盧定彰 曲 Music by Daniel Lo 李君衎 詞 Libretto by Clement Lee
《艾布爾的夜宴》 The Banquet at elBulli 根據也斯同名短篇小說變奏 A variation on the short story of Ping-Kwan Leung 半舞台式清唱劇 | 首演 Semi-staged Cantata | Premiere
2020-01-11 20:00 2020-01-12 15:30
香港兆基創意書院多媒體劇場 Multi-media Theatre, HKICC Lee Shau Kee School of Creativity I.
序章 Prologue
II. 魔法 Magic
III. 諸神的呼喚 Calling of the Gods IV. 巴格斯 Bacchus
V. 劇場幽靈 Ghosts of the Theatre VI. 無沙大漠 Sandless Desert
VII. 詩人與舞者 Poet and Dancer
VIII. 重繪飲食（藝術）地圖 Redoing the Culinary (Artistic) Map IX. 海濱墓園 Graveyard by the Sea
導演 Director: 李君衎 Clement Lee 道具設計 Prop Designer: 鄺巧婷 Sharon Kwong 燈光設計 Lighting Designer: 陳家豪 Ivan Chan 指揮 Conductor: 蔣頌恩 Grace Chiang
合唱團 Choir: 香港和聲 Hong Kong Voices 女高音 Soprano: 蔣頌賢 Esther Chiang 男中音 Baritone: 余睿添 Timothy Yu 長笛 Flute: 陳子俊 Brian Chan 小提琴 Violin: 許榮臻 Mark Hui 敲擊 Percussion: 余林橞 Karen Yu 鋼琴 Piano: 陳倩婷 Cynthia Chan
無調性粵語聲樂作品的實驗 盧定彰 二零一七年有幸參與香港藝術節委約創 作的音樂會《世紀香港》，同年又為室 樂合唱團香港和聲撰寫結合朗誦和錄像 的合唱作品《瑪麗個案》，自此我便致 力創作揉合香港文學和音樂的演出，這 次的清唱劇《艾布爾的夜宴》也是以本 地作家的作品為藍本。以香港文學為題 材的合唱／聲樂作品迄今寥寥可數，以 往本地創作的聲樂作品多以古詩為詞， 近年偶爾有作品以現代詩入曲，以本地 小說改編為歌詞的作品卻是少之又少。 是次作品是先有歌詞，再寫音樂。文本 及導演李君衎先根據也斯的小說寫成十 段歌詞（最後定稿為九個章節），我們 再從中歸納出幾個關於這個作品的關鍵 詞，其中兩個印象特別深刻的，是「祭 祀性」和「如夢似幻」。整個音樂創作 便是以這兩個關鍵詞為重要基調。 為了切合「祭祀性」和「如夢似幻」的 主題，這次的音樂大部分都屬無調性， 可說是一次非常實驗性的嘗試。以粵語 演唱的作品為數很多，包括流行曲、音 樂劇和合唱作品，無調性的粵語歌曲卻 是絕無僅有。 以無調性的音樂為粵語文本譜曲，挑戰 遠比想像的巨大。首先，粵語是有聲調 的語言，共有九聲。要把有聲調的字詞 結合無調性的音樂，本質上已經非常困 難。再者，由於粵語的特性，傳統西樂 常用於合唱的一些作曲技巧（例如對位 法），並不能直接移植使用。我要絞盡 腦汁，想出新的作曲方法，才可以結合 兩個分別有調和無調的聲音體系。 非常期待觀眾與我分享對作品的感受， 亦希望更多同業有興趣創作和演唱粵語 或華語的聲樂作品。我相信惟有透過不 斷的試驗和討論，方能探索出一套新的 音樂語言，甚至是屬於香港獨有的聲音 。這是我的願景，亦是我參與創作《艾 布爾的夜宴》的原委。
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An Experiment of Atonal Cantonese Vocal Music Daniel Lo In 2017, I am honoured to be commissioned by the Hong Kong Arts Festival as one of the composers for the staged cantata Hong Kong Odyssey; subsequently, in the same year, I also composed Mary’s Chalk Circle for narration, unaccompanied choir and video for the chamber choir Hong Kong Voices. Since then, it becomes my mission to create works that combine Hong Kong Literature with music, and the cantata The Banquet at elBulli is based on a work by a local writer. Choral/vocal works based on Hong Kong literature are rare: local choral works in the past were predominately on classical poetry—only in recent years can one finds works composed for modern poetry—and works with libretto adapted from local fictions are hardly heard of. For the creation of this particular project, we have set the libretto before writing the music. Our librettist/director Clement Lee first composed ten sections of lyrics (nine in the final draft) based on Ping-Kwan Leung’s short story, then we worked on them to find related keywords. “Ritualistic” and “dreamy” are the two keywords that gave us the strongest feelings. They became the foundation for the whole music composition. To match the themes of “ritualistic” and “dreamy,” most of the music this time is atonal, making it a very experimental attempt. There are numerous Cantonese music compositions, including pop music, musicals, and choral works, but an atonal Cantonese song is certainly a rarity. Writing atonal scores for Cantonese text has proven to be more challenging than we expected. As Cantonese is a tonal language with nine tones, setting atonal music to tonal words is itself a very difficult task. Moreover, because of Cantonese’s linguistic characteristics, common compositional techniques used in traditional western music, such as counterpoint, cannot be adopted directly. During the process, I have to think hard and look for new compositional methods in order to combine the tonal and atonal sounds. I look forward to hearing the thoughts of our audience and I hope more fellow composers will be interested in composing and performing Cantonese or Chinese vocal pieces. I believe only by continuous trials and discussions can we discover a new language of music and perhaps even a unique voice that belongs to Hong Kong. This is my vision and my reason for being part of the creation of The Banquet at elBulli.
越過了不同的海岸線 書籍散失了 幾十年前某個詩人飄零的句子 從未結集成書 永遠在人們畫定的地圖外流浪 我只能想像一所巨廈 讓所有的幽靈棲息 我以殘損的手掌 撫過明昧的中原 撿拾那些散落在外的線團 扯起來 拆開了人們努力捍衛的邊界 一點光 凝聚 又消失 在廣大的藍色裡
———梁秉鈞 (也斯)《重畫地圖》（節錄）
Crossing different coastlines the books are lost Decades ago a poet’s random lines are never collected into a book wandering forever beyond the maps drawn by people I could only imagine a giant building for all the ghosts to rest With my weathered palm caressing the obscured Central Plain collecting the balls of yarn scattered outside pulling up tearing down the boundaries people so toiled to build a flash of light condensing then disappeared into the massive blue —Excerpt from “Redrawing Map” by Ping-Kwan Leung
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《艾布爾的夜宴》的戲劇構作 李君衎
The Dramaturgy of The Banquet at elBulli Clement Lee
《後殖民食物與愛情》是已故香港作家 也斯在二零零九年發表初版，二零一二 年再發修訂版。整本《後殖民食物與愛 情》其實是也斯由一九九八年開始寫關 於食物的短篇小說的合集，初版總共十 二篇，修訂版刪減一篇，再增兩篇。
Postcolonial Affairs of Food and the Heart is a collection of short stories by the late Hong Kong author Ping-Kwan Leung. It is a collection of short stories on food dated back to as early as 1998. The first edition (2009) included twelve short stories; one of them was replaced by two additional ones in the revised edition published in 2012.
〈艾布爾的夜宴〉於初版已經收錄，但 根據書內〈鳴謝〉紀錄，〈艾布爾的夜 宴〉的原名應該是〈艾布爾的一夜〉， 二零零六年刊登於《號外》。 食物與記憶，祭祀與藝術
讀〈艾布爾的夜宴〉，甚或整本《後殖 民食物與愛情》，讀者不難發覺也斯對 食物與記憶的強烈關係。據韓國學者金 惠俊於二零一七年《香港文學》內發表 的〈也斯《後殖民食物與愛情》的香港 想像〉，其中一個章節提到也斯為何用 食物作題材：
「也斯在他的〈後記〉中說：『食物 連起許多人情與關係，連著我們的記 憶、我們的想像。』（頁 二五三 ） 是這樣的，也斯選擇食物作為主要素 材來表現自己香港想像的原因正是如 此⋯⋯他認為：食物是我們日常生活 中總會接觸到的具體的、具有味道和 顏色的事物，而且還是連接人們的感 情和記憶的、彼此間可以進行溝通的 工具，因此使用食物可以更有效更具 體地展現香港與香港人的面貌。後來 他積極將此想法運用到小說等的創作 ，其結果也是非常成功的」。
因此，〈艾布爾的夜宴〉內，讀者不乏 看到小說中的「我」及他的朋友們不停 地緬懷他們看過的、讀過的、聽過的， 這亦是《後殖民食物與愛情》一貫的 主體。 但於我，〈艾布爾的夜宴〉與其他的短 篇之有所不同（亦是為此而我只選了這 單獨一篇小說來作創作動機）是因為這 篇小說直接對文學與藝術的過去與未來 作回應。若果我們回溯藝術史戲劇史， 祭祀與之息息相關，即使是個人或是群 體，參與藝術都有一個自身的程序及儀 式：去聽一場音樂會、看一場劇場或舞
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“The Banquet at elBulli” is included in the first edition of the collection. “Acknowledgement” in the book mentioned that the story was first published as “A Night at elBulli” on City Magazine in 2006. Food and Memory, Divine Worship and Art When one reads “The Banquet at elBulli”—in fact the whole book of Postcolonial Affairs of Food and the Heart—one is bound to notice the strong relationship between food and memory attested by Ping-Kwan Leung. The Korean scholar Kim Hyejun has argued for the reason of Leung’s use of food as a theme in his 2017 essay titled “The Hong Kong Imagination in Ping-Kwan Leung’s Postcolonial Affairs of Food and the Heart” in Hong Kong Literature: “In his ‘Afterword,’ Ping-Kwan Leung has written, ‘Food connects people and relationships, they are the links to our memories, our imagination.’ (p. 253) This is the very reason Leung chose food as the main subject in presenting his Hong Kong imagination […] He remarked that food, being tangible objects with tastes and colours, are what we always come into contact in daily life. They can be tool in connecting people’s emotions and memories and facilitating communications. By using food, one can more effectively and concretely illustrate the many faces of Hong Kong and its people. He later actively applied this thought into his writing of novels with very successful results.” As such, readers repeatedly find the “I” and his friends in the story reminiscing about what they have seen, read and listened before in “The Banquet at elBulli.” This is also a recurring literacy body throughout Postcolonial Affairs of Food and the Heart. However, “The Banquet at elBulli” is different from the other short stories in the book (this being the reason I chose particularly this story as creative motive) as it responds directly to the past and future of literature and art. Divine worship is the foundation of almost everything when we reflect on the histories of art and drama. Participating in art, whether as an individual or being part of a collective action, entails a series of procedures and rituals: one needs first to purchase tickets for a music concert, a theatrical or dance performance, an art show at the museum or
蹈表演，到藝術館看畫展，到戲院看電 影，都是要先買票，然後可能吃個飯， 才移步到場地觀看藝術⋯⋯這一晚的活 動仿似有既定程序，就是祭祀；而活動 的本身也是祭祀：先在大堂等候入場， 然後在表演開始前坐下，觀眾可能會看 看場刊，抑或靜心等待，更甚用手機打 卡聊天，然後當燈光漸暗，觀眾開始靜 下來，表演開始時，你就發現，這一切 都是儀式。
a movie at the cinema; one may fancy a meal before proceeding to the venue for an evening of artistic experience, and these apparent routines can be seen as rituals of divine worship. The activities themselves are also ritualistic: waiting at the foyer, settling down before the show, reading the synopsis, or waiting patiently, or checking in and texting on smartphone. Once the light dims, the audience quiet down and the performance begins, and you know this is all about rituals.
As I interpret, in the story Ping-Kwan Leung uses the banquet’s “ritual of divine worship” to connect to that of the performing 在小說中，也斯可謂用一晚夜宴的「祭 arts, and through the experimental innovations of elBulli he 祀儀式」緊緊扣住表演藝術的祭祀儀式 seeks to find a way forward for Hong Kong literature—“seeing ，而從艾布爾的實驗創新嘗試尋找香港 the mountains as mountains, seeing the mountains not as the 文學藝術的出路：「見山是山，見山不 mountains and seeing the mountains again as mountains.” “I” 是山，見山是山」；「我」和朋友們不 and his friends continue to reminisce the past in concrete ways, 停緬懷過去，是很實在的；年輕的詩人 while the young poet and dancer, who should be the future 及舞蹈家應該是香港文學與藝術的未來 of Hong Kong literature and art, are illusory. Leung poured his ，卻十分虛幻；也斯寄其藝術之情於年 feelings for the arts on the young people, but at the same time, 輕人，但亦同時對年輕人的未來感到迷 found it perplexing and pessimistic towards their future. 惘及悲觀。 With the themes of “divine worship,” “seeing the mountains as 就是抓緊了「祭祀」、「見山是山，見 mountains, seeing the mountains not as the mountains and 山不是山，見山是山」及「憐惜青春」 seeing the mountains again as mountains” and “cherishing 的主題，我開始編寫此清唱劇的大綱。 youth,” I started writing an outline for this cantata. Cantatas 清唱劇是合唱為主，多是以宗教主題創 are mainly choral works around religious themes. I decided 作，我就以也斯小說中的「祭司」角色 to project the role of the “priest” from Leung’s story onto the 放落在合唱團身上，但「祭司」合唱團 chorus, while at the same time, this chorus of “priests” is also an 也是小說中「我」的分身，即是說合唱 avatar of the “I” in the story, rendering the chorus a “mirror” of the audience. 團就是觀眾的「鏡子」。 而他們只是台上眾多「鏡子」的一面。 觀眾會看到台上有五盤「夜宴菜式」， 它們就是另外兩位獨唱角色的「鏡子」 。在古希臘，戲劇就是一場祭神活動， 而相傳在世界上任何一座有歷史的劇院 一直都存在幽靈，每晚做完演出後他們 作為死去的藝術家都會回來自己的「家 」，是返來他們唯一可以安身之所，亦 是眷顧這表演場孕育的後世；但劇場幽 靈是需要引渡的，因此在每晚深夜，劇 院後台都會長開一支俗稱「鬼燈」 (ghost light) 站立燈，放置在台中過夜 ，直至另一天劇院開門為止。 小說內，幽靈的角色呼之欲出，而我相 信召喚他們的就是艾布爾那三十道菜； 我們的清唱劇，那五盤「菜式」就是召 喚劇場幽靈的「鬼燈」，亦是他們的前 世今生。 這不是「改編」，而是「變奏」
在小說中，也斯為「見山是山，見山不
And they are but one of the many mirrors on stage. Audience will find five “banquet dishes” on stage, which are the “mirrors” of the other two soloists. In ancient Greece, drama is a sacrificial event honouring the gods, and rumours have it that ghosts dwell in all of the historical theatres in the world. Every night after the show, these deceased artists would come back to their “home”, the only place they could find refuge, and to watch over the new generation of artists. However, the ghosts need to be guided, that is why every night, late at night, a standing lamp commonly called “ghost light’ will remain on until the next morning when the theatre opens again. In the story, the ghosts’ presence is undeniable, and I believe it is the thirty dishes of elBulli that summoned them; the five “dishes” in our cantata are the “ghost lights” that welcome the theatre ghosts, which the lights also represent their past and present. This Is Not an “Adaptation” but a “Variation” In the story, Leung provides an explanation on “seeing the mountains as mountains, seeing the mountains not as the mountains and seeing the mountains again as mountains:”
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是山，見山是山」落了註：
「廚師在試驗室裡，研究各種物性、 各種味道，各種肌理，各種質感，把 它們抽取出來，再加以重新組織。廚 師是祭司？還是上帝？也許他不完全 是上帝，但確是一個創造性的藝術家 ，他觀察萬物，抽取各自的特色，再 把它們搓揉，重新編織，試驗不同的 口感、嗅覺、味道、顏色、像畫家畫 一幅畫，小說家寫一篇小說。」
以上重點就是「抽取各自的特色，再把 它們搓揉，重新編織」，因此要把小說 〈艾布爾的夜宴〉變成清唱劇《艾布爾 的夜宴》的話，就不再是改編，而是 變奏。
如何變奏？我把小說的肌理分段，然後 嘗試看以組曲形式可以分到多少首歌曲 。初稿分了十首歌曲，其中八首是歌， 兩首是純音樂，列表如下： 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
達利 魔法 諸神的呼喚 巴格斯 劇場幽靈 無沙大漠 詩人與舞者 重繪飲食（藝術）地圖 海濱墓園 尾聲：青春的輓歌
“The chef researches different types of materials, tastes, textures, feelings in the laboratory and extracts and reforms them. Is the chef a priest? Or a god? He may not be a god per se, but he is a creative artist. He observes and extracts the characteristics of everything, then remakes and weaves them anew, experimenting different sensations, smells, tastes and colours, just as the way a painter paints and a novelist writes.” The emphasis is on “extracts the characteristics of everything, then remakes and weaves them anew.” Therefore, when creating a cantata out of the story of “The Banquet of elBulli”, one has to do a variation but not an adaption. How to create a variation? I analysed the story and divided it into sections, exploring how many pieces can be extracted when setting it as a musical suite. I came up with ten pieces in the first draft, in which eight of them are songs and two others are pure instrumental music, as follows: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Dali Magic Calling of the Gods Bacchus Ghosts of the Theatre Sandless Desert Poet and Dancer Redoing the Culinary (Artistic) Map Graveyard by the Sea Epilogue: A Eulogy to Youth
After putting them into sections, I know what each music should be about. Suites are mostly lyrical poems, while cantatas focus on the narrative. I tried to combine both into a proper artistic 分段後，我就知道每首歌的內容是什麼 “divine worship”, a catharsis through drama, but also a lyrical 。組曲多數的內容都是寫景抒情的詩歌 response to the theme through the eyes of “I” in the story. ；清唱劇多數是講故事為主；我嘗試把 兩種體裁揉合：這是正正式式一場藝術 That is also the reason why all the pieces before the fifth section 祭祀，是以戲劇來「淨化」(catharsis) (“Ghosts of the Theatre”) are sung in choruses. They are about ，但亦是以小說內「我」的視點來作抒 time and space, reality and illusion. The lyrics to these hymns are variations on the themes mentioned in the early part of the 情及對主題的回應。 original story up till the beginning of the banquet, which is the 因此，在初稿第五段〈劇場幽靈〉之前 moment the “drama” begins in our cantata. ，所有的歌曲都是大合唱，是唱關於「 時間」及「空間」、「真實」與「虛幻 Bacchus: Wine, Drama and Desire 」的主題。詞的內容都是根據也斯在小 In the story, Leung remarks clearly that the young poet and 說前段內所提過的主題變奏成一段段頌 dancer arrived only after the guests started drinking and the 神的詩歌，直至小說內晚宴開始時，對 banquet has already begun. It is clear that Leung uses the 照在我們的清唱劇內也就是戲劇表演開 relationship between wine, food, drama and divination to 始的時候。 construct a melancholy he wants to convey. 巴格斯：酒、戲劇與慾望
在小說內，也斯很具體地告訴我們，年 輕的詩人及舞蹈家是在一眾友人們喝了
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The ancient Greeks call the god of wine and drama Dionysos. Ancient Romans called the god Bacchus. Simply, he is the “god of enjoyment,” promoting joy and peace by the illusions wine
酒、晚宴開始了以後才到的，不難發現 也斯以酒、食物、戲劇及通靈之間的關 係建構他要訴說的哀傷。
在古希臘，掌管酒及戲劇之神乃狄俄尼 索斯 (Dionysos)，古羅馬人則叫他做巴 格斯 (Bacchus)。簡單一句，他是「歡 愉之神」，是以酒及戲劇對人帶來的幻 像促進歡欣及和平，但巴格斯亦是慾望 的象徵。 若果是這樣，小說中的「我」是以「歡 愉之神」帶領下看到年輕詩人及舞蹈家 ，以從中對他們的不恥下問、虛心受教 的態度，及他們的青春魄力冠他們「金 童玉女」一名，這是否也是「我」本身 的慾望？ 回到我們的清唱劇，「我」是台上的合 唱團，那兩位獨唱者自不然就是那對「 金童玉女」，他們彼此就是互相「照 鏡」，所以之後至尾數組歌詞都是兩者 的回應。 晚宴食物由輕淺而沈重；那對「金童玉 女」的人生是否也是一樣？「重繪飲食 地圖」不也就是把藝術家的一生重繪一 次，然後變成另一個人？ 「金童玉女」是眾人皆稱的好典範，亦 是希望所在，但真相又是否如此？「我 」的慾望有沒有欺騙了他？
and drama create. Bacchus is also a symbol of desire. Following this logic, the “I” in the story sees the young poet and dancer under the guidance of “the god of enjoyment,” and calling them “perfect couple” for their inquisitive yet humble nature and their youthful energy. Could that also be a sign of the persona’s desire? As for our cantata, “I” am the choir on stage, rendering the two soloists the “perfect couple.” They will be looking at each other as “mirrors,” and the lyrics of the last few songs are their interactions. The food of the banquet changes from light to heavy, does that parallel the life of the “perfect couple?” Is not the act of “redoing the culinary map” a rewrite of the life of an artist, and changes to him/her into another person? The “perfect couple” is the exemplar praised by everyone, and also where hope lies, but is that the truth? Did the desire of “I” deceived him? The ending to the original story is indeed a melancholic one. Leung had a pessimistic view of the future. He was still in a perplexed state and could only feel a sense of pity and lament for the youth. I followed Leung’s ending in the first draft of this cantata, but then I came across other thoughts that were used to complete this current libretto. December 2019
小說的結局確是悲傷的。也斯對藝術的 未來是悲觀的，他依然處於迷惘之中， 只能夠為青春憐惜及哀悼。 此劇初稿時我是根據也斯的結局完成的 ，後來我卻有別的想法（現不贅），用 以完成現在的文本。 二零一九年十二月
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湯瑪斯·曼小說及維 斯康提電影 Death In Venice 的正統中文名字 《魂斷威尼斯》。故事 講述一個德國文學／ 藝術家在他頻死時到威 尼斯旅遊散心，忽見一 家庭帶著一青年，俊美 不凡。藝術家想再碰上 青年，幾度相遇，越相 遇越難過，因為藝術家 知道青年就是「美」的 載體，而他是永遠得不 到他的。 1
2 古羅馬人給酒及戲劇 之神的名字。詳見場刊 頁五／六 。 3 中國四大名著之一乃 曹雪芹的《石頭記》， 又名《紅樓夢》。小說 第五回〈賈寶玉神遊太 虛境，警幻仙曲演紅樓 夢〉講述主人公賈寶玉 帶著醉意在寧國府秦可 卿的房中睡去，發夢到 太虛幻境見警幻仙子， 在紅樓設宴聽新制的 〈紅樓夢〉十二支曲， 全都是關於賈寶玉的親 人（「金陵十二釵」） 的命運。
雛鳳鳴粵劇團當年台 柱龍劍笙梅雪詩在上世 紀八十年代紅極一時， 直至一九九一年。同 年，出版社博益為兩人 刊出其生平畫冊，名 《笙歌雪舞》。 4
I.
序章
Prologue
II.
魔法
Magic
設計 宏偉 宏偉的設計 是誰？ 是誰設計這 連綿錦繡 落日銀河？
天然 天降 是無形的工匠 像魔術師般 把真相埋藏 多謝 諸神賜的禮物 是魔法 是秘密 是一切的起源 不問因緣
Who? Who designed this endlessly splendid shimming river of the setting sun? Nature Divine are the formless craftsmen like magicians hiding the truth Thank you gifts from the gods This is magic This is secret The beginning of everything No “whys” are asked
III. 諸神的呼喚
Calling of the Gods
「來吧，來吧」
“O Come, O Come”
緣份 把同道拉到 園林 樹影婆娑
從下山的斜坡 看著天際長江 徐徐進入芭蕉園 「來吧，來吧」
鹽香 薰籠擁床 魂斷中的威尼斯1 湊成晚霞 「來吧，來吧」
奧林匹斯的宏偉 誰是園林的主人？ 是艾布爾背後的巫師？ 抑或是從伊甸走過來的 日月靈光
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Design Majestic Majestic design
Destiny drawing all the likeminded into the garden where the trees are lush
From the downhill slope watching the long river by the horizon gently flow into the banana garden “O Come, O Come” Scent of salts entwining the bed Venice dying into afterglow “O Come, O Come” A glimpse of the majestic Olympus and the humbleness of its servants Is it the sorcerer behind elBulli? Or that from Eden, the rays from the luminaries
IV. 巴格斯
Bacchus
巴格斯2 Bacchus 請你釋放我心中的真實幻覺 Please release the truthful illusions within me 請你帶我到紅樓3一趟 Please bring me to the Red Chamber 你的夢 是多少作家的嚮往 是多少藝人的蹉跎
狂妄 把時間凝固 杯中物語 把我推入虛幻的真像
月下瓊漿 牢記著永恆 在面紗背後 在面具之下 穿越於笙歌雪舞4 甘澀的紅酒催生了苦難 怪異的美饌天上人間
巴格斯 請你釋放我心中的真實幻覺 請你讓我沈醉於半夢半醒之間 讓我穿上戲服笑開顏 向你乾杯暢飲 莫留難 V.
劇場幽靈
VI. 無沙大漠 無沙大漠 固態江河 視覺與味覺 和你玩捉迷藏 誰說天是藍？ 海是綠？
蝴蝶 在碟旁展翅欲飛 「是蝴蝶嗎？」 蝴蝶 在碟旁展翅欲飛
「請看真一點吧」
Your dreams are the longings of writers are the wasted time of artists Arrogance crystalised time The tales in the glass pushes me into the truth of mirage The potion under the moon remembering eternity Behind the veil Under the mask Traverse through the chimes of pipes and dances of snow Bittersweet wine bearing bitter fruits Bizarre delicacies are worlds apart Bacchus Please release the truthful illusions within me Please let me indulge in the twilight of dream and soberness Let me dress in costumes, laugh heartily toasting to you and drink Do not be harsh on me Ghosts of the Theatre Sandless Desert Sandless desert Solid river Visual and taste playing hide and seek with you Who says azure is the sky? Emerald is the ocean? A butterfly flutter its wings by a plate “Or is it a butterfly?” A butterfly flutter its wings by a plate “Do look closer”
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蝴蝶 你這戴上了夏蟬翅膀的金魚 把我帶到琉璃世界 恬靜的山巒是液態 酥脆的姿態卻是野獸
5 此章是用偽唐詩的 作法寫成的，靈感來自 也斯原著中一句「金童 玉女」，不期然令我想 起唐滌生的《帝女花》 ，亦是關於一對「金童 玉女」的不幸結局， 故此我仿古典寫法完成 詞作，亦把《帝女花》 劇內少許的詞句放進去 （「翠擁珠圍」、 「不獨留」、 「風雨經年」）。
日本的歌舞伎座內，從 劇院後面橫越觀眾席到 舞台上的一條 表演長道。 Hanamichi, (Japanese: “flower passage”), in Kabuki theatre, runway that passes from the rear of the theatre to stage right at the level of the spectators' heads..
蝴蝶 我向你招手 我想輕輕捉住你的時光 我心裡所見 所相信的形狀
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稿紙上的墨跡 是他的永誌長埋
「我來了」
玫瑰上的朝露 是她的一生淚債
VII. 詩人與舞者5 「我們來了」
風華正茂得庇佑 金童玉女尚無求 卻對前人甚好奇 不枉眾人稱佳偶
「歌舞昇平浪接浪 我卻形單各一方 只為知音闌中覓 尚有俊才為我狂」
「神祇賜我松中宴 聲色犬馬月中天 桌前萬卷問不完 只為死前尋美善」
「白衣是我的前世 今生卻翠擁珠圍 莫道今生不留痕 自有白骨留後世」
「翩翩舞者台中轉 橫越花道6踏歌旋 此乃老人留佳話 望得未來把情轉」
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風華正茂得庇佑 金童玉女不獨留 此乃神召在人間 風雨經年尚未休
O butterfly You goldfish with cicada’s wings bring me to a world of lapis lazuli of liquid ranges of serene mountain Crispy is the beasts O butterfly I wave at you I want to gently hold on to your time What I saw in my mind, the shapes I believe in Poet and Dancer “ I am here” “We are here” The morning dew on roses are her debt of tears in a lifetime The blots of ink on papers are his buried memories Blessed are the youth perfect couple longing for nothing But curious about those before them worthy of praise as a perfect match “White clothes are my previous life In this I am surrounded by fineries Do not say that this life leaves no traces your bones will be what remain” “Streams of celebration in gaieties I am but alone and separated Connoisseur can only be sought in solitude Genius are there to go mad for me” “Graceful dancers swirl on stage crossing the hanamichi6 to dance and song These are sweet-talks of the old hoping love can pass on to future” “The gods bless me with the feast in pines Wanton delights in a lunar paradise I cannot read enough of the scrolls on desk Only wish to found beauty and truth before I die” Blessed are the youth perfect couple staying not alone This is the gods’ message on earth Weathering for ages still restless
VIII. 重繪飲食（藝術）地圖 IX. 海濱墓園 「我來了」
「我們來了」 「再見」
我不會忘記他們 我會為他們禱告
驚鴻一瞥 聚散有時 天裂 晨光從夾縫中展現 映著變了金色的蔚藍 深海
「啊！不要記掛我們！ 我們只是你的想像 你的真實」 「啊！你不用記掛我們 我倆已是你的一部份」 我們是過客 他們是永恆 我不會忘記他們 我會為他們禱告
「我就是那蝴蝶變幻」 「我就是那大漠無沙」 「你只要知道我們有過 一刻千金」 我們是過客 他們是永恆
「那告別了 這海濱的墓園」
一雙儷影 在青絲白浪中飄蕩 飄過了山海之間 隱沒於這海天一色的金光燦爛 「再見，我走了」 「再見，我走了」
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Redoing the Culinary (Artistic) Map Graveyard by the Sea “I am here” “We are here” “Farewell” I will not forget them I will pray for them A brief glance A time for gathering and a time for departure Heaven breaks Morning glow breaking from the cracks shining on the golden azure ocean “O! Remember us not! We are but your imagination your truth” “O! Remember us not! We have already become part of you” We are but passers-by They are eternity I will not forget them I will pray for them “I am the morphed butterfly” “I am the sandless desert” “All you need to know is the brief moment we have together” We are but passers-by They are eternity “Then farewell This graveyard by the sea” The silhouettes of the couple wondering between black hairs and white waves floating through mountains and seas disappearing into this uniting gold of heaven and sea “Farewell, I am leaving” “Farewell, I am leaving”
作曲：盧定彰 香港作曲家盧定彰二零零九年以一級榮 譽畢業於香港大學文學院（音樂系）， 二零一二年取得作曲哲學碩士學位，師 隨陳慶恩。同年，他獲香港賽馬會音樂 及舞蹈信託基金全額贊助，前赴英國深 造，在William Brooks教指導下，二零 一七年於約克大學完成作曲博士課程。
盧氏於國際及本地作曲比賽屢獲殊榮， 包括二零一零／二零一一年美國芝加哥 Migratory Journeys國際作曲比賽冠軍 ，以及二零一二年意大利 Musica e Arte 作曲比賽冠軍。
盧氏的作品屢獲世界各地的樂團演奏， 包括：管弦樂作品《夢憶之城》（二零 一四）和《綻——仿樂隊協奏曲》（二 零一六），兩者均由香港小交響樂團委 約；二零一七年創作小提琴協奏曲《幽 篁II》並於捷克Ostrava Days現代音樂節 首演；二零一九年分別為香港創樂團和 香港小交響樂團的亞洲巡演創作《重若 鴻毛》和《秋色若舞》。 盧氏亦致力創作揉合香港文學和音樂的 作品。二零一七年，他參與由香港藝術 節委約創作的大型音樂會《世紀香港》 ，並為室樂合唱團「香港和聲」寫下結 合朗誦和錄像的合唱作品《瑪麗個案》 。盧氏的首套室內歌劇《像我這樣的一 個女子》改編自香港作家西西的同名短 篇小說，二零一八年八月於捷克New Opera Days Ostrava新歌劇節首演。
盧氏最新作品包括：以香港作家也斯的 短篇小說《艾布爾的夜宴》為藍本的清 唱劇，將於二零二零年一月在香港演出 。此外，盧氏與小說家黃怡攜手合作， 為香港藝術節創作廣東話室內歌劇《兩 個女子》，劇本結合西西的《像我這樣 的一個女子》和《感冒》兩篇短篇小說 ，將於二零二零年三月公演。 文本／導演：李君衎 李君衎於英國倫敦大學皇家霍洛威學院 戲劇系畢業，獲應用戲劇科碩士學位， 並為美國奧克拉荷馬中央大學英文系 的畢業生。李氏現為劇評人，亦是The Theatre Times香港區編輯，曾為The Typewriter《鍵文誌》及Broadway World撰稿。 李氏專研歷史文化劇場及體驗式劇場。 他的體驗式歷史文化劇場作品《與狄 更斯在公園散步》於二零一二年在英
Music: Daniel Lo Hong Kong composer Daniel Lo completed his PhD (Composition) at the University of York in the United Kingdom in 2017 under the supervision of William Brooks with full sponsorship of the Hong Kong Jockey Club Music and Dance Fund. Previously, he studied composition with Chan Hing-Yan at the University of Hong Kong where he graduated with first class honours in 2009 and then earned an MPhil (Music Composition) in 2012. Lo has won various prizes in international contests including first prizes at the 7th Musica e Arte Composition Contest (Rome, 2011) and the 3rd Migratory Journeys International Music Composition Competition (Chicago, 2010/2011). Lo’s compositions have been performed in Europe, Asia, North America and Australia. Lo’s works cover a wide range of musical genres, from orchestral to vocal pieces. The last few years saw the premieres of Home City Dream City for orchestra and field recordings (2014) and Efflorescence—Quasi-Concerto for Orchestra (2016), both commissioned by Hong Kong Sinfonietta; violin concerto YouHuang (II) during Lo’s residency at the Ostrava Days Contemporary Music Festival in Czech Republic in August 2017; and two new works Poidsand Autumn Rhythm written for Hong Kong New Music Ensemble’s tour to Korea and Taiwan in April 2019 and Hong Kong Sinfonietta’s Asia tour 2019 respectively. One of Lo’s current compositional interests is to seek ways to integrate music with Hong Kong literature. Recent works inspired by contemporary local writers include two pieces written for Hong Kong Odyssey, commissioned by Hong Kong Arts Festival 2017; a choral work Mary’s Chalk Circle for narration, unaccompanied choir and video, presented by Hong Kong Voices in June 2017; and a chamber opera A Woman Such as Myself (based on Xixi’s short story A Girl Like Me) which premiered in New Opera Days Ostrava (Czech Republic) in June 2018. A semi-staged cantata composed by Lo (based on Leung PingKwan’s short story The Banquet at elBulli) will be presented by Hong Kong Voices in January 2020. Meanwhile, Lo and novelist Wong Yi are working on a chamber opera in Cantonese Women Like Us, adapted from two of Xixi‘s short stories A Girl Like Me and The Cold. The opera will be staged in the Hong Kong Arts Festival 2020. Libretto/Director: Clement Lee Graduated from Royal Holloway, University of London with MA in Applied Theatre, and earned his BA English degree at the University of Central Oklahoma, Clement Lee is a theatre critic and has published his works in The Typewriter and BroadwayWorld. Lee is now the Regional Managing Editor (Hong Kong) for The Theatre Times. Lee is a researcher in heritage and immersive theatre through practice. In 2012, he co-wrote and co-directed A Walk in the Park with Charles Dickens, an immersive heritage theatre piece, to explore Dickens and his connection to the town Slough in England, and was performed at Herschel Park, Slough. In 2015,
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國完成，既是聯合創作人，亦是聯合導 演，劇中探索狄更斯與英國小鎮斯勞 (Slough)的關係，作品其後於斯勞鎮內 的Herschel Park搬演。二零一五年， 李氏為香港話劇團外展及教育部創作另 一體驗式歷史文化劇場作品《海之家》 ，展示一八九四年香港瘟疫時的一段歷 史，於香港歷史博物館公演。
李氏曾為學校巡迴戲劇演出。二零一三 年他在「法國五月」中演出，在Theatre Noir製作、Chris Mouron執導的《「卡 巴萊」－瘋狂盛宴》中飾演Max Linder 一角。同年，他為何青菁執導、於二零 一三香港藝穗民化節搬演的引錄劇場作 品《TRANS 3.1》擔任集體創作人。 二零一七年，李氏於香港和聲音樂會「 根源——當代合唱音樂沙龍第四回」中 演出，為香港作曲家盧定彰根據香港作 家西西短篇小說《瑪麗個案》改編的同 名四部混聲合唱新作擔任旁白。
道具設計：鄺巧婷 鄺巧婷獲英國倫敦藝術大學頒授戲劇設 計（榮譽）學位。她是新一代熱愛舞台 藝術的工作者，在學及留英期間積極參 與相關舞台表演設計、布景、裝置、製 作等工作。她對沉浸式體驗劇場尤感興 趣。鄺氏設計作品包括：英國皇家藝術 學院Late: The Other Garden Party裝置 設計、大英博物館 Late: German Folk Tales 裝置設計、英國 The Vaults 聖誕 派對布置、Tricycle Theatre Festivals 等。
由她參與製作或擔任助理作品包括：英 格蘭國家歌劇院的Sumptuous Supper 、Philip Pullman's Grimm Tales、倫 敦Magical Lantern Festival、周杰倫地 表最強世界巡迴演唱會（倫敦站）、張 惠妹烏托邦2.0世界巡迴演唱會（倫敦 站）等。 燈光設計：陳家豪 香港演藝學院燈光設計系畢業生，現為 自由身工作者。
近期燈光設計作品包括：劇場空間《單 身友情人》《主席萬萬歲》；舞蹈新鮮 人系列：陳曉玲《Lördagsgodis》、 莫嫣《Moha》；MW舞蹈劇場《皮紋》 ；澳門藝術節《賞味期限》《遷移者之 歌》；澳門石頭公社《人民英雄》；馬 來西亞原創舞台劇《快高長大》；六四 舞台《傷城記》；舞台山莊《尋找快樂
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Lee wrote and directed Men at Sea, another immersive heritage theatre piece about the Hong Kong Plague in 1894. The play was produced by Hong Kong Repertory Theatre Outreach and Education Department and was performed at the Hong Kong Museum of History. As for performances, Lee has acted in various school-tours, and performed as Max Linder in Le French May/Theatre Noir’s Cabaret des Années Folles, directed by Chris Mouron, in 2013. Lee was also involved in the Hong Kong People’s Fringe Festival production of TRANS 3.1, a devised verbatim theatre piece directed by Felix Ho. In 2017, Lee performed in Hong Kong Voices’ concert “Roots— Contemporary Choral Music IV: Hong Kong” as the narrator for the world premiere of Daniel Lo’s choral composition Mary’s Chalk Circle, based on a short story by Hong Kong writer Xixi. Prop Designer: Sharon Kwong Sharon Kwong graduated from the University of the Arts London with BA (Hons) in Theatre Design. She has great passion and is active in both theatre and entertainment industries, and has devoted herself to the development of theatre design in Hong Kong. Her scope of work includes set dressing, prop making, costume design, event management, among others. Her design credits include installations at Late: The Other Garden Party (Royal Academy of Arts), Late: German Folk Tales (British Museum), Christmas circus at The Vaults, and installation at Hong Kong Market Museum. She is also involved in Tricycle Theatre Festivals, Sumptuous Supper at the English National Opera, and Philip Pullman’s Grimm Tales. Her work is not limited to designing, but also in productions and bilingual promotional events, such as Magical Lantern Festival London, Jay Chou’s The Invincible World Tour in London, and A-Mei’s Utopia 2.0 Celebration World Tour in London. Lighting Designer: Ivan Chan Ivan Chan is a freelance lighting designer based in Hong Kong. Graduated from the Hong Kong Academy for Performing Arts in 2014, Ivan has collaborated with theatre directors, choreographers, theatre artists and visual artists. Ivan has designed for musical, dance, drama, physical theatre and Cantonese opera. His design work Shelf Life (premiered in Macau and toured to HK and Guangzhou afterwards) was the finalist of World Stage Design 2017—Emerging Lighting Design Category. Recently designs include: musical performance Company by Theatre Space; dance performances In Between Love (HK), Shelf Life (China), Folding Echos (Edinburgh); Moha (HK), Lördagsgodis (HK: nominated for Outstanding Small Venue Production in Hong Kong Dance Award 2019); drama performances Chairmen (HK), HongKong Day&Night (Taiwan), Songs of Migrants (Macau), Tell me a story (Malaysia) and Lord of Flies (HK). www.ivanchanlx.com
時代》《蒲2.0》；偶友佳作《雪人大腳 八》；BE KIDS兒童劇《嗶哩巴啦夜精 靈》等等。
此外，陳氏亦有參與世界不同的舞蹈 藝術節：Supercell Dance Festival (Australia); Edinburgh Fringe Festival; Fukuoka Dance Fringe Festival; Masdanza Internation Contemporary Dance Festival (La Palmas, Grand Canaria) ， 為多位本地獨立舞蹈藝術家 作技術統籌和燈光設計 。 憑著《賞味期限》參展二零一七年世界 舞台設計展。熱愛音樂劇、舞蹈、音樂 等表演藝術。希望讓觀眾看到真實與虛 幻之間； 看見設計師們所看到的、感受 到的。 指揮：蔣頌恩 蔣頌恩為中文大學音樂系之畢業生，隨 陳少君習聲樂。畢業同年獲香港賽馬會 音樂獎學金前往英國倫敦大學皇家霍洛 威學院修讀碩士課程，主修音樂學，並 隨男中音伊姆勒習聲樂。 蔣氏常與本地合唱團合作，亦熱衷於現 代音樂，二零一零年在香港作曲家聯會 舉辦之音樂新文化中聯同龢鳴樂坊為陳 慶恩之《夢蝶歌箋》作首演，並於二零 一二年澳門國際音樂節與香港創樂團演 唱林品晶之作品。
蔣氏曾參與 Stephen Layton、Rolf Beck、James Jordan及William Weinert的大師班，現於母校任教，並帶領 其女聲合唱團於二零一二及二零一四年 度的世界合唱比賽獲得金獎。以及二零 一六於第三屆新加坡國際合唱節獲特別 指揮獎及總冠軍。蔣氏合唱足跡亦遍及 歐、美，以及中國大陸；近年指揮香港 和聲演唱布拉姆斯《德意志安魂曲》、 莫扎特《證聖者莊嚴晚禱》、巴赫《尊 主頌》BWV243等。
女高音：蔣頌賢 蔣頌賢自幼便對音樂有著濃厚的興趣。 她多年來曾參與多個不同的合唱團，亦 在校際音樂節中的獨唱比賽屢獲冠軍。 她在中學時期曾多次參與國外舉行的世 界合唱比賽。二零一零年蔣氏以優異的 成績考獲英國聖三一音樂學院 ATCL 聲 樂獨奏文憑。 升上大學後，蔣氏活躍於不同的演出， 亦多次擔當獨唱，包括巴赫的尊主頌、 韋華第的榮耀頌、博赫的屋頂上的提琴
Conductor: Grace Chiang Grace graduated from the Music Department, The Chinese University of Hong Kong, studying voice with Chan Siu-Kwan. Upon graduation, she was awarded the Hong Kong Jockey Club Music Scholarship to read for a Master’s degree in Music, majoring in Historical Musicology at Royal Holloway, University of London, where she continued her vocal studies with Baritone Christian Immler. An active performer, Grace’s interests extend to contemporary music, often performing works by Hong Kong composers; she collaborated with the Chinese Music Virtuosi in premiering Chan Hing-Yan’s Schmetterlingsträumen Lieder at the Musicarama 2010, and appeared with the Hong Kong New Music Ensemble in performing works by Lam Bun-ching at the 2012 Macau International Music Festival. Grace took part in conducting masterclasses and workshops of maestros Stephen Layton, Rolf Beck, James Jordan and William Weinert. Since 2011, she returned to serve at her alma mater, and led the girls’ choir to win Gold Medals at the 2012 Cincinnati, USA and the 2014 Riga, Latvia World Choir Games, as well as the Grand Prix Champion and Special Conductor Prize at the 2016 3rd Singapore International Choral Festival. Her choral experience has also taken her to perform in Austria, United Kingdom, and Mainland China. Grace conducts Hong Kong Voices among various choral ensembles, and recently appeared in performances such as Brahms’s Ein deutsches Requiem, Mozart’s Vesperae solennes de confessore, and J. S. Bach’s Magnificat BWV243. Soprano: Esther Chiang Esther’s musical life began at a young age with piano, oboe and voice lessons. In her secondary school days, she has won first place in solo singing competitions in the Hong Kong Schools’ Music Festival and participated in multiple international choral competitions. In 2010, she attained with distinction the Associate of Trinity College of London in Voice. After entering university, Esther has appeared as soloist in J.S. Bach’s Magnificat, Vivaldi’s Gloria, Bock’s Fiddler on the Roof, Bruckner’s Psalm 150, Mendelssohn’s Hear My Prayer, Mozart’s Requiem and Vesperae Solennes de Confessore. She was a member of Diocesan Choral Society, Chung Chi Choir, Chinese University Chorus, City University (London) Chamber Choir and London Philharmonic Choir, and is also currently a member of Hong Kong Voices, Sacred Singers, Die Konzertisten, Diocesan Graduate Singers and Cantacore Society. Esther graduated with a Bachelor’s degree in Music at the Chinese University of Hong Kong, where she studied voice with Ms. Chan Siu-kwan. She continued her studies at City University London, majoring in voice under the tutelage of Ms. Sarah Pring. Baritone: Timothy Yu Yu is currently a music student and vocal major at the Chinese University of Hong Kong. He received vocal training from Isabel
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手、布魯克納的詩篇第一百五十篇及莫 札特的安魂曲。她同時為香港和唱、聖 詠小組、Die Konzertisten、萃韻歌詠 團及雅謌合唱團的團員。她亦曾參與倫 敦愛樂合唱團、崇基合唱團及中大合唱 團。 蔣氏畢業於中文大學音樂系，隨陳少君 老師學習聲樂。及後赴英國倫敦城市大 學深造，隨女中音莎拉‧佩玲學習聲 樂。
男中音：余睿添 余氏為中文大學音樂二年級生，至少熱 衷合唱與獨唱音樂，現在師承香港著名 女高音葉保菁。以往師承意大利著名女 高音易曼君與男低音 Roberto Abbondanza，於二零一五與二零一七年分別 參與於 Piediluco 和 Castel Viscardo的 聲樂大師班，並獲得 New Dragon 獎學 金。余氏亦於二零一八年暑期獲選參與 於薩爾斯堡莫札特音樂大學的大師班， 師承著名女高音 Helen Donath 與指揮 Klaus Donath。余氏於二零一八年第七 十屆香港校際音樂節獲得男中低音公開 組的中文組與外語組冠軍，並獲得費明 儀獨唱獎學金盃的殊榮。另外，余氏亦 獲得校際音樂節，公開組藝術歌曲的冠 軍，並獲得嘉遜修士紀念盃的殊榮。 長笛：陳子俊 陳子俊獲香港賽馬會音樂及舞蹈信詫基 金頒發全數獎學金赴英深造。陳氏以一 等成績畢業於英國皇家北部音樂學院以 及以優異成績畢業於香港演藝學院。陳 氏曾以長笛及短笛手身份與英國哈雷管 弦樂團、香港管弦樂團、香港小交響樂 團、香港城市室樂團、亞洲青年管弦 樂團、國際青年管樂團以及以獨奏家身 份與香港演藝學院管弦樂團合作演出。 足跡遍佈英國、法國、意大利 丶南美 洲丶中國丶日本丶台灣丶新加坡及香港 等。除表演外，陳氏亦任教於香港演藝 學院。 小提琴：許榮臻 香港土生土長的許榮臻，早年以優異成 績考獲英國皇家音樂學院的院士文憑（ 小提琴與鋼琴演奏），其後主修小提琴 並畢業於香港演藝學院及紐約曼克頓 音樂學院，先後獲頒音樂學士（一級榮 譽）及碩士學位，師承蔡路、馬忠為、 露茜．羅伯特、及已故黃衞明老師。 許氏擁有豐富樂團演奏經驗，曾到訪紐
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Gentile and Roberto Abbondanza, both renowned singers from Italy, and has been selected to study under Roberto Abbondanza in the summer of 2015, thus receiving the New Dragon Bay Scholarship in the 2017 vocal masterclass in Castel Viscardo, Italy. Yu has also been selected to study under renowned soprano Helen Donath in Mozarteum of Salzburg during the summer of 2018. Yu is currently studying under renowned Hong Kong soprano Yuki Ip Po-Ching. Yu was awarded the champion of both Chinese and Foreign language of baritone voice and the Ms. Babara Fei Vocal Solo Prize Champion. He is also awarded the Brother Cassian Memorial Trophy for the Art Song category in the 70th Hong Kong Schools Music Festival. Flute: Brian Chan Brian is an experienced orchestral player, chamber musician, and teacher. He has performed with The Hallé, the Hong Kong Philharmonic, the Macau Orchestra, the City Chamber Orchestra of Hong Kong and the Hong Kong Winds Philharmonic. Since 2006, he has been the Guest Principal Flute of the Hong Kong Sinfonietta. With the orchestra, he has performed extensively throughout Europe and Asia. He has worked with a number of maestri, for example Lorin Maazel, Edo de Waart, Markus Stenz and François-Xavier Roth, to name a few. As a devoted educator, he is currently a member of the senior faculty at the Hong Kong Academy for Performing Arts. Under his tutelage, his students have been accepted by conservatoires worldwide, including The Juilliard School, the Eastman School of Music, the Royal Northern College of Music, the Wells Cathedral School, the Utrechts Conservatorium, the Royal Holloway, University of London, the École Normale de Musique de Paris “Alfred Cortot”, the Hong Kong Academy for Performing Arts, the Baptist University of Hong Kong, and the Chinese University of Hong Kong. Brian started his studies with Joni Wong. Subsequently, he gained a BMus (Hons) from the Hong Kong Academy for Performing Arts, where he studied with Megan Sterling, Linda Stuckey and Ivy Chuang. During his time at the HKAPA, he won the Academy Concerto Competition. He was selected to play with the Asian Youth Orchestra and the International Youth Wind Orchestra. Additionally, he performed as a soloist with various ensembles in Hong Kong. After graduating from the HKAPA, Brian was awarded a full scholarship by the Hong Kong Jockey Club Music and Dance Fund for his postgraduate studies at the Royal Northern College of Music, where he studied with Laura Jellicoe, Joanne Boddington, and Peter Lloyd. He graduated with Distinction in 2010. He was selected as the principal flute player to participate in the Fondazione Cantiere Internazionale D’Arte Di Montepulciano in Italy. To further his playing, Brian has also been studying with Julien Beaudiment, Sébastian Jacot, Walter Auer, Patricia Morris, Dunscade Wolfsang, Egor Egorkin, Pierre Dumais, Vincent Cortvrint, Nicola Mazzanti, Virginie Reibel, Jean-Louis Beaumadier, Michel Bellavance, and Herman van Kogelenberg.
約、柏林、薩爾斯堡、悉尼、蘇黎世及 東京多個著名音樂廳演出。許氏亦曾在 德國石荷州節慶管弦樂團、荷蘭國家青 年樂團及亞洲青年管弦樂團中擔任樂團 首席；並曾經參與YouTube交響樂團、 紐約弦樂團、香港小交響樂團及香港管 弦樂團之演出。二零一四年，許氏獲委 任為百老匯著名音樂劇《歌聲魅影》樂 團首席，並在亞洲國際博覽館開展香港 巡演。 許氏曾以獨奏身份與多位知名指揮及樂 團合作，包括與廖國敏指揮合演韋華第 《四季—夏天協奏曲》；及兩度與梁志 邦指揮演出拉赫瑪尼諾夫《第二鋼琴協 奏曲》及孟德爾頌《E小調小提琴協奏 曲》。二零一二年，許氏於香港演藝學 院協奏曲比賽中獲獎，並與已故辜柏倫 指揮的演藝交響樂團演出柴可夫斯基《 小提琴協奏曲》。二零一四年，許氏獲 邀聯同著名大提琴家王健、鋼琴家張緯 晴，及由李承謙指揮的香港節慶管弦樂 團上演貝多芬《三重協奏曲》。去年， 許氏以鋼琴獨奏及指揮身份，與香港節 慶管弦樂團合演歌舒詠的《藍色狂想 曲》。 自 二零一三年起，許氏出任香港節慶 管弦樂團駐團指揮，曾與小提琴家約書 亞．貝爾、大提琴家王健、雙簧管演奏 家及教育家姚桑琳、鋼琴家李雲迪、張 緯晴、黃家正、以及英皇合唱團合作演 出。許氏近年積極投入音樂教育工作， 現為九龍塘宣道小學音樂老師和樂團指 揮。
敲擊：余林橞 余林橞集敲擊樂手、表演藝術家及跨學 科藝術研究者於一身，一直醉心於探索 結合聲音與表演藝術的可能性。透過獨 到地融合存在於敲擊樂演奏裡的視覺及 聽覺，她致力運用現成物及電子去尋求 新聲音，以及發掘改造現有演奏會文化 的新方向。余林橞熱衷於演奏當代音 樂，經常與不同的作曲家合作，並為數 之不盡的獨奏及室內樂的新作品首演。 除此之外，她亦是香港室內樂敲擊樂 團The Up:Strike Project及實驗性室內 樂團EXORDIUM Collective的創辦人之 一。余林橞多方面展現活躍演奏家的一 面，最近於聲音下寨特別系列﹕聲形 – 多聲道聲音藝術節 #2作獨奏演出以及於 加拿大班夫創意藝術中心為駐場藝術家 (Banff Centre for Arts and Creativity） 。她亦曾於下列單位演出或發表演講：
Violin: Mark Hui Born and raised in Hong Kong, Mark Hui was first trained as a pianist and a violinist. He holds the Bachelor (Honours) of Music degree with first class honours from the Hong Kong Academy for Performing Arts, as well as the Master of Music degree from the Manhattan School of Music in New York. He has attained the Fellowship of Royal Schools of Music (FRSM) with distinctions in both violin and piano performance. His teachers include Tsai Loo, Michael Ma, Lucie Robert and the late Wong Wai-ming. Hui has an immense passion in playing in orchestras, which brings him to perform in prestigious concert halls in New York, Berlin, Salzburg, Sydney, Zurich and Tokyo. Hui was the Concertmaster of the Schleswig-Holstein Festival Orchestra, the National Youth Orchestra of Netherlands and the Asian Youth Orchestra. He was also invited to play with the YouTube Symphony Orchestra, the New York String Orchestra, the Hong Kong Sinfonietta and the Hong Kong Philharmonic, experiences that have taken him around the world working with legendary conductors such as Christoph Eschenbach, Michael Tilson Thomas, Edo de Waart, Esa-Pekka Salomon and James Judd. In 2014, Hui was appointed Concertmaster of the Broadway production Phantom of the Opera at the AsiaWorld-Expo. Active as a soloist, Hui has made a number of concerto appearances. This includes his performance of Summer from Vivaldi’s The Four Seasons with Kuok-Man Lio, as well as two-time collaboration with Slash Leung performing Rachmaninov’s Piano Concerto No. 2 and Mendelssohn’s Violin Concerto in E Minor. In 2012, Hui won the Academy Concerto Trial and performed Tchaikovsky’s Violin Concerto in D Major with the Academy Symphony Orchestra of APA with the late Alan Cumberland. In 2014, Hui was invited to perform Beethoven’s Triple Concerto with world-renowned cellist Jian Wang, Steinway Artist Rachel Cheung and the Hong Kong Festival Orchestra with Sean Li. Last year, Hui performed as soloist and conductor in Gershwin‘s Rhapsody in Blue with the HongKong Festival Orchestra. Since 2013, Hui has served as Resident Conductor of the Hong Kong Festival Orchestra, and has collaborated with distinguished artists including violinist Joshua Bell, cellist Jian Wang, oboist Yiu Song-lam, pianists Yundi Li, Rachel Cheung, KaJeng Wong, as well as The Kings’ Singers. Currently Hui is the Music Teacher of Alliance Primary School (Kowloon Tong) where he serves as string orchestra conductor and violin instructor. Percussion: Karen Yu A percussionist, performing artist and interdisciplinary arts researcher, Karen Yu enjoys discovering the possibilities of combining sonic and performing arts. Through the unique blend of sight and sound inherent in percussion performance, Karen proactively seeks for new approach to transform the existing concert culture. Dedicated to the performance of contemporary music, she frequently collaborates with composers and has premiered numerous new solo and chamber compositions, including Ken Ueno, Philippe Leroux, Zihua Tan, Vinko Globokar,
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香港小交響樂團 ArtisTree 駐場計劃 Notating Beauty That Moves、大館週 一午間音樂會、香港藝術節、蒙特利爾 雙年節、The Blackbird Creative Lab（ 美國加州）、Percussive Arts Society Day(s) of Percussion（加拿大蒙特利 爾及香港） 、 Transplanted Roots 敲 擊樂研討會（ 澳洲布里斯本、墨西哥 瓜納華托及加拿大蒙特利爾）、IRCAM ManiFeste Academy （ 法國巴黎）、 SoundSCAPE New Music Festival（意 大利馬卡尼奧）以及聲音下寨（香港） 。余林橞的室內樂演奏錄音可於加拿大 廣播公司及拿索斯唱片重溫。
畢業於加拿大蒙特利爾麥基爾大學， 余林橞在 Aiyun Huang 教授及 Fabrice Marandola 教授的指導下獲得她的音樂 學士和碩士學位。除了專注於當代古典 敲擊樂演出，她亦擁有六年演奏傳統樂 器如印度塔布拉鼓的豐富經驗。她在麥 基爾大學的攻讀由 Schulich Graduate Scholarship 全額資助，而她的跨學科 研究創作項目 The Breathing Canvas 則是由 The Centre of Interdisciplinary Research in Music Media and Technology 所資助。 除了是一個音樂家，余林橞同時身兼麥 基爾大學亞洲辦公室行政主任，及為酸 啤愛好者。
鋼琴：陳倩婷 自由音樂工作者。香港演藝學院舞蹈學 院客席伴奏及客席講師（舞蹈音樂）。 美國三藩市音樂學院音樂碩士（鋼琴伴 奏）、音樂碩士（鋼琴演奏）；香港中 文大學文學學士（音樂）。師承蒂莫西 ·巴赫博士、馬克·麥克雷教授、毛翔 宇博士、何裕光先生及李娟慧女士。前 香港舞蹈團駐團琴師、三藩市音樂學院 伴奏、三藩市芭蕾舞團附屬學校伴奏、 灣區暑期歌劇學院伴奏、英國皇家芭蕾 舞學校春季課程琴師和Genée國際芭蕾 舞大賽琴師。 近期策劃、創作及演出作品有香港舞蹈 團八樓平台《霓虹：亨利·卡和爾曲目 的重新想像》。
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and Jean-Pierre Drouet. Based in Hong Kong, Karen is a co-founder and director of the chamber percussion group The Up:Strike Project, Project Coordinator of NOVA Ensemble, and co-founder of EXORDIUM Collective. As an active performer, Karen was most recently featured at the opening of Contemporary Musiking Hong Kong’s Sound Forms 2019, and co-presented a lecture recital, People Can Be Trusted: Performative Dialogues in the Music of Sean Griffin at the recent edition of Transplanted Roots Percussion Research Symposium. Previously an artist-in-residence at the Banff Centre of Arts and Creativity and a fellow at the Blackbird Creative Lab, Karen has also performed in Hong Kong Sinfonietta @ Artistree Notating Beauty That Moves, Tai Kwun Lunch Time Series, Percussive Arts Society Day(s) of Percussion (Hong Kong, Montreal), Hong Kong Arts Festival, Transplanted Roots Percussion Research Symposiums (Guanajuato, Brisbane, Montreal), Biennale Montreal, IRCAM ManiFeste Academy, SoundSCAPE New Music Festival, PRISM Chamber Music Festival, and Sonic Anchor. Her chamber music performances can be listened on Canadian Broadcasting Corporation and Naxos Records. Karen received her Master of Music and Bachelor of Music from McGill University under the guidance of Professor Aiyun Huang and Fabrice Marandola. Her studies at McGill University were fully supported by the Schulich Graduate Scholarship and her interdisciplinary research-creation project, The Breathing Canvas, was funded by the Centre of Interdisciplinary Research in Music Media and Technology. Her projects have been supported by the Hong Kong Arts Development Council. Aside from being a musician, Karen is the Executive Officer of McGill University Asia Office and a craft beer enthusiast. www.karenyu.net Piano: Cynthia Chan Cynthia Chan earned a Master of Music Degree in Piano Accompanying from the San Francisco Conservatory of Music, where she studied with Dr. Timothy Bach. She also holds a Master of Music Degree in Piano Performance from the Conservatory, where she studied with Mr. Mack McCray; and received Bachelor of Arts (Music) Degree from The Chinese University of Hong Kong, where she studied with Dr. Cheung Yu Mo. She has been on staff accompanist for San Francisco Conservatory of Music, San Francisco Ballet School, Bay Area Summer Opera Institute, Royal Ballet School Hong Kong Spring Intensive, Genée International Ballet Competition 2018, and former pianist for Hong Kong Dance Company. Cynthia is currently a freelance collaborative pianist, a part-time dance accompanist and music for dance lecturer at the Hong Kong Academy for Performing Arts. She recently curates and performs her multidiscipline work presented by Hong Kong Dance Company 8/F Platform—NEON: Re-imagination of Henry Cowell’s Works.
合唱團：香港和聲 香港和聲是一隊成立於二零零零年的室 樂合唱團，冀望將合唱音樂帶到更多香 港人的生活當中。我們致力提升藝術水 平，培育團員的音樂鑑賞能力，為觀眾 帶來愉悅而富啟發性的藝術體驗。 香港和聲的演唱曲目廣泛，涵蓋文藝復 興以至現代音樂，當中包括古典鉅著如 巴赫《聖約翰受難曲》、莫扎特《證聖 者莊嚴晚禱》及布拉姆斯《德意志安魂 曲》等；亦不時挑選較少於本港演出的 合唱名作，如二零零五年為荀伯克的《 地上平安》作香港首演。我們非常重視 香港獨有的文化傳承，定期演唱亞洲及 香港當代作曲家作品，並委約香港作曲 家以粵語演唱的合唱作品。
香港和聲經常與本地知名音樂家合作， 亦常邀請年輕新晉樂手及聲樂家參與演 出。我們定期與由專業樂手組成的樂團 夥伴演出，並曾與香港小交響樂團演奏 過海頓《小管風琴彌撒曲》及佛瑞《安 魂曲》。此外亦參與跨媒體藝術創作， 如楊嘉輝的音樂劇場《電子安魂曲：皇 后萬歲》(二零零九) 及首展於德國杜塞 爾多夫藝術館的《消音狀況#5：消音合 唱》(二零一六)。香港和聲相信音樂的 生命並不局限於演奏廳內，因此我們與 Claying's Studio合作，由二零一零年開 始為我們的音樂會作現場錄音並與互聯 網上存檔以作教育用途。 林敬基自二零零一年起出任香港和聲藝 術總監，現時亦為美國查爾斯頓交響樂 團及伊利諾伊州交響樂團音樂總監。蔣 頌恩，香港著名合唱指揮及女高音，於 二零一五年獲委任為首席指揮。 白金贊助人 Platinum Sponsors 陳劉玉蓮 Mrs Lin Chan 無名氏 Anonymous Jesmer Wong 金贊助人 Gold Sponsor Believing Music Can 成為我們的贊助人
BECOME OUR SPONSORS www.hkvoices.org/support-us
Choir: Hong Kong Voices Hong Kong Voices is a chamber choir established in 2000. Aspired to bring choral music closer to the Hong Kong people, we cultivate the ability of music appreciation among our singers, and offer our audience an artistic experience that both delights and inspires. Our repertoire spans from the Renaissance to the modern era, including acclaimed works such as Bach’s St. John Passion, Mozart’s Vesperae solennes de confessore and Brahms’s Ein deutsches Requiem. We often introduce some lesser-known choral masterpieces to the audience, most notably we gave the Hong Kong premiere of Schoenberg’s Friede auf Erden in 2005. We also infuse our programme with works by Asian and Hong Kong contemporaries as a tribute to our unique cultural heritage. We have collaborated with many leading local artists as well as young and rising musicians and vocalists. We perform regularly with our professional instrumental partners and had joined the Hong Kong Sinfonietta in performances of Haydn’s Little Organ Mass and Fauré’s Requiem. We are also involved in cross-media projects such as Samson Young’s music theatre Electric Requiem— God Save the Queen (2009), and Muted Situations #5: Muted Chorus (2016) that appeared in his first Europe solo exhibition at Kunsthalle Düsseldorf. We believe that music lives beyond the concert hall: from 2010 onwards all our live concerts have been captured by Claying’s Studio and are archived on the Internet for educational purpose. Ken Lam, currently Music Director of Charleston Symphony Orchestra and Illinois Symphony Orchestra, has been our Artistic Director since 2001. Grace Chiang, award-winning Hong Kong choral conductor and soprano, is appointed as Principal Conductor of the choir in 2015. Website: www.hkvoices.org Facebook/Instagram: @hkvoices Youtube Channel: Hong Kong Voices 香港和聲 Email: choir@hkvoices.org Whatsapp: +852 5509 9455 女高音 SOPRANO 陳維寧 Linda Chan 霍沅琪 Vivien Fok 劉俊敏 Lorraine Lau 李馨寧 Deirdre Lee 曾舒薇 Gisele Tsang
女低音 ALTO 蔡穎珊 Winnie Choi 方佩欣 Sarah Fong 何妙芝 Jess Ho 劉珊瑚 Dora Lau 慕容嘉英 Karen Moyung
男高音 TENOR 梁正鏗 Francis Leung 凌霄志 Tony Ling 王詠國 Keith Wong 男低音 BASS 鄭漢榮 Samuel Cheng 葉國仁 Apollo Ip 江梓濤 Tony Kong 吳皓澄 Anson Ng 王舜饒 Tony Wong 葉永茂 Pasu Yip
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鳴謝
香港藝術發展局
梁吳玉英（吳煦斌） 劉庭善
艺鵠 鍾穎琛 《字花》雜誌 香港兆基創意書院 香港藝術行政人員協會 康樂及文化事務署
香港電台第四台（羅乃新） 聲蜚合唱節 星島日報（黃子翔） 黃偉傑
製作團隊
舞台監督：何詠心 字幕操作員：吳以寧 字幕助理：麥倩渝 英文字幕翻譯：李俊彤 監製：游慧姿 場刊
封面設計：麥朗 封面印刷： 翻滾出版 英文翻譯：李俊彤 內文排版：凌霄志
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Acknowledgements Hong Kong Arts Development Council Betty Ng Cynthia Lau Art & Cultural Outreach (ACO) art-mate.net Wing-Sum Chung Fleurs des Lettres HKICC Lee Shau Kee School of Creativity Hong Kong Arts Administrators Association Leisure and Cultural Services Department Percussion Pit & Studio 703 RTHK Radio 4 (Nany Loo) SingFest Limited SingTao Daily (Jan Wong) Timable Limitd Ken Wong Production Team Stage Manager: Bonita So Surtitle Operator: Elaine Ng Surtitle Assistant: Mak Sin-yu English Translation of Surtitles: Konstance Li Producer: Janet Yau Programme Booklet Cover Design: Jonathan Mak Cover Printing: flip & roll press Paper: Colorplan Racing Green 270gsm Printing: Risograph (Gold) English Translation: Konstance Li Typesetting & Layout: Tony Ling Myriad Pro (Adobe Originals) 思源黑體—香港繁體 (Adobe Originals) YOUR FEEDBACK IS HIGHLY APPRECIATED. Please complete the online survey and let us know your valuable comments!
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