中大合唱協會有限公司主辦
Presented by CU Chorus Association Limited
2023年6月4日（星期日）晚上八時
4 June 2023 (Sunday) 8:00pm
香港大會堂音樂廳
Hong Kong City Hall Concert Hall
音樂會長約一小時三十分鐘，不設中場休息
Running Time: Approximately 1 hour and 30 minutes without intermission
香港中文大學六十周年慶典慶祝活動之一
An accredited event of CUHK 60th Anniversary Celebratory Programme
緊貼中大合唱團最新消息 Follow CU Chorus!
www.cuchorus.org.hk
場地規則 House Rules
為了令大家對今次演出留下美好印象，我們希望各位在演出期 間切勿在場內攝影、錄音或錄影，亦請勿吸煙或飲食。在節目 開始前，請關掉手提電話、其他響鬧及發光裝置。本節目歡迎 觀眾在謝幕時拍照留念。多謝各位合作。
Dear Patrons,
In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs during the performance, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Audience may take photographs during final applause. Thank you for your kind co-operation.
主辦機構保留更改節目及表演者權利 Programme and artists are subject to change 如不欲保留場刊，請放回場地入口以便回收 If you do not wish to take this printed programme home, please return it to the admission point for recycling
香港中文大學校長獻辭 Message from the Vice-Chancellor
歡迎大家參加香港中文大學合唱團五十周年音樂會。
今年是香港中文大學六十周年校慶，同時亦是中大合 唱團金禧慶典，可謂雙喜臨門。適逢其會，中大合唱 團有幸連同匈牙利國寶級指揮大師嘉保．豪勒隆攜手 獻技，向香港樂迷送上經典樂曲，讓大眾一飽耳福， 共度溫馨難忘的晚上。
中大合唱團歷代成員才華洋溢，醉心追求藝術卓越， 經歷半世紀同心耕耘，造就合唱團茁壯成長，現於本 港合唱界佔據重要席位。中大合唱團致力推廣合唱文 化，充分發揮創新精神，積極拓展表演形式，包括校 園和公開音樂會、海外交流、工作坊、線上視頻和慈 善活動等，近年更涉足錄音及樂譜出版領域，在不同 層面推動表演藝術發展，以秉承中大「力臻卓越，任 重志遠」的精神。中大合唱團五十年來為本港及海外 音樂愛好者送上一次又一次精彩難忘的演出，首首歌 曲扣人心弦，令人再三回味。
為促進國際文化交流，中大合唱團把握每個機會，與 世界各地的優秀音樂家合作，今晚的音樂會便是最好 例子。我謹代表大學同仁感謝嘉保．豪勒隆先生應邀 擔任客席指揮，以其精湛的音樂造詣為中大合唱團增 添光彩，我亦要向音樂會的全體表演者、工作人員和 支持單位表達由衷謝意。
衷心祝願音樂會取得圓滿成功！
My warmest welcome to you all for joining the 50th Anniversary Concert of The Chinese University of Hong Kong Chorus.
The splendid collaboration between CU Chorus and the world-renowned conductor Mr Gábor Hollerung sets us in the best mood for celebrating the double happiness of the 60th anniversary of the University and the golden jubilee of its official student choir, bringing together music lovers from around Hong Kong for a memorable night of spiritual and musical enjoyment.
Fifty years of commitment to artistic pursuit of successive generations of singers and conductors of CU Chorus has enabled the choir to grow into one of the best choral groups in Hong Kong. Characterised by its innovative spirit and steadfast devotion to the promotion of choral music, CU Chorus has been passionately expanding its forms of performances, which range from campus and public concerts, foreign exchange tours, workshops, online videos, and charity outreach programmes. In recent years, driven by the University’s mission to pursue excellence with purpose and responsibility, the choir has ventured into recording and sheet music publishing, striving to contribute to the development of performing arts at different levels. With their beautiful singing, the choir never fails to pull the heartstrings of local and overseas audiences.
To foster international cultural exchange, CU Chorus eagerly seizes every opportunity to work with fine musicians from around the world, with tonight’s concert being a good example. I would like to express my sincere gratitude to Mr Hollerung for gracing CU Chorus with his masterful conducting, and to all dedicated performers, organisers and sponsors for making this meaningful concert a reality.
Last page of the manuscript of Rossini's Petite messe solennelle (original chamber version) (Reproduced with permission by Fondazione Rossini, Pesaro)
克里道 Reed Criddle
《聖殤》 Pietà
為中提琴及合唱團而作之原版 Original version for viola and chorus
（亞洲首演 Asian première）
中提琴 Viola 許榮臻 Mark Hui
羅西尼 Gioachino Rossini
小莊嚴彌撒曲 Petite messe solennelle
1863/1864 年室樂原版 Original chamber version, 1863/1864
垂憐頌 Kyrie
光榮頌 Gloria
信德頌 Credo
禮儀前奏曲 Prélude religieux
歡呼頌 Sanctus
犧牲救世惟此聖體 O salutaris hostia
羔羊頌 Agnus Dei
女高音 Soprano 葉葆菁 Yuki Ip
女中音 Mezzo-soprano 連皓忻 Carol Lin
男高音 Tenor 李家澍 Justin Li
男中音 Baritone 林俊 Albert Lim
雙鋼琴 Pianos 黃歷琛 Alexander Wong、馮荻文 Fung Tik Man
鍵盤 Keyboard 林芍彬 Anne Lam
香港中文大學合唱團 The Chinese University of Hong Kong Chorus
客席指揮 Guest Conductor 嘉保．豪勒隆
Gábor
是晚演出之錄音將於 2023 年 10 月 2 日（星期一）晚上 8 時
Hollerung
在香港電台第四台（FM97.6 - 98.9 兆赫及網站 radio4.rthk.hk）播出。
Recording of this performance will be broadcast on RTHK Radio 4 (FM Stereo 97.6-98.9 MHz and online at radio4.rthk.hk) on 2 October 2023 (Monday) at 8:00pm.
克里道
《聖殤》 Pietà (2012)
為中提琴及合唱團而作之原版
Original version for viola and chorus
《聖殤》（也譯作「聖母憐子」或「哀悼基督」）靈感來自米開蘭基羅安放於意大利羅馬聖伯 多祿大教堂的同名雕塑。哀傷而孤獨的童貞女瑪利亞在啜泣中輕抱兒子耶穌的屍體。儘管 看來安靜平和，中提琴（代表瑪利亞）及無詞合唱團卻表現出極大的內心悲痛。音樂時而 平靜，時而激動，合唱團營造的情緒都在呼應或撫慰瑪利亞的哀傷。
這兩段《聖經》經文可以作背景補充：
「有抹大拉的馬利亞和另一個馬利亞在那裏，對著墳墓坐著。」
（馬太福音 27:61）
「馬利亞卻把這一切的事存在心裏，反覆思考。」（路加福音 2:19）
音樂上，選用中東調式（也可純粹視為和聲及旋律小調音階混合使用）除了象徵瑪利亞的 身世外，也捕捉聖母當時的複雜情緒。
克里道博士是猶他谷大學合唱活動總監，負責帶領室樂合唱團與男聲合唱團，以及任教指 揮與聲樂。為表揚他別具創意的教學法以及身為作曲家與指揮家的專業成就，猶他谷大學 先後向他頒發藝術學院院長獎、兩次教師評議會卓越獎及校長學者獎。
克里道的作品在世界各地廣受傳演，演出團體包括呂貝克音樂學院室樂合唱團、北京酷兒 合唱團、荷里活大師合唱團、新加坡國際節慶合唱團以及奧克蘭威爾斯合唱團等。他近年 到訪多家院校客席講學，包括威瑪李斯特音樂學院、加州州立大學、國立台北藝術大學、 佛光山人間佛教研究院及肯雅技術大學。他的創作及編曲由 Earthsongs、Hal Leonard、 Santa Barbara Music Publishing 及 North Star Music 出版。
他是史丹福大學、伊士曼音樂學院及密芝根大學的畢業生。
中文翻譯：朱振威 《聖經》經文節錄自和合本
Reed Criddle (b. 1981)
Pietà is based on Michelangelo's famous sculpture which resides in St. Peter’s Basilica (Basilica di San Pietro) in Rome, Italy. Forlorn and alone, the Virgin Mary weeps as she cradles the body of her son. Although the scene is outwardly peaceful, there is a sense of great internal anguish which is expressed by the viola, which represents Mary, and the wordless chorus. At times serene, at times outraged, the mood of the chorus both echoes and pacifies Mary’s grief.
Two biblical sources provide further context:
“And there was Mary Magdalene, and the other Mary, sitting over against the sepulchre.” (Matthew 27:61)
“But Mary kept these things, and pondered them in her heart.” (Luke 2:19)
Musically, the choice of the Middle Eastern mode, which one may also regard as a mix of harmonic and melodic minor scales, reflects Mary’s heritage and captures the simultaneously sweet and bitter emotions of the Mother of Christ.
Dr. Reed Criddle is Director of Choral Activities at Utah Valley University, where he conducts the Chamber Choir and Men's Choir, and teaches conducting and voice. In recognition of his innovative pedagogy and professional work as a composer and conductor, Utah Valley University has presented him with the School of the Arts Dean’s Award, two Faculty Senate Excellence Awards, and the Presidential Fellowship Award.
Dr. Criddle’s compositions have been performed worldwide by a large variety of ensembles like Kammerchor der Musikhochschule Lübeck, Beijing Queer Chorus, Hollywood Master Chorale, International Festival Chorus of Singapore, and Auckland Welsh Choir. He has recently guest-lectured at institutions such as the Hochschule für Musik Franz Liszt Weimar, California State University, Taipei National University of the Arts, Fo Guang Shan Institute of Humanistic Buddhism, and the Technical University of Kenya. His compositions and arrangements are available through Earthsongs, Hal Leonard, Santa Barbara Music Publishing, and North Star Music.
He is a graduate of Stanford University, the Eastman School of Music, and the University of Michigan.
羅西尼 Gioachino Rossini (1792-1868)
小莊嚴彌撒曲
Petite messe solennelle
1863/1864 年室樂原版
Original chamber version, 1863/1864
意大利作曲家羅西尼以喜歌劇 (opera buffa) 作品聞名於世，卻在 1829 年完成第三十九部歌 劇《威廉．泰爾》後封筆，那年才 37 歲。走到生命盡頭，他卻寫下了最後的傳世經典《小 莊嚴彌撒曲》。
羅西尼是家中獨子，1792 年生於佩薩羅，父親是小號手，母親是歌手。他天資聰穎，年 少時已表現出音樂天賦，12 歲時寫成的《六首弦樂奏鳴曲》至今仍有演出及新唱片錄音。
14 歲到博洛尼亞學習音樂，不時公開演唱及於劇院擔任排練伴奏，打下歌劇創作基礎。
18 歲搬到歌劇重鎮威尼斯，發表第一部正式公演的歌劇《婚姻合約》後一鳴驚人。新作 接連推出，叫好叫座，成為意大利喜歌劇泰斗，十九年的創作生涯以《威廉．泰爾》劃下 句號，從此不再創作歌劇。壯年退休出人意表，背後原因有說是他預見法式大歌劇興起知 所進退，但近代研究多認為是身體狀況令他再無法應付歌劇創作：年少時感染淋病的後遺 症是他的終身困擾，而情緒大起大落也極可能表示他有躁鬱症的徵兆。
將近四十年的退休歲月羅西尼雖未停止創作，僅偶一為之且多為小品，也有因為與出版商 爭拗而花了十年時間才完成的《聖母悼歌》（1831-41）。他先後在博洛尼亞及佛羅倫斯定居， 但隨著健康漸差，他在 1855 年回到醫療技術較佳的巴黎，並在此度過餘生。63 歲的羅西 尼回歸巴黎後仿似重啟人生，而他的創作力也以另一種方式回歸。1858 年，他首次舉辦音 樂聚會「星期六沙龍」，一直到 1868 年羅西尼逝世前兩個月為止。羅西尼為了每周音樂沙 龍，而在差不多十年間創作了 150 首獨奏、聲樂及室樂小品，這些作品不少具備諷刺意味， 旨在於私人音樂聚會上博君一粲。這一系列作品，羅西尼戲稱為「晚年罪孽」（Péchés de vieillesse）。
1863 年，71 歲的羅西尼寫出了他聲稱最後一宗的「晚年罪孽」⸺《小莊嚴彌撒曲》。這 部作品題獻給比耶—韋爾伯爵夫人，並在伯爵夫婦的新居首演。至於羅西尼創作這部作品 是出於比耶—韋爾伯爵的委約，還是出於感興而作，而題獻僅為答謝伯爵夫婦提供首演場 地，學術界仍然莫衷一是。在手稿末頁，羅西尼寫下這段似是懺悔但更像向天主開玩笑的 文字：
「主啊！就這樣完成了，這部淒涼的小彌撒曲。到底我寫成的是神聖的音樂（musique sacrée）還是該死的音樂（sacrée musique）？我是為了喜歌劇而生，祢很清楚啊！少 許技術，少許心意，僅此而已。稱頌袮，請准我上天堂。」
取名《小莊嚴彌撒曲》，也可見到羅西尼的幽默：從格式上看，這部演唱時間達 80 分鐘， 而且將〈光榮頌〉及〈信德頌〉分成多個段落處理的作品確是如假包換的傳統「莊嚴彌撒曲」 （missa solemnis）；但首演時只動用了羅西尼打趣為「達文西筆下十二門徒」的八人合唱團 及四位獨唱，伴奏方面僅兩部鋼琴及一部簧片風琴，而首演時的指揮更兼任簧片風琴演奏， 所有演出者加起就只有十五人，也確是「小」。羅西尼想到終有一天會有人想以管弦樂團與 合唱團演奏此曲，為免其他人胡亂改編，三年後親自完成了管弦樂版本，但他禁止這版本 在他生前演出，因為他曾申請以女性歌手在教堂首演被拒，既然無法做出心中效果，索性 不演。這個一點也不「小」的《小莊嚴彌撒曲》管弦樂版本在他死後三個月才在一家劇院 上演。
〈垂憐頌〉按三句經文以三部曲式（ABA）寫成。第一句「上主，求祢垂憐」以聲部輪流 加入製造張力，加上誇張的力度對比，鋼琴伴奏的節奏型表達了焦躁不安；平靜的中段羅 西尼借用了已故好友尼達美亞仿文藝復興複調風格的無伴奏聖樂作品，換上「基督，求祢 垂憐」歌詞，向亡友致敬；「上主，求祢垂憐」重現，但調性由 A 小調／ C 大調變成 C 小 調／ A 大調。
〈光榮頌〉 分成六個連續演唱的段落。「天主在天受光榮」是簡單的合唱引子，緊接是男 中音的莊嚴演唱，其他三位獨唱及合唱團逐一追隨，最後在一片平靜中完結。輕快的「感 謝祢」是女低音與兩位男聲的三重唱，三人爭相表達感謝之情。「主、天主」是男高音的 詠嘆調，歌頌天上的君王。「除免世罪者」是一首激情的女聲二重唱，唱出懇求天主垂憐 與聆聽的渴望。「因為只有祢是聖的」是男低音的詠嘆調，再次歌頌天主。「祢和聖神」 的開首先呼應了合唱引子，然後是按照傳統的一段長長賦格尾聲。
〈信德頌〉
經文最長，但羅西尼在曲式上僅以簡單的三部曲式加上賦格尾聲分配所有歌詞， 並以反覆重現的「我信」（Credo）動機貫穿全曲。「我信唯一的天主」熱情澎湃，延綿不絕 的移調讓張力加強。中段是由女高音唱出的「為我們被釘在十字架上」，抒情地表達耶穌受 難；「復活了」突然激動地插入，首段的音樂素材重現，唱出餘下經文。結尾同樣跟隨傳統， 以賦格處理的「及來世的生命」作結。
羅西尼在〈信德頌〉之後安排了一段以前奏與賦格形式寫成的〈禮儀前奏曲〉，儘管《小莊 嚴彌撒曲》並非為教會禮儀而寫，這一段卻對應真實彌撒中的奉獻禮儀。八小節的小前奏 將音樂由遙遠的升 F 大調拉到 C 大調，由合唱團與獨唱唱出無伴奏的〈歡呼頌〉。
將舊作循環再用是羅西尼創作歌劇時的老習慣，創作《小莊嚴彌撒曲》時也如是：〈犧牲救 世惟此聖體〉是羅西尼把舊作編入後來的管弦樂版本，但今時今日演奏室樂原版時也多會 包括在內。原曲為女低音所作，為遷就後面由女低音獨唱的〈羔羊頌〉而改編給女高音。
文藝復興時期一度流行在彌撒曲的〈羔羊頌〉前加入聖歌〈犧牲救世惟此聖體〉，羅西尼加 入這首甜美的歌曲也許不為復古，更像是要對比及鋪排出跡近絕望中吶喊的〈羔羊頌〉
女低音與合唱團的互相呼應，最後變成不顧一切的呼嚎。
真的絕望嗎？不，樂曲最後完結在 E 大調⸺也就是〈信德頌〉的調性，象徵了歇斯底里 背後仍是牢不可破的信仰。與其說羅西尼為經文配上音樂，倒不如說他將禮儀當成劇本寫 出他的最後一齣「歌劇」，除了援引歌劇風格及素材，他更以各種作曲手法製造對比、張力、 懸念與及賦予「角色」行動，使之成為真正的戲劇。正因如此，《小莊嚴彌撒曲》成為不朽 經典。
樂曲介紹：朱振威
The Italian composer Gioachino Rossini was famous for his comic operas (opera buffa), but after completing his 39th opera, Guillaume Tell (William Tell), in 1829 at the age of 37, he retired from composing. As he approached the end of his life, however, he wrote his final masterpiece, the enduring classic Petite messe solennelle
Rossini was the only child in his family, born in Pesaro in 1792. His father was a trumpet player, and his mother was a singer. He was a gifted child and showed musical talent at a young age. At the age of 12, he wrote 6 String Sonatas , which is still performed and recorded today. At 14, he moved to Bologna to study music, and he frequently sang publicly and worked as a répétiteur in opera houses, laying the foundation for his career in opera composition. At the age of 18, he moved to the opera capital of Venice and his first commercial opera, La cambiale di matrimonio (The Bill of Marriage), was premièred with great acclaim. He continued to produce successful works and became a leading figure in Italian comic opera. His 19-year career in opera composition ended with Guillaume Tell , after which he retired from composing operas. His retirement at a relatively young age was surprising, and some speculate that he foresaw the rise of French grand opera and knew it was the time to step back. However, modern research suggests that his physical condition prevented him from composing operas. He suffered from the after-effects of gonorrhea he had contracted in his youth, and struggled with mood swings, which likely indicated he had bipolar disorder.
Although Rossini retired for almost forty years, he did not completely stop composing. He occasionally wrote short pieces, but he also spent ten years working on his Stabat mater (1831-41) due to disputes with his publisher. He settled in Bologna and Florence but as his health declined, he returned to Paris in 1855, where medical technology was better, and spent the rest of his life there. When Rossini returned to Paris at the age of 63, it was as if he had restarted his life, and his creative energy returned in a different way. In 1858, he started hosting a music gathering called samedi soirs, or Saturday Salon, which lasted until two months before his death in 1868. In order to supply music for these weekly gatherings, Rossini composed 150 instrumental, vocal, and chamber works over the course of about 10 years. Many of these pieces were satirical and intended to entertain his guests at private music parties. Rossini jokingly referred to this series of works as his "sins of old age" (Péchés de vieillesse).
In 1863, at the age of 71, Rossini wrote what he claimed was his final "sin of old age" — the Petite messe solennelle. This work was dedicated to Countess Louise Pillet-Will and premièred at the couple's new home. There is still debate among scholars as to whether Rossini wrote this piece in response to a commission from Count Alexis Pillet-Will, or simply out of his own inspiration and dedicated it to the Countess as a gesture of thanks for the couple providing a venue for the première. At the end of the manuscript, Rossini wrote a postscript that seems like a confession, but is more like a joke to God:
“Dear Lord, here it is, finished, this poor little mass. Is it sacred music (musique sacrée) that I have written, or damned music (sacrée musique)? I was born for opera buffa, as you know well! Little technique, a little heart, that’s all. Be blessed then and grant me Paradise.”
The title Petite messe solennelle reflects Rossini's sense of humor. In terms of its form, this choral work, which lasts for 80 minutes and divides Gloria and Credo into multiple sections, is a traditional missa solemnis in every way. However, at the première, Rossini only used eight choral singers and four soloists, which he jokingly compared it with the Twelve Apostles from Leonardo da Vinci’s The Last Supper. The accompaniment consisted of only two pianos and a harmonium, and the conductor even played the harmonium during the first performance. With a total of only fifteen performers, it was truly 'petite'. Rossini knew that someday someone would want to perform the work with a full orchestra and choir, and to prevent anyone from making unauthorized orchestrations, he personally completed an orchestral version three years after the première. However, he requested that the orchestral version not be performed until after his death. He had originally applied to have the piece performed with female singers in a church, but the request was denied. Since he couldn't achieve the desired effect, he decided not to have it performed. The orchestral version of this Petite messe solennelle, which is anything but 'petite', was performed at a theater three months after his death.
Kyrie is written in ternary form (ABA) based on the three verses of the text. The first verse, 'Kyrie eleison', creates tension as the voices take turns adding to the texture, and the piano accompaniment expresses a sense of restlessness through exaggerated dynamic contrasts. The middle section 'Christe eleison' is a calm interlude where Rossini pays tribute to his deceased friend, the composer Louis Niedermeyer, by quoting his piece in Renaissance polyphonic style. The final section restates the opening verse, 'Kyrie eleison' , but with a change in tonality from A minor/C major to C minor/A major.
The Gloria is divided into six continuous sections.'Gloria in excelsis Deo' is a simple choral
introduction, followed by a solemn baritone solo, the other three soloists and the choir return, each taking their turns to sing before ending in a peaceful conclusion. The lively 'Gratias agimus tibi' is a playful trio for alto, tenor and baritone, with each singer trying to outdo the others in expressing their gratitude. 'Domine Deus' is a tenor aria that praises the heavenly king. 'Qui tollis peccata mundi' is a passionate duet for two female voices, expressing a longing for God's mercy and compassion. 'Quoniam tu solus Sanctus' is a baritone aria that once again praises God. 'Cum Sancto Spiritu' echoes the choral introduction and ends with a traditional long fugue.
The Credo has the longest text of all the movements, but Rossini uses a simple three-part structure with a fugue to set all the lyrics, with the recurring 'Credo' (I believe) motif running throughout the entire piece. 'Credo in unum Deum' is a passionate and soaring movement with constant modulation that increases the tension. The middle section, 'Crucifixus', is sung by a soprano in a lyrical and expressive manner, conveying the suffering of Jesus. Suddenly, 'Et resurrexit' is introduced with great excitement, and the opening music is repeated to take us through the rest of the text. The finale follows tradition with a fugal treatment of 'Et vitam venturi saeculi'
Following the Credo, Rossini placed Prélude religieux in the form of prelude and fugue. Although Petite messe solennelle was not written for liturgical use, this section corresponds to the offertory in an actual Mass. The eight-bar ritournelle leads the music from a distant F-sharp major to C major, and then the choir and soloists perform an unaccompanied Sanctus
Rossini had a habit of recycling his own work when composing operas, and he did the same in Petite messe solennelle. One example is O salutaris hostia, which he adapted from an earlier work to the orchestral version, but it is often performed also in the chamber version today. The original piece was written for an alto, but Rossini transposed it for a soprano to accommodate the Agnus Dei that follows. During the Renaissance, it was common to add the chant O salutaris hostia before the Agnus Dei in Mass settings, and Rossini's inclusion of this sweet song may be seen as a contrast to the passionate cries of the Agnus Dei. The interplay between the alto and the choir builds up to an intense climax, with the two voices calling out to each other in a desperate plea.
Is it a real desperation? Not at all! In fact, the piece ends in E major, which is the same key as the Credo , symbolising an unbreakable faith behind the hysteria. Rather than simply setting the text to music, Rossini treated the liturgy as a libretto for his final 'opera', using operatic style and techniques to create contrast, tension, suspense, and character development, making it a true drama. It is precisely this approach that has made the Petite messe solennelle an enduring masterpiece.
Programme notes by Leon Chu. English translation generated by ChatGPT 3.5, revised and edited by Leon Chu
合唱團、雙鋼琴、鍵盤 Chorus, 2 Pianos, Keyboard
Kyrie eleison. 上主，求祢垂憐。 Lord, have mercy.
Christe eleison. 基督，求祢垂憐。 Christ, have mercy.
Kyrie eleison. 上主，求祢垂憐。 Lord, have mercy.
四重唱、合唱團、雙鋼琴、鍵盤
Quartet, Chorus, 2 Pianos, Keyboard
Gloria in excelsis Deo. 天主在天受光榮。
Glory to God in the highest,
Et in terra pax hominibus bonae voluntatis. 主愛的人在世享平安。
And on earth peace to people of good will.
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. 讚美祢、稱頌祢、朝拜祢、顯揚祢。 We praise you, we bless you, we adore you, we glorify you,
女中音、男高音、男中音、鋼琴 I Mezzo-soprano, Tenor, Baritone, Piano I
男高音、鋼琴 I Tenor, Piano I
Gratias agimus tibi propter magnam gloriam tuam. 我們為了祢無上的光榮，感謝祢。 We give you thanks for your great glory,
Domine Deus, Rex caelestis, Deus Pater omnipotens. 主、天主、天上的君王，全能的天主聖父， Lord God, heavenly King, O God, almighty Father.
Domine Fili unigenite, Jesu Christe. 主、耶穌基督、獨生子；
Lord Jesus Christ, Only Begotten Son,
Domine Deus, Agnus Dei, Filius Patris. 主、天主、天主的羔羊，聖父之子； Lord God, Lamb of God, Son of the Father,
Qui tollis peccata mundi, miserere nobis. 除免世罪者，求祢垂憐我們。
You take away the sins of the world, have mercy on us;
Qui tollis peccata mundi, suscipe deprecationem nostram. 除免世罪者，求祢俯聽我們的祈禱。
You take away the sins of the world, receive our prayer;
Qui sedes ad dexteram Patris, miserere nobis. 坐在聖父之右者，求祢垂憐我們。
You are seated at the right hand of the Father, have mercy on us.
Quoniam tu solus Sanctus. Tu solus Dominus. 因為只有祢是聖的，只有祢是主，
For you alone are the Holy one, you alone are the Lord,
Tu solus Altissimus, Jesu Christe. 只有祢是至高無上的。耶穌基督，
You alone are the Most High, Jesus Christ,
Cum Sancto Spiritu, in gloria Dei Patris. 祢和聖神，同享天主聖父的光榮。 With the Holy spirit, in the glory of God the Father.
Amen. 亞孟。 Amen.
Gloria in excelsis Deo. 天主在天受光榮。 Glory to God in the highest.
Amen. 亞孟。 Amen.
女高音、女中音、鋼琴 I、鍵盤 Soprano, Mezzo-soprano, Piano I, Keyboard 男中音、鋼琴 I Baritone, Piano I 四重唱、合唱團、雙鋼琴、鍵盤 Quartet, Chorus, 2 Pianos, Keyboard四重唱、合唱團、雙鋼琴、鍵盤 Quartet, Chorus, 2 Pianos, Keyboard
Credo in unum Deum. Patrem omnipotentem, 我信唯一的天主，全能的聖父，
I believe in one God, the Father almighty,
Factorem caeli et terrae, visibilium omnium et invisibilium.
天地萬物，無論有形無形，都是祂所創造的。 Maker of heaven and earth, of all things visible and invisible.
Et in unum Dominum Jesum Christum, 我信唯一的主，耶穌基督，
I believe in one Lord Jesus Christ,
Filium Dei unigenitum, 天主的獨生子。
The Only Begotten Son of God, Et ex Patre natum ante omnia saecula. 祂在萬世之前，由聖父所生。
Born of the Father before all ages.
Deum de Deo, lumen de lumine, 祂是出自天主的天主，出自光明的光明， God from God, Light from Light, Deum verum de Deo vero. 出自真天主的真天主。
True God from true God,
Genitum, non factum, consubstantialem Patri: 祂是聖父所生，而非聖父所造，與聖父同性同體， Begotten, not made, consubstantial with the Father;
Per quem omnia facta sunt. 萬物是藉著祂而造成的。
Through him all things were made.
Qui propter nos homines 祂為了我們人類，
For us men
Et propter nostram salutem descendit de caelis. 並為了我們的得救，從天降下。
And for our salvation, he came down from heaven,
Et incarnatus est de Spiritu Sancto ex Maria Virgine: 祂因聖神由童貞瑪利亞取得肉軀，
And by the Holy Spirit was incarnate of the Virgin Mary,
女高音、鋼琴 I、鍵盤 Soprano, Piano I, Keyboard
Et homo factus est. 而成為人。 And became man.
Crucifixus etiam pro nobis sub Pontio Pilato: 祂在般雀比拉多執政時，為我們被釘在十字架上，
For our sake he was crucified under Pontius Pilate, Passus, et sepultus est. 受難而被埋葬。
He suffered death and was buried,
四重唱、合唱團、雙鋼琴、鍵盤 Quartet, Chorus, 2 Pianos, Keyboard
Et resurrexit tertia die, secundum Scripturas. 祂正如聖經所載，第三日復活了。
And rose again on the third day in accordance with the Scriptures.
Et ascendit in caelum: sedet ad dexteram Patris. 祂升了天，坐在聖父的右邊。
He ascended into heaven and is seated at the right hand of the Father.
Et iterum venturus est cum gloria judicare vivos et mortuos: 祂還要光榮地降來，審判生者死者，
He will come again in glory to judge the living and the dead
Cujus regni non erit finis. 祂的神國萬世無疆。
And his kingdom will have no end.
Et in Spiritum sanctum Dominum, et vivificantem: 我信聖神，祂是主及賦予生命者，
I believe in the Holy Spirit, the Lord, the giver of life,
Qui ex Patre, Filioque procedit. 由聖父聖子所共發。
Who proceeds from the Father and the Son.
Qui cum Patre, et Filio simul adoratur, et glorificatur: 祂和聖父聖子，同受欽崇，同享光榮，
Who with the Father and the Son is adored and glorified, Qui locutus est per Prophetas. 祂曾藉先知們發言。
Who has spoken through the prophets.
Et unam, sanctam, catholicam et apostolicam Ecclesiam. 我信唯一、至聖、至公、從宗徒傳下來的教會。
I believe in one, holy, catholic and apostolic Church.
四重唱、合唱團、雙鋼琴、鍵盤 Quartet, Chorus, 2 Pianos, Keyboard
Confiteor unum baptisma in remissionem peccatorum. 我承認赦罪的聖洗，只有一個。
I confess one Baptism for the forgiveness of sins
Et exspecto resurrectionem mortuorum 我期待死人的復活，
And I look forward to the resurrection of the dead
Et vitam venturi saeculi. 及來世的生命。 And the life of the world to come.
Amen. 亞孟。 Amen.
歡呼頌 Sanctus
［歡呼頌前領奏 Ritournelle pour le Sanctus］
四重唱、合唱團 Quartet, Chorus
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. 聖，聖，聖，上主萬有的主。
Holy, Holy, Holy, Lord God of hosts.
Pleni sunt caeli et terra gloria tua. 祢的光榮充滿天地。
Heaven and earth are full of your glory.
Hosanna in excelsis. 歡呼之聲，響徹雲霄。
Hosanna in the highest.
Benedictus qui venit in nomine Domini. 奉主名而來的，當受讚美。
Blessed is he who comes in the name of the Lord.
Hosanna in excelsis. 歡呼之聲，響徹雲霄。
Hosanna in the highest.
鍵盤 Keyboard 鋼琴 I Piano I 禮儀前奏曲 Prélude religieux (pendant l'offertoire)女高音、鋼琴 I Soprano, Piano I 女中音、合唱團、雙鋼琴、鍵盤 Mezzo-soprano, Chorus, 2 Pianos, Keyboard
犧牲救世惟此聖體 O salutaris hostia
O salutaris hostia 犧牲救世惟此聖體 O saving Victim!
Quae caeli pandis ostium 天國之門由是大開 Who expandest the door of heaven,
Bella premunt hostilia 戰爭仇敵拙拙進逼 Hostile armies press,
Da robur, fer auxilium. 恩賜力量施予援手 Give strength; bear aid. Amen.
Amen.
Agnus Dei, qui tollis peccata mundi, miserere nobis. 除免世罪的天主羔羊，求祢垂憐我們。
Lamb of God, you take away the sins of the world, have mercy on us.
Agnus Dei, qui tollis peccata mundi, miserere nobis. 除免世罪的天主羔羊，求祢垂憐我們。
Lamb of God, you take away the sins of the world, have mercy on us.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
除免世罪的天主羔羊，求祢賜給我們平安。
Lamb of God, you take away the sins of the world, grant us peace.
參考自天主教香港教區聖樂委員會《中文彌撒曲禮儀文詞》（2015），按拉丁文原文調節 http://musicasacra.org.hk/database/PDF/ordinarylyrics_pdf.pdf 〈犧牲救世惟此聖體〉：朱振威
English translations: © 2010, International Commission on English in the Liturgy Corporation. All rights reserved. 'O salutaris hostia': Wikipedia 17
嘉保．豪勒隆 Gábor Hollerung 客席指揮 Guest Conductor
嘉保．豪勒隆現為布達福杜南意樂團及布達佩斯學院合唱團音樂總監。他在 2004 年獲頒匈牙利音樂 界最高榮譽的李斯特獎，2015 年獲匈牙利政府封為「功勳藝術家」。
他在布達佩斯李斯特音樂學院修習合唱及樂團指揮，師從 Zoltán Vásárhelyi、István Párkai 及 András Kórodi。及後受教於多位指揮如艾立遜、馬素及蘇莫儀的大師班。其指揮事業始於 1979 年，為匈牙 利米什科爾茨交響樂團擔任第二指揮達兩個樂季。1989 年，他成為布達福青年樂團的指揮，並帶領 樂團走向職業化：1993 年樂團更名為布達福杜南意樂團，成為國內舉足輕重的樂團之一。在 2001 年起為樂團的行政兼音樂總監。
豪勒隆長期與匈牙利布達佩斯學院合唱團合作，1978 年他成為合唱團的第二指揮，兩年後成為首席 指揮及藝術總監。在他的帶領下，合唱團在歐洲各大合唱比賽獲獎無數，如 1984 年巴托國際合唱比 賽大獎及最佳指揮，及 1989 年靈閣嶺國際音樂節「世界合唱團」殊榮。合唱團曾獲邀在 1996 年於 悉尼舉行的世界合唱大會，以及台北國際合唱音樂節演出。
他的指揮足跡遍及匈牙利、以色列、美國、巴西、中國內地及台灣。2002 至 2005 年間，他為耶路 撒冷交響樂團的首席客席指揮。自 2005 年起，他為台北國際合唱音樂節擔任節慶指揮，除帶領每年 的節慶合唱團演出大型作品外，亦為指揮大師班的導師。而在匈牙利國內，他為每年在桑佩倫舉行的 音樂節擔任藝術總監。
他曾為 Teldec、Hungaroton 及 Hunnia Records 廠牌灌錄多款專輯，由古典合唱曲、莫扎特、貝多芬 及德伏扎克的交響曲、馬達拉茲的歌劇《最後的圓舞曲》、巴托《藍鬍子城堡》、以至電影音樂及當 代作品。
在密集的指揮及教學工作外，豪勒隆喜愛收藏 CD 及黑膠唱片。而他自幼對集郵的濃厚興趣，成了他 的另類專業⸺自 2011 年起，他為匈牙利郵政的集郵組擔任郵品主題遴選委員。
Gábor Hollerung is currently the Music Director of Budafok Dohnányi Orchestra and Budapest Academic Choral Society. He is a recipient of Franz Liszt Award in 2004, the highest honor of music in Hungary, and is honoured Artist of Merit of Hungary by the Hungarian government in 2015.
A graduate of Ferenc Liszt Academy of Music, where he studied choral and orchestral conducting under Zoltán Vásárhelyi, István Párkai and András Kórodi, he extended his studies in conducting masterclasses by renowned masters including Eric Ericson, Kurt Masur and László Somogyi. His orchestral conducting career started in 1979 as the second conductor of Hungarian Symphony Orchestra, Miskolc till 1981. In 1989, he was the conductor of Budafok Youth Orchestra, which later turned into a professional orchestra as Budafok Dohnányi Orchestra in 1993, becoming one of the most prominent orchestras of Hungary, and in recent years has enjoyed great success both in Hungary and abroad. Since 2001 he is the Executive Music Director of the orchestra.
Hollerung's relationship with the Budapest Academic Choral Society dates back to 1978, when he was the second conductor. Since 1980 he has been the master conductor and artistic director. Under his direction, the choir won numerous awards in many European choral competitions, including the Grand Prize in Béla Bartók International Choir Competition in 1984, which Hollerung also received the Best Conductor prize, and 'Choir of the World' in Llangollen International Musical Eisteddfod 1989. The choir was invited to 1996 World Symposium on Choral Music in Sydney, and Taipei International Choral Festival.
His conducting appearances spread across Hungary, Israel, USA, Brazil, mainland China and Taiwan. Between 2002 and 2005 he was the first guest conductor of Jerusalem Symphony Orchestra. Since 2005 he has been the Festival Conductor of Taipei International Choral Festival, where he also gave conducting masterclasses. In Hungary, he is the Artistic Director of the annual Zemplén Festival.
His extensive discography includes many recordings on Teldec, Hungaroton and Hunnia Records labels, ranging from classical choral works, symphonies by Mozart, Beethoven and Dvořák, the opera The Last Waltz by Iván Madarász, Bartók's Bluebeard's Castle, to film music and contemporary works.
Apart from conducting and teaching, Hollerung is an avid record and CD collector. His interest and passion in philately since childhood leads him to another profession — He has been a member of the theme selecting committee of the Philately Department of Magyar Posta (Hungarian Post) since 2011.
葉葆菁 Yuki Ip 女高音 Soprano
女高音葉葆菁具豐富演出經驗，重要的獨唱演出計有：在北京國家大劇院啟用樂季，與世界著名男高音卡里拉斯 同台演出；在意大利拉溫納的聖維他利大教堂首度以獨唱身份踏足歐洲舞台，演唱彼高利斯《聖母悼歌》，紀念 羅馬天主教廷及俄國東正教廷的歷史會面；在意大利維羅納及克雷莫納演唱魏拉―羅伯士《第五巴赫風格的巴西 組曲》；2011 年及 2013 年在指揮大師利靈領導下，先後演唱巴赫《B 小調彌撒曲》及 海頓《創世紀》；在紐約
和多倫多為黃安倫《啟示錄》擔任獨唱；在澳門回歸紀念音樂會首次與澳門交響樂團合作；在香港藝術節演出蒙 台威爾第的《坦克雷德與克洛琳達之爭》及巴赫的《咖啡清唱劇》等。
最近她首度涉獵音樂劇演出，在香港基督教循道衛理聯合教會，為萊特韋伯的音樂劇《約瑟的神奇彩衣》飾演說 書人；亦在 2021 年香港藝術節，華田朗尼的兒童歌劇《愛麗絲夢遊仙境》的世界首演中，飾演紅心皇后。2019 年，她首度在高雄衛武營國家藝術文化中心演出，與高雄市管樂團在指揮家及作曲家楊．范德魯斯特（Jan Van der Roost）帶領下，演唱他的作品。葉氏曾為香港電台第四台駐台演奏家。飾演過的歌劇角色包括《蝴蝶夫人》 的女主角、《卡門》的米凱拉、《波希米亞人》的咪咪、《羅密歐與茱麗葉》的茱麗葉、《維特》的蘇菲、《糖 果屋歷險記》的格蕾桃、《安祖莉卡修女》的吉納韋芙修女等。
葉氏畢業於香港演藝學院和波士頓新英格蘭音樂學院，先後獲音樂學士（榮譽）及音樂碩士銜。現任香港演藝學 院、香港中文大學及香港浸會大學之客席聲樂講師。
Yuki Ip is a prolific performer with many notable performances, including as the featured soloist in José Carreras’ concert for the inaugural season of the National Centre of the Performing Arts, Beijing, China; European début at the Basilica di San Vitale in Ravenna, Italy, singing Pergolesi’s Stabat Mater in a special concert on the landmark meeting between the Roman Catholic Church and the Orthodox Church; Villa-Lobos’ Bachianas Brasileiras No. 5 in Verona and Cremona; soloist in J.S. Bach’s Mass in B minor (2011) and Haydn’s The Creation (2013) under the baton of Helmuth Rilling; début in New York City and Toronto as soloist in An-Lun Huang’s Revelation; début with Macau Orchestra in the Macau Handover Anniversary Concert; Monteverdi's Il Combattimento di Tancredi e Clorinda and J.S. Bach's Coffee Cantata in the Hong Kong Arts Festival.
Recently she made her musical début as Narrator in Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat at the Hong Kong Methodist International Church. Ip performed the role Queen of Heart in the world première of Pierangelo Valtinoni’s children's opera Alice in Wonderland in the 2021 Hong Kong Arts Festival. In 2019, she made her début at the National Kaohsiung Center for the Arts Weiwuying with Kaohsiung City Wind Orchestra, under the direction of composer-conductor Jan Van der Roost. She was the Artist-in-Residence of RTHK Radio 4. Operatic roles include Cio-Cio San in Madame Butterfly, Micaëla in Carmen; Mimi in La Bohème; Juliette in Roméo et Juliette; Sophie in Werther, Gretel in Hansel and Gretel; Suor Genovieffa in Suor Angelica and many others.
Yuki Ip obtained a Bachelor of Music Degree (Honours) from Hong Kong Academy for Performing Arts and a Master of Music Degree from New England Conservatory of Music in Boston, USA. She is adjunct faculty of Hong Kong Academy for Performing Arts, the Chinese University of Hong Kong and Hong Kong Baptist University.
連皓忻 Carol Lin 女中音 Mezzo-soprano
“Mezzo-soprano Carol Lin’s versatile singing was breathtaking.”
——《南華早報》South China Morning Post
連皓忻為香港著名女中音。2006 年起，在多個國際及香港的歌劇製作中演出，包括《卡門》、《布宜諾斯艾利斯 的瑪莉亞》及《塞爾斯》的女主角、《鄉村騎士》的桑桃莎、《弄臣》的瑪德蓮娜、《血灑英廷》的伊莉莎白女王、 《費加洛的婚禮》的凱魯比諾、《羅密歐與茱麗葉》的斯蒂法諾、《蝴蝶夫人》的鈴木及《浮士德》的席貝爾。 現代歌劇方面，有《大同》的慈禧太后及羅儀鳳、《中山・逸仙》的梅屋莊吉夫人和《蕭紅》的丁玲。
連氏剛於 2023 年香港藝術節，與國際知名女高音安娜．涅翠柯同台演出，並於 2023 年二月首次在意大利作音樂 會演出，在佛羅倫斯 Firenze Lirica 主辦的音樂會中演唱。她亦在多個藝術歌曲及神劇音樂會中擔任獨唱，合作的 樂團包括波士頓愛樂樂團、艾斯本交響樂團、群馬巴洛克樂團、新加坡管弦樂團、上海歌劇院交響樂團、香港管 弦樂團、香港小交響樂團及香港城市室樂團等。曲目包括韋華第《D 大調�榮頌》、韓德爾《彌賽亞》、孟德爾遜 《以利亞》、莫扎特、威爾第及杜魯夫的《安魂曲》、馬勒第二交響曲《復活》及第八交響曲《千人交響曲》等。
連氏於香港演藝學院畢業，隨後獲美國新英格蘭音樂學院頒授聲樂表演碩士。她也是 2006 及 2007 年美國艾斯本 音樂節的聲樂院士。2013 年五月，連氏於第 32 屆貝弗迪爾國際聲樂比賽的香港分站中勝出。同年四月，她在第 五屆意大利特列維索國際音樂大賽榮獲第三名。她也在 2011 年八月第五屆日本橫濱國際音樂比賽中贏得第一名 及評判特別獎。
Carol Lin is one of the leading mezzo-sopranos in Hong Kong. Since 2006, Lin has taken principal roles in opera productions by Hong Kong and international companies, including the title role of Carmen , María de Buenos Aires and Serse, Santuzza (Cavalleria rusticana), Maddalena (Rigoletto), Elisabetta (Maria Stuarda), Cherubino (Le nozze di Figaro), Stéphano (Roméo et Juliette), Suzuki (Madama Butterfly), and Siébel (Faust). She also sang in contemporary operas, such as Emperor Cixi and Lo Yifeng (Datong), Mrs. Umeya (Dr Sun Yat-sen), and Ding Ling (Heart of Coral).
In the 2023 Hong Kong Arts Festival, Lin performed with the world-class soprano Anna Netrebko. She also made her concert début in Italy organized by Firenze Lirica, Florence in February 2023. She performed in many art song recitals, oratorio and chamber music performances, collaborated with Boston Philharmonic Orchestra, Aspen Sinfonia, Gunma Baroque Orchestra, The Philharmonic Orchestra, Singapore, Shanghai Opera House Orchestra, Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta, and City Chamber Orchestra of Hong Kong. Repertoire includes Vivaldi’s Gloria in D major, Handel’s Messiah, Mendelssohn’s Elijah, Requiems by Mozart, Verdi and Duruflé, Mahler’s Symphony No. 2, “Resurrection” and Symphony No. 8, “Symphony of a Thousand”
A native of Hong Kong, Carol Lin holds a Bachelor of Music Degree (Honours) from Hong Kong Academy for Performing Arts, and a Master of Music Degree (Vocal Performance and Opera) from New England Conservatory of Music, Boston. She is also a vocal fellow of the Aspen Music Festival in Summer 2006 and 2007. In 2013, she won the regional round of the 32nd International Hans Gabor Belvedere Singing Competition, and the Third Prize at the 5th “Giovani Musicisti - Città di Treviso” International Music Competition in Treviso, Italy. She was awarded both the First Prize and Grand Jury Prize at the 5th Yokohama International Music Competition in 2011.
「女中音連皓忻多才多藝的歌唱表現令人驚嘆。」
李家澍 Justin Li 男高音 Tenor
李家澍先後於香港隨男高音柯大衛，及在倫敦留學期間師隨女中音卡特琳・約翰松學習聲樂。2007 年返港後，在 第 61 屆香港校際音樂節公開組男高音獨唱，神劇和藝術歌曲項目中勝出，亦為第四屆香港青少年歌唱節藝術歌曲 項目之優勝者。2008 年以優異成績考獲倫敦聖三一學院聲樂專業文憑。
隨後多次獲邀為多個本地合唱團與藝團擔任獨唱，包括香港和聲、聲蜚合唱節、Die Konzertisten 和香港新青年合 唱團。演唱作品包括韓德爾《彌賽亞》、貝多芬第九交響曲《合唱》、羅西尼《小莊嚴彌撒曲》、布列頓《聖尼 哥拉》、浦契尼《�榮彌撒曲》、以及於 2014 年首次演繹巴赫《聖約翰受難曲》傳道人一角。
Justin Li began his vocal training in Hong Kong with tenor David Quah, and continued later in London under the tutelage of mezzo-soprano Catrin Johnsson. After returning to Hong Kong in 2007, he won the Miss Barbara Fei Vocal Scholarship Open Class, the Oratorio and Art Song category at the 61st Hong Kong Schools Music Festival, and the Art Song category at the 4th Hong Kong Youth Singing Festival. In 2008, he obtained the Licentiate Diploma in voice with distinction from the Trinity College in London.
Li has worked extensively as guest soloist with various local choirs and organizations, such as Hong Kong Voices, SingFest, Die Konzertisten, and Hong Kong Youth Choir. Repertoire includes Handel’s Messiah , Beethoven’s Symphony No. 9, "Choral", Rossini’s Petite messe solennelle, Britten’s Saint Nicolas, Puccini’s Messa di Gloria and J.S. Bach’s St. John Passion, in which he made his début as Evangelist in 2014.
林俊 Albert Lim 男中音 Baritone
林俊畢業於香港演藝學院並獲取榮譽音樂學士，其後考獲獎學金赴皇家音樂學院深造，以優異成績取得演藝研究 文憑及證書。
林氏屢獲邀請作獨唱演出，包括在香港巴赫合唱團、香港聖樂團、香港中文大學合唱團、Die Konzertisten、香港 小交響樂團及香港管弦樂團的音樂會，演出巴赫《聖母讚主頌》、韓德爾《以色列人在埃及》及《彌賽亞》、布 拉姆斯《德語安魂曲》、羅西尼《小莊嚴彌撒曲》、莫扎特《C 小調大彌撒曲》、佛瑞《安魂曲》、巴赫《聖馬 太受難曲》及《聖約翰受難曲》 等。
熱愛歌劇的林俊，曾在多個大型製作中擔綱演出。2007 年四月，他獲上海歌劇院邀請，在法國名指揮家米歇爾． 普拉松的指揮下，飾演歌劇《卡門》中唐丹凱羅一角。曾參與製作包括由香港歌劇院製作的《羅密歐與茱麗葉》（飾 格利哥利奧）、《維特》（飾約翰）、《中山．逸仙》（飾梅屋莊吉）、《卡門》（飾艾斯卡米諾及唐．丹凱羅） 及《真．愛細讀⸺羅密歐與茱麗葉》（飾莫枯修），由非凡美樂主辦製作的《張保仔傳奇》（飾孫全謀）及《愛 情靈藥》（飾比爾哥利）。2022 年 8 月，他獲香港歌劇院邀請於《唐．帕斯夸雷》中飾演馬拉特斯塔醫生一角。
林俊現任香港演藝學院及香港中文大學的聲樂講師、香港兒童合唱團高級組指揮，亦曾擔任香港歌劇院助理合唱 指導。
Albert Lim attained his Postgraduate Diploma in Performance and Postgraduate Certificate in Performance with Distinction at the Royal College of Music, after completing his Bachelor Degree in Music (Honours) at the Hong Kong Academy for Performing Arts (HKAPA), where he received a number of scholarships.
Lim has appeared as guest soloist in concerts with the Hong Kong Bach Choir, the Hong Kong Oratorio Society, the Chinese University of Hong Kong Chorus, Die Konzertisten, Hong Kong Sinfonietta and the Hong Kong Philharmonic Orchestra, including J.S. Bach’s Magnificat , Handel’s Israel in Egypt and Messiah , Brahms’ Ein deutsches Requiem, Rossini’s Petite messe solennelle, Mozart's Great Mass in C minor, Fauré's Requiem, J.S. Bach's St. Matthew Passion and St. John Passion
Lim also performed in numerous roles in many opera productions. In April 2007, he was invited by the Shanghai Opera House to sing the role of El Dancaïro in Bizet’s Carmen under the baton of Michel Plasson. He sang in many productions by Opera Hong Kong, including Gounod’s Roméo et Juliette (Grégorio), Massenet’s Werther (Johann), Huang Ruo’s Dr Sun Yat-sen (Ume), Bizet’s Carmen (El Dancaïro, Escamillo), and A Love Insight — Roméo et Juliette (Mercutio), and also productions by Musica Viva including The Legend of Zhang Baozai (Sun Quanmou) and Donizetti’s L’elisir d’amore (Belcore). In August 2022, he made his appearance at Opera Hong Kong’s production of Don Pasquale, singing the role of Doctor Malatesta.
Lim is currently a Vocal Lecturer at HKAPA and the Chinese University of Hong Kong, Choir Conductor at the Hong Kong Children’s Choir. He was appointed as Assistant Chorus Master at Opera Hong Kong.
許榮臻 Mark Hui 中提琴 Viola
土生土長香港人，畢業於香港演藝學院及曼克頓音樂學院，先後獲頒音樂學士 （一級榮譽）及碩士學位，師承蔡路、馬忠為教授、露茜・若貝爾、及已故黃 衛明先生，曾獲邀擔任德國石荷州節慶管弦樂團、荷蘭國家青年樂團、亞洲青 年管弦樂團、百老滙音樂劇 《歌聲魅影》的樂團首席。許氏亦以中提琴手身份， 參與香港節慶管弦樂團、��樂團、以及由香港小交響樂團主辦的午間音樂會 和藝穗會音樂會。
近年許氏以小提琴室樂演奏家、協作鋼琴家和指揮身份，積極投入本地音樂製 作，曾與中大合唱團、香港藝術節、聲蜚合唱節、香港創樂團、羅曼四重奏、大 館、共鳴基督徒詩班、 RubberBand 等合作演出，現任香港節慶管弦樂團首席指 揮、粹樂青少年樂團音樂總監，同時為九龍塘宣道小學音樂老師和樂團指揮。
Born and raised in Hong Kong, Mark Hui holds the Bachelor (Honours) of Music with First Class Honours from The Hong Kong Academy for Performing Arts, and the Master of Music from the Manhattan School of Music. His mentors include Tsai Loo, Prof. Michael Ma, Lucie Robert and the late Wong Wai-ming. He was invited to perform as the Concertmaster with the Schleswig-Holstein Festival Orchestra, the NJO National Youth Orchestra of the Netherlands, the Asian Youth Orchestra and the Broadway musical production Phantom of the Opera. Hui also performed as a violist with the Hong Kong Festival Orchestra, Ponte Orchestra, and in the Good Music This Lunch, and Good Music @ The Fringe concert series presented by the Hong Kong Sinfonietta.
In recent years, Hui has appeared frequently on stage as a chamber violinist, collaborative pianist and conductor with many distinguished artists and institutions, such as the Chinese University of Hong Kong Chorus, Hong Kong Arts Festival, SingFest, Hong Kong New Music Ensemble, Romer String Quartet, Tai Kwun, Resonance Chanters and RubberBand. Currently Hui serves as Principal Conductor of the Hong Kong Festival Orchestra, Music Director of the Essence Youth Orchestra, and the music teacher and conductor of Alliance Primary School, Kowloon Tong
林芍彬 Anne Lam
鍵盤 Keyboard
林芍彬現為香港中文大學崇基學院禮拜堂音樂統籌及風琴師，兼任中大音樂系管 風琴導師及香港文化中心管風琴教育系列導師。她獲香港賽馬會音樂及舞蹈信託 基金全額獎學金前往紐約伊士曼音樂學院深造，受教於大衛・希格斯教授，在 2012 邁阿密國際管風琴大賽獲得亞軍。其演奏足跡遍及英國、美國、法國、荷 蘭、比利時、日本、中國等地，獨奏演出錄音曾在香港電台第四台、新城電台及 美國全國公共廣播電台播出。近年經常獲邀以特約樂手或伴奏身份與多個藝團演 出，包括香港管弦樂團、香港巴赫合唱團、香港中文大學合唱團等，亦在龐保頤 指揮下與澳門的女聲合唱團灌錄三張專輯。2017 年香港藝術節，她與指揮朗格 黑及辛辛那提交響樂團演奏聖桑第三交響曲《管風琴》。亦在 2022 年維也納愛 樂樂團的訪港音樂會擔任客席管風琴樂師，2023 年香港藝術節的專場音樂會《當 風琴與號角響起》與香港管弦樂團銅管五重奏聯袂演出。
Anne Lam is currently the Director of Music and Organist at Chung Chi College Chapel, The Chinese University of Hong Kong (CUHK), an organ performance teacher at the Music Department, CUHK, and an instructor of Hong Kong Cultural Centre Pipe Organ Education Series. A recipient of the Hong Kong Jockey Club Music and Dance Fund Scholarship, she studied with Prof David Higgs at Eastman School of Music, New York. She was the second prize winner in the 2012 Miami International Organ Competition, and gave performances in the UK, USA, France, the Netherlands, Belgium, Japan and China. Recordings of her solo performances were broadcast on RTHK Radio 4, Metro Broadcast and American Public Media. She is active as an orchestral freelance player and accompanist for many performing groups, such as Hong Kong Philharmonic Orchestra, Hong Kong Bach Choir and The Chinese University of Hong Kong Chorus, and recorded three commercial albums with choirs in Macau under the direction of Aurelio Porfiri. She was the soloist in the performance of Saint-Saëns' Symphony No. 3, "Organ" with the Cincinnati Symphony Orchestra, conducted by Louis Langrée in the 2017 Hong Kong Arts Festival, and the guest organist in Vienna Philharmonic's Hong Kong concert in 2022. In the 2023 Hong Kong Arts Festival, she collaborated with HK Phil Brass Quintet in the concert The Joy of Brass and Organ.
黃歷琛 Alexander Wong
鋼琴 Piano
黃歷琛畢業於伊士曼音樂學院及香港中文大學音樂系，分別取得音樂碩士（鋼琴 伴奏及室內樂）及文學士（一級榮譽）學位。在學期間先後隨梁靜宜、吳美樂博 士及巴爾博士學習鋼琴，黃健羭學習管風琴。畢業後曾於夏威夷演藝節中擔任聲 樂課程伴奏；其後透過香港藝術發展局資助的「音樂藝術人才培育計劃」獲聘為 非凡美樂之全職練唱指導（2015-2017）。近期參與的歌劇製作包括《芝麻經理 人》、《血灑英廷》、《唐．喬望尼》、《凱撒大帝》、《卡門 × 愛情靈藥》、
《喜臨門》、《諾瑪》、《費加洛的婚禮》等。
黃歷琛現為香港兒童合唱團、聖保羅男女中學附屬小學合唱團、香港浸會大學附 屬學校王錦輝中小學、學士合唱團、非凡美樂之排練伴奏及香港大學音樂系兼職 助教。
Alexander Wong holds a Master of Music degree in Piano Accompanying and Chamber Music from Eastman School of Music, and a Bachelor of Arts Degree in Music (Honour) from The Chinese University of Hong Kong. His major mentors include Jeffie Leung, Dr Mary Wu, Dr Jean Barr, and Wong Kin Yu. After his graduation, he participated in the Hawaii Performing Arts Festival as a collaborative pianist in the Voice Programme. He was then employed as a fulltime répétiteur at Musica Viva (Hong Kong) through Hong Kong Arts Development Council’s Music Artistic Internship Scheme (2015-2017). In recent years, he collaborated in various opera productions such as L'impresario in angustie , Maria Stuarda, Don Giovanni, Giulio Cesare, Carmen × L'elisir d'amore, La finta semplice, Norma, Le nozze di Figaro and The Merry Widow
Wong is currently an accompanist of Hong Kong Children’s Choir, St Paul's Coeducational College Primary School Choir, Hong Kong Baptist University Affiliated School Wong Kam Fai Secondary and Primary School A Singers, The Learners Chorus, Musica Viva (Hong Kong), and a part-time Teaching Assistant in the School of Humanities (Music) of the University of Hong Kong.
馮荻文 Fung Tik Man
鋼琴 Piano
馮荻文畢業於香港中文大學音樂系，隨羅乃新主修鋼琴，及貝樂安副修大提琴。 其後於香港中文大學考獲學位教師教育文憑（小學），主修音樂。
她曾多次在公開演出及比賽擔任鋼琴伴奏，為香港中文大學合唱團及香港新青年 合唱團擔任排練伴奏，亦為聖十字架堂彌撒風琴師。
Fung Tik Man obtained the Bachelor of Arts Degree in Music at the Chinese University of Hong Kong, majoring in piano with Nancy Loo, and minoring in cello with Laurent Perrin. Fung then earned the Postgraduate Diploma of Education (Music) at CUHK.
She collaborated with various musicians and ensembles as pianist in performances and competitions, and as accompanist for the Chinese University of Hong Kong Chorus and the Hong Kong Youth Choir. She also serves as the organist in the Sunday Masses at the Holy Cross Church, Hong Kong.
李歐梵《明報》
經過半世紀努力不懈追求卓越，香港中文大學合唱團已經成為香港其中一隊最具實力的大學合唱團。植根香港， 放眼國際，在香港舞台耕耘之外，多年來已踏遍華南地區以至多個東南亞國家。中大合唱團一直致力以高水準的 演出，充滿創意的節目，向普羅大眾推廣合唱藝術。
中大合唱團於 1972 年由一班中大學生自發成立，早期由學生擔任指揮。九十年代起設立固定音樂總監兼指揮一 職，歷任總監有伍德榮、葉長盛及現任朱振威。現在中大合唱團每年演出活動已擴展至包括周年公演、免費校園 音樂會、海外交流演出、聖誕演出、指揮工作坊、公益外展演出不等。
合唱團曾推出多個廣受歡迎而內容多元化的主題節目，如以韋塔克（Eric Whitacre）、雅羅（Ola Gjeilo）、冉天豪、 顧嘉煇、伍卓賢及伯恩斯坦的原創及改編作品專場音樂會，與爵士樂音樂家侯活麥格尼（Howard McCrary）合作 之聖誕音樂會等，為本地合唱團開拓曲目發揮影響力，更藉著網絡將影響伸至全球 2009 年以色列《新消息報》 (Yedioth Ahronoth) 專題報道，中大合唱團的一段 YouTube 錄影於世界各地猶太人間流傳，引發巨大迴響。
多年來曾與中大合唱團合作的本地及海外藝人不計其數，近期例子有香港流行音樂大師顧嘉煇、聲樂家鍾嘉欣、 莫子慧、連皓忻、譚天樂、顏嘉樂、林俊、敲擊樂演奏家邵俊傑、管風琴家林芍彬、香港中樂團、香港電台弦樂 四重奏、台灣指揮家杜黑、古育仲、吳尚倫、保加利亞指揮家帕羅薇琪、美國指揮家韓多普、艾力史達克、以及 爵士樂大師侯活麥格尼等。自 1970 年代起，中大合唱團持續與中國內地及東南亞各地合唱團作音樂交流，曾到 訪城市包括北京、上海、台北、台南、馬尼拉、曼谷、新加坡、新山等。近年合唱團多次應邀參與海外演出，如 2006 年澳門國際音樂節、2013 年暹羅愛樂樂團馬勒第八交響曲泰國首演、2015 年上海之春音樂節冼星海《黃河 大合唱》莫斯科原版的世界首演、及 2019 台北國際合唱音樂節。
從成立之始，推動香港合唱創作就是中大合唱團的使命之一。合唱團不斷邀請香港作曲家如胡銘堯、蘇梓安、楊 嘉輝、鄧樂妍、伍華晞、伍卓賢、黃旨穎、以及台灣作曲家冉天豪譜寫新曲，2016 年更與演戲家族合作，委約多 位作曲家改編粵語原創音樂劇選曲，為建立富香港色彩的合唱作品而努力。
2014 年 6 月，中大合唱團推出首張商業錄音專輯《春風吻上我的臉⸺冉天豪合唱作品選》，由現代音像發行。 甫推出後反應熱烈，得到不少樂迷支持，更榮獲《IFPI 香港唱片銷量大獎 2014》全年「最暢銷古典、戲曲唱片」
之一。而第二張專輯《唱自己的歌⸺香港粵語合唱曲選》已在 2019 年 8 月由中大合唱團出版，亦由此開始進 軍數碼音樂發行，在各大網上音樂平台提供串流及下載。合唱團亦由 2019 年開始出版樂譜及書籍，至今已發行 三十多首合唱作品樂譜，另有出版台灣學者查太元編著的《冼星海年鑑》及《聽之不完⸺中大合唱團五十年》。
為了打下更穩固的基礎，持續發展永不止息的藝術追求，2012 年 1 月合唱團以慈善團體有限公司形式成立「中大 合唱協會」。透過藝術、管理、行政三部份的分工，讓源自中大、立足中大的中大合唱團，能夠在中大本科生、 研究生及校友三方面的同心協力下，繼續翻過一座又一座的藝術高峰。
香港中文大學合唱團
「…唱來熱情充沛，正是年輕人的精神可貴之處。」
The Chinese University of Hong Kong Chorus
CU Chorus is a wonderful youth choir with amazing abilities! Having worked with them and their conductor - my former student Leon Chu, I will keep forever my memories about the great spirit, sensitivity and beautiful music they can create! I am happy to know you, my dear friends!
- Prof. Theodora PavlovitchWith relentless pursuit of excellence for half a century, The Chinese University of Hong Kong Chorus (CU Chorus) is one of the best local university choirs in Hong Kong, presenting performances not only for local audiences, but also for music lovers across China and Southeast Asia. CU Chorus is dedicated to promote the art of choral music with its high quality performances and innovative programmes.
CU Chorus was founded in 1972 by a group of CUHK students. In the early days, the role of conductor was taken up by students. Since the 1990s, the formal post of Music Director and Conductor has been established. The post was first taken up by Dennis Ng, followed by Yeh Cheung-shing from 2000 to 2005, and Leon Chu from 2006. CU Chorus expanded its range of performances in recent years including public concerts, free campus concerts, overseas exchange performances, Christmas caroling, conducting workshops and charity outreach performances.
CU Chorus presented a number of popular programmes with diverse themes, such as a number of composer-portrait concerts featuring original choral works and arrangements by Eric Whitacre, Ola Gjeilo, Jan Tien-hao, Joseph Koo, Ng Cheuk-yin and Leonard Bernstein, and Christmas concerts with the American jazz legend Howard McCrary, making an influence in expanding choral repertoire in local music scene. CU Chorus’ performances also made an impact through the internet — a YouTube video of CU Chorus received coverage in the Israeli newspaper, Yedioth Ahronoth , for its wide circulation and resonance in Jewish communities worldwide.
Over the years, CU Chorus has collaborated with numerous local and overseas artists, including Cantopop iconic figure Joseph Koo, vocalists Candice Chung, Athene Mok, Carol Lin, Alex Tam, Henry Ngan, Albert Lim, percussionist Louis Siu, organist Anne Lam, Hong Kong Chinese Orchestra, the RTHK Quartet, Taiwanese conductors Dirk DuHei, Johnny Ku and Shanglun Wu, Bulgarian choral conductor Theodora Pavlovitch, American conductors Paul Hondorp and Eric Stark, and American jazz musician Howard McCrary. Since the 1970s, CU Chorus has constantly engaged in exchange activities with choirs in mainland China and Southeast Asia, visiting cities such as Beijing, Shanghai, Taipei, Tainan, Manila, Bangkok, Singapore and Johor Bahru. In recent years, CU Chorus was invited to various guest performances in overseas music festivals, including the
CU Chorus were splendid in their collaboration with Siam Philharmonic in our complete Mahler Cycle. They sang like angels — just as the composer intended!
- Somtow Sucharitkul, Music Director of Siam Philharmonic20th Macau International Music Festival in 2006, the Thai première of Mahler’s Symphony No. 8 by Siam Philharmonic Orchestra in 2013, the world première of the original Moscow version of Xian Xing-hai’s Yellow River Cantata in the 2015 Shanghai Spring International Music Festival, and the 2019 Taipei International Choral Festival.
Promoting Hong Kong choral compositions is one of the missions of CU Chorus since its establishment. CU Chorus has been commissioning new pieces from a number of composers, including Hong Kong composers Dennis Wu, Andy So, Samson Young, Tang Lok-yin, Ng Wah-hei, Ng Cheuk-yin, Cynthia Wong, and Taiwan composer Jan Tien-hao. In 2016, in collaboration with Actors’ Family, CU Chorus commissioned choral arrangements of various numbers from the company’s original Cantonese musicals, altogether forming a unique and local voice in Hong Kong choral music.
CU Chorus released its first commercial album Spring Breeze Kisses My Face — The Choral Music of Jan Tien-hao on The Modern Audio label in June 2014, which was well-received by music lovers, and awarded as one of the Best Sales Releases (Classical and Operatic Works Recording) in the IFPI Hong Kong Top Sales Music Award 2014. The second album Sing Our Own Song — Selected Hong Kong Choral Works in Cantonese was released by CU Chorus in August 2019, since then CU Chorus is actively releasing their recordings on digital music platforms for streaming and download. In 2019, CU Chorus launched their own publications, including sheet music of over 30 choral compositions, A Chronology of the Life of Sin Sing-hoi (Xian Xing-hai) by Taiwanese scholar Zha Tai-yuan, and Our Song Never Ends — 50 Years of the CU Chorus
To lay a better foundation for its never-ending artistic pursuit, CU Chorus registered charitable organisation status with CU Chorus Association (a limited-liability company) in January 2012. The new governing body, with its finer division of labour in artistic, management and administrative aspects, better facilitates the collaboration of CUHK undergraduates, postgraduates and alumni in their efforts to raise CU Chorus – a group coming from and based in CUHK – to ever-higher artistic heights.
朱振威 Leon Chu
香港中文大學合唱團音樂總監 Music Director, CU Chorus
朱振威出生於香港一個草根家庭，在學時期未有接受正統音樂訓練，直至初中時無意中接觸到馬勒交響曲並為之 著迷，始立志學習音樂。他的音樂訓練始於高中音樂科中央訓練計劃，同時跟隨蔡立德學習敲擊樂。因緣際會 考入香港中文大學現代語言及文化系後仍積極參與多個合唱團及樂團，亦隨林俊學習聲樂。後隨 Kåre Hanken、 Theodora Pavlovitch 及 Gábor Hollerung 等歐洲名家研習合唱指揮。2014 年，朱氏在澳門聖若瑟大學考獲合唱指 揮碩士，期間受業於 Colin Mawby、Nancy Telfer 及 Pedro Monteiro。近年曾隨支韻怡深造聲樂。
2006 年，朱氏獲邀出任香港中文大學合唱團音樂總監，除活躍於香港舞台，亦帶領合唱團出訪國內、台灣、馬來 西亞、泰國等地。2014 年他與合唱團灌錄首張專輯《春風吻上我的臉⸺冉天豪合唱作品選》，獲該年度《IFPI 香港唱片銷售大獎》全年「最暢銷古典、戲曲唱片」殊榮，2019 年與合唱團灌錄第二張專輯《唱自己的歌⸺香 港粵語合唱曲選》也大受好評。除中大合唱團外，朱氏在多隊合唱團擔任指揮。身為富經驗的合唱指導，近年數 度與閻惠昌及香港中樂團合作，也曾到曼谷為暹羅愛樂樂團的馬勒第二交響曲演出擔任客席合唱指導。
朱氏自大學時代起為《Hi-Fi 音響》雜誌撰寫唱片評論。他的評論文章亦見於《信報財經新聞》、《香港經濟日報》、 《明報》、《謬斯客》、《上海藝術家》等報刊，也有為香港管弦樂團、香港中樂團、飛躍演奏等機構撰寫及翻 譯場刊，也曾任香港電台第四台《藝壇快訊》客席主持。近年主力於博客 leonchu.net 發表文章，以及為立場新聞、 輔仁媒體及國際演藝評論家協會（香港分會）等網站供稿，題材包括各式評論、音樂專題，近年更涉足香港音樂 掌故。音樂以外，朱氏於 2010 年聯同朱耀偉及陳英凱合著《文化研究 60 詞》一書。
Born in a grassroot family, Leon Chu did not receive any formal music training during his teens. His first encounter with Mahler’s Symphonies ignited his interest in music, leading him to pursue his musical studies, starting with the Centralised Scheme of Music Training for Senior Secondary Students, and percussion studies with Choy Lap-tak. Upon his admission to the Modern Languages and Intercultural Studies in the Chinese University of Hong Kong, he participated in a number of choruses and orchestras, and studied vocal under Albert Lim. He later studied choral conducting under renowned European masters including Kåre Hanken, Theodora Pavlovitch, and Gábor Hollerung.
In 2014, Chu attained the Master degree of Choral Conducting from the University of Saint Joseph, Macau, under the tutelage of Colin Mawby, Nancy Telfer and Pedro Monteiro. He furthered his vocal studies under Myra Chih in recent years.
In 2006, Leon Chu took up the position as the Music Director of the Chinese University of Hong Kong Chorus (CU Chorus). Under his direction, the chorus gave many performances from local to overseas concert stages, including mainland China, Taiwan, Malaysia and Thailand. He conducted CU Chorus in their first commercial recording, Spring Breeze Kisses My Face — The Choral Music of Jan Tien-hao, which was soon awarded as one of the Best Sales Releases (Classical and Operatic Works Recording) in the IFPI Hong Kong Top Sales Music Award 2014. His second album with CU Chorus in 2019, Sing Our Own Song — Selected Hong Kong Choral Works in Cantonese, is also widely acclaimed. Apart from CU Chorus, he also conducts various choirs in Hong Kong. As an experienced chorus master, Chu collaborated with Yan Huichang and Hong Kong Chinese Orchestra on their symphonic choral concerts, and was invited by Siam Philharmonic as the guest chorus master in their performance of Mahler's Symphony No. 2, “Resurrection”.
Chu started contributing CD reviews to HiFi Review magazine from his university years. His review writings are published on Chinese newspapers and magazines including Hong Kong Economic Journal, Hong Kong Economic Times , Ming Pao Daily , MUZIK of Taiwan, and Shanghai Artists . He also annotated and translated the house programmes for Hong Kong Philharmonic Orchestra, Hong Kong Chinese Orchestra and Premiere Performances of Hong Kong, and was invited as guest host for Arts News programme on RTHK Radio 4. His recent writings are uploaded on his blog leonchu.net, and contributed to online sites such as Stand News, VJMedia and International Association of Theatre Critics (Hong Kong), covering various topics including critiques, topics on music and even anecdotes about Hong Kong music history. Apart from music, he is the co-author of the book 60 Keywords in Cultural Studies with Stephen Chu Yiu-wai and Anthony Chan.
The Chinese University of Hong Kong Chorus
女高音 Sopranos
馮詠琳 Fung Wing Lam Sophie
伍嘉瑤 Ng Ka Yiu
張巧怡 Cheung Hau Yi
音樂總監兼指揮：朱振威 Music Director and Conductor：Leon Chu
梁嘉儀 Liang Ka Yee
梁潔瑩 Leung Kit Ying
陳泳姸 Chan Wing Yin
楊采兒 Yeung Tsoi Yi
楊寶玲 Yeung Po Ling
甄珮誼 Yan Pui Yee
劉琪琦 Liu Ki Kei
潘宇珩 Poon Yu Hang
鄧鈺怡 Tang Yuk Yi
女低音 Altos
羅玉鈴 #* Law Yuk Ling #*
龐希平 Pong Heather
王韻青 Wang Yunqing
李若嵐 Lee Yeuk Laam
李凱怡 Li Hoi Yi
周怡安 Zhou Joanna
殷孝琳 Yun Hau Lam
莊琬婷 Chong Yuen Ting
陳��萱 Chan Ning Huen Jennifer
黃卓妮 Wong Cheuk Ni Cherie
黃泳旋 Wong Wing Shuen
蔡明昕 Choy Ming Yan
譚琛元 Tam Sum Yuen
譚穎雯 Tam Wing Man
男高音 Tenors
男低音 Basses
鋼琴伴奏 Pianists
聲樂指導 Vocal Coach
黃智衡 * Wong Chi Hang *
林輝亮 Lam Fai Leong
孫臣 Suen Sen
黃俊錕 Huang Junkun Fergus Foord-Jeal 王子翹 Wong Tsz Kiu
谷旻軒 Kuk Man Hin
何文政 Ho Rachael
李雲龍 Li Wan Lung David
張偉文 # Cheung Wai Man # 許家榮 Hsu Chia-Jung
陳迦諾 Chan Ka Nok
黃天寶 Wong Tin Po
黃澤謙 Wong Chak Him Myron 簡卓軒 Kan Cheuk Hin
馮荻文 Fung Tik Man
黃歷琛 Alexander Wong
休假 On Leave
方諾恩 Fong Lok Yan
古浩旻 Koo Ho Man Adwin
李愛珊 Li Oi Shan
袁天逸 Yuen Tin Yat Nathaniel
林俊 Albert Lim
# 助理指揮 Assistant Conductors
* 聲部長 Part-leaders
名字依姓名筆劃排序 The list is in the order of Chinese name
梁樂鈞 Leung Lok Kwan
莊景樂 Chong King Lok
許菀珊 Hui Yuen Shan
陳沛言 Chan Pui Yin
陳蘊明 Chan Wan Ming
張文虛 Zhang Wenxu
盧穎心 Lo Wing Sum Amy
