德國的創作傳統有異曲同 工之妙，故被樂評人戲稱為「德國人」。另 外，他擅長以逐漸增強聲量和音符密度，營 造喜劇或戲劇效果，因而贏得「漸強先生」 的外號。
《賊鵲》劇名看似輕鬆喜樂，但情節其實兼 具幽默與嚴肅的戲劇元素。作品改編自一部 法國話劇，講述侍女妮奈塔慘遭誣告盜竊， 甚至被判處死刑，幸好在最後關頭，真正的 小偷——一隻喜鵲飛至，案件才水落石出。
《賊鵲》序曲
由一開始已顯露羅西尼的巧
思：開局小鼓異軍突起，隨後軍隊進行曲響 起，浩蕩雄壯的鋪墊呼應全劇關於戰爭與公 義的命題。主樂段採用了快板，顯得活潑靈
動，配器異彩紛呈，加上作曲家標誌性的漸 強手法，將樂曲推向振奮人心的尾聲。
雖然孟德爾頌與羅西尼僅有一面之緣（而後 者當時年事已高），但那趟會面卻令這位來
自德國的年輕後進印象深刻：「只消聽他一 席話，所有質疑他才華的人都會馬上改變想 法。」兩人雖來自不同的文化傳統，但皆極 具創作旋律的天賦，而孟德爾頌的 A大調第 四交響曲，作品90 正正印證了這一點。作 曲家本人甚至稱之為「意大利」，以向這片 啟迪了無數音樂家的「音樂之地」致敬。
孟德爾頌二十來歲時，曾數度橫跨歐洲大 陸，包括在 1830 至 1831 年間走訪了意大利 半島的多個城市。這段時間對於孟德爾頌可 說是獲益良多：他在當地構思了「意大利」 交響曲，更雀躍地寫信告訴胞姊 ：「此曲將 是我所有作品中最歡快的一首，尤其是最後 一個樂章！」1833 年，這部作品在倫敦首 演，並由孟德爾頌親自指揮，惟這位完美主 義者仍選擇精益求精，不斷修訂樂譜，可惜 成品始終未如其意。因此，直至這位作曲家
When Lagazzaladra (“The Thieving Magpie”) premiered at La Scala in 1817, Gioachino Rossini, just 25 years old, was already the dominant figure in Italian opera. His best-loved opera, Il barbierediSiviglia, had appeared the previous year, and new works continued to pour from his pen, elevating musical standards in the process. Critics nicknamed him “il Tedesco” (“the German”) on account of his inventive orchestral writing and “Signor Crescendo” as a nod to his brilliant use of a gradual increase in volume and density of sound (“crescendo”) for comic or dramatic effect.
Despite its lighthearted title, Lagazzaladra blends humour with serious drama. The plot, adapted from a French play, recounts how the servant girl Ninetta is falsely accused of theft and condemned to death, only to be saved at the last moment when the true culprit—the thieving bird of the title—is discovered.
Rossini crafted the Overture of Lagazzaladra with care, opening with dramatic snare drums and a military march reflecting the opera’s themes of war and justice. Its lively main Allegro section showcases sparkling orchestration and Rossini’s signature crescendo technique, with a final sprint to an exhilarating finish.
羅西尼 Gioachino Rossini (1792-1868)
於 1847 年撒手人寰，「意大利」交響曲仍然 未能出版。
孟德爾頌
Felix Mendelssohn (1809-47)
「意大利」交響曲一開局即熱情四射，洋溢 着地中海風情；精密的織體則盡展作曲家在 德意志式對位音樂的研修成果，同時增添樂 曲層次，與稍後的陽光明媚形成對照。這部
作品沒有刻意仔細描畫意國景觀，而是勾勒 了作曲家對這片土地的印象，如同他筆下一 系列描摹當地面貌和海岸的素描畫一般。乍 聽之下，「流暢的行板」帶有古老聖詠的意 味，教人聯想起朝聖者的行列。
第三樂章的小步舞曲顯得威嚴莊重，最後一 個樂章則帶有鮮明節奏，活潑激昂，與源於 羅馬及那不勒斯的民族舞曲遙相呼應，營造 涇渭分明的感覺。另外，孟德爾頌還另闢蹊 徑，以小調譜寫終曲，讓開局的一片旖旎風 光走向陰霾。
當代人回顧羅西尼的藝術成就時，大多只提 及他筆下妙趣橫生的喜歌劇，如《塞維利亞 的理髮師》。但事實上，只要仔細閱覽作曲 家的三十九首歌劇作品，便不難發現，他不 但在喜歌劇方面登峰造極，同時亦精通莊嚴 歌劇及其變體。
《沙布朗的瑪蒂爾達》（1821 年）以中世紀
西班牙為背景，講述鐵石心腸的領主哥拉迪 諾被一名陣亡戰士的女兒感化，冰冷的心
Felix Mendelssohn met his older colleague Rossini only once—during the Italian composer’s later years—but the encounter left a deep impression. “Whoever doesn’t think [Rossini] a genius must hear him converse only once and he will change his mind immediately,” Mendelssohn remarked. Although he came from a very different tradition, he shared with Rossini a natural talent for melody. This is evident in his Symphony No 4 in A Major , which the German-born Mendelssohn himself nicknamed “Italian”, in honour of the “land of music” that remained a continual source of inspiration.
In his early twenties, Mendelssohn embarked on a series of extensive travels across Europe, visiting with special pleasure various cities across the Italian peninsula in 1830-31. While there, he sketched out ideas for the “Italian” symphony. He wrote enthusiastically to his sister that “it will be the jolliest piece I have ever done, especially the last movement”. After conducting the premiere in London in 1833, Mendelssohn kept revising the score, which never quite satisfied this perfectionist composer. The “Italian” symphony was thus still unpublished when its composer died in 1847.
The work begins with irrepressible energy, its main theme brimming with Mediterranean charm. Intricate textures reveal Mendelssohn’s training in the counterpoint of the German tradition and add a contrasting dimension before the sunny reprise. Rather than a detailed programme, the symphony reflects Mendelssohn’s impressions of Italy (which he also expressed in sketches of the landscape and seaside). With its hints of ancient chant, the Andante con moto evokes a pilgrims’ procession.
The final two movements contrast a stately minuet with pulsating rhythms that reflect folk dances from Rome and Naples. Mendelssohn boldly ends the symphony in the minor key, shifting from the sun-kissed opening to a shadowed resolution.
Although he is mostly associated today with the perpetually entertaining comic opera (operabuffa) style he perfected in IlbarbierediSiviglia, Rossini also mastered the tradition of serious opera (opera seria) and its variants in his output of 39 operas. Matilde di Shabran (1821) tells a melodramatic story set in medieval Spain involving the “ironhearted” Lord Corradino and his eventual softening by the daughter of a deceased warrior. “Piange il mio ciglio, è vero” (“Even my eyelashes are weeping, ’tis true”) is an affecting aria sung early
才逐漸溶化。其中由女低音演繹的男角艾多 亞多，只因身為領主敵人之子，便遭鐵腕 囚禁，遂於歌劇早段唱出感人至深的詠嘆調 〈我的睫毛在流淚，是真的〉，昭明心志， 力抗暴虐的領主。
《賽密拉米德》（1823 年）是羅西尼轉投法國
歌劇圈之前最後一部為意大利舞台創作的歌 劇，也是他其中一部最精良的作品。劇情取 材自伏爾泰的悲劇，講述巴比倫女王賽密拉 米德，在不知情的情況下愛上了自己失散多 年的兒子阿薩斯，最後卻被對方錯手殺死。
由男低音演出的亞述爾王子，則是阿薩斯的 殺父仇人，同時對王位虎視眈眈。故事接近 尾聲時，亞述爾唱出詠嘆調〈請停止…懇求 你…原諒我〉，卻始終逃不過惡行的後果。
另外，賽密拉米德和亞述爾在二重唱〈如你 仍珍視自己的生命〉當面對質，配以反覆顫 動的裝飾音，令人血脈僨張。二人要脅對 方，聲言要揭開當年殺死阿薩斯之父的秘密。
早在威爾第的歌劇面世前數十年，羅西尼便 已曾粗略改編這部莎士比亞經典悲劇，刻 劃人心嫉妒的險惡。他筆下這部《奧塞羅》 （1816 年），講述軍事英雄奧塞羅誤信流言， 以為年輕妻子黛絲德摩娜對其不忠，遂憤而 把妻子刺死。
在悲劇發生前，黛絲德摩娜以一曲〈坐在楊 柳樹下〉憑歌寄意，悲嘆自己即將面臨的悲 慘宿命。在這首又名為「楊柳之歌」的詠嘆 調，羅西尼寫了一段突出的豎琴獨奏，溫婉 地伴隨女高音低訴憂思。
這場音樂會以《賊鵲》序曲作序，之後亦回 到同劇的詠嘆調。在〈她被控偷竊！〉中， 侍女妮奈塔的父親費蘭度回憶，女兒曾協 助自己逃離無良市長的不當刑罰，如今驚悉 市長誣衊她盜取銀勺，自然不吐不快。市長 給這位無辜女孩判了死刑，使費蘭度下定決 心，要拯救女兒。
從親密到宏大，由傳奇到日常，羅西尼的歌 劇具有豐沛強烈的情緒張力，結合濃烈情感 和使人目眩的聲樂技巧，盡顯作曲家無與倫 比的創作天賦，使他成為其中一位最歷久不 衰的歌劇作曲家。
撰文：湯馬士．梅
in the opera as the young Edoardo (an alto role), the son of Corradino’s enemy and a prisoner of the lord, defies his tyrannical captor.
Semiramide (1823), the last opera Rossini wrote for the Italian stage before taking up French opera, is one of his finest achievements. Based on a tragedy by Voltaire, it portrays a legendary Babylonian queen—the titular Semiramide—who unknowingly falls in love with Arsace, her long-lost son, only to be slain by the latter inadvertently. “Deh ti ferma... Ti placa... Perdona” (“Oh! Stop... I beg you... Forgive me”) is a bass aria sung by the Prince Assur, a rival claimant to the throne, near the end of the opera as he faces the consequences of having killed Nino, Arsace’s father.
We also hear an extended duet full of thrilling ornamentation— “Se la vita ancor t’è cara” (“If you still hold your life dear”)—in which Semiramide and Assur confront each other with threats to reveal the truth about Nino’s death.
Decades before Verdi composed his adaptation of Othello, Rossini wrote an opera loosely based on Shakespeare’s unforgettable portrayal of the power of jealousy. In Rossini’s Otello (1816), we hear the melancholic final aria sung by Desdemona, the military hero Otello’s young wife, before he stabs her, falsely convinced of her infidelity.
Known as the “Willow Song”, “Assisa ai piè d'un salce” laments a woman forsaken by her lover and foreshadows Desdemona’s own tragic fate. Rossini assigns a prominent part to solo harp, its gentle accents accompanying the tender soprano line. Having begun the concert with the Overture to Lagazzaladra, we now return to an aria from the same opera. In “Accusata di furto!” (“Accused of theft!”), the servant Ninetta’s father Fernando, whom she had helped escape mistreatment by the unscrupulous Mayor, expresses his reactions on just discovering that the Mayor has now falsely charged Ninetta with stealing a silver spoon. He is determined to save the innocent girl, who has been given a death sentence by the Mayor.
From the intimate to the grand, the legendary to everyday life, Rossini shows his inimitable gift for combining emotional intensity with dazzling vocal virtuosity—a gift that has made him one of opera’s most enduring composers.
Text: Thomas May
羅西尼 〈我的睫毛在流淚，是真的〉， 選自《沙布朗的瑪蒂爾達》
我的睫毛在流淚，是真的
Rossini
“Piange il mio ciglio, è vero” from Matilde di Shabran
Piange il mio ciglio, è vero;
Rossini
“Even my eyelashes are weeping, ’tis true” from Matilde of Shabran
Even my eyelashes are weeping,’tis true 但這不是懦弱的眼淚 Ma per viltà, no non piange. but I weep not out of cowardice 沒錯，我確是階下囚 È ver, son prigioniero; It is true, I’m a prisoner 但我還是可以鄙視你 ma ti disprezzo ancor. but I despise you still 你的鐵鏈 Che questa tua catena For this chain of yours 只能拴住我的手 solo la man mi frena; restrains only my hands 卻無法控制我的心 ma non fa schiavo il cor. but enslaves not my heart 一想起溫柔的父親 D’un tenero padre
Thinking of the sorrow 那深切的哀慟 pensando al dolore, of a tender father 我的心就融化 in lagrime il core
In tears, my heart 作了淚 sciogliendo si va. melts away 不，我不是懦夫 No: vile non sono,
No, I am not a coward 我不會乞求原諒 non cerco perdono; I do not seek pardon 這靈魂嘆息着 sospira quest’alma
This soul sighs 愛和憐憫 d’amor, di pietà. of love and pity 儘管有苦楚，有悸動 Si peni, si palpiti,
There’re pains and trembles 但沒有怯懦 ma senza viltà. but without cowardice
羅西尼 〈請停止…懇求你…原諒我〉， 選自《賽密拉米德》
Rossini
“Deh ti ferma... Ti placa... Perdona” from Semiramide
啊！請停止……懇求你……原諒我 Deh... ti ferma... ti placa... perdona...
Rossini
“Oh! Stop... I beg you... Forgive me” from Semiramide
Oh! Stop... I beg you... Forgive me 叫我眼前的可怖景象消失 togli a me quel terribile aspetto: Relieve me of this dreadful sight 如有刀刃抵在胸口 quell’acciaro già sento nel petto, Already I feel the blade in my chest 那無盡深淵教我顫抖 quell’abisso mi colma d’orror
That abyss fills me with horror! 回到你所屬的黑暗之中
Alla pace dell’ombre ritorna…
Return to the peace of the shadows 啊！請憐憫我飽受煎熬的心！ Ah! Pietà dell’oppresso mio cor Ah! Have pity on my afflicted heart! 別作聲……啊，走開！ Tacete… Oh… fuggite…
Be quiet... Oh, go away! 他猙獰的面目……你看不到嗎？ Ei minaccia… lo vedete..
He menaces... Can you not see him? 他還在那兒嗎？ V’è ancor?
Is he there still? 但怎會這樣？是你？ Ma come, e voi… Là…
But how? You? 看！他不見了！ Finor, sparì…
There! He’s gone!
我終於鬆了一口氣 Respiro
Now I breathe again 原來是幻覺……是場夢！ Fu delirio! Un sogno! It was a delirium... A dream! 而我……我竟被魅影嚇倒！ Ed io… io d’un ombra…
And I... I was scared of a phantom! 真令我汗顏！ Oh! Mio rossor!
若有一刻我陷入恍惚 Se un istante delirai,
Oh what shame!
If for a moment I was out of it 若我顯得軟弱無力 se a voi debole sembrai, if I seemed weak to you, 只怪邪神的詭計作祟 d’un avverso Dio fu incanto…
’twas the work of an evil god 死心不息把我嚇唬 ma atterrirmi invan tentò who tried to terrify me in vain
威怒的神祇 Que’ numi furenti,
Those raging gods 燥動的鬼魂 quell’ombre frementi…
Those fretting phantoms
陰森的墓穴 L’orror delle tombe
憑藉勇氣，我敢於挑戰 Vo ardito a sfidar
The horror of these tombs
Bravely, I dare to challenge 不管諸神和命運 De’numi, del fato, Over gods and over fate
還是死亡的陰霾 dell’ombre di morte
Over the shadows of death 我的英勇靈魂定必戰勝 quest’anima forte saprà trionfar My bold soul shall triumph!
羅西尼
〈坐在楊柳樹下〉，
選自《奧塞羅》
坐在楊柳樹下
Rossini
“Assisa ai piè d’un salce” from Otello
Assisa appiè d’un salice,
Rossini
“At the foot of a willow” from Otello
Seated at the foot of a willow, 沉浸悲傷之中 immersa nel dolore immersed in grief
痛苦的伊蘇拉低聲啜泣 gemea trafitta Isaura moaned the bereft Isaura who 哭訴殘酷愛情把她煎熬 dal più crudele amore, suffered from the most cruel love 涼風吹拂枝椏 l’aura tra i rami flebile
The breeze among the branches
默默和應她的悲鳴 ne ripeteva il suon faintly echoed her moans 澄澈的溪流 I ruscelletti limpidi
The limpid streams 與她的哀哀嘆息 a’caldi suoi sospiri, with her ardent sighs 融入潺潺流水 il mormorio mesceano blended the murmur 在蜿蜒石澗中低吟 de’ lor diversi giri: of their winding paths 涼風吹拂枝椏 l’aura fra i rami flebile
The breeze among the branches 輕輕和應她的悲鳴 ne ripeteva il suon softly echoed her moans
象徵美好愛情的青青楊柳啊！ Salce, d’amor delizia! Willow, delight of love!
請以你的護蔭 Ombra pietosa appresta,
Extend your merciful shade （暫時忘卻痛苦厄運） (di mie sciagure immemore) (forgetful of my misfortunes) 籠罩我的骨灰甕 all’urna mia funesta; over my funeral urn 叫微風不再和應 né più ripeta l’aura
May the breeze echo no more 我內心的哀鳴 de’ miei lamenti il suon the sound of my lament 但最後，她累了
Ma stanca alfin di spargere
But at last, weary of shedding 不再悲嘆，也不再流淚 mesti sospiri e pianto, sad sighs and tears, 絕望的少女死了，哀哉！ morì l’afflitta vergine ahi! the afflicted maiden died, alas, 就倒在楊柳樹旁！ di quel salce accanto! beside the willow! 到最後，她哭得筋疲力竭 Ma stanca alfin di piangere
But at last, weary of weeping, 絕望的少女死了 morì l’afflitta vergine the afflicted maiden died 死了……嗚呼！那負心漢…… Morì… che duol! L’ingrato… She died… What woes! The ingrate... 哀哉！我淚流滿襟 Ahimé! Che il pianto Alas! My tears prevent me 不忍再說下去 proseguir non mi fa from continuing 上蒼啊，請撫平我的痛苦 Deh calma, o ciel, nel sonno Oh heaven, calm my pains 讓我安睡片刻 per poco le mie pene, in my sleep for a while 讓我的愛人 fa che l’amato
Let my beloved 來慰藉我心靈 bene mi venga a consolar come to console me 若是我的誠心禱告 Se poi son vani i preghi, If then my prayers are in vain 至我化作青煙也無法實現 di mia breve urna in seno, at the bottom of my urn, 就請讓他 di pianto venga almeno may he bathe my ashes 用淚水洗滌我的灰燼 il cenere a bagnar with his tears
羅西尼
〈她被控偷竊！〉，選自 《賊鵲》
她被控偷竊……
Rossini
“Accusata di furto!” from La gazza ladra
Accusata di furto...
Rossini
“Accused of theft!” from The Thieving Magpie
Accused of theft... 如此不幸！ Oh rossore!
我女兒，被審判、被懲罰？ Condannata, punita mia figlia?
Oh shame!
Condemned, punished, my daughter?
啊，烏雲蒙蔽我的雙眼！ Ah qual nube m’ingombra le ciglia! Ah, what dark clouds veil my eyes 我的熱血瑟瑟發寒 Freddo il sangue mi piomba sul cor My blood runs cold
被控罪！對，我該去尋找…… Condannata! Ah si vada, si, si cerchi...
Condemned! I must go, yes, search... 但我該如何是好？ Ma che fo?
我迷惘又困惑
But what do I do?
Son confuso e perplesso: I’m confused and perplexed
若我表露身份，天啊！ se mi scopro, oh Dio!
If I reveal myself, oh God! 我將失去，我將失去自己 Io perdo, io perdo me stesso; I lose, I lose myself 但若再遲疑，她就…… se più tardo, ella forse...
太可怕了！真是進退兩難！ oh spavento! Che cimento!
我痛心疾首 Che fiero dolor!
恐懼離開我！ Ah lungi il timore!
If I hesitate, she...
Oh, terror! What a struggle!
What ardent pain
Ah away with fear! 就以運氣作賭注 Si tenti la sorte:
Let us test our fortune 拿出勇氣來，我強大的心 coraggio, mio core;
Courage, my heart 讓我們無視死亡的陰霾 si sprezzi la morte:
Let us scorn death 至愛的女兒 la figlia diletta
My beloved daughter 我得趕快把她救出來 si corra a salvar
拿出勇氣來，我強大的心 Coraggio, mio core;
I must run to save her
Courage, my heart 就讓我孤注一擲 vo’tutto rischiar
I shall risk everything
羅西尼
〈如你仍珍視自己的生命〉，選自 《賽密拉米德》
Rossini
“Se la vita ancor t’è cara” from Semiramide
Rossini
“If you still hold your life dear” from Semiramide
賽密拉米德 Semiramide Semiramide
如你仍珍視自己的生命
Se la vita ancor t’è cara
If you still hold your life dear 走，在我眼前消失 Va, t’invola a’sguardi miei; Go, leave my sight 我無法再忍受 Io l’aspetto non saprei, no, I can no longer endure 你這叛徒 più soffrir d’un traditor the sight of a traitor
亞述爾 Assur
Assur 女王，請你記住
Pensa al men, Regina, in pria
Remember, Queen, who it was 當初是誰驅使我叛變 chi mi spinse al tradimento, that drove me to treachery
我亞述爾一句說話 che d’Assur potria un accento And one word from Assur can 足以奪走你的王位與榮耀 involarti soglio e onor rob you of your throne and honour
賽密拉米德 Semiramide Semiramide
顫抖吧：你會第一個倒下 Dèi tremarne: pria cadresti
亞述爾 Assur
是，但倒下的也許不止我一個
Solo, forse, non cadrei
Tremble: you would fall first
Assur
Fall, yes, but perhaps not alone
賽密拉米德 Semiramide Semiramide
阿薩斯會來拯救我
Meco è Arsace! degli Dei
Arsace will save me 在諸神保佑下，我將安然無恙 ei mi salva col favor through the favour of the gods
亞述爾 Assur Assur
就憑你，配受諸神保佑？ Il favor, tu, degli Dei?
You, favoured by the gods? 你該撫心自問，戰慄惶恐！ Scendi e trema nel tuo cor
猶記得那一晚
Quella ricordati
Search your heart and tremble!
Remember that night
那弒君篡位之夜 notte di morte; of treacherous death
那淒厲的鬼魂 l’ombra terribile
The horrid ghost 是你的亡夫 del tuo consorte, of your husband,
面目猙獰 che minaccioso who menaces
終夜徘徊 in fra le tenebre, in the darkness, 擾你清夢 il tuo riposo funesta ognor
Disturbs your sleep 你的恐懼、你的煎熬 I tuoi spaventi, i tuoi tormenti, your fears, your torments
你的痛苦、你的悸動 le angoscie, i palpiti
Your anguish, your palpitations
都不足以懲罰 leggier supplizio are but light punishment 你那有罪、不知感恩的靈魂 sono al colpevole tuo ingrato cor for your guilty, ungrateful soul
賽密拉米德 Semiramide Semiramide
那可怕的一晚！ Notte terribile! That terrible night! 那死亡之夜！ Notte di morte!
The night of death!
十五年光陰過去 Tre lustri corsero, Fifteen years have passed 但我的亡夫的厲鬼 e del consorte and my husband’s 依然深夜徘徊 l’ombra sdegnosa, wrathful ghost
陰魂不散 in fra le tenebre, still haunts, in the dark, 煩擾這卑微的妻子！ l’indegna sposa minaccia ognor! his unworthy wife!
我的恐懼 I miei spaventi, My fears, 我的煎熬 i miei tormenti, my torments, 我的痛苦，我的悸動 le angosce, i palpiti, my anguish, my palpitations 願諸神把這些 a tuo supplizio may the gods turn them
都化作你的詛咒 gli Dei rivolgano, to your punishment 叫你卑劣的心得到懲罰 perfido cor on your perfidious heart
但尼諾並非不可感化 Ma implacabile di Nino
But Nino is not implacable 我的命運亦非無法改寫 non è l’ombra, né il destino; and nor is my destiny 受諸神保佑的阿薩斯 è da lor protetto Arsace: Arsace is protected by them 是的，他定會為我安撫諸神 si, ei per me si placherà yes, he will pacify them for me
亞述爾 Assur Assur
記住那將被犧牲的人 Quella vittima rammenta
Remember the victim 正是尼諾冤魂等待之人 che di Nino l’ombra aspetta; whom Nino’s ghost awaits 為自己討回公道 alla giusta sua vendetta for his rightful vengeance 也許我便是第一個目標 si,da me forse pria l’avrà
He will perhaps get it from me first 賽密拉米德 Semiramide
Semiramide 現在你得向阿薩斯致敬
In Arsace adora intanto
Now pay your respect to Arsace 你的國王…… il tuo re...
Your king...
亞述爾 Assur
Assur
阿薩斯…… Ma Arsace… Arsace…
賽密拉米德
Semiramide
聽！ Senti!
這喜悅！這歡愉的聲音！
Questa gioia! Quei concenti!
Semiramide
Listen!
This joy! These sweet sounds! 他們正為勝利慶祝 Il trionfo si festeggia
They are celebrating the triumph 為我的丈夫、你的國王歡呼 del mio sposo, del tuo re of my husband, your king
亞述爾 Assur
不過有顆毀滅之星 Ma funesto in ciel lampeggia
Assur
But a disastrous star 仍在天上為你閃耀 forse un astro ancor per te may still gleam for you in the sky
賽密拉米德
Semiramide
Semiramide 我的心神已恢復
La forza primiera
My heart resumes 且不再畏懼 ripiglia il mio core: its former vigour 身為女王與戰士 Regina e guerriera
As Queen and warrior 我誓將嚴懲你 punirti saprò I will punish you 你死期將至 L’istante s’affretta
The moment is near 真是大快人心、令人期待 felice, bramato:
So happy, so longed for 顫抖吧，你這歹毒之徒 tu, trema, spietato, Tremble, you villain
我誓要讓你倒下 cader ti vedrò
亞述爾
Assur
我的強大心志 La sorte più fiera
I will see you fall
Assur
My heart defies
能經受殘酷命運的考驗 già sfida il mio core, even the harshest of fates
女王、戰士 Regina e guerriera Queen and warrior
我無懼於你 temerti non so I’ve no fear of you
就且快快了斷 Si compia, s’affretti
Let it be fulfilled, quickly
我殘酷的宿命 l’acerbo mio fato: my cruel fate
縱使我將倒下 ma pria vendicato I will fall
也誓要先完成復仇 almeno cadró
中譯：洪飛鳴、陳劭儀
Chinese Translation: Fei Hung, Shao yi Chan
But not without my vengeance
01.03.2025
拉威爾
《悼念公主的帕凡舞曲》
拉威爾
《庫普蘭之墓》
I. 前奏曲
II. 賦格曲
III. 佛蘭納舞曲
IV. 黎高冬舞曲
V. 小步舞曲
VI. 觸技曲
拉威爾
《鵝媽媽》組曲
I. 〈睡美人的帕凡舞曲〉
II. 〈拇指仙童〉
III. 〈瓷娃娃的女皇〉
IV. 〈美女與野獸的對話〉
V. 〈魔法花園〉
羅西尼
序曲，選自《賊鵲》
普契尼
〈聲音一樣嗎〉，選自《賈尼．斯基基》
（西蒙．艾布堅尼）
Maurice Ravel (1875-1937)
Pavanepouruneinfantedéfunte
Maurice Ravel
Le Tombeau de Couperin
I. Prélude
II. Fugue
III. Forlane
IV. Rigaudon
V. Menuet
VI. Toccata
Maurice Ravel
Mamèrel'Oye (“Mother Goose Suite”)
I. “Pavane de la Belle au bois dormant”
II. “Petit Poucet”
III. “Laideronnette, Impératrice des Pagodes”
IV. “Les Entretiens de la Belle et de la Bête”
V. “Le Jardin féerique”
中場休息 INTERVAL
Gioachino Rossini (1792-1868)
Overture from La gazza ladra
Giacomo Puccini (1858-1924)
“Era uguale la voce” from Gianni Schicchi (Simone Alberghini)
羅西尼 Gioachino Rossini
〈我聽到一縷歌聲〉，選自《塞維利亞的理髮師》
（西西莉亞．莫蓮娜莉）
“Una voce poco fa” from IlbarbierediSiviglia (Cecilia Molinari)
唐尼采第 Gaetano Donizetti (1797-1848)
〈添酒！添酒！來讓那風卸去〉，
選自《夜鐘》
（西蒙．艾布堅尼）
“Mesci mesci e sperda il vento” from Il campanello (Simone Alberghini)
羅西尼 Gioachino Rossini
「舞」，選自《音樂晚會》第八首 （西西莉亞．莫蓮娜莉）
Soirées Musicales: No 8 “La Danza” (Cecilia Molinari)
羅西尼 Gioachino Rossini
〈是我…你不是騙我吧？〉， 選自《塞維利亞的理髮師》
（西西莉亞．莫蓮娜莉、西蒙．艾布堅尼）
“Dunque io son… Tu non m’inganni?” from IlbarbierediSiviglia (Cecilia Molinari, Simone Alberghini)
拉威爾和意大利歌劇大師的妙趣音樂
Sparkling Music by Ravel and the Masters of Italian Opera
三月適逢拉威爾的 150 周年誕辰，今晚的音 樂會以他的作品拉開序幕，可謂再適合不 過。1899 年，拉威爾還是巴黎音樂學院的學 生時，創作了《悼念公主的帕凡舞曲》。他隨 後於 1910 年給這首曲子編寫了管弦樂版本， 為這首深邃優雅的樂曲增添了新層次。
拉威爾 Maurice Ravel (1875-1937)
《庫普蘭之墓》展現了拉威爾對音樂傳統的 敬意，同時也紀念在第一次世界大戰中喪生 的朋友。這首作品原是向法國巴羅克風格致 敬的鋼琴獨奏曲。在經歷過戰爭的苦難後， 拉威爾再次重拾這項未竟的計劃，將原來六 首樂章中的其中四首改編成管弦樂。
前奏曲優美的樂句，象徵藝術不會因戰爭而 殞滅。佛蘭納這種源自意大利的舞曲以明快 生動的節奏見稱，更被法國巴羅克音樂所吸 收。拉威爾將緊隨其後的黎高冬舞獻給在戰 爭中喪生的兒時玩伴——葛丹兄弟。這種舞 蹈源自法國南部的民間舞蹈，後來漸漸在宮 廷中流行起來。隨着嘹亮的小號響起，拉威 爾彷彿藉此宣告：藝術必將永恆不朽。
儘管拉威爾的音樂創作是如此的練達優美， 他本人卻一生都保持着童心。他的《鵝媽 媽》組曲 可說是這種童心的最佳佐證，他和 朋友的兩名孩子亦師亦友，此作原是為了他 們而作的一首鋼琴二重奏。拉威爾後來將其
編成管弦樂，並增編成芭蕾舞音樂，將一些 賦予他靈感的童話故事串連起來。
We begin this programme with a celebration of the music of Maurice Ravel, who was born 150 years ago this month. Ravel initially composed Pavanepouruneinfantedéfunte in 1899, while still a student at the Paris Conservatory. He made a version for orchestra in 1910 that adds a new dimension to the poignant grace of this piece.
LeTombeaudeCouperin manifests Ravel’s reverence for the musical past and at the same time honours the memory of friends who were killed in World War One. The piece began as a tribute to the French Baroque for solo piano. After experiencing the horror of war, Ravel returned to the unfinished project and then orchestrated four of the original six movements.
The beautifully shaped phrases of the Prélude suggest that art can endure the destruction of war. Forlane is a lively dance type that became part of the French Baroque vocabulary. Ravel dedicated the ensuing Rigaudon—based on a type of folk dance from southern France that became popular at court—to a pair of brothers who perished in the war. With the trumpet’s bright proclamations, art emerges as immortal.
For all the sophistication of his scores, Ravel retained a childlike outlook throughout his life. Ma mèrel’Oye (“Mother Goose Suite”) radiates the innocent wonder of childhood. The work began as a piano duet for two children whom the composer had befriended. Ravel later orchestrated this music and expanded it into a ballet linking together the fairytale stories that inspired him.
At its heart are the five scenes we hear, beginning with the story of the Sleeping Beauty. She has been cast into a deep slumber by an evil fairy.
“Pavane de la Belle au bois dormant” beckons us into a dreamlike state with solemnly processional music. “Petit Poucet” tells the tale of a poor woodcutter’s son (oboe) whose breadcrumb path through the forest has been eaten by birds, vividly depicted in Ravel’s score.
In “Laideronnette”, a princess has been turned into the ugliest woman in the world by a witch’s spell. She finds herself transported into a magical kingdom where she is serenaded by miniature
作品圍繞五個耳熟能詳的場景，並以睡公主 的故事作為起點。公主被惡女巫施咒，陷入 沉睡，〈睡美人的帕凡舞曲〉即以莊嚴的進 行曲將我們一步步帶入夢幻之境。接下來的 〈拇指仙童〉講述一個窮樵夫的兒子（雙簧 管）在森林中撒下麵包屑作為回家的記號， 卻被鳥兒吃掉的故事，並在拉威爾的譜曲中 活靈活現地呈現出來。
在〈瓷娃娃的女皇〉中，公主因女巫的咒語 而變成最醜陋的女人。她來到一個神奇國 度，那裏的小瓷人以核桃殼和杏仁殼為樂器 演奏小夜曲，頗有亞洲嘉美蘭樂團的風情。
〈美女與野獸的對話〉以單簧管和低音巴松 管分別代表美女和野獸兩個角色：隨着豎琴 魔幻的掃弦，野獸變成了英俊的王子。隨着 縹緲迷人的〈魔法花園〉響起，我們再次回 到睡美人的音型，這時她已被王子喚醒，四 周響起婚禮和加冕的音樂。
音樂會的下半場以《賊鵲》的管弦樂 序曲 拉 開序幕。這齣歌劇由羅西尼所寫，他的風格 可說是許多十九世紀重要音樂家的典範。序 曲開頭的軍樂揭示了歌劇的故事背景：在苛 政盛行的時代，任職女僕的主人公被指控偷 了一把銀匙而被判死刑，直到發現真正的竊 賊——一隻喜鵲，才倖免於難。
在《賊鵲》問世一個世紀後，普契尼創作了 獨幕歌劇《賈尼．斯基基》（1918）。這部作 品屬於一套三聯劇的一部分，原意是讓觀眾 一口氣在一晚觀賞三幕演出。當時普契尼已 被公認為世界頂尖的意大利歌劇作曲家，他 的舞台作品大多以悲劇為主，而這套取材自 但丁《神曲》的《賈尼．斯基基》則是其為 數不多的喜劇作品之一。
subjects playing an orchestra of walnut and almond shells that mimic an Asian gamelan.
“Les Entretiens de la Belle et de la Bête” represents the two characters as a clarinet (Beauty) and contrabassoon (Beast). With a magic sweep of the harp, the Beast becomes a handsome prince. Ravel concludes with one of the most beautiful passages ever written for orchestra (“Le Jardin féerique”) as we return to the figure of Sleeping Beauty, now awakened by her Prince. Wedding and coronation music resound triumphantly.
Serving as a transition is the orchestral Overture to Lagazzaladra by Gioachino Rossini, whose example inspired his illustrious colleagues and successors in the 19th century. The military sounds at the start of the overture foreshadow the opera’s setting against a backdrop of military strictness and harsh punishment: the heroine is a servant who is nearly put to death for allegedly stealing a silver spoon—until the real thief, a magpie, is revealed.
A century after Lagazzaladra, Giacomo Puccini composed the one-act opera Gianni Schicchi (1918) as part of a triptych of works to be performed in a single evening. Puccini was by then recognised as the world’s leading Italian opera composer. Most of his stage works are tragic, but the one-act Gianni Schicchi (based on a story from Dante’s Inferno) stands out as a comedy.
In “Era uguale la voce” , the con artist Gianni Schicchi boasts of how he can impersonate the voice of a recently deceased rich man so as to change the clause in his will donating away all his possessions. The man’s relatives eventually discover that this is not to their benefit, but to Schicchi’s own.
Rossini’s best-loved opera, by and far, is Ilbarbiere diSiviglia Indeed, mere mention of the composer’s name immediately evokes the brilliant comic style of operabuffa that is epitomised by Il barbiere di Siviglia (composed within a mere few weeks). The story comes from the first in a trilogy of daring plays by the remarkable French writer Pierre Beaumarchais. Part II, LenozzediFigaro, had already become a famous opera thanks to Mozart. In the process, Rossini created one of the biggest hits in the history of opera. Its tunes are so memorable that they are even known to people who have never seen an opera. Figaro, the all-purpose barber of the title, is enlisted
普契尼 Giacomo Puccini (1858-1924)
故事講述一名富翁在死前立下遺囑，將所 有財產捐贈出去，他的親戚們不忿財路被 斷，便找來老謀深算的斯基基獻計，希望 扭轉局勢。在〈聲音一樣嗎〉，斯基基吹噓 自己可以模仿這位富翁的聲音來篡改遺囑； 親戚們最終發現，自己不但無法從這個騙 局分一杯羹，反而讓斯基基漁翁得利。
說到羅西尼最膾炙人口的歌劇，無疑還是 《塞維利亞的理髮師》，因此很多人都會自 動將這位作曲家和喜歌劇聯想在一起。歌
劇《塞維利亞的理髮師》雖在僅僅數週內寫 成，卻能將這種歌劇形式發揮得淋漓盡致。
故事取材自法國傑出劇作家博馬舍的三部曲 之一，而第二部《費加羅的婚禮》（由莫扎
特改編成著名歌劇）更可說是家喻戶曉。
在創作的過程中，羅西尼成就了歌劇史上最 受歡迎的劇目之一。其琅琅上口的旋律可說 是非常「入屋」，即使從未看過歌劇的人也 熟知旋律。貴族青年阿瑪維瓦伯爵找來機智 的理髮師費加羅，希望幫助愛人羅西娜擺脫 監護人巴托羅的控制和逼婚。聰明有主見的 姑娘羅西娜在詠嘆調〈我聽到一縷歌聲〉中 首次登場，她自有方法智勝巴托羅，並籌謀 與一直為她高歌的林多羅（其真實身份是阿 瑪維瓦伯爵）共結連理。
比羅西尼小五歲的唐尼采第也是一位多產的 作曲家，且同樣擅寫喜劇和悲劇。〈添酒！ 添酒！來讓那風卸去〉選自他寫於 1836 年 的獨幕喜歌劇《夜鐘》，由詭計多端的恩利 高所唱，他不停打斷安尼貝醫生的新婚夜， 皆因新娘是他的舊愛。
雖然羅西尼在事業中期便停止寫作歌劇，但 仍然不斷創作音樂，包括一系列在室內場合 演唱的「沙龍」歌曲，其中一首「舞」採用 了快速的炫技手法，描繪出意大利南部一種 狂熱的民間舞蹈——塔蘭泰拉舞。
最後，我們再次回到《塞維利亞的理髮 師》，聆聽羅西娜和費加羅的二重唱〈是 我…你不是騙我吧？〉。費加羅向羅西娜保
證，那位英俊的年輕人「林多羅」的確深愛 着她。羅西尼往往要求歌唱家唱出對真愛的 熱切期盼，而真愛也必將在歌劇的結局勝過 一切阻礙。
撰文：湯馬士．梅
by a young nobleman, Count Almaviva, to outsmart Dr Bartolo, the controlling guardian of his beloved Rosina. “Una voce poco fa” is an aria that serves to introduce Rosina as a smart, self-determined young woman who is more than capable of outwitting Bartolo on her own terms— and being united with the mysterious Lindoro (the Count in disguise) who has been serenading her.
唐尼采第 Gaetano Donizetti (1797-1848)
Five years younger than Rossini, Gaetano Donizetti was also fantastically prolific, writing comic and tragic operas alike. “Mesci mesci e sperda il vento” is from his one-act comic work Ilcampanello from 1836. It is sung by the schemer Enrico, who repeatedly interrupts the wedding night of a famous doctor and his young bride—Enrico’s former girlfriend. Rossini stopped composing operas midway through his career, but still produced music— including a series of songs to be sung as “salon” pieces in a chamber setting. One of these, “La Danza” , is a rapid-fire virtuoso showpiece about the frenetic folk dance from Southern Italy known as the tarantella.
To close the programme, we turn again to Ilbarbiere diSiviglia and the duet “Dunque io son… Tu non m’inganni?” , in which Rosina is reassured by Figaro that she is indeed loved by the handsome young “Lindoro”. The sparkling agility Rossini demands of his singers conveys the exuberant hope of true love, which will win out against all obstacles by the end of the opera.
Text: Thomas May
普契尼
〈聲音一樣嗎〉，選自 《賈尼．斯基基》
Puccini
“Era uguale la voce” from Gianni Schicchi
我們的聲音相像嗎？ Era eguale la voce?
Puccini
“Do our voices sound the same?” from GianniSchicchi
Do our voices sound the same? 噢！贏了！贏了！ Ah! Vittoria! vittoria!
Oh! Victory! Victory! 你不明白嗎？ Ma non capite?...
唉，真是一群傻瓜！ Ah!... che zucconi!
快到公證人那兒 Si corre dal notaio.
Don’t you understand?
Oh, what idiots!
You run to the notary’s 「公證人先生，快！ “Messer notaio, presto!
快來布索．多南提這兒 Via da Buoso Donati!
“Master notary, quick!
Come to Buoso Donati’s 他的情況越來越糟了
C’è un gran peggioramento!
所以想立個遺囑！ Vuol fare testamento!
請把文件帶上
He’s getting a lot worse!
He would like to make his will!
Portate su con voi le pergamene, Bring the papers with you 快，先生，不然就來不及了！」 presto, messere, se no è tardi!”
Quick, master, or it will be too late!” 於是公證人來了 Ed il notaio viene.
他進入房間
Entra: la stanza
And the notary arrives.
He enters: the room
只見裏面半明半暗 è semioscura, is half-covered in darkness 布索的身影 dentro il letto intravede
In the bed the figure of 在床上若隱若現 di Buoso la figura!!
頭戴睡帽 In testa la cappellina!
Buoso can be seen
On his head sits a night-cap 臉上放了一方手帕 al viso la pezzolina!
On his face a handkerchief
睡帽和手帕之間有個鼻子 Fra cappellina e pezzolina un naso Between them is a nose
看起來像布索， 但其實是我的 che par quello di Buoso e invece è il mio, that looks like Buoso’s, but is mine instead
是我代替布索躺在這兒！ perché al posto di Buoso ci son io! as it is me who lies in place of Buoso! 我，斯基基，
換上不同聲音和面貌
Io, lo Schicchi con altra voce e forma!
I, Schicchi, who assumes a different voice and shape, 佯裝成布索．多南提 Io falsifico in me Buoso Donati, is pretending to be Buoso Donati, 立遺囑、取得認證 testando e dando al testamento norma! making a will and ratifying it 朋友們！在我腦海閃現的 O gente! questa matta bizzarria O friends! This mad strangeness
這個曠世奇想 che mi zampilla nella fantasia that sprang up in my imagination 將會永垂不朽！ è tale da sfidar l’eternità! is great enough to defy eternity!
羅西尼
〈我聽到一縷歌聲〉，選自 《塞維利亞的理髮師》
Rossini
“Una voce poco fa” from IlbarbierediSiviglia
Rossini
“A voice a little while ago” from TheBarberofSeville
方才那聲音 Una voce poco fa A voice a little while ago
在我心中迴盪 qui nel cor mi risuonò; here in my heart echoed 我的心早已受傷 il mio cor ferito é gia
My heart is already wounded
被林多羅射穿 e Lindor fu che il piagò. and Lindor was the one who pierced it 是的，他會成為我的林多羅 Si, Lindoro mio sarà, Yes, my Lindoro he shall be 我發誓，我必將成功 lo giurai, la vincerò.
I swore – I shall win 我的監護人定會反對 Il tutor ricuserà, My guardian will object 但我會隨機應變 io l’ingegno aguzzerò, I will sharpen my wits 到時候他自然會冷靜下來 alla fin s’accheterà
In the end he will calm down 那我也能放心了 e contenta io resterò. And I shall be content 我是多麽溫婉，多麽大方得體 Io sono docile, son rispettosa, I am docile, I am respectful
我是多麽順從、甜美、可愛 sono ubbidiente, dolce, amorosa, I am obedient, sweet, loving
我任人操弄，任人帶領 mi lascio reggere, mi fo’ guidar. I let myself be led, I let myself be guided 但如果他們膽敢 Ma se mi toccano But if they touch me
攻擊我的弱點 dov’e il mio debole, where my weak spot is 我將化身為毒蛇 sarò una vipera, I shall turn into a viper
還有一百般陷阱 e cento trappole and a hundred traps 在我屈服之前 prima di cedere before giving in
我將扣動扳機 farò giocar. I shall set off
唐尼采第
〈添酒！添酒！來讓那風 卸去〉，選自《夜鐘》
添酒！添酒！來讓那風卸去 所有疑慮，所有哀思
唯有歡樂之頌
在我們當中響起 喜樂的快感之中 有着真正的快樂
Donizetti
“Mesci mesci e sperda il vento” from IlCampanello
Mesci, mesci e sperda il vento
Donizetti
“Pour, pour and let the wind carry away” from TheNightBell
Pour, pour and let the wind carry away ogni cura, ogni lamento; every concern, every sorrow solo il canto del piacere
Only a song of pleasure risuonar fra noi s’udrà. will be heard among us Nell’ebrezza del piacere
In the ecstasy of pleasure Sta la vera ilarità. lies true happiness
它正在逝去，它正在逝去 Se ne va, se ne va,
It goes away, it goes away 啊，它正一閃而逝 ah, brilla e rapido se ne va.
添酒，添酒，在杯中
Mesci, mesci; nel bicchiere
Ah, it flashes and quickly goes away
Pour, pour; in the glass 有着真正的快樂
羅西尼
「舞」，選自《音樂晚會》 第八首
月兒已升至海中央
Sta la vera ilarità. lies true happiness
Rossini
Soirées Musicales: No 8 “La Danza”
Già la luna in mezzo al mare
Rossini
Musical Evenings: No 8 “The Dance”
Already the moon is o’er the sea
哎喲，來跳舞吧 Mamma mia, si salterà Mamma mia, we shall dance 此刻正值良辰美景 L'ora è bella per danzare
The hour is ripe for dancing 熱戀中的人兒怎能錯過？ Chi è in amor non mancherà
月兒已升至海中央
Già la luna in mezzo al mare
Those in love shan’t miss
Already the moon is o’er the sea 哎喲，來跳舞吧 Mamma mia, si salterà Mamma mia, we shall dance 快來轉圈圈 Presto in danza a tondo a tondo
Quickly, dancing round and round 過來吧，姑娘們 Donne mie, venite quà
一個開朗的俊俏小伙子 Un garzon bello e giocondo
My ladies, come here
A handsome, cheery lad 會欣然和所有人跳一次舞 A ciascuna toccherà is happy to dance with everyone 星星在夜空中閃爍 Finché in ciel brilla una stella
While the star glows in the sky 月兒綻放着耀眼光芒 E la luna splenderà and the moon shines brightly 最英俊的小伙子和最美的姑娘 il più bel con la più bella
The handsomest and the fairest one 將會徹夜共舞
Tutta notte danzerà shall dance the night away 哎喲喲，哎喲喲 Mamma mia, mamma mia
月兒已升至海中央
Già la luna è in mezzo al mare
Mamma mia, mamma mia
Already the moon is o’er the sea 哎喲喲，哎喲喲 Mamma mia, mamma mia
哎喲，來跳舞吧 Mamma mia, si salterà
Mamma mia, mamma mia
Mamma mia, we shall dance
快 Frinche, Faster 哎喲喲，哎喲喲 Mamma mia, mamma mia
Mamma mia, mamma mia 哎喲，來跳舞吧 Mamma mia, si salterà
啦啦啦哇啦哇
跳、跳、轉、轉
La la la ra la ra
Salta, salta, gira, gira
Mamma mia, we shall leap
La la la ra la ra
Jump, jump, spin, spin 每對舞伴都在轉圈圈
Ogni coppia a cerchio va
Each couple goes in a circle 前進 Già s'avanza
後退，再回到原來的地方 Si ritira e all'assalto tornerà
緊緊握住那金髮姑娘
Serra, serra colla bionda
Advancing
Retreating, and back to where you began
Hold on tight to the blonde 偕褐髮姑娘去這去那
和紅髮女孩來個第二回
Colla bruna qua e là
Colla rossa va a seconda
Go here and there with the brunette
Take the redhead for a second round 再和白皙的姑娘消停一下
Colla smorta fermo sosta
Stand still with the pale one 轉圈圈萬歲
Viva il ballo a tondo a tondo
Here’s to dancing round and round 我是王，是鄂圖曼將軍
Sono un re, sono un pascià
I am a king, I am a pasha 這是最美麗的歡愉 E il più bel piacer del mondo
‘Tis the greatest delight in this world 最棒的享受 La più cara voluttà
哎喲喲，哎喲喲
Mamma mia, mamma mia
The dearest pleasure
Mamma mia, mamma mia 月兒已升至海中央 Già la luna in mezzo al mare
Already the moon is o’er the sea 哎喲，來跳舞吧 Mamma mia, mamma mia, si salterà Mamma mia, we shall leap
羅西尼
〈是我…你不是騙我吧？〉， 選自《塞維利亞的理髮師》
羅西娜
是我……你不是騙我吧？
Rossini
“Dunque io son… Tu non m’inganni?” from Il barbiere diSiviglia
Rosina Dunque io son… tu non m’inganni?
Rossini
“So I am... are you not deceiving me?” from The Barber of Seville
Rosina
So I am... are you not deceiving me? 我是……那幸運兒！
（我早就想像過
Dunque io son… la fortunata! So I am... the lucky one!
(Già me l’ero immaginata: (I already imagined it, 在你意識到之前就知道了） lo sapevo pria di te) I knew it before you did) 費加羅 林多羅的意中人
Figaro
Di Lindoro il vago oggetto
Figaro
The object of Lindoro’s affections 就是你，美麗的羅西娜 siete voi, bella Rosina. is you, lovely Rosina （噢，好個狡黠的小狐狸！ (Oh, che volpe sopraffina! (Oh, what a fine little fox! 不過她的對手是我） Ma l’avrà da far con me)
羅西娜
聽着，聽着……我該怎麽樣
Rosina Senti, senti ma a Lindoro
Though she will have to deal with me)
Rosina
Listen, listen how should I 和林多羅說上話呢？ per parlar come si fa? speak to Lindoro?
費加羅
噓，噓，林多羅很快
Figaro Zitto, zitto, qui Lindoro
Figaro
Hush, hush, Lindoro will be here 就要來找你了 per parlarvi or or sarà. to speak to you soon
羅西娜
找我？太好了！太好了！
Rosina Per parlarmi? Bravo! Bravo!
Rosina Speak to me? Splendid! Splendid! 讓他悄悄地來 Venga pur, ma con prudenza; Let him come, but cautiously; 我等得不耐煩了！ io già moro d’impazienza! I’m dying of impatience!
他在做甚麽？為何遲遲不來？ Ma che tarda, cosa fa?
費加羅
可憐的東西，他在等待你吐露
Figaro
Egli attende qualche segno,
But why the delay? What’s he doing?
Figaro
He’s waiting for some sign,
哪怕絲毫愛意 poverin, del vostro affetto; poor thing, of your affection;
你只消給他捎張小字條 sol due righe di biglietto
Just send him two lines on a note 他便會來到你身邊 gli mandate e qui verrà and he will come
你看怎麽樣？
羅西娜
我不……
費加羅
鼓起勇氣來
羅西娜
我不知道
費加羅
就寫兩句嘛
羅西娜
這太令人害臊了
費加羅
怎麽了？怎麽了？ 快，快，寫個小字條給我
羅西娜
字條？你拿去吧
費加羅
原來早就寫好了！
Che ne dite?
Rosina Non vorrei...
Figaro Su, coraggio
Rosina Non saprei
Figaro
Sol due righe
Rosina Mi vergogno
Figaro
Ma di che? Ma di che? Si sa! Presto, presto, qua il biglietto
Rosina Un biglietto? Eccolo qua
Figaro
Gia era scritto!
我真傻！ Ve’ che bestia!
還恬不知恥要教育她呢！ Il maestro faccio a lei!
羅西娜
我的心意得到了回報
Rosina Fortunati affetti miei,
What say you?
Rosina I wouldn’t like
Figaro
Come on, have courage
Rosina I don’t know
Figaro
Just two lines
Rosina I’m embarrassed
Figaro
But why? But why? Quick, quick, give me a note
Rosina
A note? Here you go
Figaro
Already written!
What a fool I am!
Yet here I am giving her a lesson?
Rosina
So my affections have been fortunate 現在終於能夠喘一口氣了 io comincio a respirar
費加羅
哈，這小妮子才是
Figaro
Ah, che in cattedra costei
Now I can finally breathe
Figaro
Ah, she can make a teacher
真正的謀士！ di malizia puo dettar of the art of cunning
羅西娜
啊，只有你，我的愛
Rosina
Ah, tu solo, amor, tu sei
Rosina
Ah, you alone, my love
可以撫慰我 che mi devi consolar can console me
費加羅
女人，女人，飄忽如神女
Figaro Donne, donne, eterni dei,
Figaro
Women, women, eternal goddesses, 誰能猜透她們的心？ chi v’arriva a indovinar?
who can make out their minds?
中譯：陳劭儀
Chinese Translation: Shao yi Chan
博洛尼亞市立歌劇院樂團
Orchestra of the Teatro Comunale di Bologna
總監及藝術總監
Superintendent and Artistic Director
Fulvio Macciardi
指揮 杜拿多．倫澤第
Conductor Donato Renzetti
第一小提琴 First Violin
Emanuele Benfenati Concertmaster
Federico Braga Principal
Alessandro Bonetti
Alessandro Fattori
Silvia Mandolini
Paolo Mora
Davide Rigato
Fabio Sperandio
Alessandra Talamo
Stela Thaci
Michele Poccecai
Woon Young Kang
第二小提琴 Second Violin
Fabio Cocchi Principal
Sara Bellettini
Marzia Bosi
Giacomo Bramanti
Sophie Chang
Laura Maniscalco
Elena Maury
Federica Severini
Giulio Franchi
Elia Torreggiani
中提琴 Viola
Benjamin Bernstein Principal
Alessandro Savio
Sandro Di Paolo
Chiara Meneghinello
Costanza Negroni
Barbara Ostini
Florinda Ravagnani
Stefano Zanolli
大提琴 Cello
Francesco Maria Parazzoli Principal
Fabio Lambroni
Vittorio Piombo
Matteo Tabbia
Chiara Tenan
Elena Sofia Zivas
低音大提琴 Double Bass
Fabio Quaranta Principal
Yen Chi Liang
Roberto Pallotti
Antonio Di Costanzo
長笛 Flute
Devis Mariotti Principal
Anna Colacioppo
雙簧管 Oboe
Gianluca Pellegrino Principal
Andres Fernandez Perez (英國管 English Horn)
單簧管 Clarinet
Simone Nicoletta Principal
Adriana Boschi
巴松管 Bassoon
Caterina Madini Principal
Anna Vittoria Zanardi
(低音巴松管 Contrabassoon)
圓號 Horn
Paride Canu Principal
Imerio Prina Tagliaferri
Neri Noferini
Maurizio Cavallini
小號 Trumpet
Ulrich Breddermann Principal
Marzio Montali
長號 Trombone
Paolo Masi Principal
Gianluca Corbelli
Andrea Talassi
定音鼓 Timpani
Radiana Redaelli Principal
敲擊樂器 Percussion
Massimiliano Govoni
Mirko Natalizi
Athos Bovi
Gianni Dardi
豎琴 Harp
Cinzia Campagnoli Principal
鋼片琴 Celesta
Nicoletta Mezzini
鐘琴 Glockenspiel
Anna Bosacchi
製作辦事處 Production Office
Andrea Gozza
藝術秘書處 Artistic Secretariat
Maria Gabriella D’Auria
樂團經理 Orchestra Manager
Katia Foschi
樂譜管理 Music Archive
Valentina Brunetti
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
嘉里控股有限公司
Kerry Holdings Limited
鉑金會員 Platinum Member
黃金會員 Gold Members
怡和集團
純銀會員 Silver Member
太古地產
The Jardine Matheson Group Swire Properties
上海商業銀行有限公司
Shanghai Commercial Bank Limited
香港藝術節 2024 慈善晚宴之贊助人
Sponsors of the Hong Kong Arts Festival 2024 Gala Dinner
鑽石席 – 宴桌 Diamond Table Sponsors
查懋成先生 Mr Victor Cha
呂耀東先生 Mr Francis Lui
何超盈博士 Dr Sabrina Ho
鑽石席 – 宴位 Diamond Seat Sponsors
無名氏 Anonymous
黃金席 – 宴桌 Gold Table Sponsors
無名氏 Anonymous
鄭阮培恩女士 Mrs Betty Yuen Cheng
其他支持機構 Other Supporters
荷蘭表演藝術基金
Performing Arts Fund NL
實物支持機構
In-Kind Supporters
半島酒店 The Peninsula Hotel Limited
鄭慧恩小姐及友人 Ms Vena Cheng and friends
馮愉敏先生 Mr Michael Fung
莫慶雄醫生 Dr Mok Hing Hung
摩根大通私人銀行 ( 香港 ) J.P. Morgan Private Bank (HK)
呂元祥博士及夫人 Dr & Mrs Ronald Lu
文肇偉先生 Mr Sebastian Man
文藝女士 Ms Wen Yi Wendy
黃金席 – 宴位 Gold Seat Sponsors
許鴻光先生 Mr Patrick Hui Hung Kwong
梁婉玲博士 Dr Elina Leung
通利琴行 Tom Lee Music
藝術節捐助計劃 Festival Donation Scheme
鉑金捐款者 PLATINUM DONORS
HK$140,000 或以上 OR ABOVE
Chung Mei Industries Limited
鑽石捐款者 DIAMOND DONORS
HK$70,000 - HK$139,999
無名氏 Anonymous
包陪慧女士 Ms Doreen Pao
上海商業銀行 Shanghai Commercial Bank Limited
翡翠捐款者 JADE DONORS
HK$30,000 - HK$69,999
無名氏 Anonymous
陳瑤華小姐 Ms Eva Chan
Nathan Road Investment Limited
Ms. Candice Leung
Karen Lin
Arthur Mui
Ms Wendy Nam
Mrs. Purviz R. Shroff, MH and Late Mr. Rusy M. Shroff, BBS, MBE
Dr Stephen Suen
陳智文先生 Mr Stephen Tan
太古基金 The Swire Group Charitable Trust
黃金捐款者 GOLD DONORS
HK$12,000 - HK$29,999
無名氏 (2) Anonymous (2)
Dr Chow Yat Ngok, York
David and Monse Eldon
Mr Jeffrey Chan and Mrs Helen Chan
何子建夫婦 Mr & Mrs HO Che Kin
Sophia Kao
The Elementary Charitable Foundation
曹延洲醫生夫婦 Dr & Mrs TSAO Yen-Chow
曹小玲醫生 Dr Sabrina TSAO
Mr & Mrs YS Wong
純銀捐款者 SILVER DONORS
HK$6,000 - HK$11,999
無名氏 (2) Anonymous(2)
李允丰醫生 Dr Keith Hariman
Ho Man Fung Edith
練紹良先生夫人 Mr & Mrs David S L Lin
Michael Mak
Mrs Schmitt Ling Jane
Ray So
Wang Family Foundation
黃奕鑑先生 Mr Wong Yick Kam
Ms Wu Tseng Helen
Ms Isabel Yiu
姚曼儀 Enoch Yiu
藝術節捐助計劃（續）Festival Donation Scheme (Con't)
青銅捐款者 BRONZE DONORS
HK$3,000 - HK$5,999
無名氏 (8) Anonymous (8)
Richard ARBLASTER
Mrs Anson Chan
Bethan and Tim Clark
CHEUNG Shuk Mei Cora
Flavia & Gary MA
麥志端小姐 Ms Mak Chi Tuen Jennie
Shai Joory
José Manuel Sevilla & Julie Bisaillon
TAM Ching Yee
Christine TONG
Wong Kam Ming Chris
Yang Rubi Ruby
Cecilia Yeung
Zhu Yuying
學生票捐助計劃 Student Ticket Scheme
鉑金捐款者 PLATINUM DONORS
HK$140,000 或以上 OR ABOVE
無名氏 Anonymous
馬振玉慈善基金會有限公司
CYMA Charity Fund Limited
The Lanson Foundation
鑽石捐款者 DIAMOND DONORS
HK$70,000 - HK$139,999
Mrs. Purviz R. Shroff, MH and Late Mr. Rusy M. Shroff, BBS, MBE
田家炳基金會 Tin Ka Ping Foundation
芝蘭基金會 Zhilan Foundation
陳德鏗先生
翡翠捐款者 JADE DONORS
HK$30,000 - HK$69,999
無名氏 Anonymous
Ms Cheng Wai Ching Margaret
Dr Stephen Suen
黃金捐款者 GOLD DONORS
HK$12,000 - HK$29,999
陳求德醫生夫婦 Dr & Mrs Chan Kow Tak
天智合規顧問有限公司 CompliancePlus Consulting Limited
See Yuen CHUNG
Kenneth Lau & Anna Ang
C H Mak
陳智文先生 Mr Stephen Tan
Mr Allan Yu
純銀捐款者 SILVER DONORS
HK$6,000 - HK$11,999
無名氏 (2) Anonymous (2)
Mr and Mrs Herbert Au-Yeung
新作捐助計劃 New Works Scheme
翡翠捐款者 JADE DONORS
HK$30,000 - HK$69,999
Nathan Road Investment Limited
黃金捐款者 GOLD DONORS
HK$12,000 - HK$29,999
劉仰澤 Lau Yeung Chak
凌霄志醫生 Dr Tony Ling
純銀捐款者 SILVER DONORS
HK$6,000 - HK$11,999
MDB&StarB Chan
Dr. Cindy Chan
CHIANG Grace
Mrs Margaret Hamilton
李允丰醫生 Dr Keith Hariman
S Hon
麥禮和醫生 Dr Mak Lai Wo
Karen and Vernon Moore
Ms Teresa Pong
曹延洲醫生夫婦 Dr & Mrs TSAO Yen-Chow
徐伯鳴、黃碧如 Chui Pak Ming Norman, Wong Pie Yue Cleresa
Anna W.Y. Chan and Henry N.C. Wong
Ms Wu Tseng Helen
青銅捐款者 BRONZE DONORS
HK$3,000 - HK$5,999
無名氏 (3) Anonymous (3)
區燊耀先生 Mr Au Son Yiu
Biz Office Limited
Carthy Limited
陳允彤醫生 Dr Chan Wan Tung
D. Chang
Cheung Kit Fung
Community Partner Foundation Limited
李鈞榮博士 Dr Eddy Li
Ms Janice Ritchie
Alan and Penny Smith
Savita Leung
Lian Crystal Rhinestone
Dr Xina Lo
YIM Chui Chu
殷和順先生及劉善萍女仕
青銅捐款者 BRONZE DONORS
HK$3,000 - HK$5,999
無名氏 (2) Anonymous (2)
D. Chang
CHANG Shen
Ms CHIU Shui Man Tabitha
W W Y Ho
Dr Alfred Lau
Mr LEE Ming Wai Joannes
李芸輝博士 Dr LEE Wan Fai Walter
網上藝術教育捐助計劃 Digital Arts Education Scheme
青銅捐款者 BRONZE DONORS
HK$3,000 - HK$5,999
無名氏 Anonymous
HKCT ABRSM Alumni Association
香港藝術節基金會贊助人
Hong Kong Arts Festival Foundation Patrons
首席創始贊助人 Lead Founding Patrons
陳俊豪先生 Mr Thomas Chan
黃廷方慈善基金 Ng Teng Fong Charitable Foundation
電訊盈科 PCCW
九龍倉集團 The Wharf Group
主要創始贊助人 Major Founding Patrons
萬通保險國際有限公司 YF Life Insurance International Ltd
眾安銀行 ZA BANK
創始贊助人 Founding Patrons
陳煒文博士 , JP Dr Raymond Chan, JP
丹斯里拿督邱達昌 Tan Sri Dato' David Chiu
曹其鋒先生 Mr Silas Chou
霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok
馮氏基金有限公司 E.M. Fung Foundation Limited
何超瓊女士 , SBS, JP Ms Pansy Ho, SBS, JP
科勁國際（控股）有限公司 King's Flair International (Holdings) Limited
梁婉玲博士 Dr Elina Leung
孫漢明博士 Dr Stephen Suen
包陪麗女士 , BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari
Agnes Chu Vocal Studio
教育局藝術教育組 Arts Education Section, Education Bureau
網上售票平台 Art-mate
香港展能藝術會 Arts with the Disabled Association Hong Kong
AS Production Co., Limited
亞洲文化協會香港分會 Asian Cultural Council Hong Kong
香港愉景灣酒店 Auberge Discovery Bay Hong Kong
奧地利駐港總領事館 Austrian Consulate General Hong Kong
Backstage Music Studio
Ballet Blanc
卓藝舞蹈學院 Balletbean Dance Academy
BRICK LANE
英國駐香港總領事館 British Consulate General Hong Kong
百老匯院線 Broadway Circuit
CAMPSITE
思藝舞蹈中心 CB Dance Studio
中英劇團 Chung Ying Theatre Company
城市當代舞蹈團 City Contemporary Dance Company
Cloverland Music and Arts Centre Limited
阿根廷駐香港總領事館 Consulate General of Argentina in Hong Kong
比利時駐香港總領事館 Consulate General of Belgium in Hong Kong
加拿大駐香港及澳門總領事館 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 & Macau
愛爾蘭駐香港總領事館 Consulate General of Ireland in Hong Kong
意大利駐香港總領事館 Consulate General of Italy Hong Kong
日本國駐香港總領事館 Consulate-General of Japan in Hong Kong
馬來西亞駐香港總領事館 Consulate General of Malaysia in Hong Kong
西班牙駐港總領事館 Consulate General of Spain in Hong Kong
瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong
捷克共和國駐港總領事館 Consulate General of the Czech Republic
荷蘭駐港總領事館 Consulate General of the Kingdom of Netherlands in Hong Kong and Macau
大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong
新加坡駐香港總領事館 Consulate General of the Republic of Singapore in Hong Kong.
俄羅斯聯邦駐香港總領事館 Consulate General of the Russian Federation in Hong Kong
美國駐香港及澳門總領事館 Consulate General of the United States, Hong Kong and Macau
創藝舞蹈學院 Creation Dancing Academy
寶貝芭蕾舞學校 Dance with Me Ballet Academy
Edmond Cheng's Music Center Ltd.
誠品書店 eslite bookstore FOSSA.ART Studio
德國駐香港總領事館 German Consulate General Hong Kong
纋雅芭蕾舞學校 Glamor Ballet School
Glenda Allen Dance Academy
六國酒店 Gloucester Luk Kwok Hong Kong
香港君悅酒店 Grand Hyatt Hong Kong
廣州市唄壳文化發展有限公司 Guangzhou Beike Culture Development Co. Ltd.
香港藝術中心 Hong Kong Arts Centre
香港中樂團 Hong Kong Chinese Orchestra
香港大會堂 Hong Kong City Hall
香港文化中心 Hong Kong Cultural Centre
香港文化博物館 Hong Kong Heritage Museum
香港藝術館 Hong Kong Museum of Art
香港話劇團 Hong Kong Repertory Theatre
香港小交響樂團 Hong Kong Sinfonietta
香港旅遊發展局 Hong Kong Tourism Board
摩洛哥駐香港名譽領事館 Honorary Consulate of Morocco in Hong Kong
可允芭蕾 Howan Ballet
入境事務處 Immigration Department
敲擊樂藝術中心 Initial-P Music Ltd
益普索 IPSOS
王仁曼芭蕾舞學校 Jean M. Wong School of Ballet
高山劇場 Ko Shan Theatre
葵青劇院 Kwai Tsing Theatre
勞工處 Labour Department
康樂及文化事務署 Leisure and Cultural Services Department
牧羊少年與他的浮萍 Lemna of the Alchemist
陳綺婷舞蹈及藝術學院 Les Danseurs Dance Academy
曾眉芭蕾舞學校 Le Studio Ballet
Maxibit HK/China
MOViE MOViE
Ms Grace Li
Munchkinlands Company
迷音樂 Musikholic
南蓮園池 Nan Lian Garden
北區大會堂 North District Town Hall
柏斯琴行 Parsons Music Limited
Performing Arts Fund NL
迷離科技有限公司 Practical Magic and Innovation
犇華企業服務有限公司 Primasia Corporate Services Limited
舍區 Quarryside
RED ZHU
富豪九龍酒店 Regal Kowloon Hotel
富豪東方酒店 Regal Oriental Hotel
黃日芝芭蕾舞學校 Regine Wong School of Ballet
倫敦皇家歌劇院及芭蕾舞團館藏 Royal Opera and Ballet Collections
皇家太平洋酒店 Royal Pacific Hotel
沙田大會堂 Sha Tin Town Hall
上環文娛中心 Sheung Wan Civic Centre
Southgate Design
春天芭蕾舞學校 Springtide Ballet School
大館—古蹟及藝術館 Tai Kwun Centre for Heritage and Arts
台灣蘇富比國際房地產 Taiwan Sotheby's International Realty
駐香港臺北經濟文化辦事處 Taipei Economic and Cultural Office in Hong Kong
藝林文具印刷有限公司 The Artland Co. Ltd.
瑞典駐香港及澳門總領事館 The Consulate General of Sweden in Hong Kong and Macau
灣景國際 The Harbourview
香港演藝學院 The Hong Kong Academy for Performing Arts
音樂學院 School of Music
表演場地管理部 Venue Performance Unit
場地技術部 Venue Technical Unit
香港兒童合唱團 The Hong Kong Children's Choir
香港管弦樂團 The Hong Kong Philharmonic Orchestra
加拿大國家芭蕾舞團 The National Ballet of Canada
香港半島酒店 The Peninsula Hong Kong
港青—香港基督教青年會 The Salisbury – YMCA of Hong Kong
荃灣大會堂 Tsuen Wan Town Hall
屯門大會堂 Tuen Mun Town Hall
東華三院東蒲 TWGHs TungPo
郭慧芸芭蕾舞學校 Vivian Kwok School of Ballet
西九文化區管理局 West Kowloon Cultural District Authority
Wewow House
艾希妮控股有限公司 X Social Group Holdings Limited
高木 Yakitori Takagi
元朗劇院 Yuen Long Theatre
電話 TEL （852）2824 3555
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
地址 ADDRESS
香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
贊助人
李家超先生 , PATRON
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
永遠名譽會長 邵逸夫爵士（1907-2014）
執行委員會
主席
盧景文教授
副主席 文肇偉先生
義務司庫 范高廉先生
委員 鄭惠貞女士 馮愉敏先生
何苗春暉女士
薛文熹先生 譚榮邦先生 姚潔莉女士 楊 光先生
節目委員會
主席 譚榮邦先生
委員 白諾信教授 羅志力先生 毛俊輝教授
約瑟・施力先生 + 姚 珏女士
財務委員會
主席
委員
發展委員會
范高廉先生
鄭惠貞女士
梁國輝先生
委員 張詩樂先生 馮愉敏先生 馮穎詩女士 梁嘉彰女士 龐心怡女士 孫林宣雅女士
文 藝女士
顧問 夏佳理先生 鮑 磊先生 查懋成先生 陳祖澤博士
陳達文博士
霍 璽先生
李業廣先生 梁紹榮夫人
李國寶博士
名譽法律顧問 甘乃迪女士 （美博香港律師事務所）
核數師 羅兵咸永道會計師事務所
HONORARY LIFE PRESIDENT
EXECUTIVE COMMITTEE
The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
Chairman Prof. Lo Kingman, SBS MBE JP
Vice-Chairman
Honorary Treasurer
Members
PROGRAMME COMMITTEE
Chairman
Members
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
Mr Sebastian Shiu-wai Man
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Michael Fung
Ms Joanna Hotung
Mr Hugh Simon
Mr Tam Wingpong, SBS
Ms Miriam Yao
Mr Sunny Yeung
Mr Tam Wingpong, SBS
Prof. Giorgio Biancorosso
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Ms Jue Yao, SBS JP
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Nelson Leong
Mr Carey Cheung
Mr Michael Fung
Ms Ophelia Fung
Ms Catherine Leung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Mr Victor Cha
Dr John CC Chan, GBS JP
Dr Darwin Chen, SBS ISO
Mr Angus H Forsyth
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
Ms Gabriela Kennedy, Mayer Brown Hong Kong LLP
PricewaterhouseCoopers
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋、蘇國雲
副節目總監 李冠輝
高級節目經理 蘇雪凌、游慧姿*
節目經理 鄭佩群*、趙蔚霖*、廖國穎*、 馬筠婷*
節目統籌 容諾行*
節目主任 周 翹*、鍾曉晴*
製作助理 陳娟瑜#
節目助理 黃明儀#
物流
物流及接待經理 金學忠*
技術
製作經理 梁雅芝*
副製作經理 陳梓衡*
出版
編輯經理 陳詠恩*
英文編輯 Adam Wright*
副編輯 陳劭儀*、楊紫媛*
外展
外展經理 林嘉敏*
外展統籌 李幸凝*、鄧芷蔚*、黃思婷*
外展主任 陳沅渟*、趙家琳*
外展助理 郭曉潼*、汪意玲*
市場推廣
市場總監 鄭尚榮
副市場總監 盧伯全
市場經理 陳綺紅*、鄭曉恩*、張予心*
副市場項目經理 李穎軒*、譚懿諾*
副市場經理 曾諾怡*
市場統籌 盧之愷*
市場主任 梁喬正*
市場助理 陳慧琳#
票務
高級市場經理（票務） 梁彩雲
票務助理 蔡嘉熹*
發展
發展總監 簡潤如
特別發展協理 蘇啟泰*
高級發展經理 譚樂瑤
發展經理 葉巧儀*、黃珮茵*
助理發展經理 黃堅詠*
發展助理 葉涴喬*
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗*
會計及行政助理 麥婕妤*
人力資源及行政 人力資源及行政經理 楊美君* 接待員/初級秘書 李美娟 助理 黃國愛 資訊科技
資訊科技經理 陳啟明*
無限亮
項目總監 錢 佑*
節目及外展經理 鍾美琼*、高君*、吳卓恩*
助理節目及外展經理 潘詠汶*
節目及外展統籌 張沚鈴*
市場經理 黃嘉欣*
副市場經理 陳佩鈴*、吳雪琼*
助理製作經理 鄭家裕*
高級會計主任 鍾巧明*
藝術家統籌經理 朱芷慧*
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Programme Coordinator
Programme Officers
Production Assistant
Programme Assistant
LOGISTICS
Logistics Manager
TECHNICAL
Production Manager
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Crystal Chiu*,
Sophie Liao*, Katie Ma*
Ryan Yung*
Nicole Chow*, Dorothy Chung*
Alice Chan#
Melissa Wong#
Elvis King*
Shirley Leung*
Deputy Production Manager Jacob Chan*
PUBLICATIONS
Editorial Manager
English Editor
Associate Editors
OUTREACH
Outreach Manager
Outreach Coordinators
Eugene Chan*
Adam Wright*
Shao yi Chan*, Trista Yeung*
Carman Lam*
Giselle Li*, Tina Tang*, Ariel Wong*
Outreach Officers Olivia Chan*, Raven Chiu*
Outreach Assistants
MARKETING
Marketing Director
Angel Kwok*, Elaine Wong*
Katy Cheng
Associate Marketing Director Eugene Lo
Marketing Managers Annie Chan*, Vicki Cheng*, Stephanie Cheung*
Deputy Project Managers - Marketing Hill Li*, Hades Tam*
Deputy Marketing Manager
Marketing Coordinator
Marketing Officer
Margaret Tsang*
Lettie Lo*
Isaac Leung*
Marketing Assistant Kelly Chan#
TICKETING
Senior Marketing Manager (Ticketing) Eppie Leung
Ticketing Assistant
DEVELOPMENT
Development Director
Heidi Choi*
Brenda Kan
Special Development Associate Alex So*
Senior Development Manager
Development Managers
Assistant Development Manager
Development Assistant
CORPORATE SERVICES
Lorna Tam
Evelyn Ip*, Janice Wong*
Angela Wong*
Jeria Yip*
Finance Director Teresa Kwong
ACCOUNTS
Account Manager
Connie To*
Accounting & Administrative Assistant Charmaine Mak*
HR & ADMINISTRATION
HR and Admin Manager
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
General Assistant Bonia Wong
INFORMATION TECHNOLOGY
Information Technology Manager
NO LIMITS
Project Director
Derek Chan*
Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Jasmine Poon* Manager
Programme and Outreach Coordinator Cheung Chi-ling*
Marketing Manager Carly Wong*
Deputy Marketing Managers Gina Chan*, King Ng*
Assistant Production Manager Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、莊唯*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、Giacomo Matelloni*、曾婷欣*、胡肇婷*、楊嘉嘉*、翁蒨懃*
製作主任 王子蕙*
技術統籌 張詠宜*、范文恩*、李浩賢*、彭家達*、曾以德*
Head of Artist Coordinators Eleanor Chu*
Artist Coordinators Haynes Cheung*, Viola Chong*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Giacomo Matelloni*, Renee Tsang*, Blanche Wu*, Jiajia Yang*, Bonnie Yung*
Production Officer Anissa Wong*
Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助
# 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
