National Theatre Brno - The Cunning Little Vixen - 49th Hong Kong Arts Festival by Hong Kong Arts Festival

捷克布爾諾國家歌劇院 National Theatre Brno

THE CUNNING LITTLE VIXEN 猾的小狐狸

放映節目贊助 Screening sponsored by

行政長官的話

MESSAGE FROM THE CHIEF EXECUTIVE

大部分節目，當中許多節目更開放予世界各地愛好藝術的觀眾。

衷心祝賀香港藝術節今年踏入第 49 屆。這一年一度的藝術盛事在新冠肺炎疫情的挑戰下，仍然辦得有聲有色，精采可期。

今年藝術節帶來一連串繽紛多彩的網上及現場節目，涵蓋音樂、歌劇、戲劇、舞蹈、電影等多個藝術範疇。總體來說，藝術節會在「遠在咫尺」的主題下，呈獻合共約三百場節目、活動及表演。藝術節的亮點，包括捷克布爾諾國家歌劇院及其兩年一度「布爾諾楊納傑克節」的多場精選數碼版歌劇及音樂會。同樣引人注目的，還有兩部取材自英國劇作家尼爾．巴奈特改編劇作《鼠疫》的發人深省作品，一部為英語版，另一部為粵語版。粵語版為香港本地製作，英語版則由身處六個地區的六名演員作網上實時演出。來自蘇格蘭鄉村的魔術師史葛．蕭凡亦會在網上實時演出，他的互動作品《心靈旅程》每場只限三十位觀眾參與。此外，亦有十六部慶祝香港賽馬會當代舞蹈平台十周年的製作，包括與中國內地及英國藝術家合力創作的作品。在藝術節開幕演出中，香港中樂團會進行兩首曲目的世界首演，而廣獲讚譽的莫斯科莫伊謝耶夫舞團，則會為這國際藝壇盛會作閉幕演出。我很高興市民可於登記後免費觀賞

藝術節一如以往，在學校推廣藝術教育，並透過幕後花絮影片、藝術家對談、演前及演後講座等「加料節目」，讓觀眾與藝術家互動交流。

衷心感謝香港藝術節團隊努力不懈，悉心籌辦以上各項節目及活動。我亦感謝贊助商和捐款者大力支持藝術文化，與藝術文化界共渡時艱。謹祝香港藝術節圓滿成功，為大家帶來一趟精采難忘的藝術之旅。

It gives me great pleasure to congratulate the Hong Kong Arts Festival on the staging of its 49th annual celebration of the arts, and doing so in splendid fashion despite the daunting challenges of the COVID-19 pandemic. This year’s Festival features a cheering range of online and in-venue programmes showcasing music, opera, theatre, dance, film and more. In all, the Festival presents some 300 events, activities and performances under the theme “Separate Together”. Festival highlights include a dazzling digital selection of operas and concerts from the Czech Republic’s National Theatre Brno and its biennial Janá ek Brno Festival. Equally notable are two piercing productions of British playwright Neil Bartlett’s adaptation of The Plague, one in English, the other in Cantonese. The Cantonese version is produced in Hong Kong, while the English version is a live

香港特別行政區行政長官

林鄭月娥

online performance starring six actors in six time zones. Illusionist Scott Silven also performs online and live, from rural Scotland. His interactive production, The Journey, is limited to 30 participants per show. The Hong Kong Jockey Club Contemporary Dance Series celebrates its 10th anniversary with 16 productions, including collaborations with artists from the Chinese mainland and the United Kingdom. The Festival opens with the Hong Kong Chinese Orchestra performing two world premieres and concludes its international slate with the acclaimed Igor Moiseyev Ballet from Moscow. I find it particularly gratifying to note that the vast majority of events are available free of charge, upon registration, with many of them open to arts lovers from all over the world. The Arts Festival’s promotion of arts education in schools continues. And PLUS programmes bring together audiences and artists through behindthe-scenes videos, artist dialogues and pre- and post-performance talks. For all that, and much more, I am grateful to the inspired diligence and dedication of the Hong Kong Arts Festival team. My thanks, too, to the sponsors and donors for their generous support to arts and culture, particularly in this trying time. I wish you all an enjoyable and memorable Hong Kong Arts Festival.

Mrs Carrie Lam

Chief Executive Hong Kong Special Administrative Region

主席的話

MESSAGE FROM THE CHAIRMAN

第 49 屆香港藝術節思考「距離」及「聯繫」的意義，我亦希望藉此機會感謝一眾促成今天表演的支持者，這場表演為我們提供難得的機會，探索與他人聯繫的方法。我衷心感謝香港特別行政區政府透

過康樂及文化事務署提供年度撥款，以及香港賽馬會慈善信託基金持續並堅定地支持我們，也感謝眾多企業贊助商、慈善基金會以至個人捐助者，在這前所未有的挑戰中給予我們莫大的幫助，與我們並肩同行。亦要感謝一眾富有才華的藝術家傾力演出，令今天的表演生色不少。同時也感謝觀眾的參與，令演出能圓滿成功。希望你會在今天的演出中找到屬於自己的聯繫，並像我一樣珍視這些連結。

As we reflect on distance and connection in the 49th Hong Kong Arts Festival, I would like to thank everyone who has made this performance possible, giving us an invaluable opportunity to explore ways of connecting with others. I am grateful to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention; and to The Hong Kong Jockey Club Charities Trust for its staunch and ongoing support. Thanks are also due to our corporate sponsors, charitable foundations and individual donors, who continue to stand by us in these unprecedented circumstances. Sincere thanks also go to all of the participating artists, whose talent and dedication have gone into today’s performance; and to you, the audience, without whom the show would not be complete. I hope you will find your own connection to today’s performance and will treasure it as much as I do.

香港藝術節主席

查懋成

Victor Cha

Chairman Hong Kong Arts Festival

行政總監的話

MESSAGE FROM THE EXECUTIVE DIRECTOR

我連同藝術節團隊，很高興歡迎閣下觀賞第 49 屆香港藝術節的演出。

過去一年，香港以至世界情勢面臨前所未有的變化，使我們都體會到分離和孤獨的滋味。「遠在咫尺」所指的，正是我們這種共同經歷的感

With all my colleagues, I am thrilled to welcome you to this performance in the 49th Hong Kong Arts Festival.

Over the past year, we have shared the isolation resulting from unprecedented circumstances both in Hong Kong and around the world. 受。今屆藝術節的不少節目亦與之 “Separate Together” acknowledges 呼應，身處各地的藝術家及觀眾， what we have all been going through, 因為藝術節的演出及活動而拉近彼 and is referenced in a number 此距離。另一方面，「遠在咫尺」亦 of productions this year. It also 點出所有優秀藝術作品擁有的奇妙 alludes to all the separate artists 力量：既能喚起最獨特、深刻的個 and audiences brought together for 人感受和回應，但同時又能讓觀者 performances and events. At the 一同分享種種奧妙、感動、啟迪 same time, “Separate Together” 和鼓舞。今屆藝術節將呈獻眾多演 describes one of the most magical 出，我衷心希望我們會一起體會藝 aspects of great art: its capacity to elicit uniquely and deeply personal 術的奇妙力量。 responses while paradoxically giving 此外，敬請留意一連串「加料節目」 us a shared moment of wonder, to be 活動，為你在演出以外打開新的觀 moved, inspired and uplifted. I hope 賞角度，令觀賞體驗更豐富。請盡 very much that we will experience this together in many performances in the 情投入！ course of the Festival. Please also look out for ancillary PLUS programmes and events, which are curated to provide additional dimensions to the work presented, and enrich your Festival experience. Enjoy!

香港藝術節行政總監

何嘉坤

香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:

Tisa Ho

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 A major international arts festival in, of and for Hong Kong

「藝術的創作與演出給世界帶來美麗，給人類引起鼓舞，給生命充實活力，給社會增添光輝……這是舉辦香港藝術節的崇高意義。」

“Creative and representational arts have a common mission. They bring beauty to the world, courage to mankind, vigour to life, and brilliance to society… Therein lies the noble significance of the Festival.” 香港藝術節協會永遠名譽會長邵逸夫爵士 (1907–2014) Sir Run Run Shaw, CBE, HKAF Honourary Life President (1907–2014)

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，致力豐富香港的文化生活。藝術節的節目精采多元，涉獵音樂、歌劇、戲曲、實驗劇場、芭蕾舞以至街舞等林林總總的類型。過往曾獲邀在藝術節舞台表演的國際演藝名家及團體包括一流的國家歌劇院、劇團、管弦樂團，以及眾多具代表性的表演者等。我們亦經常與傑出的國際藝術家及團體攜手製作演出。

我們亦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 200 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，不少更已在香港及海外多次重演。

為使香港的文化生活更豐富，我們每年於藝術節前及期間主辦一系列多元化並深入社區的「加料節目」，例如電影放映、大師班、展覽、藝人談、後台參觀及文化導賞團等，鼓勵觀眾與藝術家互動接觸。

我們亦銳意將共融藝術理念拓展到社區每一角落。由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限亮」計劃於 2019 年正式開展，透過一系列的演出及多元的教育及社區外展節目，「無限亮」致力創造共融空間，讓不同能力人士均可以一同欣賞、參與及擁抱藝術。

The Hong Kong Arts Festival (HKAF) 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 in February and March each year. Since its launch in 1973, HKAF has presented top international artists and ensembles across multiple genres—from music, opera, Chinese opera and ballet to break dance and experimental theatre. International guests have included major state operas, established theatres, top orchestras and stars of the day. We also frequently partner with renowned international artists and institutions to produce exceptional new works. We have also collaborated with Hong Kong’s own creative talent to produce work which is now part of the local canon and to showcase emerging local artists. Over the years, the HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance—many with successful subsequent performances in Hong Kong and overseas. As part of our enduring commitment to enriching the cultural life of the city, we organise a diverse range of Festival PLUS activities for the community before and during the Festival to enhance engagement between artists and audiences. These include film screenings, masterclasses, exhibitions,

為了培養未來的藝術家和觀眾，我們大力投資下一代的藝術教育。「青少年之友」成立 29 年來，已為逾 782,000 位本地中學生及大專生提供藝術體驗活動。會員可參加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等。通過「學生票捐助計劃」，藝術節每年亦提供約 10,000 張半價學生票。

香港藝術節是一所非牟利機構，其主要收入除了政府的恆常資助及票房外，極大一部分來自各大企業、熱心人士和慈善基金會的贊助和捐款，以及政府針對捐款和贊助收入而提供的配對資助。

*2021 年 1 月更新 Updated January 2021

過往節目一覽

Visit our programme archive

meet-the-artist sessions and guided backstage and cultural tours. Beyond the main Festival, the HKAF also promotes inclusivity and understanding through the arts. Its “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, strives to create an inclusive space for people with different abilities to share the joy of the arts together. To nurture the next generation of artists and audiences, the HKAF also invests heavily in yearround arts education for young people. Over the past 29 years, our “Young Friends” scheme has reached over 782,000 local secondary and tertiary school students; members can enjoy showcases, pre-performance talks, open rehearsals, Festival performances and in-school workshops led by international and local artists. Donations to the Student Ticket Scheme also make approximately 10,000 half-price student tickets available each year. HKAF is a non-profit organisation. Its principal income sources are: recurrent funding from the government, box office revenues, and sponsorship and donations made by corporations, individuals and charitable foundations which form a significant portion of total income and also enables HKAF to receive support from the Government’s matching scheme that matches income generated through private sector sponsorship and donations.

香港藝術節 HONG KONG ARTS FESTIVAL 感謝 would like to thank

贊助 for sponsoring 「香港賽馬會藝粹系列」之捷克布爾諾國家歌劇院《狡猾的小狐狸》節目放映

THE SCREENING OF THE CUNNING LITTLE VIXEN BY NATIONAL THEATRE BRNO as part of THE HONG KONG JOCKEY CLUB SERIES

捷克布爾諾國家歌劇院 National Theatre Brno

《狡猾的小狐狸》

THE CUNNING LITTLE VIXEN 13–16.03.2021 網上演出

Online Performance

演出長約 1 小時 35 分鐘

Approx 1 hour and 35 minutes

劇情大綱

專題文章

關於楊納傑克

歌劇團簡介

創作團隊簡介

演員簡介

Synopsis

Feature Article

About Leoš Janá ek

Company Profile

Creative Team Profiles

Cast Profiles

捷克語演出，附中、英文字幕

Performed in Czech with Chinese and English subtitles

只限香港地區播放

Hong Kong only

香港藝術節感謝天開數碼媒體有限公司為《狡猾的小狐狸》節目提供視頻串流技術 The HKAF thanks TFI for providing video streaming technology support for the online screening of The Cunning Little Vixen 藝術節加料節目

封面照片及劇照 Cover and Production Photographs © Marek Olbrzymek

歡迎觀賞歌劇的幕後花絮片段，瀏覽連結請參閱加料節目網頁 Have a look at the behind-the-scenes video for more backstage stories. Please visit the PLUS webpage for viewing link.

請勿在網上演出途中進行錄影、錄音、攝影或轉播 Photography, streaming or recording of any kind is strictly prohibited 通訊、流量狀況及其他外部因素可能影響影片畫質及音質，敬請見諒 Picture stability and quality are subject to home internet speeds and bandwidth, and other external factors

狡猾的小狐狸

The Cunning Little Vixen

指揮 Conductor

馬可．伊雲奴域

Marko Ivanovi 導演 Director

伊里．赫爾曼 Ji í He man

舞台設計 Set Designer

德拉甘．斯托切斯基

Dragan Stoj evski

服裝設計 Costume Designer

亞歷山德拉．格魯斯科娃

Alexandra Grusková

燈光設計 Lighting Designer

丹尼爾．特薩 Daniel Tesa

戲劇構作 Dramaturg

帕翠絲．卡斯高娃

Patricie ástková

合唱指揮 Chorus Master

克拉拉．羅茲托洛娃

Klára Složilová Rozto ilová 布爾諾兒童合唱團指揮 Chorus Master of Brno Children’s Choir

瓦萊里亞．馬塔索娃

Valeria Ma ašová

合唱團 Choir

布爾諾國家歌劇院楊納傑克歌劇團合唱團 The National Theatre Brno

Janá ek Opera Choir 布爾諾兒童合唱團

Brno Children’s Choir 管弦樂團 Orchestra

布爾諾國家歌劇院楊納傑克歌劇團管弦樂團 The National Theatre Brno

Janá ek Opera Orchestra

歌詞中譯 Chinese Lyrics Translation

李凱琪 Amy Li

角色及演出 Cast

楊納．史妮瑪．卡切高娃

Jana Šrejma Ka írková 飾 – 狐女 as Vixen

域卡拉娃．卡雷伊契．豪斯高娃

Václava Krej í Housková 飾 – 狐狸 as Fox

斯瓦托普魯克．瑟姆 Svatopluk Sem 飾 – 林務員 as Forester

安德烈．高普利克

Ond ej Koplík

飾 – 老師、蚊子 as Schoolmaster, Mosquito

揚．薩華

Jan Š áva

飾 – 牧師、獾 as Pastor, Badger

丹妮拉．謝德洛娃

Daniela Strakova Šedrlova

飾 – 林務員妻子 as Forester’s wife

彼得．卡爾斯

Petr Karas

飾 – 客棧東主巴錫 as Pásek the Innkeeper

吉特卡．澤豪奧娃

Jitka Zerhauová

飾 – 帕斯高娃、啄木鳥 as Mrs. Pásková, Woodpecker

瑪蒂娜．瑪德洛娃

Martina Mádlová

飾 – 貓頭鷹、母雞 as Owl, Hen

茱麗．塞貝斯托娃

Julie Šebestová

飾 – 小狐女 as Little Vixen

史迪斯拉娃．博科娃

Zdislava Bo ková

飾 – 巴碧、草蜢 as Pepík, Grasshopper

伊娃．什捷波娃

Eva Št rbová

飾 – 芬迪、蟋蟀 as Frantík, Cricket

羅曼．荷沙

Roman Hoza

飾 – 夏拉斯達 as Harašta

維羅妮卡．菲亞洛娃

Veronika Hajnová Fialová 飾 – 小狗拉帕 as Lapák the Dog

安德里亞．希羅卡

Andrea Široká

飾 – 公雞、松鴉 as Rooster, Jay

彼得．赫爾沙

Petr Hr ša

飾 – 小青蛙 as Frog child

Publisher — Universal Edition AG, Wien. For the Czech Republic — DILIA z.s.

劇情大綱

SYNOPSIS

第一幕 ACT 1

在一個盛夏午後，林務員於樹林散步，及後躺下歇息，小睡一會。此刻狐女縱觀四方，發現一隻青蛙，她大感着迷，想着是否發現了食物。青蛙卻表現得驚慌失措，跳到林務員身上。林務員醒來瞥見狐女，遂猛撲向她，把她捕獲帶回湖邊的狩獵小屋。

The Forester appears, walking through his woods on a hot summer afternoon. He lies down and dozes off. The young Vixen watches everything, enchanted, spots a frog and wonders if it is edible. But the frog leaps away terrified, right onto the sleeping man. Waking up, the Forester catches sight of the Vixen, and pounces on her, carrying her away to the lake hunting lodge.

狐女將一隻生性暴躁的老獾引離洞穴，藉此霸佔獾洞。與此同時，在巴錫經營的客棧裏，林務員正偕友人玩橋牌，期間他

The Vixen drives a grumpy old badger from his sett and takes his place. Meanwhile, at Pásek’s Inn, the Forester and his friends are playing cards. The Forester pokes fun at the schoolmaster’s

林務員將狐女與小狗拉帕和幾隻小雞一同圈養。林務員的孫兒巴碧和他的朋友以木棒戲弄狐女，她出於自衛反噬巴碧的小腿，遭林務員以繩索綑綁。狐女哄騙母雞與公雞，及後更把後者殺害。林務員勃然大怒，遂手持棍棒走向狐女，她卻把繩索咬斷，成功逃脫。

第二幕 ACT 2

The Vixen is forced to live in captivity at the lodge in the company of Lapák the dog and a few chickens. Pepík, the Forester’s grandson and his friend tease the Vixen with sticks. When the Vixen, in self-defence, sinks her teeth into her tormentor’s calf, the Forester ties her up as punishment. After the Vixen dupes the hens and the rooster, the latter is killed. Enraged, the Forester comes at the Vixen with his cudgel, but she bites through her ropes and escapes.

劇情大綱

揶揄老師對鎮上美人蒂雲嘉情有獨鍾，而老師則向林務員探問狐女的狀況。離開客棧時，眾人酩酊大醉，狐女亦恰恰躲在太陽花叢後暗中觀察。花叢間的動靜引起了老師的注意，老師在微醺迷濛下，看見花叢間浮現了蒂雲嘉的臉，遂向着狐女的方向追趕。林務員向狐女開槍，林務員及老師隨即倉皇逃遁。在一個月色皎潔的夏夜，狐女邂逅雄赳赳的狐狸金毛，二人迅即互生情愫，更在她的洞穴圓房。眼見狐女傷風敗俗，樹林內的動物皆十分憤慨。

第三幕 ACT 3

一個秋日，林務員碰見家禽商人夏拉斯達，他不斷吹噓自己與蒂雲嘉大婚在即，惟林務員更關心夏拉斯達是否在他的樹林中偷偷打獵。狐女偕金毛與幾隻幼崽，一同碰見夏拉斯達。夏拉斯達向狐群開槍，並殺害狐女。回到客棧，林務員得悉蒂雲嘉獲夏拉斯達贈送暖手筒作為聘禮，頓時明白為何昔日熱鬧的狐穴，如今空空如也。乍聞蒂雲嘉婚嫁消息，校長心痛如絞。另一邊廂，林務員亦認為現在就是回家的適當時候。歸途上，樹林生態依舊如昔，跟狐女並未出現時沒有分別，但如今卻有小狐狸在思念亡母。就在這個瞬間，帶着狐女風采的小狐狸竟然出現在他眼前！林務員試圖捕捉她，但一隻小青蛙出現阻撓了他……

Synopsis

fondness for a certain Terynka, the local beauty, and the schoolmaster in turn asks after the Vixen. They leave the inn staggering, drunk. The Vixen secretly observes these late-night wanderers and hides among the sunflowers. Their trembling attracts the attention of the schoolmaster, who sees in them the face of Terynka, and tries to go after her. The Forester shoots at the Vixen; both men then run off in fright. On a moonlit summer night the Vixen encounters the dashing fox Goldskin. Their initial attraction soon grows into love, which is consummated in the Vixen’s den. The woodland creatures look on the Vixen’s immoral ways with indignation.

On an autumn day, the Forester runs into Harašta, a poultry trader. Harašta boasts of his upcoming marriage to Terynka, but the Forester is more interested in whether Harašta has been poaching in his woods. Vixen appears with Goldskin and her fox cubs, and sees Harašta. Harašta fires into the pack, leaving the Vixen dead. At the inn, the Forester learns that Terynka has received a new muff from Harašta for her wedding, which explains why he found the fox den empty. The schoolmaster is pained by the news of the wedding. The Forester thinks it better to head home. On the way, the forest looks the same as it did when he found the Vixen, all the woodland creatures are here just like they were then. Only the Vixen is missing... And then he sees the cube bursting with the living image of the Vixen! He tries to catch her once again, but his attempt is foiled by a tiny frog…

楊納傑克與狐女的邂逅 HOW JANÁCEK CAUGHT THE VIXEN 《狡猾的小狐狸》改編自作家兼新聞記者依羅李德及插畫家羅列克聯手創作的短篇漫畫小說，故事於 1920 年開始連載於極具影響力的布爾諾《人民日報》，楊納傑克也為該報定期撰稿。

據楊納傑克的女傭瑪麗．戴絲加露娃所說，作曲家最先是透過她，才認識依羅李德和羅列克的連載漫畫。有天她讀到《人民日報》的連載，感到很驚喜，她憶述當時曾向楊納傑克提及這會是適合創作歌劇的素材，因為他「總是醉心採集不同雀鳥叫聲」，並說其後他會 16

The Cunning Little Vixen, or Liška Bystrouška in Czech, was based on a comic book novella by the writer and journalist Rudolf T snohlídek (1882–1928) and the illustrator Stanislav Lolek (1873–1936) and serialised in 1920 in the influential Brno daily Lidové noviny, to which Janá ek also regularly contributed. According to Janá ek’s housemaid Marie Stejskalová, the composer initially became aware of T snohlídek and Lolek’s novella through her, having surprised her one day as she was reading the an installment of it in Lidové noviny. She recalled

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「留意每一期尖耳朵（狐女的姓名）的小說」。

正如依羅李德和羅列克，楊納傑克同樣深愛大自然和動物。他聆聽動物的叫聲，並收錄到在語音旋律中，1933 年《人民日報》一篇文章就能證實這點：「他迷上金翅雀的歌聲，留意並錄下愛犬芝巴拿的聲音；當牠長大後，楊納傑克帶她到花園散步，有次在園中碰到一條毛茸茸的黑毛蟲，芝巴拿竟然對着毛蟲吼叫，他馬上把牠的嘟囔聲記錄下來。」

捷克畫家及插畫家羅列克熱愛描繪波希米亞一帶的自然環境及動物，他一系列關於狐狸生活習性的插畫，啟發了楊納傑克創作歌劇《狡猾的小狐狸》 A Czech painter and illustrator, Stanislav Lolek was fond of depicting animals and natural landscapes in Bohemia. His drawings of foxes inspired Janá ek to work on the opera

樂譜上的日期顯示，楊納傑克於 1922 年 1 月 20 日開始作曲，而他在 2 月 10 日給他的朋友卡米拉寫了封信：「我開始編寫《狡猾的小狐狸》。這是以悲劇收場的歡樂劇。我在那悲傷結局中，為自己找到一個位置，我屬於那裏！」楊納傑克在作曲以外，同時熱愛研究大自然，1922 年《人民日報》便刊登了幾篇他以動物為主題的連載小說。他到布爾諾的路山奇公園散步，收錄雀鳥的旋律。他在家鄉胡克瓦爾迪時便已記錄其他動物的聲音 —— 在夏季，獵場管理員恩斯拉迪為他找出了狐狸穴，讓楊納傑克親眼觀察幼狐的生活；冬天的時候，楊納傑克對狐狸有更進一步的認識，1923 年 1 月 26 日，來自胡克瓦爾迪的釀酒人路維容給他寫了一封信，詳述狐狸的生活。然而，楊納傑克必須先改編依羅李德的漫畫，才能開始編曲。為此他做了大篇幅的改動；歌劇的情節比漫畫簡潔 —— 在漫畫一共廿三章中，

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that she suggested it would make a good opera, given Janá ek was “always noting down the voices of birds”. Thereafter, she said, he would “keep an eye out for every instalment of Bystrouška”. Like T snohlídek and Lolek, Janá ek was fond of nature and animals. He listened to their calls and noted them down in his speech melodies, as testified in a 1933 article in Lidové noviny: “He listened captively to the songs of his goldfinch, he noticed and recorded the changes to [his dog] ipera’s voice; when she was growing up, he walked with her along the paths in his garden— one time they came across a black hairy caterpillar and ipera surprisingly growled at it, he went to note down her grumblings.” The date on the score manuscript shows that Janá ek started composing on 20 January 1922, and on 10 February he wrote a letter to his friend, Kamila Stösslová: “I have started writing Vixen Bystrouška. A jolly thing with a sad ending. And I am taking up a place at that sad end myself. And so I belong there!” Janá ek composed and studied nature. In 1922 Lidové noviny published several of his feuilletons on animal themes, while he noted the melodies of birds he heard when walking in Brno’s Lužánky Park. He noted the sounds of other animals when he was in Hukvaldy—in the summer, a gamekeeper, Jan Sládek, located a fox’s den for him so Janá ek could observe first-hand the life of the young cubs. In the winter, Janá ek learned more about foxes and a Hukvaldy brewer, Ludvík Jung, wrote to him in more detail about 17

楊納傑克只選用其中合適的十章，以此編寫了三幕戲，同時改動故事時序。而某些來自刪除章節的事件，則成為狐女對白的一部分。楊納傑克在文本上下了不少功夫，選用那些強調人類世界和大自然關連的部分，刪去了講述社會以及狐狸洗劫狩獵小屋和補給品的故事，又削減政治譏諷的元素，着重於故事整體的詩意。他把故事情節分成四季，象徵着人類生存的定局，以及大自然永恆不息的循環。

the life of foxes in a letter dated 26 January 1923. However, before starting on the composition, Janá ek had to adapt T snohlídek’s novella. The changes he made were substantial; the plot of the opera is more concise than the book’s—Janá ek chose only the ten most suitable chapters of the novella’s 23, creating three acts from them. He also changed the order and chronology of the stories; some events from the chapters he had left out became part of the Vixen’s narration.

Janá ek worked extensively on the text, choosing those sections which emphasised the connection between the human world and nature. He left out the social passages and the stories of the foxes’ raids on the hunting lodge and its supplies. He cut back on the political satire while emphasising the poetry of the story as a whole. Dividing up the plot according to the seasons of the year was symbolical of the finality of human existence and the eternal cycle of nature.

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1922 年 3 月 22 日，作曲家編寫了第一幕戲，同年 7 月 5 日寫下第二幕，10 月 25 日完成整齣歌劇。楊納傑克的新歌劇廣為人知，而當布爾諾國家歌劇院總監華桑蓋爾於 1922 年 11 月得悉作品完成時，馬上就寫信給楊納傑克，詢問歌劇院能否表演其新劇。楊納傑克迅速回信，《戲劇耳語》於三天後便報導：「大師楊納傑克已完成新歌劇《狡猾的小狐狸》的配樂，作品改編自依羅李德的故事。歌劇將於下季初在布爾諾國家劇院首演。」依羅李德創作的故事令羅列克的插畫生色不少，講述狐女被警察帶回家，但因為野性難馴，最終逃回森林，繼續她的冒險之旅 Rudolf T snohlídek created an interesting narrative and enlivened Stanislav Lolek’s illustrations even more: a vixen, who is taken home by a police officer, is too wild to be domesticated, and eventually flees back to the forest to continue her adventure

然而報導過於樂觀。翌年 4 月 3 日，楊納傑克給卡米拉寫信道：「假期我甚麼地方也沒有去；抄寫《狡猾的小狐狸》複本令我忙得不可開交。創作狐女就像是魔鬼捉蒼蠅——全神貫注。」歌劇謄本於 1923 年 10 月抄好，琴譜 12 月交到劇院， 1924 年 1 月便完成總譜，意味終於可以開始準備管弦樂樂譜部分。首演原定於秋天上演，彩排則於夏天開始。應楊納傑克要求，《狡猾的小狐狸》首演的場景和服裝，交由畫家及舞台美學指導艾德華．米蘭負責。作曲家過往曾要求他設計此劇的琴譜封面，琴譜於 1924 年 7 月由維也納環球出版社出版。為歌劇擔任導演的是 1921 年加入布爾諾劇院的奧坦．斯德。那是他第一次負責楊納傑克的首次公演，任務殊不簡單 —— 他要把人類和動物兩個不同的世界合二為一。楊納傑克花了很長時間跟這位年輕導演討論，為舞台設計提供意念，彩排時總能在劇場見到他的身

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The composer finished the first act on 22 March 1922, the second on 5 July and the whole opera on 25 October of the same year. Everyone knew about Janá ek’s new opera and so when the director of Brno’s National Theatre, Václav Št ch, heard in November 1922 that the work was finished, he at once wrote a letter to Janá ek asking if the theatre could perform the new work. Janá ek’s reply was prompt, with the journal Divadelní šepty reporting three days later: “Maestro Janá ek has completed the score for his new opera The Cunning Little Vixen, based on the story by Rudolf T snohlídek. The opera will be performed for the first time at the National Theatre in Brno at the start of next season.” That report, however, was overly optimistic, as on 3 April the following year Janá ek wrote to Kamila Stösslová: “I didn’t go anywhere over the holidays; I am up to my neck in work copying out Bystrouška. I’m doing Bystrouška like the devil catching flies—when he’s got nothing else to catch.” The opera transcription would be ready in October 1923. The piano score was in the theatre by December and the complete score by January 1924, meaning it was now possible to start preparing the orchestral parts. The premiere was supposed to take place in autumn and preparations began in the summer. At Janá ek’s request, the scenery and costumes for the premiere of The Cunning Little Vixen were entrusted to the painter and scenographer Eduard Milén. The composer 19

影。斯德後來在其自傳中寫道：

「我們在散步時會討論《狡猾的小狐狸》、《馬克普洛斯檔案》、《夏爾卡》和《布魯柴克先生的月球之旅》的問題。這些都是跟演繹動作有關的大問題。這位老頭會在路奇山公園裏和我討論得如火如荼，甚至願意示範想像中的布魯柴克先生在無重狀態下，站立不穩的模樣，然後我便給他意見。他把重頭戲放在《狡猾的小狐狸》的結尾：復始和滅絕，那是普世本質的巔峰之作。『你要在我的葬禮中演奏此曲。』他跟歌劇總監紐曼開玩笑——而最後的確如他所願。他想要真實地呈現那一幕，所以扮演動物的演員，需要四肢着地行走！」就如楊納傑克其他歌劇，音樂

had previously asked him to design the cover of the piano score, which was published by Universal Edition in Vienna in July 1924. Ota Zítek (1892–1955), who had joined the Brno Theatre in 1921, was chosen as director. It was his first Janá ek premiere and he had a difficult task—to bring together the two diverse worlds of humans and animals. Janá ek was heavily involved in the rehearsals and spent a great deal of time with the young director discussing the composer’s ideas for the stage design, as Zítek would later relate in his memoirs: “On our walks we would discuss problems with The Cunning Little Vixen, The Makropulos

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《狡猾的小狐狸》的故事隨着林務員（中）的腳步開展，他在森林中遇上狐女，人與動物都有不同遭遇 The story of The Cunning Little Vixen unfolds as the Forester (middle) meets the vixen, with each then having their own encounters with others

製作是歌劇總監凡提錫．紐曼的工作。楊納傑克親自推薦身兼指揮家和作曲家的紐曼擔任國家歌劇院的總監，而紐曼也的確是個忠心的支持者和合作夥伴，二人在彩排時經常為歌劇修正和下定案。從 1924 年 11 月楊納傑克給卡米拉寫的信，我們得知楊納傑克經常出席彩排：「《狡猾的小狐狸》將於星期四在布爾諾首演。我不會邀請你當天就來，因為會有很多人出於好奇而到場，我一定會飽受煩擾。我一直有參與彩排；我認為屆時會有值得觀看、聆聽和深思的東西。」人們對首演充滿好奇，而率先刊登《狡猾的小狐狸》故事藍本的《人民日報》亦表示熱切關注。1924 年 11 月 6 日公演當

Case, Šárka, The Excursions of Mr Brou ek on the Moon. These were considerable problems concerning movement. And the old man, in the heat of debate in Lužanky Park would be willing to show me how he imagined the instability of Mr Brou ek in the absence of the earth’s gravity, and then I would offer him my opinion. He placed huge emphasis on the end of The Cunning Little Vixen: it was to be the apotheosis of universal nature, both renewal and extinction. ‘You’ll play it at my funeral,’ he joked to the head, Neumann—which is what happened. He wanted this scene to be presented realistically, which is why those playing the animals had to walk ‘on all fours’!”

As with Janá ek’s other operas, the musical production was the work of the head of the opera, František Neumann. Janá ek had himself recommended Neumann, a conductor and composer, as head of the National Theatre, and Neumann proved to be a loyal supporter and collaborator, and at rehearsals the two of them would often correct and finalise his operas. We know that Janá ek was very involved with the rehearsals from a letter to Kamila Stösslová in November 1924: “On Thursday I have the premiere of The Cunning Little Vixen in Brno. I won’t invite you for that day; all sorts of curious people are coming here and I’ll be tormented. I’ve been going to the rehearsals all the time; I think 21

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《狡猾的小狐狸》有不少奇趣的動物角色，是次製作中，不少動物角色皆由小孩出演 The opera is filled with quirky characters and colourful creatures, many of which in this production are played by children actors

天，阿道夫．華沙利刊登了一篇文章《一件藝術作品的旅程》，概述了作品如何從作曲家的書桌走上劇場舞台，包括演唱狐女那位歌手早婚等細節。公演那一晚，盛會在布爾諾的巴勒翠劇院舉行，由哈娜．赫德利卡飾演狐女；博澤納．斯諾普科娃飾演狐狸金毛，而林務員則由阿諾德．弗洛格爾譯飾演。作品獲觀眾和評論家一致好評。《人民日報》在 11 月 8 日刊登了基真路格的長文：「只有透過楊納傑克的音樂，充分展現狐女經歷的情感和知性內涵，才能讓她的故事得以完整。（ ……）作品的倫理道德基礎和真實性，脫離了《布魯柴克先生的月球之旅》的諷刺意味，《狡猾的小狐狸》有着高超的技術水平，對新湧現的音樂語言議題提出了獨特見解，不但證明了楊納傑克用之不竭和永垂不朽的創意，更反映他是一位舉足輕重的非凡人物。」

there’ll be something to see and hear and also think about.” There was a great deal of curiosity about the premiere and Lidové noviny, which was behind the genesis of The Cunning Little Vixen, devoted much attention to it. On the day of the premiere, 6 November 1924, Adolf Veselý published a feuilleton called “The Journey of a Work of Art” which outlined the opera’s journey from the composer’s desk to the theatre stage, including trivialities such as the premature wedding of the singer playing Bystrouška. That evening, the gala premiere took place at the Theatre on the Balustrade in Brno with Hana Hrdli ká as Bystrouška, Božena Snopková as Lišák and Arnold Flögel as the gamekeeper. The production got a good reception from both audiences and critics. On 8 November, Lidové noviny published a long article by G. ernušák: “It is only in the light of Janá ek’s music that the unity of Bystrouška’s stories is 23

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11 月尾，布拉格國家劇院總監奧塔卡前來欣賞歌劇。數月前，他曾詢問楊納傑克在布拉格演出這部歌劇的可能性。可是在布拉格首演《布魯柴克先生的月球之旅》的經驗，讓楊納傑克起了戒心，所以不想在國家首都舉行新作首演。布拉格國家劇院於 1925 年 5 月 18 日公演此作，是為國際現代音樂協會管弦樂節的活動之一。

在作曲家一生中，《狡猾的小狐狸》只有在德國美茵茲作國外演出。可是時至今天，它跟《耶奴法》一樣，無論在捷克境內或世界各地，都是他最常公演的歌劇作品之一。

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revealed with their emotional and intellectual content. (…)With its ethical basis and veracity, which is so far removed from the strange satire of The Excursions of Mr Brou ek on the Moon, with its technical execution and independent solutions to completely new issues in musical diction, The Cunning Little Vixen is not only proof of Janá ek’s inexhaustible and eternally youthful creative abilities, but also a phenomenon of wide, general importance.” In late November, the head of the opera of Prague National Theatre, Otakar Ostr il, came to see a performance of the opera. He had already asked Janá ek a couple of months previously about the possibility of staging it in Prague. Janá ek, however, was wary after his experience with the Prague premiere of The Excursions of Mr Brou ek and he did not want the premiere of his new work to be in the capital. The Prague premiere at the National Theatre on 18 May 1925 was part of an orchestral festival organised by the International Society for Contemporary Music. During the composer’s lifetime, The Cunning Little Vixen was performed abroad only in Germany at Mainz, but today, along with Jen fa, it is one of his most frequently played works, both at home and internationally.

帕翠絲．卡斯高娃帕翠絲．卡斯高娃是捷克布爾諾歌劇院楊納傑克歌劇團的戲劇構作，她曾參與歌劇院超過七十部歌劇製作，並為不少教育項目擔任講師。

Patricie Cástková Patricie Cástková is the dramaturg of the Janá ek Opera of the National Theatre Brno. She has participated in more than seventy opera productions of the company, and works as a lecturer in a number of education projects.

關於楊納傑克

ABOUT LEOŠ JANÁ EK

楊納傑克不但是作曲家、教師、指揮家、鋼琴家、作家

以及民俗學者，更是二十世紀數一數二的音樂創作者。雖然論年齡，他與德伏扎克屬於同一世代，不過楊納傑克的音樂在上世紀算得上最先鋒的一批。他生前一直與位於捷

克東部摩爾維亞地區的布爾諾息息相關：既在當地生活了大半生，而且積極籌辦各類文化組織、指揮及教學，對當

地文化生活貢獻甚大。楊納傑克大部份作品都在布爾諾首演，可見他與這個城市關係密切。

Composer, teacher, conductor, pianist, writer and folklorist Leoš Janá ek (1854–1928) was one of the 20th century’s most remarkable creators of music. Though by age he belongs more to the generation of Antonín Dvo ák, his compositions were among the most progressive works of music created during the last century. Janá ek’s links with the city of Brno remained firm. He had a close relationship with the Moravian city, spending most of his life there, and making significant contributions to its cultural life through his organising, conducting and teaching. Most of Janá ek’s works had their premiere in Brno, emphasising the closeness of the bond between the composer and the city. 28

關於楊納傑克

楊納傑克生於捷克胡克瓦爾迪，十一歲時（ 1865 年）來到布爾諾。父親讓他入讀位於布爾諾舊城區的奧古斯丁聖湯瑪士修道院，學生都是富音樂天份的男孩，而且由於入學以後要穿上淺藍色制服，所以被稱為「藍鳥」。這群孩子在校內得到非常優秀的音樂教育，還能參與各種製作和音樂會。 1874 年，楊納傑克通過學校的畢業試，之後就在布爾諾教師學院擔任助理教師；此外也先後在切赫工匠協會（ 1873 至 1876 年）以及布爾諾智者愛樂協會（ 1876 至 1888 年）擔任合唱總監兼指揮。年輕的楊納傑克也開始作曲，不久就漸漸減少教學工作，爭取繼續深造音樂：他 1874 年獲布拉格管風琴學院取錄，1879 至 1880 年間負笈萊比錫和維也納的音樂學院短期研習──可是他自言，在這兩所學校「沒甚麼還可以學了」。楊納傑克從萊比錫回到布爾諾不久，就與教師學院院長的女兒札德娜．舒爾祖娃結婚了。然而兩人的婚姻並不愉快，到女兒奧嘉出生以後仍然未見好轉。這時楊納傑克的工作已經非常繁忙，卻還在本已非常緊迫的日程裏加插多個組織的職務，包括布爾諾捷克國家劇院協會、俄羅斯同好會，以及藝術好友俱樂部。此外他創辦及出版摩爾維亞地區第一本音樂雜誌《音樂報》，同時又為《人民日報》撰寫樂評及專欄。自 1888 年起，他轉而鑽研民歌及民間舞曲，而且為了

Leoš Janá ek came to Brno as an 11-year-old from his native Hukvaldy in 1865. His father had enrolled him in the foundation of the Augustinian Abbey of St Thomas in Old Brno. Musically gifted boys who were accepted into the foundation were called “bluebirds” because of the lightblue uniform they wore. They received an excellent musical education at the abbey and took part in its productions and concerts. After passing the school-leaving exam in 1874, he worked at the Brno Teaching Institute as an assistant teacher. He was also a choirmaster and conductor at the Svatopluk Artisans’ Association (1873–76) and at the Beseda brn nská Philharmonic Society (1876–88). The young Janá ek had already started composing and he soon drifted away from teaching, striving to further his musical education. In 1874 he was accepted into the Prague Organ School. In 1879 and 1880 he studied briefly at the Leipzig and Vienna conservatories but found that, in his own words, “there was nothing left to learn”. Not long after his return from Leipzig, Janá ek married Zdenka Schulzová, the daughter of the teaching institute’s director. The marriage was not a happy one and remained unsettled even after the birth of their daughter Olga. By then, Janá ek was already very busy with work. To an already crowded schedule, he added duties at the Association for a Czech National Theatre in Brno, the Russian Circle and the

About Leoš Janáček

Club of the Friends of Art. He founded and published the first musical periodical in Moravia, Hudební listy (The Music Pages), and contributed reviews and columns to the Lidové noviny newspaper. From 1888, he was intensively involved in the study of folk songs and dances, which he often collected and recorded directly in the field. He wrote several dedicated theoretical works and published the collection Bouquet of Moravian National Songs in collaboration with František Bartoš. In addition to his examination of folk songs, Janá ek also became interested in psychology and its expression via the spoken word. He was convinced that human speech could be recorded objectively using notation. From 1897 until his death, Janá ek devoted himself to recording and collecting such melodies. Janá ek took a new approach to composition with the opera Jen fa, based on a play by Gabriela Preissová. In this opera, Janá ek arrived at a distinctive style of musical expression. He gradually leaves the schema of the traditional opera, with its closed numbers and arias, behind. In their place, characteristic rhythmic forms appear in the orchestra, such as rhythmic ostinati, and the musical diction of the vocal parts of the individual characters are completely new, being based on his study of human speech. Janá ek finished the opera in 1903, after working on it for almost ten years. 29

楊納傑克劇院是布爾諾國家歌劇院歌劇團的根據地。劇院於 1965 年開幕，首個演出正是楊納傑克的《狡猾的小狐狸》 The Janá ek Theatre opened in 1965 with a production of The Cunning Little Vixen. The theatre is now home to the opera ensemble of the National Theatre Brno

蒐集這些樂曲，經常直接在考察現場錄音。他也寫了幾本理論專著，又曾與巴圖斯合作出版民歌集《摩爾維亞之繁花：民歌》。除了鑽研民歌，楊納傑克也對心理學說產生興趣，尤其留意言語如何表達人的心理狀態，亦深信人類的言語能以記譜法客觀地記錄下來。由 1897 年直至與世長辭為止， 30

Jen fa was premiered at the Brno National Theatre on 21 January 1904. In the period between the Brno and Prague premieres of Jen fa, Janá ek composed his fourth opera Destiny, parts of the lyrical piano cycle On an Overgrown Path, as well as the cycle In the Mists, the orchestral balled The Fiddler’s Child, the cantata The Eternal Gospel and the first version of the symphonic

關於楊納傑克

楊納傑克一直致力蒐集民歌旋律，並將這些旋律錄音保存。

歌劇《耶奴法》以劇作家佩拉索娃一齣戲劇為藍本，楊納傑克寫作時採用了嶄新的寫作方針，並找到風格獨特的音樂表達方式。傳統歌劇由一首首緊湊的樂曲和詠嘆調組成，但楊納傑克漸漸將這種形式拋諸腦後，改以其他元素取代，例如樂團奏出的頑固節奏型等特色節奏型，而且個別角色聲部的用語非常嶄新，皆建基於他對人類言語的研究。楊納傑克動筆寫作這齣歌劇十年以後，終於在 1903 年完成。

《耶奴法》1904 年 1 月 21 日在布爾諾國家歌劇院首演，在這次首演與日後的布拉格首演之間，楊納傑克創作了他第四齣歌劇《命運》、抒情聯篇鋼琴曲《荒草漫佈的小徑》的一部分、聯篇鋼琴曲《在迷霧中》、管弦樂敘事曲《提琴手的孩子》、清唱劇《永恆的福音》、交響狂想曲《烽火霸王布爾巴》（第一版本），以及其他作品；這些年間，作曲家開始認定《耶奴法》永遠無法在布拉格演出，也慢慢失去自信。

布拉格國家劇院將《耶奴法》拒諸門外多年以後，終於答應搬演，1916 年的布拉格首演更大獲好評；楊納傑克的事業終於起飛，繼而蜚聲國際樂壇。1918 年，《耶奴法》在維也納皇家宮廷歌劇院（維也納國家歌劇院前身）演出，更令楊納傑克躋身歐洲頂尖作曲家之列。楊納傑克生命的最後十年，是他最多產的時代。除了大量室樂作品，他也在短時間內完成了連串重要的音樂和劇場作品：《卡塔．卡芭諾娃》、《狡猾的小狐狸》、《馬克普洛斯檔案》，以及《死屋手記》。雖然年事日高，但他的音樂卻變得越來越年青，而且感情越見豐富。然而隨着作曲家不幸猝逝，這股澎湃的創造力也就畫上句號：1928 年 7 月底，楊納傑克回到家鄉胡克瓦爾迪，情人卡米拉和她的兒子都來探望他；楊納傑克不久因患上重感冒而被送往奧斯特拉瓦的療養院，同年 8 月 12 日死於嚴重肺炎，現時葬在布爾諾中央公墓。

About Leoš Janá ek

rhapsody Taras Bulba, in addition to some other works. During this time, the composer started to believe that Jen fa would never be performed in Prague, and began to lose faith in himself. After years of refusal by the Prague National Theatre, Jen fa was finally accepted, and performed to exceptional acclaim in 1916. Janá ek‘s career then flourished belatedly. International fame followed, with the performance of Jen fa at the Vienna Court Opera in 1918, which allowed him to take his place among the foremost European composers. The last ten years of Janá ek’s life were his most prolific period. As well as numerous chamber works, he composed in quick succession his most important musical and dramatic works: Ká a Kabanová, The Cunning Little Vixen, The Makropulos Case and From the House of the Dead. The older Janá ek got, the younger and more expressive his music became. Sadly, this frenzy of creativity was cut short by his sudden death. At the end of July 1928, Janá ek left for his native Hukvaldy, where Kamila and her son came to see him. He was taken to a sanatorium in Ostrava with a bad cold, and succumbed to severe pneumonia on 12 August. He is buried in Brno’s Central Cemetery.

捷克布爾諾國家歌劇院

NATIONAL THEATRE BRNO

捷克布爾諾國家歌劇院旗下的楊納傑克歌劇團是中歐最頂尖的歌劇院之一，起源可追溯至 1880 年代開幕的捷克國家劇院。歌劇院曾呈獻多套重要的製作，包括楊納傑克、貝爾格、馬替奴及蕭斯達高維契等作曲家作品的世界及捷克首演。楊納傑克歌劇團亦與國外著名劇院合作，而曾合作的導演及指揮則包括：大衛．普尼、查理斯．莫克拉斯、羅伯特．卡遜、潘蜜拉．侯活、大衛．拉多克和托馬斯．哈努斯。曾合作演出者包括：彼得．史卓卡、安札．席莉亞、斯蒂芬．馬吉塔、馬格努斯．維吉利斯、阿列什．布里賽因、梅達．韓道琳、伊娃．烏邦諾娃、卡塔琳娜．卡蘭斯、安娜萊娜．佩爾松和卡麗塔．馬蒂娜。

楊納傑克歌劇團常演劇目涵蓋十八至二十世紀的歌劇，重點作品包括：《被出賣的新娘》、《魔鬼與凱特》及《瑪麗的奇蹟》等。歌劇團樂團曾巡演歐

洲、中東及亞洲地區，專注於演繹捷克音樂作品。2017 年，歌劇團曾獲香港藝術節和中國上海國際藝術節邀請，攜同超過一百八十位音樂家、歌手和世界級獨奏者演出楊納傑克的歌劇《馬克普洛斯檔案》，為觀眾帶來一場無與倫比的音樂盛宴。

The Janá ek Opera of the National Theatre Brno is among the leading opera houses in Central Europe, with its origins in the 1880s, when the Czech National Theatre opened in Brno. During its existence, the opera ensemble has introduced numerous significant productions, including world or Czechoslovak premieres of work by, among others, Janá ek, Berg, Martin and Shostakovich. The Janá ek Opera has also collaborated with distinguished theatres abroad. Among the directors and conductors it has worked with are David Pountney, Sir Charles Mackerras, Robert Carsen, Pamela Howard, David

Radok and Tomáš Hanus. It has also featured many illustrious performers, such as Peter Straka, Anja Silja, Štefan Margita, Magnus Vigilius, Aleš Briscein, Maida Hundeling, Eva Urbanová, Katarina Karnéus, Annalena Persson and Karita Mattila. The Janá ek Opera offers a wide repertoire from 18th- and 19thcentury opera as well as 20thcentury productions, such as The Bartered Bride, The Devil and Kate and The Miracles of Mary, among others. With a special focus on Czech music, the opera ensemble has also toured in Europe, the Middle East and Asia. In 2017, the Hong Kong Arts Festival and Shanghai China International Arts Festival welcomed more than 180 musicians and singers from the Janá ek Opera of the National Theatre Brno, together with world-class soloists, in an extraordinary musical celebration featuring Janá ek’s The Makropulos Case.

導演 – 伊里．赫爾曼

伊里．赫爾曼

Ji í He man

導演 Director

伊里．赫爾曼擅長於非傳統及大型歌劇舞台上編創室樂劇目。在 2007 至 2012 年間，他一直擔任捷克國家劇院歌劇團的藝術總監，任內六個製作均獲觀眾讚譽，同時得到樂評界的推崇，當中包括蒙特威爾第的《奧菲歐》、德伏扎克的《水仙子》和《雅各賓》、馬替奴的《瑪麗的奇蹟》、華格納的《帕西法爾》及布列頓的《葛洛莉安娜》。而其他代表作亦有舒伯特《冬之旅》（ 2013 ），該原創舞台作品更於布拉格著名的巴蘭多夫製片廠四廠內製作；他於 2014 年製作羅卡的《耶瑪》，則在南波希米亞劇院上演。

2015 年 1 月，他成為捷克布爾諾國家歌劇院歌劇團的藝術總監。近作有德伏扎克《惡魔與凱特》（ 2016 ），而捷克首演項目則包括薩里阿霍《遙遠的愛》（ 2017 ）、楊納傑克《狡猾的小狐狸》（ 2018 ）及李察．史特勞斯《玫瑰騎士》。此外，他於 2017 年執導古諾的《浮士德與瑪格麗特》，其後於 2018 年在布爾諾會展中心執導斯美塔那的《莉布斯莎》，兩部作品皆由楊納傑克歌劇團演出。

Director – Ji í He man

Ji í He man has gained a reputation both for his chamber projects in non traditional spaces and for productions on large opera stages. From 2007 to 2012, he was the artistic director at the National Theatre Opera. In this capacity, he created six productions which were exceptionally well received by audiences as well as reviewers— Monteverdi’s Orfeo, Dvo ák’s operas Rusalka and The Jacobin, The Miracles of Mary by Bohuslav Martin , Wagner’s Parsifal and Britten’s Gloriana. Other artistic works by He man include an original stage production of Schubert’s Winter Journey (2013) on the premises of film studio No. 4 at Barrandov, Prague, and in 2014 Lorca’s Yerma at the South Bohemian Theatre. Since January 2015, he has taken on the role of artistic director of the Opera of the National Theatre Brno. More recent productions include Dvo ák’s The Devil and Kate (2016) and the Czech premiere of the opera L’amour de loin by K Kaija Saariaho (2017), Janá ek’s The Cunning Little Vixen (2018) and Richard Strauss’s Die Rosenkavalier, along with an extraordinary project with the Janá ek Opera ensemble, Gounod’s Faust and Marguerite (2017), and Smetana‘s Libussa (2018) for Brno Exhibition Centre.

指揮 – 馬可．伊雲奴域

馬可．伊雲奴域

Marko Ivanovi

指揮 Conductor

捷克著名指揮家馬可．伊雲奴域是位多才多藝的音樂家，也是布爾諾國家歌劇院楊納傑克歌劇團的首席指揮。作為指揮家，他曾與捷克及國外的管弦樂團合作，包括捷克愛樂樂團、布拉格交響樂團、布拉格愛樂樂團、馬替奴愛樂樂團、波蘭蘇德卡愛樂樂團，以及日本富山學院樂團等。

2011 年，他在瑞典馬爾默指揮楊納傑克的歌劇《耶奴法》； 2015 年曾為瑞典的哥德堡歌劇院製作《馬克普洛斯檔案》。他亦以作曲家的身份參與歐洲多國的大型音樂節。

在布爾諾國家歌劇院指揮的劇目包括：楊納傑克《馬克普洛斯檔案》（ 2014 ）、《耶奴法》（ 2015 ）、托馬斯．阿迪斯《塗脂抹粉》的捷克首演（ 2016 ）、馬替奴《吉爾伽美什史詩》及浦塞爾《狄多與依尼亞斯》的雙演出、巴托克《藍鬍子的城堡》及荀伯格《期待》的雙演出、凱雅．莎里亞荷歌劇《遙遠的愛》的捷克首演（ 2017 ）、楊納傑克《狡猾的小狐狸》（ 2018 ），以及個人歌劇作品《紀念碑》的全球首演（ 2020 ）。

Conductor – Marko Ivanovi

Marko Ivanovi is one of the Czech Republic’s leading conductors, a versatile musician and the chief conductor of the Janá ek Opera of the National Theatre Brno. As conductor, he has collaborated with orchestras in both the Czech Republic and abroad, including the Czech Philharmonic, the Prague Symphony Orchestra, the Prague Philharmonia, the Bohuslav Martin Philharmonic Orchestra, the Filharmonia Sudecka (Poland) and the Toyama Academy Orchestra (Japan), among others. In 2011, he conducted Janá ek’s opera Jen fa in Malmö, Sweden. He also produced The Makropulos Case for the Göteborg Opera in Gothenburg, Sweden in 2015. He has also performed as a composer in many European countries, appearing mainly at major festivals. At the National Theatre Brno he has performed Janá ek’s The Makropulos Case (2014), Jen fa (2015), the Czech premiere of Thomas Adès’s Powder Her Face (2016), a double feature of the Epic of Gilgamesh by Bohuslav Martin and Dido and Aeneas by Henry Purcell, a double-bill of Bartók’s Bluebeard’s Castle and Schönberg’s Expectation, and the Czech premiere of the opera L’amour de loin by Kaija Saariaho (2017), Janá ek’s The Cunning Little Vixen (2018) and the world premiere of his own opera Monument (2020). 37

德拉甘．斯托切斯基

Dragan Stoj evski

舞台設計 Set Designer

德拉甘．斯托切夫斯基於布拉格表演藝術學院劇場學院修讀舞台美學。劇院之外，他亦參與多個公共空間的裝置設計和藝術介入項目。另外，他熱心製作特定場域作品，並常與藝術團體 Mamapapa 一同於捷克國內和海外巡演。近期舞台設計包括《高薪之旅》（海布西波希米亞劇院，2012 ），《傲慢與偏見》（布拉格 Jatka 78 劇院，2016 ），《吉爾伽美什戰紀／狄多與依尼阿斯》（布爾諾國家歌劇院，2016 ）、《皇朝：雷曼兄弟》（鵝串劇場、 2017 ）、《浮士德》（艾斯特劇院，2018 ）及《狡猾的小狐狸》（布爾諾國家歌劇院，2018 ）。

Dragan Stoj evski studied scenography at the Theatre Faculty of the Academy of Performing Arts in Prague. In addition to his set design for theatre, he has been involved in many installations and art interventions in public spaces. He is intensively involved in the creation of site specific projects, often in cooperation with the Mamapapa group both in the Czech Republic and abroad. His recent set designs for the stage include A Well Paid Walk (West Bohemian Theatre in Cheb, 2012), Pride and Prejudice (Jatka 78 Theatre, Prague 2016), The Epic of Gilgamesh / Dido and Aeneas (National Theatre Brno, 2016), Dynastie: Lehman Brothers (Husa na provázku Theatre, 2017), Faust (The Estates Theatre, 2018) and The Cunning Little Vixen (National Theatre Brno, 2018).

亞歷山德拉．格魯斯科娃

Alexandra Grusková

服裝設計 Costume Designer

亞歷山德拉．格魯斯科娃經常與捷克及斯洛伐克兩地的頂尖劇場導演合作，為歌劇、舞蹈和劇場演出設計服裝。著名作品包括普契尼《托斯卡》、《蝴蝶夫人》；伊拉塞克《燈籠》；在布拉格國家劇院上演，弗朗茨的芭蕾作品《金髮姑娘》；莎士比亞《哈姆雷特》、《第十二夜》及《馴悍記》；羅斯丹《大鼻子情聖》；於布拉迪斯拉瓦斯洛伐克國家劇院上演的巴托克歌劇《藍鬍子的城堡》；斯美塔那歌劇《被出賣的新娘》；《托斯卡》，以及於布爾諾國家劇院上演的雙演出《吉爾伽美什戰紀／狄多與依尼阿斯》，以及布爾諾國家歌劇院楊納傑克歌劇團的《狡猾的小狐狸》。此外，她亦為不少影視作品擔任舞台及服裝設計。

創作團隊簡介

Alexandra Grusková has collaborated as a costume designer with leading theatre directors in the Czech Republic and Slovakia, working in the fields of opera, dance and drama. High profile productions by Grusková include Puccini’s Tosca and Madama Butterfly, Jirásek’s The Lantern and Franz’s ballet Goldilocks for the National Theatre in Prague, Shakespeare’s Hamlet, Twelfth Night and The Taming of the Shrew, Rostand’s Cyrano de Bergerac and Bartók’s Bluebeard’s Castle for the Slovak National Theatre in Bratislava; Smetana’s The Bartered Bride, a double-bill featuring The Epic of Gilgamesh/ Dido and Aeneas and The Cunning Little Vixen for the Janá ek Opera, National Theatre Brno. She has also worked in film and television as a set designer and costume designer.

丹尼爾．特薩

Daniel Tesa

燈光設計 Lighting Designer

丹尼爾．特薩於 1999 年聯合創立燈光公司，自此成為燈光設計師。他歷年來與編舞家揚．科特屢次合作，設計作品包括《門》（ 2000 ）、《骷髏之舞》（ 2001 ）、《狹灣》（ 2002 ）、《蘿拉和塔克先生》（ 2003 ）、《金髮姑娘》（ 2006 ）、《 (e) MOTION PURE 》（ 2007 ），以及《偽裝世代》（ 2009 ）。 2004 年起，他與導演伊里．赫爾曼合作，為不同劇院製作歌劇：包括約瑟夫．卡澤坦．泰劇院的華格納《漂泊的荷蘭人》（ 2004 ）；在捷克音樂博物館演出布列頓的《麻鷸河》（ 2005 ）；馬替奴《瑪麗的奇蹟》（ 2009 ）；先後在布拉格國家劇院上演的華格納《帕西法爾》、德伏扎克《雅各賓》（ 2011 ）、布列頓的《葛洛莉安娜》（ 2012 ）、菲比赫的《阿科納之墜落》（ 2014 ）以及普契尼的《蝴蝶夫人》（ 2016 ）；先後在布爾諾國家歌劇院上演的普契尼《托斯卡》（ 2015 ）、雙演出《吉爾伽美什戰紀》和《狄多與依尼阿斯》（ 2016 ）、德伏扎克《惡魔與凱特》（ 2016 ），以及《浮士德與瑪格麗特》（ 2017 ）。

Creative Team Profiles

Daniel Tesa has been a lighting designer since 1999, being the co owner of a lighting company. He has worked with the choreographer Jan Kodet on the lighting design for Gates (2000), Danse Macabre (2001), Cala Estreta (2002), Lola and Mr. Talk (2003), Goldilocks (2006), (e)MOTION PURE (2007) and CamouflAGE (2009). Since 2004, he has also been worked on opera productions by director Ji í He man— Wagner’s Flying Dutchman (2004) for the JK Tyl Theatre in Pilsen, Britten’s spiritual opera Curlew River, which was performed on the premises of the Czech Museum of Music in Prague (2005), Miracles of Mary by Bohuslav Martin (2009), Wagner’s Parsifal, Dvo ák’s The Jacobin (both 2011), Britten’s Gloriana (2012), Fibich’s The Fall of Arkona (2014) and Puccini's Madama Butterfly (2016) for the National Theatre in Prague, Puccini’s Tosca (2015), a double-bill featuring The Epic of Gilgamesh and Dido and Aeneas (2016), Dvo ák’s The Devil and Kate (2016), and Faust and Marguerite (2017) for National Theatre Brno.

楊納．史妮瑪．卡切高娃

Jana Šrejma Ka írková

飾 – 狐女 as Vixen

楊納．史妮瑪．卡切高娃在 2006 年獲奧斯特拉瓦的摩爾維亞．西利西亞國家劇院特邀演出，並於 2010 年起成為該院歌劇團常任成員。她曾演出《茶花女》的維奧萊塔、《被出賣的新娘》的瑪蓮卡，以及唐尼采第「女王三部曲》：《安娜．波雷娜》、《瑪麗．斯圖亞特》與《羅伯特．德威魯》的主要角色。她從 2016 年起擔任布爾諾國家歌劇院的常任團員，期間演出多個經典角色，包括《茶花女》的維奧萊塔、《唐喬望尼》的安娜、《卡門》的米凱拉、以及《奥里伯爵》的阿黛爾伯爵夫人。自她於 2010 年在布拉格國家劇院，以唐尼采第《愛情靈藥》中的阿典娜嶄露頭角後，她一直參與該院的演出，包括《後宮誘逃》的康斯坦斯、《費加羅的婚禮》的蘇姍娜、《雅各賓》的特琳卡，以及《唐喬望尼》的安娜。在 2015 年，她以安娜一角初登斯洛伐克國家劇院的舞台。卡切高娃亦曾在多個頂尖國際音樂節中亮相表演。

Jana Šrejma Ka írková became a guest of the National MoraviaSilesian Theatre in Ostrava in 2006 and, since 2010, has been a permanent member of the opera ensemble. She performed as Violetta (La traviata), Ma enka (The Bartered Bride) and in the main roles of Donizetti’s operas Anna Bolena, Maria Stuarda and Roberto Devereux. Since 2016, she has become a permanent member of the National Theatre Brno, where she has appeared in the roles of Violetta (La traviata), Donna Anna (Don Giovanni), Micaela (Carmen), Countess Adèle (Le comte Ory). Since making her debut in 2010 in the role of Adina in L’elisir d’amore by Donizetti at the National Theatre in Prague, she has appearing there in the roles of Konstanze (Die Entführung aus dem Serail), Susanna (Le nozze di Figaro), Terynka (The Jacobin) and Donna Anna (Don Giovanni). In 2015 she made her debut on the stage of the Slovak National Theatre in the role of Donna Anna. Jana Šrejma Ka írková has appeared at numerous prestigious international festivals.

域卡拉娃．卡雷伊．豪斯高娃

Václava Krej í Housková

飾 – 狐狸 as Fox

域卡拉娃．卡雷伊．豪斯高娃畢業於捷克布傑約維采的音樂學院及布拉格表演藝術學院。 2014 年，她在布拉格國家劇院出演比才《卡門》同名主角，在歌劇界首度登場。她的其他演出包括《費加羅的婚禮》的凱魯比諾、《魔笛》的第三侍女，以及《狡猾的小狐狸》中的小狗拉帕。自 2015 年起，她成為布爾諾國家歌劇院楊納傑克歌劇團的獨唱者，擔演著名角色包括《女人心》的朵拉貝拉、《惡魔與凱特》的凱特、卡門，和《水仙子》的傑西芭芭等。2018 年的夏天，她則與男高音尼基．史彭斯和鋼琴家朱利葉斯．德雷克攜手灌錄楊納傑克聯篇歌曲《失蹤者的日記》和《摩爾維亞民俗詩集歌曲》。該唱片由亥伯龍唱片發行，並於 2020 年獲英國廣播公司音樂雜誌頒發最佳人聲錄音獎。豪斯高娃曾與多個捷克及海外樂團合作，並多次獲邀在捷克及國際音樂節上演出。

演員簡介

Václava Krej í Housková graduated from the Conservatory in eské Bud jovice and the Academy of Performing Arts in Prague. She debuted with the Prague National Theatre in 2014 in the title role of Bizet’s Carmen. She has also played the parts of Cherubino (The Marriage of Figaro), Third Lady (The Magic Flute) and Lapák the dog (The Cunning Little Vixen). Since 2015, she has been a soloist of the Janá ek Opera of the National Theatre Brno, where she has played the roles of Dorabella (Così fan tutte), Kate (The Devil and Kate), Ježibaba (Rusalka) and Carman, among others. In summer 2018, she recorded The Diary of One Who Disappeared and Moravian Folk Poetry in Songs by Leoš Janá ek with tenor Nicky Spence and pianist Julius Drake. The CD, issued by Hyperion, won Best Vocal Recording at the BBC Music Magazine Awards 2020. Housková has worked with leading Czech and foreign orchestras, and has been a guest at prestigious Czech and international festivals.

斯瓦托普魯克．瑟姆

Svatopluk Sem

飾 – 林務員 as Forester

斯瓦托普魯克．瑟姆是捷克的傑出歌唱家。他經常獲邀在捷克不同歌劇舞台演出，例如布拉格國家劇院、布爾諾國家歌劇院，以及位於奧斯特拉瓦的摩爾維亞．西里西亞國家劇院。他曾在布拉格國家劇院演出多個經典角色，包括《唐喬望尼》中多個角色、《女人心》的古烈摩、《茶花女》的傑蒙和《狡猾的小狐狸》的林務員等。他曾與多位著名指揮家聯袂合演，例如伊里．貝勞拿域、安力高．多域高、約翰．菲奧雷、托馬斯．哈努斯、利珀爾．佩雪克等。除了捷克國內，他亦經常獲邀到海外演出，表演足跡遍及日本、丹麥、南韓、奧地利、西班牙、荷蘭、德國、俄羅斯、意大利，以及英國。

Cast Profiles

Svatopluk Sem is one of the Czech Republic’s leading singers. He is a regular guest on nearly all of the country’s opera stages, particularly at the National Theatre in Prague, where he has played, among others, the roles of Don Giovanni, Guglielmo in Così fan tutte, Germont in La traviata and the Forester in The Cunning Little Vixen, and also at the National Theatre Brno and the National Moravian Silesian Theatre in Ostrava. He has performed with major conductors such as Ji í B lohlávek, Enrico Dovico, John Fiore, Tomáš Hanus, Libor Pešek and others. He has performed as a guest in the Czech Republic and abroad, in Japan, Denmark, South Korea, Austria, Spain, Holland, Germany, Russia, Italy and the UK.

安德烈．高普利克

Ond ej Koplík

飾 – 校長、蚊子

as Schoolmaster, Mosquito

安德烈．高普利克於 2009 年起擔任歐洛慕奇摩拉維亞歌劇院的獨唱家，曾演出莫扎特《女人心》；威爾第《茶花女》、《弄臣》，以及柴可夫斯基《尤金．奧尼金》等歌劇的主要角色。從 2014 年開始，他亦與布拉格國家歌劇院及布拉格國家劇院合作，並由 2017 年 9 月起成為布爾諾國家歌劇院的獨唱家，飾演《愛情靈藥》的尼莫里諾、《女人心》的費蘭度，以及《塞維利亞的理髮師》的阿瑪維娃等角色。他亦在 2011 年以主角身分出演《西遊記》世界首演，及後隨同劇組於 2012 年在中國及於 2014 年在蒙古參與巡演。

Ond ej Koplík became a soloist at the Moravian Opera in Olomouc in 2009, playing lead tenor roles in Mozart’s Così fan tutte, Verdi’s La traviata and Rigoletto, Tchaikovsky’s Eugen Onegin, among others. Since 2014, he has collaborated with the State Opera in Prague and the Prague National Theatre. He has been a soloist at the National Theatre Brno since September 2017, and has appears in roles such as Nemorino (L’Elisir d’Amore), Ferrando (Così fan tutte), Almaviva (Il Barbiere de Siviglia). In 2011, he performed the title role in the world premiere of a Chinese opera Journey to the West, followed by a concert tour and galas in China (2012) and Mongolia (2014).

揚．薩華

Jan Š áva

飾 – 牧師、獾 as Pastor, Badger

揚．薩華自 2010 年起擔任布爾諾國家歌劇院楊納傑克歌劇團的獨唱家。他是布拉格國家劇院和摩拉維亞．西利西亞國家劇院的客席獨唱家，亦曾在巴黎歌劇院等法國歌劇院中亮相。他的演出涵蓋不少經典男低音角色，包括《唐喬望尼》的雷波烈羅、《女人心》的阿方索先生、《費加羅的婚禮》的費加羅和巴托羅、《後宮誘逃》的奧斯明及《魔笛》的薩拉斯妥。作為一位活躍的演唱家，他曾與英國廣播公司交響樂團、法國國立里昂管弦樂團、波恩貝多芬交響樂團及捷克愛樂等知名樂團合作。

演員簡介

Jan Š áva has been a soloist at the Janá ek Opera, National Theatre in Brno since 2010. He has also been a regular guest soloist at the Prague National Theatre and the National Moravian-Silesian Theatre in Ostrava, as well as appearing at the Opéra de Paris and other operas in France. His performances cover major basso parts such as Leporello (Don Giovanni), Don Alfonso (Così fan tutte), Figaro and Bartolo (Le nozze di Figaro), Osmin (Die Entführung aus dem Serail), Sarastro (The Magic Flute). A prolific concert performer, he has worked with the BBC Symphony Orchestra, the Orchestre National de Lyon, the Beethoven Orchestra Bonn, the Czech Philharmonic and others.

羅曼．荷沙

Roman Hoza

飾 – 夏拉斯達 as Harašta

羅曼．荷沙於 2014 年參與薩爾斯堡藝術節的年輕歌唱家計劃，為年輕觀眾演出《灰姑娘》的丹迪尼一角。他曾與位於杜塞道夫／杜伊斯堡的萊茵河畔德國歌劇工作室合作，演出多個角色。荷沙現時是布爾諾國家歌劇院楊納傑克歌劇團的獨唱家，曾出演唐喬望尼、《女人心》的古烈摩、德伏扎克《惡魔與凱特》中的馬寶、《奥里伯爵》的蘭波、唐尼采第《愛情靈藥》中的貝爾哥，以及薩里阿霍《遙遠的愛》中的約弗雷．魯德爾。他亦是布拉格國家劇院和奧斯特拉瓦國家劇院的演出常客。

Cast Profiles

Roman Hoza took part in the Salzburger Festspiele Young Singers Project as Dandini in La Cenerentola for younger audiences in 2014. He has worked with the opera studio of Deutsche Oper am Rhein Düsseldorf/Duisburg, for whom he appeared in many repertoire roles. Hoza is now a soloist of National Theatre Brno’s Janá ek Opera where he has performed as Don Giovanni, Guglielmo (Così fan tutte), Marbuel (Dvo ák’s Kate and the Devil), Rimbaud (Le comte Ory), Belcore (Donizetti’s L‘Elisir d’amore) and Jaufré Rudel (Saariaho’s L’amour de loin). He is a regular guest of the Prague National Theatre and the National Theatre Ostrava.

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 Member 嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

純銀會員 Silver Member 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 Group

上海商業銀行有限公司

Shanghai Commercial Bank Limited

實物支持機構 In-kind Supporters

嘉頓有限公司 The Garden Company Limited

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

無名氏 (2) Anonymous (2) Burger Collection

鑽石捐款者

DIAMOND DONORS HK$70,000 – HK$139,999

Rusy and Purviz Shroff Charitable Foundation

田家炳基金會 Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation 黃金捐款者 GOLD DONORS HK$12,000 – HK$29,999

Dr Chung See Yuen Peter and Nancy Thompson Mr William To

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

Initial Fashion

無名氏 Anonymous Mr Iain Bruce 馮兆林先生夫人 Mr & Mrs Fung Shiu Lam Dr Mak Lai Wo 黃乃正及陳穎儀

Ms Wong Pie Yue Cleresa

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 (3) Anonymous (3)

網上藝術教育捐助計劃 Digital Arts Education Scheme

鑽石捐款者

DIAMOND DONORS

黃金捐款者 GOLD DONOR

HK$70,000 – HK$139,999

Dr & Mrs Samuel and Ellen Lam

Lincoln & Yu-San Leong Sino Group

HK$12,000 – HK$29,999

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 Anonymous

藝術節捐助計劃 Festival Donation Scheme

翡翠捐款者 JADE DONORS HK$30,000 – HK$69,999

無名氏 Anonymous

Nine Queens Investment Limited Shun Hing Group

黃金捐款者 GOLD DONORS HK$12,000 – HK$29,999

Mr & Mrs Jeffrey & Helen Chan Mr SHN Cheng

Ms Jenny Hodgson Mr Stephen Tan Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao Samuel & Amy Wang Mr Andric Yew

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 (4) Anonymous (4)

新作捐助計劃 New Works Scheme

翡翠捐款者 JADE DONOR HK$30,000 – HK$69,999

Nine Queens Investment Limited

黃金捐款者 GOLD DONOR HK$12,000 – HK$29,999

劉仰澤先生 Mr Lau Yeung Chak

Mrs Germaine Tso Ms Wu Tseng Helen

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 (4) Anonymous (4) Star B Chan & MDB

Mr & Mrs David S L Lin Dr Michael Mak Dr Ronald Paul Ng Mrs A.M. Peyer Leland & Helen Sun Mr Wong Yick Kam Ms Isabel Yiu

青銅捐款者 BRONZE DONORS

Ms Chan Wan Tung Mr D Chang Ms Savita Leung Mrs A.M. Peyer Ms Janice Ritchie Mr Alex So Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

殷和順先生劉善萍女士

Mr Lee King Fung Mrs A.M. Peyer Mr Alex So Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

無名氏 (4) Anonymous (4) Mrs Veryan E. Bradshaw Ms Grace Chiang Dr Alfred Lau Ms Khoo Li Lian Flavia & Gary Ma Mr & Mrs Gary Ma Dr Jason Yeung

HK$3,000 – HK$5,999

純銀捐款者 SILVER DONOR HK$6,000 – HK$11,999

無名氏 Anonymous

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 Anonymous Ms Grace Chiang Mr S C Tong Ling Mrs A.M. Peyer

支持及協助 SUPPORT AND COOPERATION Acorn Design Alfie Leung Design

教育局藝術教育組

Arts Education Section, Education Bureau 香港展能藝術會

Arts with the Disabled Association Hong Kong 香港愉景灣酒店

Auberge Discovery Bay Hong Kong 奧地利駐香港總領事館

Austrian Consulate General Hong Kong 樺利廣告有限公司

Avanny Advertising Co Ltd

香港小交響樂團

Hong Kong Sinfonietta 宜必思香港中上環

ibis Hong Kong Central and Sheung Wan 工銀亞洲 ICBC (Asia)

香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices Outside Hong Kong 港島太平洋酒店

Island Pacific Hotel Hong Kong JellyBin Limited

• 文學院 Faculty of Arts

香港演藝學院

The Hong Kong Academy for Performing Arts

• 戲曲學院 School of Chinese Opera • 戲劇學院 School of Drama

• 音樂學院 School of Music

中環石板街酒店

The Pottinger Hong Kong

港青 - 香港基督教青年會 The Salisbury – YMCA of Hong Kong 綠葉劇團

BRICK LANE

高山劇場

光華新聞文化中心

THEDO

British Consulate General Hong Kong

中央人民政府駐香港特別行政區聯絡辦公室

Tom Lee Music Company Ltd

英國駐香港總領事館

Ko Shan Theatre

Théâtre de la Feuille

Broadway Cinema

Kwang Hwa Information & Culture Center

通利琴行

CAMPSITE

Liaison Office of the Central People's Government in the HKSAR

Trinity Theatre

Cattle Depot Artist Village

Marco Polo Hongkong Hotel

百老匯院線 Broadway Circuit

三角關係

馬哥孛羅香港酒店

屯門大會堂

周生生集團國際有限公司

Maxibit HK/China

URBTIX

中信國際電訊（信息技術）有限公司

Ministry of Culture and Tourism, PRC

牛棚藝術村

Chow Sang Sang Jewellery Co. Ltd

CITIC Telecom International CPC Limited 城市當代舞蹈團

City Contemporary Dance Company 城巿花園酒店

中華人民共和國文化和旅遊部

Mission Production Company Ltd MOViE MOViE 太古城中心 MOViE MOViE Cityplaza

City Garden Hotel

MOViE MOViE 太古廣場 MOViE MOViE Pacific Place

Consulate General of Canada in Hong Kong and Macau

Mr Alpha Li

加拿大駐香港總領事館

捷克共和國駐香港領事館

Consulate General of the Czech Republic in Hong Kong 俄羅斯駐香港總領事館

Consulate General of the Russian Federation in Hong Kong SAR, PRC 香港城市大學中文及歷史學系

Department of Chinese and History, The City University of Hong Kong 香港教育大學文化與創意藝術學系

Department of Cultural and Creative Arts, Education University of Hong Kong 嶺南大學文化研究系

李鏡輝先生

前進進戲劇工作坊 On & On Theatre Workshop

One Minden Tapas Kitchen 柏斯琴行

Parsons Music Limited

沙田大會堂

Sha Tin Town Hall

Hong Kong Arts Administrators Association

上環文娛中心

Sheung Wan Civic Centre

Hong Kong Arts Centre

Shun Hing Electronic Trading Co., Ltd.

Hong Kong Baptist University

• 音樂系 Department of Music

• 拉闊文化 Cultural Literacy Programme

香港中樂團

元朗劇院

Yuen Long Theatre 赤豚事務所

Zhu Graphizs

Speedy Promotion Limited 台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

Hong Kong Cultural Centre

香港八和會館

Hong Kong Gold Coast Hotel

香港中文大學

Tao Fong Shan Christian Centre The Artland Co Ltd

The Chinese Artists Association of Hong Kong The Chinese University of Hong Kong

Hong Kong Philharmonic Orchestra

• 文化及宗教研究系 Department of Cultural and Religious Studies

Hong Kong Tourism Board

• 音樂系 Department of Music

香港旅遊發展局

wine etc

事必達推廣有限公司

藝林文具印刷有限公司

香港管弦樂團

Wharney Hotel

Southgate Design

Hong Kong City Hall 香港黃金海岸酒店

粵海華美灣際酒店

信興電器貿易有限公司

道風山基督教叢林

香港文化中心

West Kowloon Cultural District Authority

Primasia Corporate Services Limited

Hong Kong Chinese Orchestra 香港大會堂

西九文化區管理局

Pixellent

Gloucester Luk Kwok Hong Kong

香港浸會大學

Wealthy Step Printing Co.

Piano Arts Service Limited

Royal Pacific Hotel

香港藝術中心

進富印刷公司

PCCW

皇家太平洋酒店

香港藝術行政人員協會

WeDraman Black Box Theatre

電訊盈科

Fringe Club 六國酒店

同流黑盒劇場

Patsville Company Ltd

犇華企業服務有限公司

藝穗會

城市售票網

卓滙達有限公司

Die Konzertisten

Department of Cultural Studies, Lingnan University

Tuen Mun Town Hall

節目一覽 FESTIVAL PROGRAMME 荀伯格合唱團

Arnold Schoenberg Choir 《節目構想》 Curating the Programme

《後浪漫主義時期的歐洲合唱音樂傳統》 The European Choral Tradition of the Late Romantic Period

粵劇《挪亞方舟》

Cantonese Opera Noah’s Ark

幕後花絮 Behind-the-scenes

《當彩瓷遇上戲曲》 Telling Images of Xiqu on Porcelain

查爾斯．理察－哈梅林音樂會 Charles Richard-Hamelin

Concerts

《面對鋼琴大賽的焦慮》 Conquering Performance Anxiety in Piano Competition

多瑪倉庫劇院《盲流感》

Donmar Warehouse Blindness

香港中樂團 — 樂旅中國

Hong Kong Chinese Orchestra Music About China 俄羅斯莫伊謝耶夫舞團「特備節目」

Igor Moiseyev State Academic Ensemble of Popular Dance Igor Moiseyev Ballet Special

《繼續演出》─ 伊蓮娜．莎巴科娃從藝五十年 Without Intermission – 50 Years of Artistic Life of Elena Shcherbakova

香港小交響樂團英雄 · 貝多芬

Inspired by Beethoven – Hong Kong Sinfonietta•Eroica

賽馬會本地菁英創作系列《後話西遊》/《兩個女子》

Jockey Club Local Creative Talent Series Journey to the West Rewind / Women Like Us

《〈兩個女子〉：追求漫長幸福路的艱辛》 Women Like Us On the Arduous Path to Happiness 《〈後話西遊〉：如何在新常態下繼續取經》 The New Normal of Journey to the West Rewind

賽馬會本地菁英創作系列音樂劇《日新》（暫名）工作坊展演

Jockey Club Local Creative Talent Series Yat-sen (tentative title) Work-inProgress Preview 《〈日新〉創作團隊訪問》 Creative team sharing on Musical Yat-sen

馬修 · 伯恩芭蕾電影系列《仙履奇緣》

Matthew Bourne’s Ballet Film Series Cinderella

幕後花絮 Behind-the-scenes

馬修 · 伯恩芭蕾電影系列《羅密歐與茱麗葉》

Matthew Bourne’s Ballet Film Series Romeo & Juliet

幕後花絮 Behind-the-scenes

馬修 · 伯恩芭蕾電影系列《天鵝湖》

Matthew Bourne’s Ballet Film Series Swan Lake

幕後花絮 Behind-the-scenes

馬修 · 伯恩新冒險舞蹈團芭蕾電影《紅舞鞋》

A Matthew Bourne’s New Adventures production Ballet Film: The Red Shoes 捷克布爾諾國家歌劇院《耶奴法》

National Theatre Brno Jen fa

幕後花絮 Behind-the-scenes

《追尋楊納傑克的足跡》 In the Footsteps of Leoš Janá ek 《樂遊捷地》 Into the Czech Lands

捷克布爾諾國家歌劇院《狡猾的小狐狸》

National Theatre Brno The Cunning Little Vixen

幕後花絮 Behind-the-scenes

捷克布爾諾國家歌劇院《失蹤者的日記》

National Theatre Brno The Diary of One Who Disappeared 《演繹楊納傑克》 Performing Janá ek

《楊納傑克的戀戀情思》 Janá ek's Unrequited Love

巴維．哈斯四重奏

Pavel Haas Quartet

《楊納傑克與馬天奈弦樂四重奏：親暱與著迷》 Janá ek and Martin : Intimacy and Obsessions in String Quartets 《追尋楊納傑克》 Finding Your Own Janá ek

揚．巴托斯鋼琴獨奏會

Piano Recital by Jan Bartoš

《楊納傑克鋼琴作品分析》 Revealing Janá ek and His Piano Works

史葛 · 蕭凡《心靈旅程》

Scott Silven’s The Journey

演後藝人談 Meet-the-Artist

快刀劇場《無晴情天氣報告》

The Chop Pathetic Fallacy

香港賽馬會當代舞蹈平台《當代十年》

The Hong Kong Jockey Club Contemporary Dance Series Dance On and Off

《疫情下舞蹈家如何發展身體潛能》 Dancers at Home 《在不明確的世界中尋找眾聲起舞的意義》 Voice Out Mokita in An Uncertain World

香港賽馬會當代舞蹈平台《沒有大象》/《得體》

《鼠疫》（粵語版） The Plague (Cantonese version) 《為鼠疫作證》 The Witnesses of The Plague

《鼠疫》（英語版） The Plague (English version)

《此時此刻，重讀卡繆〈瘟疫〉》 Seeing your own plague in Albert Camus’s The Plague

維也納交響樂團音樂會

Wiener Symphoniker’s Concerts 導賞講座 Guided Talk

葉氏兒童合唱團兒童歌劇《愛麗絲夢遊仙境》

Yip’s Children’s Choir Children’s Opera Alice in Wonderland

音樂 Music

舞蹈 Dance

戲劇 Theatre

歌劇 / 戲曲 Opera/Chinese Opera

加料節目

藝術家分享 Artist Sharing

幕後花絮 Behind-the-scenes

紀錄片放映 Documentary Screening 講座 Talks

網上展覽 Online Exhibition 請瀏覽香港藝術節網站，查看最新節目資訊 Please visit the HKAF website for latest programme information

www.hk.artsfestival.org

The Hong Kong Jockey Club Contemporary Dance Series Elephant in the Room / Dirty

香港賽馬會當代舞蹈平台《在不明確的世界中尋找意義》

The Hong Kong Jockey Club Contemporary Dance Series Finding Meaning in an Uncertain World

香港賽馬會當代舞蹈平台《 Mokita 》/《眾聲起舞》

The Hong Kong Jockey Club Contemporary Dance Series Mokita / Voice Out

香港賽馬會當代舞蹈平台《火滅》/《煉金》

The Hong Kong Jockey Club Contemporary Dance Series Put Out the Flame / Hermetic Diode

電話 Tel 傳真 Fax 電郵 Email 節目查詢

Programme Enquiry

2824 3555 2824 3798 / 2824 3722 afgen@hkaf.org 2824 2430

香港灣仔港灣道 2 號 12 樓 1205 室

Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

贊助人

林鄭月娥女士

PATRON

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS

永遠名譽會長

邵逸夫爵士

HONORARY LIFE PRESIDENT

Sir Run Run Shaw, CBE (1907-2014)

執行委員會

EXECUTIVE COMMITTEE

主席

查懋成先生

義務司庫

李錦榮先生

副主席委員

節目委員會主席委員

盧景文教授鄭維新先生鄭惠貞女士梁靳羽珊女士梁卓偉教授文肇偉先生孫大倫博士姚潔莉女士楊光先生

委員

盧景文教授

白諾信教授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

發展委員會主席

副主席委員

顧問

名譽法律顧問核數師

Mr Victor Cha

Vice Chairman

Prof Lo King-man, MBE, JP, SBS

Honorary Treasurer

Mr William Li

Members

Mr Edward Cheng, GBS JP Ms Margaret Cheng Mrs Yu-san Leong Prof Gabriel Leung, GBS JP Mr Sebastian Shiu-wai Man Dr Dennis T L Sun, BBS JP Ms Miriam Yao Mr Sunny Yeung

PROGRAMME COMMITTEE

財務委員會主席

Chairman

梁靳羽珊女士雍景欣女士

鄭阮培恩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

甘乃迪女士（孖士打）羅兵咸永道會計師事務所

* 榮譽節目顧問 Honorary Programme Advisor 48

Chairman

Prof Lo King-man, MBE, JP, SBS

Members

Prof 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

FINANCE COMMITTEE Chairman

Mr William Li

Members

Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman

Mrs Yu-san Leong

Vice Chairman

Ms Jane Yong

Members

Mrs Betty Yuen Cheng Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao

ADVISORS

The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Dr John C C Chan, GBS CBE LVO JP Dr Darwin Chen, SBS ISO Mr Angus H Forsyth The Hon Charles Y K Lee, GBM GBS OBE JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon Sir David K P Li, GBM GBS OBE JP

HONORARY SOLICITOR

Ms Gabriela Kennedy, Mayer Brown

AUDITOR PricewaterhouseCoopers

職員

STAFF

行政總監行政總監助理

何嘉坤 ** 何丹蓉

助理節目經理節目統籌藝術行政見習員物流及接待經理

梁掌瑋 ** 蘇國雲游慧姿 * 葉健鈴余瑞婷 * 譚小敏 * 黃傲軒 * 袁潔敏 * 郭笑 * 金學忠 *

節目節目總監副節目總監節目經理

行政節目經理 ( 行政 ) 節目主任 ( 行政 ) 技術製作經理助理製作經理出版編輯英文編輯助理編輯

外展高級外展經理副外展經理助理外展經理外展主任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

票務市場經理 ( 票務 ) 票務主任

發展發展總監發展經理

助理發展經理藝術行政見習員會計財務主管會計經理會計主任

人力資源及行政行政經理接待員 / 初級秘書助理

無限亮項目主管項目統籌節目及外展經理助理節目及外展經理助理市場經理外展統籌助理技術及製作經理高級會計主任

蘇雪凌程鶩誼 * 梁雅芝 * 莫賦斌 * 廖健邦 * Oliver Farry* 鄭豐榮 * 黎家欣 * 李冠輝 ** 鄧冠恆 * 林嘉敏 * 張翠騫 * 李玨熙 * 李萬祺 * 鄭尚榮 ** 胡銘堯 ** 陳志雄 * 周怡楊璞 * 郭駿成 * 陳閏霖 * 劉萍 * 張予心 * 梁彩雲陳偲穎 * 鍾卓祐 * 余潔儀 ** 張慧芝 * 麥紫琴 * 譚樂瑤蘇寶蓮 * 吳樂怡 * 鄺敬婷 ** 杜詩麗 * 蘇永恆 * 譚智盈 * 李美娟黃國愛鍾雅妍 * 陸凱盈 * 林淦鈞 * 陳慧晶 * 朱穎欣 * 汪盈 * 馮顯峰 * 陳梓衡 * 彭健欣 *

* 合約職員 Contract Staff ** 無限亮指導委員會成員 No Limits Steering Committee Members

Executive Director Assistant to Executive Director PROGRAMME Programme Director Associate Programme Director Programme Managers Assistant Programme Managers Programme Coordinator Arts Administrator Trainee Logistics Manager

Tisa Ho** Connie Ho Grace Lang** So Kwok-wan Janet Yau* Susanna Yu* Tracy Tam* Loui Yuen* Stephanie Kuo* Elvis King*

ADMINISTRATION Programme Manager (Administration) Programme Officer (Administration)

Shirley So Spaky Ching*

TECHNICAL Production Manager Assistant Production Manager

Shirley Leung* Benny Mok*

PUBLICATIONS Editor English Editor Assistant Editors

James Liu* Oliver Farry* Rain Cheng*

OUTREACH Senior Outreach Manager Deputy Outreach Manager Assistant Outreach Manager Outreach Officers MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Marketing Officer Arts Administrator Trainee TICKETING Marketing Manager (Ticketing) Ticketing Officers DEVELOPMENT Development Director Development Managers

Kenneth Lee** Joe Tang* Carman Lam* Tracy Cheung* Kelvin Li*

Linda Yip Joseph Wong*

Melody Lai*

Michael Lee*

Katy Cheng** Dennis Wu** Dennis Chan* Alexia Chow Michelle Yeung* Joel Kwok* Ben Chan* Erica Lau* Stephanie Cheung* Eppie Leung Stephanie Chan*

Assistant Development Manager Arts Administrator Trainee

Flora Yu** Anna Cheung* Lorna Tam Conny Souw* Lois Ng*

ACCOUNTS Head of Finance Accounting Manager Accounting Officer

Teresa Kwong** Connie To* Peter So*

HR & ADMINISTRATION Office Manager Receptionist/Junior Secretary General Assistant

Judy Tam* Virginia Li Bonia Wong

NO LIMITS Project Administrator Project Coordinator Programme and Outreach Manager Assistant Programme and Outreach Manager Assistant Marketing Managers Outreach Coordinator Assistant Technical and Production Manager Senior Accounting Officer

Fiona Chung* Helen Luk* Lam Kam-kwan* Ainslee Chan* Wendy Chu* Wilson Fung* Jacob Chan* Janice Pang*

Chung Cheuk-yau*

Mak Tsz Kam*

Tiffany Wong*

按英文姓氏首字母排列 In alphabetical order

49 2021 年 3 月更新 Updated March 2021