Wiener Symphoniker - The Beautiful Melodies of Franz Lehár - 49th Hong Kong Arts Festival by Hong Kong Arts Festival

維也納交響樂團 Wiener Symphoniker

The Beautiful Melodies of Franz Lehár 萊哈爾誕辰150週年音樂會

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 of the arts and culture, particularly in these trying times. 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, the 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. The 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 the 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」之維也納交響樂團音樂會節目放映

THE SCREENING OF CONCERT BY WIENER SYMPHONIKER as part of THE HONG KONG JOCKEY CLUB SERIES

曲目

專題文章 Feature Article

維也納輕歌劇的「白銀時代」

維也納交響樂團簡介

指揮 Conductor

女高音 Soprano

網上放映

男高音 Tenor

演出長約 1 小時 15 分鐘

男高音 Tenor

維也納交響樂團

Wiener Symphoniker

萊哈爾誕辰 150 週年音樂會 THE BEAUTIFUL MELODIES OF FRANZ LEHÁR 18–21.03.2021 Online Screening Approx 1 hour and 15 minutes

德語演唱，附中、英文字幕

Programme

The Silver Age of Viennese Operetta

About the Wiener Symphoniker

曼弗雷德．霍內克 Manfred Honeck 卡米拉．蕾隆 Camilla Nylund 彼德．貝沙亞 Piotr Beczała 米高．沙德 Michael Schade

Performed in German with Chinese and English subtitles

封面及演出照片 Cover and Production Photographs © Julia Wesely

香港藝術節感謝天開數碼媒體有限公司為維也納交響樂團《萊哈爾誕辰 150 週年音樂會》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 Wiener Symphoniker The Beautiful Melodies of Franz Lehár

請勿在網上演出途中錄影、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

曲目

Programme

曲目 PROGRAMME 萊哈爾

《金銀圓舞曲》《風流寡婦》選段

〈你會在麥森俱樂部找到我〉〈維莉亞之歌〉〈雙唇閉緊〉

女高音：卡米拉．蕾隆男高音︰彼德．貝沙亞

Franz Lehár (1870–1948)

Gold und Silber, Walzer (Gold and Silver Waltz) Excerpts from Die lustige Witwe (The Merry Widow) “Da geh’ ich zu Maxim” (You’ll Find Me at Maxim’s) “Vilja-Lied” (Vilja Song)

“Lippen schweigen” (Lips Stay Silent) Soprano: Camilla Nylund Tenor: Piotr Beczała

《舞會女士圓舞曲》，原為《風流寡婦》曲目之一

Ballsirenen Walzer (Ballsiren Waltz), originally from Die lustige Witwe (The Merry Widow)

〈今天我將嫁為人婦〉，選自《盧森堡伯爵》

“Heut' noch werd‘ ich Ehefrau” (Today I Will Be a Wife) from Der Graf von Luxemburg (The Count of Luxembourg)

《發燒》（為男高音及大型交響樂團而寫的交響詩）

Fieber, Tondichtung für Tenor und großes Orchester (Fever, a symphonic poem for tenor and large orchestra)

〈你何以吻醒我〉，選自《費德莉琪》

“Warum hast du mich wachgeküsst” (Why Did You Kiss Me Awake?) from Friederike

〈伏爾加之歌〉，選自《沙皇太子》

“Wolgalied” (Volga Song) from Der Zarewitsch (The Tsarevich)

《微笑之國》選段

Excerpts from Das Land des Lächelns (The Land of Smiles)

女高音：卡米拉．蕾隆

男高音：米高．沙德

女高音：卡米拉．蕾隆

男高音：米高．沙德

〈你是我心所悅〉

〈愛情，是誰賦予你這魔力〉〈永遠面露微笑〉

女高音：卡米拉．蕾隆男高音︰彼德．貝沙亞

《茱迪塔》選段

〈我雙唇吻得如此炙熱〉

〈朋友，活着還是有價值的〉女高音：卡米拉．蕾隆男高音︰彼德．貝沙亞

Soprano: Camilla Nylund

Tenor: Michael Schade

Soprano: Camilla Nylund

Tenor: Michael Schade

“Dein ist mein ganzes Herz” (You Are My Heart’s Delight)

“Wer hat die Liebe uns ins Herz gesenkt” (Love, What Has

Given You This Magic Power)

“Immer nur lächeln” (Always Smile) Soprano: Camilla Nylund Tenor: Piotr Beczała

Excerpts from Giuditta

“Meine Lippen, die küssen heiß” (My Lips’ Fiery Kisses)

“Freunde, Das Leben ist lebenswert” (Friends, Life Is Worth

Living)

Soprano: Camilla Nylund Tenor: Piotr Beczała

維也納輕歌劇的「白銀時代」 THE SILVER AGE OF VIENNESE OPERETTA

小約翰史特勞斯和蘇佩的輕歌劇作品，參考了奧芬巴赫奠

定的範本，以大量的圓舞曲素材，柔化原來的法式戲謔手法諷剌特色，打造出符合維也納觀眾口味的劇目，同時開啟了輕歌劇的黃金年代。然而隨着二十世紀初維也納文化氛圍轉變，曾經風靡廣大聽眾的輕歌劇開始顯得俗氣落

伍，一些心高氣傲的作曲家開始捨棄這種藝術形式。但亦有部分作曲家繼續鑽研輕歌劇——同輩作曲家對此興趣缺

缺，也許正好為匈牙利出生、布拉格受訓的萊哈爾（ 1870–

1948 ）打開了一條成名之路。

The Golden Age of operettas arrived in Vienna with the works of Johann Strauss II and Franz von Suppé. This satirical and sometimes acerbic French import, popularised by Jacques Offenbach, was adapted for the Viennese palate, with a generous helping of the waltz. At the dawn of the 20th century, the genre might have appeared out of sync with the progressive cultural climate of the Austrian capital and was eschewed by more high-minded aspiring composers. But there were some who were not deterred and the lack of interest from some of his peers perhaps afforded a window of opportunity to Franz Lehár (1870–1948), a Hungarian-born bandmaster who had trained in Prague.

專題文章

萊哈爾

Franz Lehár 出生 Born

1870 年 4 月 30 日（匈牙利帝國科馬羅姆） 30 April 1870 (Komárom, Kingdom of Hungary) 逝世 Died

1948 年 10 月 24 日（奧地利巴德伊舍） 24 October 1948 (Bad Ischl, Austria)

《風流寡婦》首演後大受歡迎，1907 年更巡演至紐約百老匯，圖為當年出版的樂譜封面 The Merry Widow received critical acclaim after its premiere, and was brought to New York’s Broadway in 1907. Pictured here is the cover for the score published in the same year

1905 年巧合地成為維也納古典音樂發展的分水嶺，更加是萊哈爾事業的里程碑。就在這一年，維也納樂迷見證了李察• 史特勞斯的歌劇《莎樂美》、荀伯格的第一弦樂四重奏，還有馬勒的《亡兒之歌》等作品的誕生。然而，成功俘獲奧地利和海外觀眾歡心的，卻是萊哈爾在 12 月 30 日於維也納劇院首演的輕歌劇《風流寡婦》。

維也納文壇才子里安（ 1858– 1940 ）和史坦（ 1861–1921) 取材法國劇作家梅亞克名為《使館專員》的喜劇，改編成輕歌劇《風流寡婦》（梅亞克亦是比才《卡門》、馬斯內《曼儂》以及多部奧芬巴赫輕歌劇的主筆）。兩位劇作家原本屬意曉爾伯格譜曲，雙方合作不順利之下，才毅然臨陣易帥，由當時名氣較遜的萊哈爾頂上。然而，萊哈爾憑藉天賦與運氣，找到了創作輕歌劇的成功秘方：五光十色的巴黎式背景不但為歌舞大場面提供場景，「本地」和「異國」角色的交集更令音樂風格更顯多元。不過，最重要的仍不離貫穿全劇的動人圓舞曲片段。這些容易上口的浪漫旋律，在關鍵情節讓真相大白、誤會冰釋，使得有情人在幾經波折後終成眷屬。萊哈爾把《風流寡婦》劇中最膾炙人口的旋律，都保留予一對來自龐特維特羅（一個虛構的巴爾幹小國）的舊情侶。男主角丹尼路是駐巴黎使館的大使，害怕受關係束縛，而女主角漢娜則是位上流寡婦，繼承了巨額遺產；兩人異地重逢，雖然舊情難忘，但礙於面子卻互不相讓。丹尼路在

Feature Article

The year 1905 would be both a milestone and watershed in the Viennese music scene and, more importantly, in the career of Lehár himself. Vienna witnessed the premieres of Richard Strauss’s Salome, Schönberg’s First String Quartet and Mahler’s Kindertotenlieder. Nevertheless, it was Lehár’s operetta that scored the crowning success with its first performance at the Theater an der Wien on 30 December. The Merry Widow (1905) was adapted by Viktor Léon (1858– 1940) and Leo Stein (1861–1921) from Henri Meilhac’s play L'Attaché d'Ambassade (Meilhac was better known in his day for writing the librettos to Bizet’s Carmen, Massenet’s Manon, and a dozen for Offenbach’s operettas). However, Lehár was not Léon and Stein’s first choice. It was only after an unsatisfactory setting by Richard Heuberger that the duo took a chance on Lehár. With luck and talent, Lehár found his recipe for success: the chic Parisian backdrop for spectacles and dances, the assortment of “foreign” and local characters which allowed room for a wide palette of musical styles, and, most importantly, the endless flow of sensual and immediately memorable waltz tunes reserved for the romantic leads, as disguised identities, intrigues and pride melt away to the confession of love. In the case of The Merry Widow, the best love numbers were accorded to Count Danilo, the commitment-phobic diplomat from the fictional country of Pontevedro, and his old flame, Hanna Glarawi, a sought-after 15

第一幕登場時半醒半醉，唱的〈你會在麥森俱樂部找到我〉正好是他浪子生活的寫照；至於漢娜在第二幕化妝舞會獻唱的〈維莉亞之歌〉，巧妙地借家鄕古老傳説中獵人和森林女神的故事，揶揄多情但膽怯的丹尼路。兩人經歷大小誤會，最終卸下心防，在第三幕唱出〈雙唇閉緊〉一曲，將一直不敢宣之於口的愛意寄託優美的圓舞曲。萊哈爾乘《風流寡婦》的全球熱潮，將劇中最為人耳熟能詳的旋律改編成獨立管弦樂小品《舞會女士圓舞曲》，彷如劇中第一幕大使館舞會的番外短篇。

雖然《風流寡婦》自維也納首演後深受歡迎，並先後搬演至倫敦、巴黎、甚至紐約百老匯的大小劇院，不過萊哈爾卻要在 1909 年才憑藉《盧森堡伯爵》再嚐走紅滋味。故事同樣以大都會巴黎為背景：男主角蘭尼公爵是空有虛銜的盧森堡貴族，與同樣潦倒的友人亞曼特合租畫室。那邊廂，來自俄羅斯的巴西路維治親王雖然年邁兼有婚約在身，卻一心想迎娶他贊助的歌劇明星安祖莉，於是利誘蘭尼與安祖莉假結婚。男的可以獲得數十萬報酬，女的則可承襲貴族封號，然後離婚再下嫁親王。〈今天我將嫁為人婦〉正是安祖莉在第一幕「盲婚」儀式前所唱的小曲。《盧》劇當中不乏悅耳動聽的圓舞曲旋律，不過演出有時會因應劇情及地方觀眾喜好，加插萊哈爾的《金銀圓舞曲》於其中。這首作品在 1902 年寫成，原為維也納名媛梅特涅公主委約萊哈爾，特別為其於同年 1 月 27 日在蘇菲公主舞

wealthy widow who will not yield until Danilo declares his love. Sung by a hungover Danilo in Act 1, “Da geh’ ich zu Maxim” (You’ll Find Me at Maxim’s) is his paean to a carefree lifestyle with no strings attached. Dressed up as a fairy at her own party in Act 2, Hanna mocks Danilo in her beguiling “Vilja-Lied” (Vilja Song). The two finally shed all the pretence and rekindle their love to the waltz duet “Lippen schweigen” (Lips Stay Silent), heard in a wordless, hummed version in the previous act. The most popular tunes from the opera were later arranged into the Ballsirenen Walzer (Ballsiren Waltz), a standalone orchestral work which took its name from the introduction of the ball maidens (sirens) in the “ladies’ choice” scene. Despite the runaway success of The Merry Widow in Vienna and later in London, Paris and New York, it would be another four years before Lehár had further international success, with The Count of Luxembourg in 1909. Set against the same cosmopolitan backdrop of Paris, the story unfolds in the studio shared by two struggling painters, Armand and his friend René, who is Count of Luxembourg but has nothing more than his title. For half a million francs, the latter is persuaded to enter into a sham marriage with Angèle Didier, a young singer with the Paris Opera, whom he will divorce after three months so she can marry her sponsor, the aging Russian Prince Basilowitsch. In Act 1, Angèle makes her entrance with the song “Heut’ noch werd’ ich Ehefrau” (Today I Will Be a Wife)

專題文章

廳舉行的「金銀舞會」創作。

此後十年間，曾經奢華的維也納被第一次世界大戰的陰霾籠罩，社會和藝文界都呈現出相對消極和克制的情緒。萊哈爾亦深受影響，在 1915 年完成為男高音及管弦樂團改編的交響詩《發燒》。此曲取材自奧地利詩人爾文• 懷爾（ 1885–1942 ）的作品，原本收錄於一套五首的聯篇歌曲之中。歌詞描述一個重傷的軍人在醫院彌留之際的幻覺：他憶起與愛人的約定、又想起了母親和戰場上衝鋒陷陣的情境。萊哈爾引用了圓舞曲和匈牙利進行曲來配合軍人腦海浮現的片段，並以一個詭異、纏繞不休的二音動機貫穿全曲。隨着主題動機消散，軍人的生命亦同告終結。

Feature Article

before the wedding ceremony takes place. While there is no shortage of waltz tunes, Lehár’s Gold und Silber waltz was sometimes interpolated into the opera. The work was originally commissioned by Princess Pauline von Metternich for her exquisite “Gold and Silver Ball” on 27 January 1902 at the Sophiensäle theatre in Vienna. In the following decade, as the trauma of the Great War took hold, the once glamorous Vienna was eclipsed by a general sense of sobriety and constraint. Lehár responded with Fieber (Fever), a tone poem for tenor and orchestra in 1915. Originally part of a cycle set to words by the Austrian writer Erwin Weill (1885–1942), the extended song

Piotr Beczała (left) performs excerpts from The Merry Widow, The Land of Smiles and Giuditta 彼德．貝沙亞（左）演唱《風流寡婦》、《微笑之國》及《茱迪塔》選段

隨着柏林在 1920 年代冒起成為新興的娛樂中心，眾多輕歌劇及卡巴萊歌舞演出接連上演，萊哈爾亦趁機嘗試以歷史人物生平軼事作為輕歌劇題材。此外，他又覓得兩位得力合作夥伴——奧地利抒情男高音李察．陶伯爾（ 1891–1948 ）和劇作家費茲．洛拿 — 卑德（ 1883–1942 ）。萊哈爾憑《帕格尼尼》一劇再創佳績，並接連在 1927 及 1928 年完成《沙皇太子》及《費德莉琪》兩部新作。前者靈感來自俄國彼德大帝之子亞力齊為原型，主角對女性心存忌諱，為逃避繼位和子嗣壓力自我流放，感懷孤獨身世唱出〈伏爾加之歌〉。而《費德莉琪》則取材自德國文豪歌德和其年少傾慕的對象費德莉琪．比爾安之間的戀愛故事。女主角以〈你何以吻醒我〉一曲表現愛情與現實的掙 18

is a dramatic scene in itself: a delirious wounded soldier recalls his beloved, his mother and his days on the battlefield. The flashbacks are played out to the waltz, strains of the Rákóczi March and an obsessive, ominous two-note motif, which grows faint as he dies on his hospital bed. By the 1920s, Lehár turned his attention to works on “historical” figures or subjects, as well as his frequent collaboration with the Austrian tenor, Richard Tauber (1891–1948) and the librettist Fritz Löhner-Beda (1883–1942). After initial success with Paganini, Lehár went onto to create The Tsarevich and Friederike in 1927 and 1928 respectively. It is worth noting that the works from this period were no longer premiered in Vienna but Berlin, which had

begun to supplant Vienna as a centre for German operetta and cabaret entertainment. The Tsarevich was inspired by the son of Peter the Great. Alexei, the heir to the Russian throne is tormented by his resistance to courting women and expresses his longing for love in the “Wolgalied” (Volga song). Friederike was based on the love affair between the young Goethe and Friederike Brion. In the operetta, she expresses her struggle between love and sacrifices in “Warum hast du mich wachgeküsst?” (Why Did You Kiss Me Awake?). Although the operettas themselves have fallen into relative obscurity, both songs remain standards of concert or recital repertoire. From the 1930s, there were significant changes in Lehár’s choice of subject, tone and

專題文章

Feature Article

扎。雖然相對作曲家其他輕歌劇作品而言，這兩部作品曝光率不高，但這兩首歌曲仍能突圍而出，位列音樂會或獨奏會的常演曲目。

1930 年代見證了萊哈爾輕歌劇作品在選材、氣氛和結構上的轉變。作曲家在《微笑之國》採用了現代背景和異國情調等元素譜寫一段兩地愛情故事：男主角蘇忠親王是來自北京的駐奧地利使節，女主角麗莎則是當地的貴族名媛；兩人因為對方與別不同的氣質而互相傾慕。然而，蘇忠一角一改萊哈爾筆下既有的公子哥兒形象，為人內斂謹慎，在出場曲〈永遠面露微笑〉便可見一斑。圓舞曲在劇中仍然起了關鍵作用：兩人婚後定居中國，藉着〈愛情，是誰給你這魔力〉唱出新婚的甜蜜美好。不過，

structure for his operettas. The composer revisited his earlier foolproof recipe with a return to contemporary setting and exotic locales in The Land of Smiles in 1929. The two leads—Prince Sou-chong, a diplomat from Beijing, and Lisa Lichtenfels, a Viennese socialite—fall in love because of their differences. Unlike the typical bon vivant in Lehár’s previous operettas, the reserved character of Sou-chong is made evident in his first aria, “Immer nur lächeln” (Always Smile). Waltz still plays a central role in the expression between the lovers, such as “Wer hat die Liebe uns ins Herz gesenkt” from Act 2 (Love, What Has Given You This Magic Power). In the end, Lisa cannot accept the polygamous convention of old China and the couple separate amiably. Despite the bittersweet ending, Sou-chong’s song “Dein

Under the baton of Manfred Honeck (right), Camilla Nylund (left) and Piotr Beczała (centre) perform some of the Lehár’s best known melodies （右至左）在指揮曼弗雷德．霍內克的帶領下，卡米拉．蕾隆及彼德．貝沙亞獻唱萊哈爾的精選曲目

ist mein ganzes Herz” (You Are My Heart’s Delight) became the tenor Richard Tauber’s calling card and a worldwide hit, putting both the singer and the number itself formidable rivals of “Vesti la giubba”, recorded by the legendary Italian tenor Enrico Caruso. With the threat of the Third Reich becoming imminent to his predominantly Jewish collaborators and his own wife (his onetime librettist Löhner-Beda would perish in Auschwitz), Lehár bade farewell to the operetta world with his last original work, Giuditta, in 1934. Staged at the Vienna State Opera, the ambitious work broke the three-act convention of operetta for a greater sense of continuity. Set in five acts, the main action takes place in North Africa, where the eloped lovers 19

故事的結局卻有別於以往的大團圓設定：麗莎思鄉心切，又未能接受中國男人納妾的古老傳統，男女主角最終因為文化差異而和平分手。蘇忠的一曲〈你是我心所悅〉不但成為男高音陶伯爾的首本名曲，更揚名海外，知名度堪比意大利另一著名男高音卡羅素的代表作 —— 歌劇《丑角》的〈穿上戲裝〉。

萊哈爾雖然大可憑《微》乘勝追擊，但礙於大部分合作歌唱家和妻子均為猶太人，面對納粹德國迫於眉睫的威脅，只能選擇低調退場。《茱迪塔》是萊哈爾最後一齣原創輕歌劇， 1934 年於維也納國立歌劇院首演。作曲家雄心壯志，採用五幕結構來增加劇情連貫性，有別於一般輕歌劇的三幕結構。故事以北非為主要場景：奧克塔維奧和茱迪塔不顧一切私奔，身為軍人的男主角因為從軍令被迫拋棄女主角，後者則迫於生計淪為舞孃。萊哈爾筆下的男女主角，與比才歌劇《卡門》的角色相映成趣。例如茱迪塔在〈我雙唇吻得如此炙熱〉一曲中，便深具卡門嫵媚誘人的神韻。而奧克塔維奧所唱的〈朋友們，活着還是有價值的〉，表面上流露出鬥牛勇士艾斯卡米歐的瀟灑自信，但骨子裏卻隱藏着同為軍命羈絆的荷西。《茱迪塔》暗藏對比才這位歌劇巨擘的致意，讓萊哈爾個人的藝術之旅，以至使他名利雙收的輕歌劇藝術形式，都達至圓滿境界。杜淑芝杜淑芝是香港專業古典色士風演奏家，亦是專門撰寫音樂的記者，涉獵範包括意大利寫實歌劇及爵士。

Giuditta and Octavio are forced to part ways due to the latter’s call-up. Reminiscent of Bizet’s Carmen in temperament, the role of Giuditta is best remembered for her sensuous cabaret number, “Meine Lippen, die küssen heiß” (My Lips’ Fiery Kisses). Likewise, Octavio’s “Freunde, Das Leben ist lebenswert” (Friends, Life Is Worth Living) is reminiscent of the licentious bravado of Escamillo, cloaked under the uniform of Don José in Bizet’s earlier scenario. With such echoes of an illustrious predecessor, now six decades old, Lehár, and indeed the very genre that had catapulted him to international fame and financial security, had come full circle.

Jennifer To Jennifer To is a professional classical saxophonist and music journalist based in Hong Kong. Her research interest range from Italian verismo opera to jazz.

維也納交響樂團

WIENER SYMPHONIKER 維也納交響樂團憑藉其悠久歷史、獨有氣魄和探究精神，一直肩負宏揚古典音樂的角色。創團迄今一百二十年，樂團撫今追昔，同時力求革新，不斷塑造屬於音樂之都的獨特聲音。2020 至 21 樂季起，樂團迎來新任首席指揮安德烈斯．奧羅斯科－埃斯特拉，展開一段追本溯源、展望未來的音樂旅程。維也納交響樂團創立於 1900 年，其時維也納現代主義浪潮正席捲這座音樂之都。時值世紀之交，樂團依然別具自信和前瞻視野，從容地應付各種挑戰，並發展當地的音樂傳統。作為市內第一個演奏貝多芬交響曲全集的樂團，貝多芬的人文精神及創新態度與維也納浪漫主義思想可說是專為樂團度身訂造，他們至今依然是演奏這組曲目的頂尖樂團。維也納交響樂團別具先鋒者氣魄，當時創團不久便迅速成為 24

With a rich history steeped in tradition, the courage to stand apart and an enduring joy of discovery, the Wiener Symphoniker is the beating heart of the metropolis of classical music, Vienna. For 120 years, the orchestra has shaped the special sound of its native city, forging a link between past, present and future like no other. In Andrés Orozco-Estrada, the orchestra has found a chief conductor to lead this talented ensemble forward from the 2020-21 season on, and at the same time revisit its musical roots. The Wiener Symphoniker was formed in 1900, as the fresh wind of Viennese Modernism was swirling in the Austrian capital. The new orchestra confronted the challenges of the new century with confidence and vision. This initially included an assured command of the city’s musical past: it was the first orchestra in Vienna to present all of Beethoven’s symphonies

維也納交響樂團簡介

歐洲其中一個讓作曲家發表新作的重要樂團。樂團為音樂歷史立下眾多里程碑，曾為不少著名作品作世界首演，如布魯克納的第九交響曲、荀伯格《古雷之歌》、拉威爾的左手鋼琴協奏曲，以及施密特《七印之書》等，這些嶄新樂思為古典音樂開啟了另一道大門，並使之更加容易接觸大眾。另外，樂團積極與當代作曲家合作，例如奧嘉．紐威爾斯、沃爾夫岡．力恩、亨氏．卡爾．葛魯伯、湯瑪士．拉爾赫，令樂團成為維也納乃至全球當代音樂界的重要推手，而樂團過去一百二十年的歷代首席指揮，皆為具有前瞻性的傳奇人物，對古典音樂影響深遠，包括布魯諾．華特、富特文格勒、漢斯．斯瓦洛夫斯基、卡拉揚、沙瓦利殊和喬治．普雷特等。除了在音樂上不斷邁步向前，維也納交響樂團同樣心繫社會，與社會大眾保持緊密關係。自創團起，樂團已積極舉行「人民音樂會」及「工人交響音樂會」，讓古典音樂不再只是精英階層獨享的專利。時至今天，樂團依然會在維也納選取特別場地舉行「鄰里音樂會」，令音樂滲透大街小巷。在 2020 至 21 樂季，新任首席指揮將帶領維也納交響樂團重返先鋒者的本位，以自信和遠見迎接當前挑戰。

as one cycle. The humanist and forward-looking legacy of Beethoven and Viennese Romanticism was tailor-made for the Symphoniker, who are justly leaders in this repertoire to this day. That pioneering spirit was also evident in the fact that within a very short time the Wiener Symphoniker rose to become one of the most important European orchestras for the performance of new works. They have given the world premieres of many milestones in music history, such as Anton Bruckner’s Ninth Symphony, Arnold Schönberg’s Gurre-Lieder, Maurice Ravel’s Piano Concerto for the Left Hand and Franz Schmidt’s The Book of the Seven Seals— concerts that opened a door to completely new worlds of sound and made these accessible to a wider public. The importance that the Symphoniker continues to place on collaborations with contemporary composers such as Olga Neuwirth, Wolfgang Rihm, Heinz Karl Gruber and Thomas Larcher has positioned it as one of the most important driving forces in contemporary music, both in Vienna and internationally. Among the Symphoniker’s chief conductors over the past 120 years— including Bruno Walter, Wilhelm Furtwängler, Hans Swarowsky, Herbert von Karajan, Wolfgang Sawallisch and Georges Prêtre— are numerous visionary figures who have each had a lasting

About the Wiener Symphoniker

influence on classical music. Ever a forward-moving institution, the Wiener Symphoniker has nonetheless always remained grounded in its community, enjoying a close relationship with audiences. From its inception, the orchestra’s Volksthümlichen Concerten (People’s Concerts) and Arbeiter-Symphoniekonzerte (Workers Symphonic Concerts) have ensured that classical music would no longer be the exclusive preserve of the elite. Today, the Symphoniker gives concerts at unconventional venues throughout Vienna as part of its Grätzl-Konzerte (Neighbourhood Concerts) and continues to fill every corner of the city with musical life. In the 2020-21 season, the Wiener Symphoniker and its new chief conductor will return to the orchestra’s origins as a musical pioneer, as befits an ensemble that faces the challenges of the times with confidence and vision.

在過去的二十五年，曼弗雷德．霍內克已成為世界享譽盛名的指揮家之一，他曾指揮眾多曲目，在詮釋音樂和編曲方面出色過人。他擔任匹茲堡交響樂團音樂總監已超過十年，多年來致力於美國、國際及唱片界上創作更傳奇的作品，其灌錄的唱片於 2018 年奪得格林美獎最佳管弦樂演奏獎。霍內克出生於奧地利，於維也納音樂學院修讀音樂。他曾是維也納愛樂樂團及維也納國家歌劇院管弦樂團的成員，多年來累積的經驗讓他其後建立出獨特的指揮風格。他的指揮生涯由成為歌迪奧．阿巴度的助手開始，其後受聘於蘇黎世歌劇院，其間獲頒尊貴的歐洲指揮大獎。霍內克除了是萊比錫廣播交響樂團三位主要指揮之一，以及奧斯陸愛樂樂團客席指揮外，他亦獲委任為斯德哥爾摩瑞典電台管弦樂團的音樂總監。他也曾於捷克愛樂樂團擔任過幾年首席客席指揮。在 2007 至 2011 年間，霍內克是史圖加特國家歌劇院的音樂總監。

曼弗雷德．霍內克 MANFRED HONECK

指揮 Conductor

指揮 – 曼弗雷德．霍內克

霍內克曾為多個世界知名樂團擔任客席指揮，包括柏林愛樂樂團、巴伐利亞廣播電台交響樂團、倫敦交響樂團、巴黎管弦樂團及維也納愛樂樂團。他也時常為多個美國主要樂團擔任客席指揮。霍內克獲北美多間大學頒發榮譽博士學位，並獲奧地利總統頒發榮譽教授頭銜。2018 年，他被國際評審團挑選為國際古典音樂大獎之年度藝術家。

Over the last quarter of a century, Manfred Honeck has firmly established himself as one of the world’s leading conductors, renowned for his distinctive interpretations and arrangements of a broad repertoire. For more than a decade, he has served as music director of the Pittsburgh Symphony Orchestra, continuing a great legacy of musicmaking that is celebrated at home, internationally and in recordings, for which he won the 2018 Grammy Award for Best Orchestral Performance. Born in Austria, Honeck received his musical training at the Academy of Music in Vienna. Many years of experience as a member of the Vienna Philharmonic and the Vienna State Opera Orchestra have given his conducting a distinctive stamp. He began his career as assistant to Claudio Abbado and was subsequently engaged by the Zurich Opera House, where he was bestowed with the prestigious European Conductor’s Award. Following early posts as one of three main conductors of the MDR Symphony Orchestra in Leipzig

Conductor – Manfred Honeck

and as principal guest conductor of the Oslo Philharmonic Orchestra, he was appointed music director of the Swedish Radio Symphony Orchestra in Stockholm. For several years, he also served as principal guest conductor of the Czech Philharmonic Orchestra. From 2007 to 2011, Honeck was music director of the Staatsoper Stuttgart. As a guest conductor, Manfred Honeck has worked with the world’s leading orchestras including the Berlin Philharmonic Orchestra, the Bavarian Radio Symphony Orchestra, the London Symphony Orchestra, the Orchestre de Paris and the Vienna Philharmonic and is a regular guest of major American orchestras. Manfred Honeck has received honorary doctorates from several North American universities and has been awarded the honorary title of Professor by the President of Austria. In 2018, an international jury of critics selected him as Artist of the Year in the International Classical Music Awards.

女高音 – 卡米拉．蕾隆

申米斯；在威尼斯科隆歌劇院飾演《隨想曲》中的伯爵夫人，以及在維也納國家歌劇院飾演《拿索斯島的亞莉安妮》中的亞莉安妮。

卡米拉．蕾隆

Camilla Nylund

女高音 Soprano

卡米拉．蕾隆是世界一流的抒情及戲劇女高音。2008 年，她與指揮法蘭斯．威薩—莫斯特及克里夫蘭管弦樂團在薩爾斯堡藝術節同台演出《水仙子》，首次擔任主要角色，獲國際媒體好評如潮。這位芬蘭女高音常與世界知名的樂團及指揮合作，亦在世界各地的歌劇院擔演要角。

2004 至 2005 年樂季，蕾隆在國際舞台嶄露頭角，當時她首次演出多部歌劇的主要角色，包括在巴伐利亞國立歌劇院飾演《唐懷瑟》中的伊莉莎白；於科隆飾演《莎樂美》中的莎樂美；以及在蘇黎世歌劇院飾演《費黛里奧》中的蕾奧諾娜。三個角色都成為她的經典演出。蕾隆曾參演多套史特勞斯及華格納的歌劇，包括在巴伐利亞國立歌劇院、法蘭克福歌劇院、佛萊明歌劇院及維也納國家歌劇院飾演《阿拉貝拉》中的女主角；在比利時弗南斯歌劇院及德累斯頓森培歌劇院飾演《艾蕾克特拉》中的克萊索

她曾與多個頂尖的歐洲及美國樂團演出，也曾與不同指揮家合作，例如西蒙．歷圖爵士、哈農庫特、法蘭斯．威薩—莫斯特、丹尼爾．巴倫波因、泰利曼及埃薩—貝卡．沙羅倫等。其過去重點音樂會演出包括與芝加哥交響樂團、柏林愛樂樂團及史卡拉歌劇院交響樂團演出貝多芬第九交響曲；與梅茲馬克在柏林演出舒曼的；與柏林愛樂《浮士德的場景》樂團演出亨策的神劇鉅著《梅杜薩之筏》等。

Camilla Nylund has established herself as one of the world’s leading lyric-dramatic sopranos. Her title role debut in Rusalka at the Salzburg Festspiele in 2008 with the Cleveland Symphony Orchestra under the direction of Franz Welser-Möst garnered rave reviews from the international press. The Finnish soprano regularly appears with world-renowned orchestras and conductors and has sung leading roles in international opera houses.

Soprano – Camilla Nylund

All three have become signature roles in her repertoire. Throughout her career, Nylund has performed in numerous Strauss and Wagner operas. She has sung the title role in Arabella at the Bayerische Staatsoper, the Oper Frankfurt, the Vlaamse Opera and the Wiener Staatsoper, Chrysothemis in Elektra at the Dutch National Opera and Semperoper Dresden, Gräfin in Capriccio with Oper Köln in Venice, and the title role in Ariadne auf Naxos at the Wiener Staatsoper. Camilla Nylund has appeared in concert with many of the foremost European and American orchestras. She has worked with conductors such as Sir Simon Rattle, Nikolaus Harnoncourt, Franz Welser-Möst, Daniel Barenboim, Christian Thielemann and Esa-Pekka Salonen. Highlights of her concert appearances have included Beethoven’s Ninth Symphony with the Chicago Symphony Orchestra, the Berlin Philharmonic Orchestra and the La Scala Philharmonic; Schumann’s Faustszenen in Berlin with Ingo Metzmacher; and Henze’s monumental oratorio Das Floß der Medusa with the Berlin Philharmonic Orchestra.

Nylund’s international breakthrough was in the 2004/2005 season with various role debuts: as Elisabeth in Tannhäuser at the Bayerische Staatsoper, as Salome in Cologne and as Leonore in Fidelio at the Opernhaus Zürich. 29

男高音 – 彼德．貝沙亞

森培歌劇院首次演繹華格納歌劇中的羅恩格林。貝沙亞除了歌劇的演出外，亦會於音樂會獻唱，或演唱藝術歌曲，同樣深受歡迎。 © Anja Frers

彼德．貝沙亞

Piotr Beczała

男高音 Tenor

彼德．貝沙亞是現今樂壇廣受歡迎的抒情男高音之一，也是世界知名歌劇院的表演常客。這位波蘭歌唱家擁有動聽的嗓音，每次演出都傾盡全力。除了歌劇演出，他亦曾與世界頂尖樂團和指揮合作演出眾多優秀的聲樂作品。

2006 年，貝沙亞以《弄臣》中的公爵首次亮相，其後便成為紐約大都會歌劇院的表演常客。自此以後，他便在不同歌劇中擔當各種角色，例如《尤金．奧尼金》的連斯基；《水仙子》的王子；《嵐嶺痴盟》的埃德加；《波希米亞人》的魯道夫；《約蘭塔》的沃德蒙王子，以及《羅密歐與茱麗葉》和《浮士德》的主演角色。2011 年，他隨紐約大都會歌劇院到日本演出；2012 年，他首次飾演馬斯奈《曼儂》中的騎士格里奧。貝沙亞亦常於慕尼黑和維也納國家歌劇院，以及米蘭史卡拉歌劇院演出。2016 年，他與音樂總監泰利曼及女高音安娜．涅翠柯一同於德累斯頓

他曾為德意志留聲機唱片公司錄製了兩張獨唱專輯，分別為 2013 年的《我心所悅》及 2015 年的《法國精選》。2020 年 5 月，他在荷蘭五音唱片公司發行首張獨唱專輯《所向披靡》，當中收錄了多首寫實歌劇詠嘆調。

2014 年，貝沙亞獲頒德國古典回聲獎年度歌唱家獎；2019 年，他獲維也納國家歌劇院授予「榮譽歌唱家」的頭銜。

Piotr Beczała is one of the most sought-after lyric tenors of our time and a constant guest in the world’s leading opera houses. The Polish-born artist is acclaimed not only for the beauty of his voice, but also for his ardent commitment to each character he portrays. In addition to his operatic work, he has sung many of the great vocal works with the world’s most distinguished orchestras and maestri.

Tenor – Piotr Beczała

et Juliette and Faust. In 2011 he accompanied the Metropolitan Opera House to Japan and made his role debut in 2012 as Grieux in Massenet’s Manon. Beczała can also be regularly heard at the State Operas in Munich and Vienna and at La Scala in Milan. In 2016 he made his debut as Lohengrin at the Semperoper Dresden alongside Anna Netrebko under the musical direction of Christian Thielemann. In addition to his opera career, Beczała is also a much soughtafter concert and lieder singer. Piotr Beczała has released two solo albums for Deutsche Grammophon—My Heart’s Delight in 2013 and The French Collection in 2015. His first solo album on Pentatone, Vincerò!, featuring verismo arias was released in May 2020. In 2014 Beczała won Singer of the Year at the ECHO Klassik Award and in 2019 he was honoured as Kammersänger of the Vienna State Opera.

Since his debut as Duca in 2006, Piotr Beczała has been a regular guest at the Metropolitan Opera. Since then he has sung Lenski in Eugene Onegin, Prince in Rusalka, Edgardo in Lucia di Lammermoor, Rodolfo in La Bohème, Vaudémont in Iolanta, as well as the title roles in Roméo 31

男高音 – 米高．沙德

米高．沙德

Michael Schade

男高音 Tenor

德裔加拿大籍米高．沙德被譽為世界頂尖男高音之一，與維也納國家歌劇院合作無間，近期演出有莫扎特歌劇《依多美尼歐》及《狄托的仁慈》的全新製作，以及在德伏扎克的《水仙子》中飾演王子、在史特勞斯的《隨想曲》中飾演佛萊明。他常於各地歌劇院演出，包括紐約大都會歌劇院、慕尼黑歌劇院、加拿大歌劇團、巴伐利亞國立歌劇院、米蘭史卡拉歌劇院、巴塞隆拿李世奧歌劇院、倫敦高文花園皇家歌劇院及巴黎巴士底歌劇院。

過去近二十年來，沙德是薩爾斯堡藝術節表演常客之一，曾演出的劇目包括莫扎特《狄托的仁慈》和《魔笛》、浦塞爾《亞瑟王》、海頓《亞美達》、凱魯畢尼《美狄亞》、溫特《迷宮》，以及舒伯特《費拉布拉斯》的主要角色。除了歌劇作品，他亦有舉辦音樂會及獨唱會。他的演唱曲目眾多，由巴赫的清唱劇及受難曲至馬勒的

《大地之歌》均有涉獵。他經常與不同指揮合作，例如艾弗．波爾頓、森爾安．拜茲可夫、列卡度．沙爾、克利斯多夫．馮多赫南伊及維萊里．格杰夫等。

2007 年，沙德獲奧地利政府頒發「榮譽歌唱家」之頭銜，並於 2017 年獲得加拿大官佐勛章。

Hailed as one of the world’s leading tenors, the GermanCanadian Michael Schade enjoys a close collaboration with the Vienna State Opera, where he was last seen in new productions of Mozart’s Idomeneo and La Clemenza di Tito, as Prince in Dvo ák’s Rusalka and as Flamand in Strauss’s Capriccio. He frequently performs at the Metropolitan Opera, the Munich Opera and the Canadian Opera Company and has appeared at the Bayerische Staatsoper, the La Scala in Milan, the Liceu Barcelona, the Royal Opera House Covent Garden and the Opéra Bastille in Paris.

Tenor – Michael Schade

repertoire, ranging from Bach’s cantatas and passions to Mahler’s Das Lied von der Erde, he works regularly with conductors such as Ivor Bolton, Semyon Bychkov, Riccardo Chailly, Christoph von Dohnányi and Valery Gergiev, among others. In 2007, Schade was appointed Kammersänger by the Republic of Austria and he was granted the title Officer of the Order of Canada in 2017.

As one of the Salzburg Festival’s favourite artists for almost two decades, Schade has appeared in productions of Mozart’s La Clemenza di Tito, Purcell’s King Arthur, Mozart’s Die Zauberflöte, Haydn’s Armida, Cherubini’s Médée and Winter’s Das Labyrinth and in the title role of Schubert’s Fierrabras, as well as giving concerts and song recitals. Given his immense concert 33

維也納交響樂團

Wiener Symphoniker

指揮 Conductor

Manfred Honeck Concertmasters 樂團首席

Sophie Heinrich Anton Sorokow Alexander Burggasser First Violins 第一小提琴

Christian Birnbaum Maximilian Dobrovich Franz Michael Fischer Nicolas Geremus Dorice Köstenberger Claire Nyqvist Edwin Prochart Eva-Maria Reisinger Caroline Sigwald Ge Song Birgit Zalodek Aurora Irina Zodieru Luca Second Violins 第二小提琴

Dominika Falger Libor Meisl Christian Blasl Oliver Breuer Christian Knaus Elena Kodin Mariam Margaryan-Petkova Stefan Pöchhacker Maiko Seyama Renate Turon Gerald Wilfinger Alexandra Winkler

Violas 中提琴

Johannes Flieder Roman Bernhart Michael Buchmann Werner Frank Christian Kaufmann Karl-Heinz Krumpöck Wolfgang Prochaska Paul Rabeck Roland Roniger Ulrich Schönauer Cellos 大提琴

Christoph Stradner Erik Umenhoffer György Bognár Michael Günther Zsófia Günther-Mészáros Andreas Pokorny Christian Schulz Peter Siakala Double Basses 低音大提琴

Ernst Weissensteiner Martin Kabas Dragan Lon ina Andreas Sohm Helmut Stockhammer Hans-Joachim Tinnefeld

Flutes 長笛

Erwin Klambauer Alexandra Uhlig Esther Gisler-Auch Simona Pittau

Trumpets 小號

Andreas Gruber Matthias Kernstock Heinrich Bruckner Christian Löw Rainer Küblböck

Oboes 雙簧管

Paul Kaiser Adelheid Bosch Thomas Machtinger Peter Schreiber Clarinets 單簧管

Gerald Pachinger Alexander Neubauer Manuel Gangl Martin Rainer Bassoons 低音管

Patrick De Ritis Robert Gillinger Magdalena Pramhaas Ryo Yoshimura Horns 圓號

Armin Berger Peter Dorfmayr Jonas Rudner Gergely Sugár Markus Obmann Peter Lengyelvari Josef Eder Eric Kushner Armin Kerschbaumer

Trombones 長號

Martin Riener Walter Voglmayr Reinhard Hofbauer Wolfgang Pfistermüller Tuba 大號

Franz Winkler Timpani 定音鼓

Dieter Seiler Percussion 敲擊

Thomas Schindl Michael Vladar Martin Kerschbaum Ferenc Csincsi Harps 豎琴

Volker Kempf Zsofia Kiss Pianos 鋼琴

Sandra Jost Herbert Rüdisser

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 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 黃乃正及陳頴儀

Ms Wong Pie Yue Cleresa

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

無名氏 (5) Anonymous (5)

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

鑽石捐款者

黃金捐款者 GOLD DONORS

HK$70,000 – HK$139,999

Dr & Mrs Samuel and Ellen Lam Stefan & Caroline Kracht

DIAMOND DONORS

法國巴黎銀行 BNP Paribas 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

藝術節捐助計劃 Festival Donation Scheme

翡翠捐款者 JADE DONORS

無名氏 Anonymous 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)

Nine Queens Investment Limited Shun Hing Group

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

HK$12,000 – HK$29,999

純銀捐款者 SILVER DONORS

Dr Ronald Paul Ng Mrs A.M. Peyer Leland & Helen Sun Mr Wong Yick Kam Ms Isabel Yiu

HK$6,000 – HK$11,999

HK$3,000 – HK$5,999

Mr & Mrs Jeffrey & Helen Chan Mr SHN Cheng Ms Jenny Hodgson

Dr Michael Mak

HK$30,000 – HK$69,999

無名氏 Anonymous

黃金捐款者 GOLD DONORS

無名氏 (4) Anonymous (4) Mr & Mrs David S L Lin

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

無名氏 (7) Anonymous (7) Mrs Veryan E. Bradshaw Ms Grace Chiang

黃金捐款者 GOLD DONOR

無名氏 Anonymous

純銀捐款者 SILVER DONOR

HK$3,000 – HK$5,999

HK$12,000 – HK$29,999

劉仰澤先生 Mr Lau Yeung Chak HK$6,000 – HK$11,999

青銅捐款者 BRONZE DONORS

青銅捐款者 BRONZE DONORS 無名氏 Anonymous

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

殷和順先生劉善萍女士

Star B Chan & MDB Mr Lee King Fung Mrs A.M. Peyer Mr Alex So Mrs Teresa Pong Tam Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

Ms Fung Man Yee Dr Alfred Lau Ms Khoo Li Lian Flavia & Gary Ma Mr & Mrs Gary Ma Mr Jose Manuel Sevilla Mr & Mrs Ian Stone Mrs Teresa Pong Tam Yeung’s family Dr Jason Yeung

Ms Grace Chiang Mr S C Tong Ling Mrs A.M. Peyer Mrs Teresa Pong Tam

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 40

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市場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 * 雷淑雯 * 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 Marketing Manager Assistant Marketing Managers Outreach Coordinator Assistant Technical and Production Manager Senior Accounting Officer

Fiona Chung* Helen Luk* Lam Kam-kwan* Ainslee Chan* Germaine Lui* 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 2021 年 3 月更新 Updated March 2021