Chopin Winner plays Chopin—Bruce Liu Piano Recital - 51st Hong Kong Arts Festival

第五十一屆香港藝術節隆重舉行，可 喜可賀。

逾半個世紀以來，藝術節每年均呈獻 多姿多彩的文藝節目，由古典音樂、 歌劇、戲劇，以至舞蹈、多媒體項 目等，包羅萬有，令觀眾大飽眼福。

今屆藝術節以《收音機與茱麗葉》及 《春之祭》芭蕾舞表演揭開序幕，兩 齣經典作品經由著名編舞家愛德華· 克魯格重新編排，加上斯洛文尼亞 國家歌劇院馬里博爾芭蕾舞團傾力演 出，萬眾矚目；約五星期後，歐洲頂 尖交響樂團—德國班貝格交響樂團將 登台獻技，為今年藝術節畫上圓滿句 號。其間上演的焦點節目還有： 國 際星級女高音安娜·涅翠柯與丈夫男 高音尤西夫·伊瓦佐夫聯袂表演的音 樂會；由藝術家威廉·肯特里奇精心 製作、南非木偶劇團和比利時里切卡 爾古樂團奇妙演繹的蒙特威爾第歌劇 《尤利西斯歸鄉記》；由芭蕾天后娜塔 麗亞·奧斯波娃領銜主演的芭蕾巨 星之《「世」不可擋》及傳奇舞姬之 《趾尖》；以及國際鋼琴大賽冠軍劉曉 禹的演奏會。

藝術節向來十分重視本地演藝人才， 致力讓他們一展才華。今屆藝術節亦 會上演多個粵劇節目，包括《竹林愛 傳奇》、「毛俊輝．粵劇情」、《畫皮》 (精新版)，以及「短篇粵劇—戲說 八德」； 並帶來其他本地作品，包括 《飯戲攻心》踏台版、《末戀．無愛合 約》、舞蹈歌劇《兩生花》等等，定 必精彩萬分，不容錯過。

大眾還可通過藝術節，體驗繽紛的藝 術魅力。法國食蟻獸沉浸式藝術工作 室創作的《第一步》，會邀請觀眾互 動共舞；在大館舉行的一系列免費藝 術科技節目，以及「無限亮」計劃， 亦會讓公眾參與其中。「無限亮」計 劃由本地和海外不同能力的藝術家擔 綱演出，鼓勵青少年衝破界限，探索

行政長官的話 MESSAGE FROM THE CHIEF EXECUTIVE

I would like to congratulate the Hong Kong Arts Festival on the organisation of its 51st edition.

For more than half a century now, the Arts Festival has enthralled audiences with a superb annual programme of arts and culture performances embracing classical music and opera, theatre, dance, multimedia and a great deal more.

This year’s Arts Festival programme opens with the Slovene National Theatre Maribor’s ballet performances of Radio and Juliet and Le Sacre du Printemps, two classics re-imagined by celebrated choreographer Edward Clug. It closes, nearly five weeks later, with a concert by Germany’s Bamberg Symphony, one of Europe’s greatest orchestras. Other highlights include Anna Netrebko, one of the world’s great sopranos, performing with her husband, tenor Yusif Eyvazov; artist William Kentridge’s remarkable production of Monteverdi’s opera, Il Ritorno d’Ulisse, brought to life by South Africa’s Handspring Puppet Company and Belgium’s Ricercar Consort periodinstrument ensemble; Ballet Superstars’ Force of Nature and Legendary Ballerina

新知。「香港藝術節青少年之友」計 劃同樣以豐富年輕人的體驗為目標， 籌備了多場學校巡演、演前工作坊和 特備節目。「加料節目」的創意活動 則把全港觀眾與藝術家連繫起來，讓 藝術文化遍及社區。

我感謝香港藝術節盡心竭力推廣藝術 文化，協助推動香港發展為中外文 化藝術交流中心。我亦感謝一眾贊 助商和捐款人慷慨襄助，令藝術節精 彩紛呈。

今年的藝術盛宴每場表演均可貴可 喜，大家定能盡情享受，樂在其中。

in Two Feet featuring supreme ballerina Natalia Osipova; and concerts by the international award-winning piano virtuoso Bruce Liu.

As always, the Festival shines a spotlight on standout artists from Hong Kong. This year’s Cantonese opera offerings include Love in the Bamboo Grove, Cantonese Opera Classics Circa 2023, The Painted Skin (Refined Edition) and Virtues and Morality—Four Cantonese Operas. Local productions including Table For Six on Stage, Loveless Romance and Love Streams are sure to be among this year’s Festival highlights.

Several programmes invite public participation as well, including the First Steps participatory dance performances staged by France’s Tamanoir Immersive Studio, as well as Tai Kwun’s free series of arts tech productions and the Festival’s No Limits programme, led by local and international artists of varying abilities. No Limits’ offerings emphasise youth exploration, as does the Young Friends of the Hong Kong Arts Festival with its school tours, preperformance workshops and special programming. And then there is the Festival PLUS creative activities that bring artists and audiences together in communities throughout Hong Kong.

I am grateful to the Hong Kong Arts Festival for its inspired commitment to the arts and to Hong Kong’s continuing rise as an East-meets-West centre for international cultural exchange. My thanks, as well, to the Festival’s many generous sponsors and donors.

I know you will treasure every performance, every moment, of this year’s Hong Kong Arts Festival.

John KC Lee Chief Executive Hong Kong Special Administrative Region

歡迎閣下蒞臨第 51 屆香港藝術 節。隨着香港走出疫情的陰霾，藝 術節再度匯聚本地及世界各地的頂 尖藝術家，呈獻一連串精采的現場 表演。儘管網絡世界無遠弗屆， 親身觀賞演出的體驗依然是無可取 替。今日，我很高興能夠與大家 聚首一堂，共同體驗現場表演的 震撼力。

藝術節得以順利舉辦，有賴社會各 界的慷慨支持。我在此感謝香港 特別行政區政府透過康樂及文化事 務署的年度恆常撥款，為藝術節的 長遠工作奠下根基。我亦非常感 激香港賽馬會慈善信託基金的持續 支持，以及一眾企業贊助、慈善基 金會和個人捐助者的貢獻。我更要 向參與藝術節的藝術家表達由衷謝 意，尤其是早前因疫情而無奈取消 演出、但於今屆願意再度與我們合 作的藝術家。

另外，過去三年，藝術節團隊在充 滿不確定因素的環境下努力不懈， 克服種種難關，繼續為觀眾送上線 上線下的精采節目。我在此向團隊 的每一位成員致謝。

觀眾的支持及參與對藝術節至關重 要。感謝您前來欣賞今日的演出， 希望藝術節的節目能夠為您帶來喜 悅與希望。

主席的話 MESSAGE FROM THE CHAIRMAN

I am delighted to welcome you to the 51st edition of the Hong Kong Arts Festival. As the city recovers from the disruption of the pandemic, the Festival is returning with an array of live performances featuring top-notch artists from Hong Kong and across the world. Despite the boundless possibilities offered by the internet, attending performances in person remains an irreplaceable experience. It gives me great pleasure to share this collective experience with you today.

The Festival is made possible by the generosity of our supporters.

I wish to thank the HKSAR Government, via the Leisure and Cultural Services Department, for the annual subvention which underpins our long-standing work. I am also grateful for the ongoing contributions from The Hong Kong Jockey Club Charities Trust, as well as corporate sponsors, charitable foundations and individual donors. My sincere thanks go

to the participating artists for their dedication to bringing the best to our audiences, especially those returning after previous cancellations due to the pandemic.

I also want to thank the dedicated staff of the Festival who have worked extremely hard to overcome numerous challenges during the uncertainties of the past three years. Last but not least, the Festival counts on the support and participation of each member of the audience. Thank you for joining us at today’s performance. I hope that our programmes will bring you much joy and hope for the future.

Victor Cha Chairman Hong Kong Arts Festival

香港藝術節主席 查懋成

行政總監的話

我謹代表藝術節團隊，歡迎閣下蒞 臨第 51 屆香港藝術節。

經歷了過去幾年疫情的影響，今年 藝術節以「回賞．前行」為題，表 達了我們隆重回歸舞台的決心。憑 着五十年來的努力，香港藝術節成 為了地區首屈一指的文化盛事，確 立了在國際間的重要地位。我們很 榮幸能夠繼往開來，並繼續在多方 面力求進步，與時俱進。在第 51 屆藝術節中，我們全新演繹大師傑 作、建立跨界合作、委約原創作 品，進一步發掘新的創作視野。這 些嘗試都展現了表演藝術的維度和 無限可能性，讓我們在探索的旅途 中向前邁進。

除了出色的表演，藝術節亦舉辦 了一系列「加料節目」，令觀眾對 演出作品有更深入的認識，豐富觀 賞體驗。我們亦繼續大力投資於 藝術教育，希望透過多元的外展活 動，以高質素的表演啟發香港的年 輕一代。

藝術節正式踏入第二個五十年，我 們將抱持樂觀的態度和更大的勇氣 面對未來的各種挑戰。希望您能夠 與我們同行，並喜歡藝術節為您準 備的節目。

On behalf of the Festival team, I would like to extend to you a heartfelt welcome to the 51st Hong Kong Arts Festival.

Our theme this year, “Coming Back, Moving Forward”, represents our determination to come back in full force after several years of uncertainties caused by the pandemic. After five decades of hard work and dedication, the Festival has established itself as a premier arts event in the region and an important international arts festival. We are honoured to carry this legacy forward, while advancing our multifaceted work to stay relevant in the present. In the 51st edition, we discover creative voices through new renditions of masterpieces, cross-disciplinary collaborations and commissioned productions— all of which showcase the breadth and endless possibilities of the performing arts, taking us one step

forward in this journey of exploration. Beyond exceptional performances, we are also offering a series of auxiliary PLUS programmes to enhance audience engagement and provide deeper insights into our programmes. Our strong commitment to arts education is seen in the extensive outreach activities aimed at inspiring the younger generation of Hong Kong through promoting quality arts.

The Festival steps into the second half of its first centenary with both optimism and renewed courage to bravely face the great challenges ahead. I hope you will stay close with us and be inspired by what the Festival has to offer.

香港藝術節資助來自：

The Hong Kong Arts Festival is made possible with the funding support of:

Flora Yu

Executive Director

Hong Kong Arts Festival

MESSAGE FROM THE EXECUTIVE DIRECTOR

香港藝術節 HONG KONG ARTS FESTIVAL

扎根香港的國際藝壇盛事 聯繫中國與世界

An International Arts Festival in Hong Kong Connecting China and the World

香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化 盛事，於每年 2、 3 月期間呈獻眾多優秀本地及國際藝術家 的演出，以及舉辦多元化的「加料」和教育活動，致力豐 富香港的文化生活。

香港藝術節 是一所非牟利機構，2022/ 23 財政年度預計收

入（包括第 51 屆香港藝術節及 2023 年「無限亮」）約港 幣一億五千萬，當中香港特區政府的年度撥款佔總收入約 18%，另外約 24%需來自票房收入，約 43%則需依賴來自 各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘 下的約 15%則來自其他收入，包括政府針對捐款和贊助收 入而提供的配對資助。

香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，

例如* ：

• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯科大 劇院、聖彼得堡馬林斯基劇院

• 中國戲曲：中國國家京劇院、河北梆子劇院、上海張軍 崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團

• 古典音樂：塞西莉亞 • 芭托莉、列卡杜 • 沙爾、趙成 珍、古斯塔沃 • 杜達美、菲力普 • 格拉斯、馬友友、 丹尼斯 • 馬祖耶夫、安娜 • 涅翠柯、詹安德列亞 • 諾 斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿迪 • 羅傑 斯特汶斯基、譚盾、湯沐海、克里斯蒂安 泰利曼、倫 敦交響樂團、NHK交響樂團、皇家阿姆斯特丹音樂廳樂 團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也

• 爵士樂及世界音樂：波比 麥非年、尤蘇 恩多爾、 艾斯佩蘭薩 • 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼

• 舞蹈：米高 巴里殊尼哥夫、蕭菲 紀蓮、艾甘 漢、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團—約 翰．紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、 翩娜 包殊烏珀塔爾舞蹈劇場

• 戲劇：彼得 • 布祿克、羅伯特．利柏殊、蜷川幸雄、羅 柏特 • 威爾遜、柏林劇團、中國國家話劇院、皇家莎士 比亞劇團

• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊

• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》

香港藝術節積極與本地演藝人才合作，並致力為新進藝術 家提供展示才華的平台。藝術節至今委約及製作逾 250 套 本地全新創作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈 作品，不少製作更已在香港及海外多度重演。近年的藝術 節新製作包括《鼠疫》、《陪着你走》、《百花亭贈劍》、《香 港家族》三部曲、《世紀

The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

The HKAF is a non-profit organisation. The total estimated income for FY2022/23 (including the 51st Hong Kong Arts Festival and 2023 “No Limits”) is approximately HK$150 million. Current Government annual funding accounts for around 18% of the Festival's total income. Around 24% of the Festival’s income needs to come from the box office, and around 43% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:

• Western opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre

• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe

Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra

• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini

Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

• Large-scale special events: World of Wearable Art, Zingaro

• Outdoor events: Power Plant, Super Pool, Chorus

The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.

The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina

香港》、《炫舞場》、《大同》、 《金蘭姊妹》、《聖荷西謀殺案》等。

香港藝術節多年來與知名海外藝術家及團體聯合製作不少 優秀作品，當中包括由香港藝術節、香港歌德學院及翩 娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗人》、由倫 敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作、 香港藝術節為聯合委約機構之一的「橫貫計劃」之《暴風 雨》及《李察三世》、由香港藝術節及上海國際藝術節聯 合委約的《青蛇》、三藩市歌劇院與香港藝術節聯合製作 的《紅樓夢》等。

香港藝術節 大力投資下一代的藝術教育。「青少年之友」

成立 30 年來，已為逾 810, 000 位本地中學生及大專生提供 藝術體驗活動。藝術節近年亦開展多項針對大、中、小學 生的藝術教育活動，包括由國際及本地藝術家主持的示範 講座及工作坊、學生展演、演前講座、公開彩排、以及欣 賞藝術節演出。同時，通過「學生票捐助計劃」，藝術節 每年提供約 10, 000 張半價學生票。

香港藝術節每年主辦一系列多元化並深入社區的「加料節 目」，例如電影放映、示範講座、大師班、工作坊、座談 會、後台參觀、展覽、藝人談、文化導賞團等，鼓勵觀眾 與藝術家互動接觸。

香港藝術節亦銳意將共融藝術理念拓展到社區每一角落。 由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限

2019 年正式開展，透過一系列的演出及多元的 教育及社區外展節目，「無限亮」致力創造共融空間，讓不 同能力人士均可以一同欣賞、參與、擁抱藝術。

Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake co-commissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

The HKAF invests heavily in arts education for young people. Over the past 30 years, our “Young Friends” scheme has reached over 810,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

The HKAF actively promotes inclusiveness and understanding via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.

The HKAF officially launched the Hong Kong Arts Festival Foundation in 2022 to provide greater financial security and longterm sustainability for the Festival. Donations to the Foundation will help the Festival to present large-scale projects which its annual budget cannot cater for. (2023

香港藝術節為創造更穩健的財政環境以及確保藝術節的長期 可持續性，於 2022 年成立香港藝術節基金會，旨在讓藝術 節得以在未來進行年度預算以外的大型特別項目。

*有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at https://w2.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2021.html

誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。

To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.

香港藝術節協會 2022 ／ 23 年度預計收入來源（約港幣一億五千萬）

電郵 Email: dev@hkaf.org

直綫 Direct Lines: (852) 2828 4910/11/12

網頁 Website: www.hk.artsfestival.org/en/support-us

Estimated Income Sources for Hong Kong Arts Festival Society in FY 2022/ 23 (Approximately HK$150 Million)

蕭邦大賽冠軍─ 劉曉禹鋼琴獨奏會 Bruce Liu

Chopin Winner plays ChopinBruce Liu Piano Recital

15.02.2023

演出長約 1 小時 50 分鐘，包括一節中場休息

Approximately one hour and 50 minutes including one interval

劉曉禹與香港管弦樂團─ 蕭邦第二鋼琴協奏曲 Bru

Bruce Liu plays Chopin with Hong Kong Philharmonic Orchestra

16.02.2023

演出長約 1 小時 55 分鐘，包括一節中場休息

Approximately one hour and 55 minutes including one interval

封面照片 Cover Photograph

© Wojciech Grzedzinski © treeyaaa © Ka Lam

敬請關掉所有響鬧及發光裝置

Please switch off all sound-making and light-emitting devices

本場刊採用環保紙張印刷

This programme is printed on environmentally friendly paper

專題文章 Feature Article

Kong

劉曉禹於第 51 屆香港藝術節演出之支持機構：

加拿大駐香港及澳門總領事館

The 51st Hong Kong Arts Festival appearance of Bruce Liu is supported by the Consulate General of Canada in Hong Kong and Macao.

請勿擅自攝影、錄音或錄影

Unauthorised photography or recording of any kind is strictly prohibited

如不欲保留本場刊，請於完場後放入場地的回收箱

If you don't wish to keep this booklet, please return it to the admission point

所有作品內容均由主辦單位/創作團隊獨立製作，並不代表贊助機構之立場或意見。 All content of the works is independently produced by the organiser/creative team, and does not reflect the views or opinions of the Sponsor

©Yanzhang

劉曉禹

2021 年，劉曉禹在波蘭華沙 舉辦的第十八屆蕭邦國際鋼琴 大賽中奪得冠軍，因而揚名於 世。自此，他便在世界各地巡 演，當中包括法國巴黎的香榭 麗舍劇院、柏林愛樂廳、維也 納音樂廳、布魯塞爾皇家美術 館、東京歌劇城、聖保羅音樂 廳及皇家節日音樂廳等地。他 亦曾與多個管弦樂團合奏，包 括波蘭國家廣播交響樂團、公 益財團法人 NHK 交響樂團、盧 森堡愛樂樂團、首爾愛樂樂團 及愛樂管弦樂團等。

在 2022 至 2023 季度，劉曉禹將 在卡內基音樂廳、維也納音樂 廳、史圖加文化和會議中心、 首爾藝術殿堂及三得利音樂廳 舉行獨奏會。他亦將與多個管 弦樂團合奏，包括蒙特利爾交 響樂團、多倫多交響樂團、皇 家愛樂管弦樂團、維也納交響 樂團、鹿特丹愛樂樂團、愛樂 管弦樂團、香港管弦樂團和丹 麥國家交響樂團。他更會出席 多個音樂節，包括拉羅克．昂 迪榮國際鋼琴音樂節、魯爾鋼 琴音樂節、萊茵高音樂節、愛 丁堡國際藝術節、「蕭邦和他的 歐洲」音樂節與格施塔德梅紐 因音樂節。

德意志留聲機唱片公司獨家為 劉曉禹發行他的首張個人大 碟，收錄他於蕭邦國際鋼琴大 賽的比賽現場錄音。該唱片不 但贏得弗雷德里克獎，更被選 為 2021 年度最佳古典專輯，廣 受國際讚譽。英國古典音樂雜 誌《留聲機》評其為「樂評首 選」和「編者首選」，盛讚這是

©Yanzhang

「近年最傑出的蕭邦獨奏演出之 一」，並形容劉曉禹的演奏「能 瞬間讓人想起鋼琴大師舒拉． 徹卡斯基和喬治．齊夫拉」。

華裔鋼琴家劉曉禹生於法國巴 黎，長於加拿大蒙特利爾，多 元文化的成長環境塑造了他開 放的思想和樂觀的個性。他既 受歐洲音樂家精益求精的精神

啟發，亦受中國傳統文化，以 及北美文化的活力和開放思想 影響。在鋼琴家理查德．雷蒙 和鄧泰山的指導下，他抱持積 極樂觀的心態，走出屬於自己 的藝術道路。

Bruce Liu shot to global attention in 2021 when he won the First Prize at the 18th International Chopin Piano Competition in Warsaw. Since then he has toured the world, appearing at illustrious venues including the Théâtre des Champs-Elysées in Paris, the Berlin Philharmonie, the Vienna Konzerthaus, BOZAR Brussels, Tokyo Opera City, Sala São Paulo and the Royal Festival Hall with the Philharmonia Orchestra. Orchestral appearances also include the Polish National Radio Symphony Orchestra, the NHK Symphony Orchestra, the Orchestre Philharmonique du Luxembourg and the Seoul Philharmonic Orchestra.

During the 2022-23 season, Liu will perform recitals on the main stage of Carnegie Hall, Konzerthaus Wien, Liederhalle Stuttgart, the Seoul Arts Centre and Suntory Hall,

while orchestral performances will include appearances with the Montreal Symphony Orchestra, the Toronto Symphony Orchestra, the Royal Philharmonic Orchestra, the Vienna Symphony Orchestra, Rotterdam Philharmonic, the Philharmonia Orchestra, the Hong Kong Philharmonic Orchestra and the Danish National Symphony Orchestra. His festival appearances will include La Roque-d'Anthéron, Piano Festival Ruhr, Rheingau Musik Festival, Edinburgh International Festival, Chopin and his Europe festival, and Gstaad Menuhin Festival.

An exclusive recording artist with Deutsche Grammophon, Liu’s first album featuring the winning performances from the Chopin competition won a Fryderyk Award and received international acclaim, including both the Critics’ Choice and Editor’s Choice accolades in Gramophone magazine, which proclaimed his debut disc as “simply one of the most distinguished Chopin recitals of recent years”. The magazine also included it on the list of its best classical albums of 2021, and described Liu’s playing as “evoking Shura Cherkassky and Georges Cziffra in a single breath”.

Born in Paris to Chinese parents, Liu grew up in Montreal. His life has been steeped in cultural diversity, which has shaped his unique attitude, personality and character. He draws on various sources of inspiration for his art:

European refinement, Chinese tradition, and North American dynamism and openness. Liu has travelled his artistic journey with optimism and a smile, and his teachers include Richard Raymond and Dang Thai Son.

劉曉禹鋼琴獨奏會

Bruce Liu Piano Recital

蕭邦 F 大調馬祖卡風格輪旋曲，作品 5

降 B 小調第二鋼琴奏鳴曲，作品 35

I. 極緩板－速度加倍

II. 諧謔曲

III. 葬禮進行曲：緩板

IV. 終曲：急板

拉威爾 《鏡》

I. 夜蛾

II. 悲鳥

III. 海上孤舟

IV. 丑角的晨歌

V. 鐘谷

李斯特 《唐‧喬望尼的回憶》

Chopin (1810-1849)

Rondo à la mazur in F Major, Op. 5

Piano Sonata No. 2 in B-flat minor, Op. 35

I. Grave – Doppio movimento

II. Scherzo

III. Marche funèbre: Lento

IV. Finale: Presto

Ravel (1875-1937) Miroirs

I. Noctuelles (Night Moths)

II. Oiseaux tristes (Sad Birds)

III. Une barque sur l'océan (A Boat on the Ocean)

IV. Alborada del gracioso (The Jester's Aubade)

V. La vallée des cloches (The Valley of Bells)

Liszt (1811-1886) Réminiscences de Don Juan

中場休息 Interval

樂曲介紹 Programme Notes

劉曉禹鋼琴獨奏會

Bruce Liu Piano Recital

蕭邦

Frédéric Chopin (1810-1849)

F 大調馬祖卡風格輪旋曲， 作品 5

2021 年，劉曉禹在一個以蕭邦 命名的傳奇鋼琴大賽中奪魁。 今晚他的獨奏會以蕭邦一首早 期作品掀開序幕。樂曲寫於 1826 年——當時這位音樂奇才 年僅十六。仍在家鄉波蘭居住 的蕭邦早已嶄露頭角，於十五 歲時應邀在到訪的沙皇亞歷山 大一世御前演出。不久，蕭邦 的作品正式出版，第一首就是 C 小調輪旋曲，作品 1。

「輪旋曲」由一個主題與多個插

段組成，各個插段都與主題形 成對比，與主題交替出現，在 古典時期是很受作曲家歡迎的 曲式。F 大調輪旋曲，作品 5 則是蕭邦第二首同類作品，而 且在樂曲裏向波蘭民間音樂致 敬，採用了馬祖卡舞曲的活潑 節奏。事實上，他日後也不斷 創作馬祖卡舞曲，前後共數十 首，而且成就斐然，讓馬祖卡 舞曲成了不朽的樂種。另一方 面，馬祖卡舞曲對他來說也有 特殊的重要性: 當時波蘭受俄 羅斯帝國統治，後來蕭邦的同 胞起義，嘗試將波蘭從俄羅斯 手上解放出來，蕭邦也從此流 亡國外。

降 B 小調第二鋼琴奏鳴曲， 作品 35

「奏鳴曲」這種曲式雖然是古典 時期的標記，但蕭邦也有創作 奏鳴曲，前後共三首，分別在 他的學生時代與風格成熟期。

當中第二首——降 B 小調奏鳴 曲—— 1839 年夏季完稿，那時 他離開了巴黎，正在度假。樂 曲糅合了作曲家對結構的獨有 觸覺，以及詩意綿綿的鍵盤風 格（這種風格正是蕭邦所創)； 同時也參考了前代作曲家的風 格，而且效果令人神往。樂

曲引子陰沉幽暗，彷彿貝多芬

（奏鳴曲式大師之一）的幽靈現 身一般，為往後深刻的哀傷埋 下伏筆。第一樂章有個截然不 同的主題，可見蕭邦對貝利尼 歌劇情有獨鍾，對無與倫比的 美聲旋律風格喜愛不已:再現 部開始時——也就是結構上的 高潮時刻——作曲家採用的也 是這個主題。然而第一主題那 種悲壯的絕望之情，卻在後面 三個樂章以種種面貌重現。

雖有甜美純淨的中段暫時阻擋 一下，但第二樂章〈諧謔曲〉 仍按捺不住躁動的不安。慢速 樂章〈葬禮進行曲〉是大眾耳 熟能詳的古典樂曲，寫於 1837 年，原本獨立成曲，但放在作 品 35 裏一同聆賞時，〈葬禮進 行曲〉強化了整首樂曲陰沉灰 暗的氣氛。蕭邦以低音顫音模 仿滾奏的鼓聲，營造出悲傷纏 繞與哀慟嗟嘆的氣氛。進行曲 部分密集不斷的節奏，與中段 的輓歌形成鮮明對比。

不過蕭邦卻將最震撼的音樂留 給終樂章，這個樂章的靈感來 自巴赫，全長不到兩分鐘，從 頭到尾都是抑壓的三連音，像 恆動曲一樣。這樣的結尾在大 型鋼琴曲裏可說是別具創意。

© Louis-Auguste Bisson

Chopin: Rondo à la mazur in F Major, Op. 5

Bruce Liu, the winner in 2021 of the legendary piano competition named after Frédéric Chopin, begins his programme with an early work written in 1826, when the composer-pianist was only 16 and still living in his native Poland. A prodigy who was already gaining acclaim, Chopin had been requested the year before to perform for the visiting Tsar Alexander I. This soon led to the first official publication of his music, the Rondo in C minor, Op. 1.

The Rondo in F Major, Op. 5 is his second essay in this form and became especially popular among Classical-era composers. It involves the alternation of a main theme with contrasting ideas. In this case, Chopin pays homage to Polish folk music by using the lively rhythm of the dance type (mazurka) that he would immortalise in dozens of miniatures throughout his career. Indeed, the mazurka took on special importance for Chopin when he was exiled from Poland in the wake of his compatriots’ attempt to liberate themselves from Russian imperial rule.

Sonata No. 2 in B-flat minor, Op. 35

Chopin also took on the sonata, the form most closely identified with musical discourse of the Classical era, in three works spanning his student years to his mature style. He completed the second of these, the Sonata in B-flat minor, in the summer

of 1839 while taking a break from Paris. It combines an original sense of architecture with the nuanced keyboard poetry Chopin pioneered as his unique style. At the same time, he incorporates fascinating references to the musical past. The ghost of Beethoven, one of the great masters of the sonata form, appears in the gloomy introductory section, signalling the tragic depth of the music to follow. The first movement includes a contrasting theme that reminds us of Chopin’s adoration of the gorgeous bel canto melodic style from Vincenzo Bellini’s operas: this is the theme Chopin chooses to initiate the structurally climactic moment of recapitulation. Yet the tragic desperation of the first theme reappears in varied guises during the remaining movements.

Placed second, the scherzo smoulders with a demonic fury only temporarily held at bay by the trio’s sweet purity. The slow movement Funeral March ranks among the most recognisable pieces of classical music—Chopin had composed it separately in 1837—but when it is heard in the context of the Op. 35 Sonata, it becomes the cornerstone and gravitational centre of the entire work’s dark impulses. In this music, with bass trills mimicking drum rolls, Chopin creates an atmosphere of sustained grief and tragic mourning. The march’s unstoppable rhythm stands in contrast to the elegiac song of

the central section.

But Chopin reserves his greatest shock for the Bachinspired finale, which whirls past in less than two minutes of subdued triplets in perpetual motion—among the most original conclusions to a largescale composition in the piano literature.

《鏡》

拉威爾認為《鏡》（寫於 19041905 ）是他作曲風格的突破之 作。這套組曲由五個樂章組 成，每樂章分別題獻給拉威爾 藝術圈子中的五位成員，這種 「集體致敬」，正是日後《庫普 蘭之墓》中悼念手法的先驅。

二十世紀初，與拉威爾同輩的 巴黎藝術家自稱「流氓太保」 （這也是時人對街頭惡霸的稱 呼，卻被藝術家當成是榮譽而 用以自號）。拉威爾把樂章命名 為《鏡》，含蓄地點明他為多位 身邊人刻劃的並非「肖像」，而 是「印象」，當中糅合了作曲家 對友人的觀感，以及作曲家本 人的部分性格特質。

第一首〈夜蛾〉充滿古怪的半 音變化，以大膽的和聲色彩掀 開序幕，將拉威爾對一位詩人 兼密友（兩人晚上還經常一起 散步）的欣賞表露無遺。〈悲 鳥〉是全套組曲裏最早完成的 一首，作曲家指會「令人想 起夏季最酷熱的時間，雀鳥 都迷失在充滿壓迫感的幽深森 林裏。」

〈海上孤舟〉同樣以大自然為樂 曲主題，後人經常將這首樂曲 與德布西的同期作品《大海》 相提並論，比較兩者如何處理 「大海」的意象。輕柔飄渺的樂 音、微微變化的節奏，令人聯 想到波光粼粼、水波搖曳的海 面。從高潮到沉寂，彷如在剎 那間完成。

後來拉威爾將〈海上孤舟〉及 〈丑角的晨歌〉改編成管弦樂 曲。〈丑角的晨歌〉充分體現 出他對西班牙文化的熱愛（標 題中所提及的「丑角」是指西 班牙文藝復興時期戲劇中的喜 劇人物。樂曲描寫一對戀人分 別在即，但丑角卻粗魯地打擾 兩人溫存）。樂曲要求分毫不 差的精準節拍，非有超卓的技 巧不可。

第四首樂曲的結尾極富爆發 力，隨後的〈鐘之谷〉就成了 很好的烘托。〈鐘之谷〉的樂音 給人平和神聖的感䁷為《鏡》 畫上完美的句號，仿如揭開夢 幻朦朧的面紗，讓人沉醉於樂 曲之中。

Miroirs

Maurice Ravel regarded Miroirs, which he composed in 19041905, as a breakthrough in his compositional style. With each of the suite’s five movements dedicated to a different member of Ravel’s artistic circle, Miroirs entails an act of collective homage that anticipates the memorial aspect of the later Le tombeau de Couperin

Ravel’s fellow Parisian artists

at the beginning of the 20th century called themselves “Les Apaches” (a term which was also applied to street gangs at the time and which these innovators claimed for themselves as a badge of honour). Ravel’s title Miroirs subtly suggests that rather than “portraits”, what he created was a series of reflections of different characters with whom he associated. These blend the composer’s perceptions of his friends with aspects of his own personality.

The whimsical chromaticism of the first piece, Noctuelles (“Night Moths”) opens with bold harmonic colours, “translating” Ravel’s appreciation of a close poet friend (and fellow nocturnal rambler). Oiseaux tristes (“Sad Birds”) was the first of the suite to be composed and, according to Ravel, “evokes birds lost in the oppressiveness of a very dark forest during the hottest hours of summer”.

Nature again provides the surface theme for Une Barque sur l’océan (“A Boat on the Ocean”), which is often used to compare Ravel’s treatment of sea imagery with Debussy’s contemporaneous La mer Shimmering textures and subtly changing rhythmic background evoke the reflections on water of a constantly shifting, slippery light. Ravel can encompass climax and subsidence within a single gesture.

Later, Ravel would orchestrate

拉威爾 Maurice Ravel (1875-1937)

Barque as well as Alborada del Gracioso (“The Jester’s Morning Song”), which exemplifies his love affair with Spanish culture. (The gracioso refers to a comedic character from the Spanish Renaissance, here rudely interrupting a pair of young lovers who must separate.) The split-second metrical precision demanded by this piece requires exceptional virtuosity.

La vallée des cloches (“The Valley of Bells”) presents an effective foil to the rude awakening that ends the fourth piece. It concludes Miroirs with music of meditative beauty that seems to glimpse behind the veil of routine time.

《沙丹納保羅》，而且直至 2018 年仍未有上演）。儘管如此，李 斯特跟歌劇世界淵源甚深，不 但大力推介華格納的劃時代作 品（後來華格納更成了他的女 婿），更出版了多位作曲家歌劇 選段的鋼琴改編曲，包括莫扎 特、貝里尼、梅耶貝爾、唐尼 采第和威爾第。

「回憶」是李斯特為這類鋼琴組 曲命名時所考慮的其中一個字 詞，如《唐·喬望尼的回憶》。 在十九世紀的樂迷眼中，《唐· 喬望尼》（寫於 1787 年）是莫扎 特最偉大的歌劇，李斯特則將 其中三個場景改編成極度炫技 的鋼琴曲。樂曲以不祥的樂段 掀開序幕，在原作裏，這個樂 段出現在全劇的高潮： 活石像 現身，要將連環色魔唐·喬望 尼拖到地獄受懲罰； 然後選取 唐·喬望尼在劇中一段臭名昭 著的引誘場面作特寫，把他與 薩蓮挪的二重唱（〈讓我倆手 牽手〉）寫成變奏曲； 最後以 唐·喬望尼的〈「香檳」詠嘆 調〉作結，讓主角唱出他的志 向——追求歡愉，終生不渝。在 原作中，唐·喬望尼的獨唱曲 為數不多，〈「香檳」詠嘆調〉 就是其中一首。

Réminiscences de Don Juan

opera (Sardanapolo, which he left unfinished and which remained unperformed until 2018). Yet he was deeply involved in the world of opera, promoting the revolutionary creations of Richard Wagner (who also became his sonin-law) while also publishing piano arrangements of operatic highlights by such composers as Mozart, Bellini, Meyerbeer, Donizetti and Verdi.

《唐‧喬望尼的回憶》

李斯特創意驚人，涉足各式各 樣的音樂活動，既是超凡的鋼 琴家、創意澎湃的作曲家，也 是推崇先鋒派的指揮家，以及 影響深遠的教師。然而，他 只寫過一齣歌劇（尚未完成的

Although he was enormously creative and involved in many different facets of musical activity—as a superstar pianist, an innovative composer, a conductor who championed the avant-garde of his time, and an influential teacher— Franz Liszt wrote only one

Réminiscences was one term Liszt used for these piano suites, as in his Réminiscences de Don Juan, which brilliantly translates three scenes from what the 19th century regarded as Mozart’s greatest opera, Don Giovanni (composed in 1787), into the language of an ultra-virtuosic pianist. Liszt begins with the ominous music associated with the appearance of the Stone Guest at the opera’s climax to lead the serial sexual predator Don Giovanni to his infernal punishment. He then zooms in on one of the Don’s notorious seduction scenes with variations on the tune from his duet with Zerlina (“Là ci darem la mano”) and concludes the suite with one of the few solos entrusted to Don Giovanni himself, the “Champagne” aria in which he declares his devotion to a life of pleasure.

李斯特

Franz Liszt (1811-1866)

劉曉禹十指奏出幽默蕭邦

Bruce Liu Unleashes Chopin’s Playfulness

2021 年 10 月，音樂界盛事第十八屆蕭邦國際鋼琴大賽在波蘭舉行，該比賽五年一度，被疫情延誤一年 後再次雲集各國好手，其中年僅二十四歲的劉曉禹打敗了五百多名對手，以大熱姿態和華麗的演奏方 式拔得頭籌。自此，劉曉禹的名字便與蕭邦分不開。

In October 2021, one of the most prestigious events in the world of classical music, the 18th International Fryderyk Chopin Piano Competition, finally took place in Poland. After a long wait of six years, the competition --held once every five years and delayed due to the pandemic --once again gathered young and talented pianists from across the globe. 24-year-old Bruce Liu Xiaoyu, who won over critics and the audience alike with his breathtaking performance, was crowned the winner, defeating more than 500 opponents. Ever since then, the name Bruce Liu has been associated with the legendary pianist Chopin.

“It [playing] is your whole personality. Your way of living is really connected with the way you play”

蕭邦給予演奏者最大自由 劉曉禹演繹的蕭邦，情感充沛， 優雅但熱情奔放，樂評形容他 擁有渾然天成的技巧，不帶一 絲斧鑿痕跡，演奏 E 大調第四 詼諧曲，作品 54 時尤其靈動 有玩味。

劉曉禹在比賽時彈奏蕭邦的方 式，被評為「與別不同」，這 次他在加拿大接受《閱藝》訪 問，娓娓道來如何演奏出迥異 之處。蕭邦因波蘭反抗沙俄 十一月起義失敗，被迫逃往法 國，一生懷戀故國——人們對 他的刻板印象中是情感憂鬱而 負面居多。而劉曉禹心目中 的蕭邦卻是「情感多樣」，認 為眾人其實忽略了蕭邦的幽默 一面，蕭邦受到當時的沙龍文 化影響，甚至有「派對動物」 的名聲。

「聽一個人彈蕭邦，你就能了解

其性格。」劉曉禹分析道，相 較貝多芬、莫扎特等古典作曲 家，浪漫派的蕭邦給予演奏者 極大的自由，「蕭邦是寥寥幾個 作曲家之一，能讓你用自己的 風格彈奏，而不失作曲家的自 然本色。」

蕭邦的音樂洋溢波蘭文化及波 蘭舞曲風情，劉曉禹以其樂天 個性加以演繹，他相信蕭邦的 感性與敏銳情感，有助他從理 性思維中解放出來。劉曉禹曾 說過：「我們的共通點是彼此各 有不同」，這正正解釋了為何蕭 邦的樂章在他十指下，煥發出 自由而多元的色彩。

未被練琴佔據人生的鋼琴冠軍

劉曉禹與蕭邦相似，個性貪 玩。劉曉禹在多元文化中成 長，令他能靈活迅速進入各音 樂的文化語境。生於 1997 年 的他，在巴黎出生，加拿大

長大，父母是中國人，每年他 都回北京探望祖父母。在祖父 母口中，劉曉禹是個「坐不定 的兒童」，蹦來蹦去坐不定， 他笑言「學琴是令我專注五至 十分鐘的方式」。他八歲初學 鋼琴時，任職銀行家的父親從 報紙廣告找了老師，但怕孩子 不認真，不敢投資，給劉曉禹 買了只有五十五個琴鍵的電子 琴。直至十四、五歲劉曉禹贏 得首個初級鋼琴大賽後才擁有 人生第一台三角琴。他自言雖 然想過放棄，但靠樂觀天性與 不屈毅力撐過去，踏上鋼琴家 的道路。

「贏得比賽後，我沒有改變。 演奏的方式一模一樣，我的本 質、我的個性、我的理念依 然。」有別於參加比賽，在音 樂會上他可以自由選曲，他有 自己的哲學，喜歡「容易親近」 且較少被演奏的隱藏曲目。

「演奏展示了你整個人的個性。你生活的方式，都與你彈奏的方式密不可分。」

Chopin grants performers maximum freedom

Liu plays Chopin with elegance and a range of emotions, overflowing with splendid colours. Music critics have described Liu’s playing as technically “pristine”, and praised him for tackling Chopin’s Scherzo in E Major, Op. 54 with a sense of flexibility and a contemplative quality that is more than a “merely playful approach”.

During the competition, Liu recalls receiving comments on the “unconventional” way he played Chopin. Speaking with FestMag in Canada, Liu explains

where the nuanced difference in his interpretation originates from. Chopin was forced to flee and live in exile in France, mourning and missing his own country after the Polish November Uprising against the Russian occupation failed, and that is why most people have a stereotypical impression of Chopin’s pieces being imbued with sadness and negativity. However, in the eyes of Liu, Chopin is “multi-emotional”. Liu points out that those people failed to see that Chopin had a sense of humor and a reputation of being “a party animal” under the influence of salon culture at the time.

“When you hear someone playing Chopin, you can really know his personality,” says Liu, adding that this Romantic figure grants a great deal of freedom to performers, unlike classical composers such as Mozart and Beethoven. “Chopin is one of the very few composers that you can play in your own style a lot, and still be very convincing without losing the authenticity of the composer.”

While Chopin’s music brims with Polish culture and dance music, Liu adds a touch of his innate optimism to his playing. And the pianist believes that Chopin’s sensuality and

©Yanzhang

2023 年他應香港藝術節邀請首 度來港演出，除了與香港管弦 樂團合奏蕭邦第二鋼琴協奏曲， 還會舉行獨奏會。為此劉曉禹 精心挑選了四首曲目，由兩首 參賽曲目——蕭邦的 F 大調馬祖 卡風格輪旋曲，作品 5 及降 B 小 調第二鋼琴奏鳴曲，作品 35 開 始，其後緊接拉威爾的鋼琴組 曲《鏡》，最後以他其中一首最 愛曲目李斯特的《唐．喬望尼 的回憶》收結。他形容，拉威 爾作為印象派，承前啟後，猶 如兩道主菜之間，一道輕巧而 清新的雪葩。

蕭邦國際鋼琴大賽中一戰成名 後，劉曉禹繼續如常生活，每 天練三、四小時琴，保持每天 游泳的習慣，偶爾玩玩小型賽 車。他沒有讓鋼琴佔據生活的 全部，除了因為天生坐不定， 也怕一旦走入常規，便會失去 動力，亦不想因舉辦過多演奏 會而磨蝕初心，「即使我在跟你 做訪問，我都在思考演奏樂曲 的方法，這些想法不斷更新， 這樣創作，我的藝術之路永不 中斷」。

sensitivity helped free Liu from his rational mind. Liu once said: “What we all have is our difference.” That is the reason why the multicultural and free Chopin has blossomed in new colours at the fingertips of Liu.

A ‘busy child’ who never sat still

Like Chopin, Liu has a playful side. Growing up in a multicultural environment, Liu was endowed with the ability to quickly adapt to the multicultural contexts of various musical genres. Born in Paris to Chinese parents in 1997 and raised in Canada, Liu also visited his grandparents in Beijing each year. In his grandparents’ words, Liu was “the busy child” who never sat still, jumping here and there—and Liu says with a laugh that the “piano somehow was a way to keep me focused for 5 or 10 minutes”. When Liu started learning piano at the age of eight, his father, a banker, found him a piano teacher in

a newspaper advertisement. Unsure of Liu’s future commitment to the art, Liu’s father was reluctant to “invest” initially, only buying him an electronic keyboard with 55 keys. It was not until Liu won his first junior competition at the age of 14 or 15 that he earned himself his first grand piano. Nevertheless, Liu admitted to once having thoughts of giving up. But as a naturalborn optimist, he persevered and embarked on the path of becoming a performer.

“In my own mind, I didn’t really change, you know. I played like that before the competition; still my nature, my character, my vision,” Liu says. One of the major differences that sets his solo concerts apart from competition performances is that Liu chooses his own repertoire according to his own philosophy, and he prefers more “approachable” and less-

©Yanzhang

撰文：張子月 原文刊登於香港藝術節 2023 年之 《閱藝》雜誌

performed “hidden gems”. At his upcoming performances at the 51st Hong Kong Arts Festival, Liu will perform Chopin’s Piano Concerto No. 2 alongside the HK Phil, and stage his first solo concert in Hong Kong. Liu’s carefully designed programme consists of four pieces, starting with two selections from his competition repertoire, Mazurka in F Major, Op. 5 and Piano Sonata No. 2 in B-flat minor, Op. 35, followed by Ravel’s Miroirs, and ending with Liu’s personal favourite, Réminiscences de Don Juan by Liszt. In his own words, Ravel’s impressionistic piece bridges the gap between the Classical and Romantic composers, like a sorbet between two main courses.

Rising to instant stardom after his victory in the competition, Liu continues to live a normal life at his own pace, practising piano three to four hours and swimming every day, and occasionally karting. For his part, Liu does not let the piano take over his life, partly due to his nature, and for fear that he would either get bored with a constant routine or lose his drive for competing and performing. “Even the way I talk right now in an interview makes me think about the way I phrase on piano, and all these ideas are always regenerated and renewed, so in this way I think the art that I’m doing is not dying.”

Text: Cheung Tsz Yuet

Originally published in the HKAF's 2023 FestMag

©Yanzhang

Bruce Liu with Hong Kong Philharmonic Orchestra

艾爾加

降 A 大調第一交響曲，作品 55

I. 高貴且單純的行板—快板

II. 甚快的快板

III. 慢板

IV. 緩板—快板

蕭邦

F 小調第二鋼琴協奏曲，作品 21

I. 莊嚴高貴地

II. 小廣板

III. 活潑的快板

Elgar (1857-1934)

Symphony No. 1 in A-flat Major, Op. 55

I. Andante. Nobilmente e semplice — Allegro

II. Allegro molto

III. Adagio

IV. Lento — Allegro

中場休息 Interval

Chopin (1810-1849)

Piano Concerto No. 2 in F minor, Op. 21

I. Maestoso

II. Larghetto

III. Allegro vivace

吳懷世於二十八歲時獲委任為 韓國首爾愛樂樂團副指揮，是 該樂團史上最年輕的指揮家。 現時為香港馬勒樂團藝術總 監。曾在德國馬勒指揮大賽、 德國蘇提爵士國際指揮大賽和 法國斯維特蘭諾夫國際指揮大 賽等世界知名比賽中獲獎。

吳懷世在與首爾愛樂樂團的首 演中，為蕭斯達高維契交響曲 進行指揮，獲《韓國聯合新聞 社》盛讚為「仿若指揮家為蕭 斯達高維契本人」。他曾帶領 樂團在多個音樂節中演出，包

括 2019 年和 2020 年首爾藝術 中心音樂節及 2022 年樂天古

典革新音樂節，指揮表現廣受 好評。隨後，他獲邀於多個 韓國一流樂團作客席指揮，如 KBS 廣播交響樂團、韓國交響 樂團、富川愛樂樂團等。他亦 曾與多個著名歐洲樂團合作， 其中包括法蘭克福廣播公司交 響樂團、丹麥國家交響樂團和 BBC 蘇格蘭交響樂團等。

吳懷世曾頂替香港管弦樂團 （港樂）音樂總監梵志登，為 全港最大型音樂會「港樂． 星夜．交響曲」中的貝多芬第 三號交響曲《英雄》進行指 揮，獲香港電台讚譽，稱 「在他的指揮下，港樂的演 出十分巧妙精 緻」。2023年， 他再領港樂於第五十一屆香 港藝術節進行兩場音樂會演 出。

吳懷世自十 歲起接受長笛訓 練，曾以客席長笛獨奏身份 與法國里昂歌劇院芭蕾舞團合 作，又於第四十一屆香港藝術 節舉行獨奏會。及後遠赴柏林 藝術大學和蘇格蘭皇家音樂學 院深造指揮，於美國亞斯本音 樂節獲得詹姆斯．康倫指揮家 獎項。他曾得到奧斯莫．范斯 卡、馬庫斯．史坦茲及約翰． 納爾遜的指導，更深受伯納 德．海汀克、大衛．津曼、羅 伯特．斯帕諾與羅傑．諾林頓 等指揮大師的影響。

©Jino Park

Wilson Ng just concluded his tenure as the Associate Conductor of the Seoul Philharmonic Orchestra (SPO) --appointed at the age of 28 as the youngest conductor in the orchestra's history--and is the Artistic Director of the Gustav Mahler Orchestra in Hong Kong. He has received prizes at renowned competitions including the Gustav Mahler Conducting Competition in Bamberg, the Sir Georg Solti International Conductors' Competition in Frankfurt and the Evgeny Svetlanov International Conducting Competition in Paris.

Ng’s debut SPO performance of Shostakovich’s Symphony No. 1 was praised by Yonhap News “as if he had become Shostakovich himself”. He then went on to lead the orchestra at the Seoul Arts Centre Orchestra Festival in 2019 and 2020, and the Lotte Classic Revolution Festival, also in Seoul, in 2022. After achieving widespread success, he was also given the opportunity to conduct other major South Korean orchestras such as the KBS Symphony, the Korean National Symphony and the Daejeon Philharmonic, and has worked with leading European orchestras including the Frankfurt Radio Symphony, the Danish National Symphony and the BBC Scottish Symphony.

Ng has also stood in for Hong

Kong Philharmonic Orchestra

Music Director Jaap van Zweden to lead the megaconcert Symphony Under the Stars, conducting Beethoven’s Eroica. “Under his baton, the HK Phil displayed a sinewy refinement,” praised RTHK. In 2023, he returns to conduct the Orchestra in two concerts at the 51st Hong Kong Arts Festival.

Ng began his musical journey at the age of 11 by learning the flute. He performed as a guest solo flautist with the Lyon Opera Ballet and gave a recital at the 41st HKAF. Advancing his conducting studies at the Universität der Künste Berlin and the Royal Conservatoire of Scotland, he was later awarded the James Conlon Conductor Prize at the Aspen Music Festival. His mentors have included Osmo Vänskä, Markus Stenz and John Nelson, with other important influences including Bernard Haitink, David Zinman, Robert Spano and Roger Norrington.

Photo credit (from left to right): © Priska Ketterer, © Deborah O’Grady, © Jino Park, © Sihoo Kim, © Ka Lam, © Yatho Tsang

香港管弦樂團 HONG KONG

PHILHARMONIC ORCHESTRA

香港管弦樂團（港樂）獲譽為 亞洲最頂尖的古典管弦樂團之 一。在為期 44 週的樂季中，樂 團共演出超過 150 場音樂會， 把音樂帶給超過 20 萬名觀眾。

2019 年港樂榮獲英國《留聲機》 年度樂團大獎，成為亞洲首個 獲此殊榮的樂團。

梵志登是現今國際古典樂壇炙 手可熱的指揮，自 2012/13 樂季 起正式擔任港樂音樂總監一職； 2018/19 樂季起，他同時擔任紐 約愛樂的音樂總監。

余隆由 2015/16 樂季開始出任首 席客席指揮。廖國敏於 2020 年 12 月獲任為駐團指揮。

在梵志登充滿魄力的領導下， 樂團的藝術水平屢創高峰。港 樂由 2015 年至 2018 年間連續四 年逐一呈獻《指環》四部曲歌 劇音樂會。這四年的浩瀚旅程 由拿索斯現場錄音，非凡的演 出贏得了海內外讚譽，樂團更 因此勇奪《留聲機》2019 年年 度樂團大獎。近期由梵志登灌 錄的專輯包括 2022 年 11 月由拿 索斯發行的馬勒第十交響曲與 蕭斯達高維契第十交響曲。

為慶祝香港特區成立 20 週 年，香港經濟貿易辦事處資助 港樂，於 2017 年前赴首爾、 大阪、新加坡、墨爾本和悉 尼巡演。

©Ka Lam

近年和港樂合作的指揮家和演 奏家包括 ： 阿殊堅納西、貝 爾、杜托華、艾遜巴赫、弗萊 明、侯夫、祈辛、拉貝克姊 妹、郎朗、馬友友、寧峰、史 拉健、王羽佳等。

The Hong Kong Philharmonic Orchestra (HK Phil) is recognised as one of the leading orchestras in Asia. Presenting more than 150 concerts over a 44-week season, the HK Phil attracts more than 200,000 music lovers annually. In 2019 the HK Phil received the prestigious Gramophone Orchestra of the Year Award — the first orchestra in Asia to receive this distinction.

Jaap van Zweden, one of today’s most sought-after conductors, has been the orchestra’s Music Director since the 2012/13 season. He has also been the Music Director of the New York Philharmonic since the 2018/19 season.

Yu Long has been Principal Guest Conductor since the 2015/16 season, while Lio Kuokman was appointed as Resident Conductor in December 2020.

Under the dynamic leadership of van Zweden, the HK Phil has reached new heights of artistic excellence, garnering international critical acclaim. The orchestra successfully completed a four-year journey through Wagner’s Ring Cycle, performing and recording one opera from the cycle annually from 2015 to 2018. The concert performances and live Naxos recordings were enthusiastically received and garnered the 2019 Gramophone Orchestra of the

Year Award. Recent recording projects with van Zweden include Mahler’s Symphony No. 10 and Shostakovich’s Symphony No. 10, which was released in November 2022 (Naxos).

With the support of the Hong Kong Economic and Trade Offices, the HK Phil undertook a major tour in 2017 to Seoul, Osaka, Singapore, Melbourne and Sydney in celebration of the 20th anniversary of the establishment of the Hong Kong Special Administrative Region.

Conductors and soloists who have recently performed with the orchestra include Vladimir Ashkenazy, Joshua Bell, Charles Dutoit, Christoph Eschenbach, Renée Fleming, Stephen Hough, Evgeny Kissin, Katia and Marielle Labèque, Lang Lang, Yo-Yo Ma, Ning Feng, Leonard Slatkin and Yuja Wang.

樂曲介紹 Programme Notes

劉曉禹與香港管弦樂團

Bruce Liu with Hong Kong Philharmonic Orchestra

琴學習曲目。而且他是羅馬天 主教徒，但英國卻基本上是新 教社會。（他那成就斐然的太太 愛麗絲‧羅伯特斯是新教徒， 父親是位顯赫的陸軍少將。她 因為下嫁艾爾加而被家族剝奪 遺產繼承權）。

艾爾加

降 A 大調第一交響曲，作品 55

艾爾加爵士（ 1857-1934 ）在 自己的生活圈子裏，既是當中 的一分子，卻又像個局外人——

他生命裏的許多「創意張力」

都由此而生。許多聲譽極隆的 大學向他頒發榮譽稱號與榮譽 學位，1904 年他便獲女王維多

利亞冊封為爵士。就在授勳儀 式前幾個月，倫敦史無前例地 舉行了三天的節慶，艾爾加的 合唱曲與管弦樂曲都成了節慶 的焦點。艾爾加最著名的作品 《威風凜凜進行曲》第一首，成 為歌頌大英帝國國力的主題曲。

艾爾加在階級觀念深重的社會 中長大。他父親是鋼琴調音 師，在座堂城市吳斯特（位於 倫敦的西北方）經營一家音樂 商店。由於家境問題，艾爾加 無法入讀音樂學院，所以就自 學作曲，靠着在樂團拉奏小提

艾爾加默默耕耘幾十年後，終 於在 1899 年憑《謎語變奏曲》 在國際樂壇上取得突破。他 在前一年宣佈了交響曲寫作計

畫，但後來卻發覺意念需要更 長時間醖釀才能成熟，於是決 定放棄。大概已屆知命之年， 艾爾加最終重投精力，追尋 「交響曲」這個夢想。他的《第 一交響曲》（艾爾加一生寫作了 三首交響曲，但第三首沒有寫 完）寫於 1907 年至 1908 年間， 題獻給德國指揮家漢斯‧李舒 特。李舒特是艾爾加的狂熱支 持者，認為這首作品是「最偉 大的現代交響曲」。樂曲發表後 一炮而紅，這時適逢英國音樂 正在復興，《第一交響曲》奠定 了艾爾加在國內的領導地位。

艾爾加自言，這首交響曲「除 了人生的豐富體驗、慈悲寬容 （愛），以及對未來充滿希望之 外，就沒有其他內容綱領了」。

樂曲深受好幾位作曲家影響， 包括華格納（李舒特正好是華 格納專家）、華格納的對手布拉 姆斯，以及貝多芬。

高貴的主題為《第一交響曲》

16.02.2023

掀開序幕（這與華格納《帕西 發爾》有點相似）。這個主題聽 起來相當完備，本身已是完美 之作； 卻又為一首史詩式作品 開啟了大門。這個主題本身也 不斷重現，作為貫穿全曲四個 樂章的樂思。第一樂章篇幅頗 長，艾爾加在樂章正文改變了 速度和調性（由降 A 大調轉到 D 小調），所營造出的戲劇及衝 突的效果，正是樂章的基調。

第二樂章結合諧謔曲與進行曲 的特色，僅靠着一個燦爛的旋 律，一氣呵成地邁向〈慢板〉 （這個旋律實際上是諧謔曲主 題的變奏，只是將速度大幅放 慢）。李舒特將這個樂章與貝 多芬多個令人讚嘆的慢樂章相 提並論。樂章於世界首演時， 觀眾熱烈地鼓掌喝采，讓艾 爾加不得不在演奏途中上台鞠 躬致謝。

終樂章緩緩開始，彷彿幽靈似 的，第一樂章的回憶模模糊糊 地浮現。音樂後來也像第一 樂章一樣加速，迎來有力的漸 強。開端主題終於重現，為全 曲畫上句號。艾爾加說過，這 是一首「揭示作曲家人生觀」

的交響曲。

蕭邦

F 小調第二鋼琴協奏曲， 作品 21

蕭邦（ 1810-1847 ）的兩首鋼 琴協奏曲都是他早年在波蘭時

Edward Elgar (1857-1934)

的作品，為他成為公開演奏家 的事業奠下基礎。（事實上， 「鋼琴」幾乎就是「蕭邦」的同 義詞。）1831 年，蕭邦在巴黎 定居，他在藝術上的發展也越 發內向，他後來發展出的成熟 風格，其實早在這兩首協奏曲 中已可見端倪。但整體來說， 兩首協奏曲代表了另一條蕭邦 可以輕易走上、卻選擇放棄的 道路——一條外向的道路，一條 讓他以令人目眩的超卓技巧、 成就更大名氣的道路。

按寫作年份計算，其實《 F 小 調第二鋼琴協奏曲》才是他第 一首協奏曲，也是他首次嘗試 寫作的大型作品。樂曲無論 在藝術上還是商業上都十分成 功，因此蕭邦決定寫作另一首 協奏曲。由於新作《 E 小調第 一鋼琴協奏曲》，作品 11 首先 出版，所以兩首樂曲的編號就 與實際的寫作次序不符。

《 F 小調協奏曲》裏，鋼琴就是 全曲的重心。蕭邦實際上以管 弦樂團呈現主題，並引導由獨 奏鋼琴作為主角。全曲以常規 的樂團呈示部掀開序幕。鋼琴 加入以前，作曲家以宏偉的效 果與沉思似的抒情色彩（第二 主題，由木管樂奏出）形成鮮 明對比。不過鋼琴接手後，就 將這兩個元素轉化為自己的語 言。第一樂章的餘下部分，都 以鋼琴為主導。

Edward Elgar: Symphony No. 1 in A-flat Major, Op. 55

Sir Edward Elgar was both an insider and an outsider, which generated much creative tension in his life. He received numerous distinctions and honourary degrees from prestigious universities, and in 1904 he was knighted by Queen Victoria. Just a few months before that occasion, Elgar’s choral and orchestral works became the focus of an unprecedented three-day festival in London. His best-known piece, the first of the five Pomp and Circumstance Marches, became the signature tune of British imperial power.

However, Elgar grew up in this highly class-conscious society as the son of a piano tuner who ran a music shop in the cathedral city of Worcester, northwest of London. Because his family could not afford to send him to a conservatory, Elgar taught himself composition and learned the repertoire by playing violin in an orchestra. He was, moreover, Roman Catholic in a decisively Protestant society. (His highly accomplished wife, Alice Roberts, was the Protestant daughter of a prominent major-general, and her marriage to the composer led to her being disinherited.)

After toiling patiently for decades, Elgar made his international breakthrough with the Enigma Variations in 1899. He had announced plans for a symphony the previous year, but abandoned that project after realising that his ideas would

need more time to mature. Perhaps it was the milestone of turning 50 that finally compelled Elgar to refocus his energy on this symphonic dream. He composed the first of his three symphonies (No. 3 was left unfinished) in 19071908, dedicating it to German conductor Hans Richter. An ardent champion of Elgar’s music, Richter judged the work to be “the greatest symphony of modern times” and it was an immediate sensation. His Symphony No. 1 further secured Elgar’s high standing as a leading figure in a renaissance of English music.

Elgar said of the symphony: “There is no programme beyond a wide experience of human life with a great charity (love) and a massive hope in the future.” Richter was an expert on Wagner, who is one of several influences on the score, along with Wagner’s rival, Brahms, and Beethoven.

The noble theme that opens the Symphony No. 1 (with an echo of Wagner’s Parsifal) sounds self-contained, perfect in itself. Yet it opens a door to the epic score that follows and recurs as a unifying idea throughout the rest of the four-movement work. Elgar changes both tempo and key (A-flat Major to D minor) during the first movement proper, establishing a sense of drama and conflict that informs the lengthy first movement.

The second movement combines aspects of a scherzo with a march. Without pause, Elgar then leads us into the

adagio with a radiant melody (in fact a variant of the scherzo’s theme that has been dramatically slowed down). Richter compared it to the sublime slow movements composed by Beethoven. The audience at the world premiere applauded so enthusiastically that Elgar came onstage for a bow during the middle of the performance.

The final movement starts slowly and almost ghostlike, emitting shadowy reminiscences of the first movement. The tempo speeds up, as it did in the first movement, and comes to a powerful crescendo. The theme from the opening eventually returns to close a symphony that Elgar said revealed “a composer’s outlook on life”.

Chopin: Piano Concerto No. 2 in F minor, Op. 21

Both of the concertos that Frédéric Chopin (18101847) wrote for piano—the instrument with which his name

has become synonymous— date from his youth in his native Poland, and helped launch his career as a public performer. Chopin resettled in Paris in 1831, and in the process his artistic concerns turned inward. Aspects of the mature style he developed later are foreshadowed by certain moments in the concertos. But overall, the concertos represent an alternate path that Chopin could easily have pursued but chose to abandon—a more extroverted path of dazzling virtuosity that would have made him a much more public figure.

The Piano Concerto No. 2 in F minor was actually the first concerto, in chronological terms, that Chopin composed and his first foray into largescale form. Its artistic and commercial success led Chopin decided to undertake another concerto. Because that piece, known as the Piano Concerto No. 1 in E minor, Op. 11, was published before the F minor Concerto, both works entered the repertoire with their numbers reversed from the order of composition.

The Concerto in F minor treats the piano as more than a protagonist—it is the centre of gravity. Chopin’s orchestra essentially serves to create a context for the soloist’s musings. In the conventional exposition for orchestra that launches the concerto, before the piano soloist’s entry, Chopin contrasts grand gestures with introspective lyricism (the second theme, played by the

woodwinds). But soon the piano takes over and transforms both of these elements into a language of its own. The rest of the first movement unfolds with prominence given to the piano’s perspective.

The slow movement, a larghetto in A-flat Major, is radiant and anticipates the Chopin of the Parisian salons. Chopin himself confessed that hidden in this music was an expression of his love for Konstancja Gladkowska, a young soprano and fellow student at the Warsaw Conservatory. We can hear the composer’s love for the graceful style of bel canto melody in Italian opera, but Chopin uses the piano as a substitute for the human voice. The piano’s delicate ornamentation prolongs the image of ecstatic caresses. A darker mood filled with doubt interrupts, but only briefly, in the middle. Near the end, the bassoon weaves in its voice, creating a sweetly intimate dialogue.

After the larghetto has transported us to paradise, Chopin returns to earth with a zesty rondo to conclude the concerto. The main theme, with its touches of the Polish mazurka, reminds us of Chopin’s other great love: his steadfast connection to his homeland. Near the end, with a horn signalling the way, the music shifts from minor to major, preparing the way for the exciting final section.

© Louis-Auguste Bisson

Frédéric Chopin (1810-1849)

香港管弦樂團

Hong Kong Philharmonic Orchestra

音樂總監 MUSIC DIRECTOR

梵志登 Jaap van Zweden, SBS

第一小提琴 FIRST VIOLINS

樂團首席 Concertmaster

王 敬 Jing Wang

樂團第一副首席

First Associate Concertmaster

梁建楓 Leung Kin-fung

樂團第二副首席

Second Associate Concertmasters

許致雨 Anders Hui

王 亮 Wang Liang

樂團第三副首席

Third Associate Concertmaster

朱 蓓 Bei de Gaulle

艾 瑾 Ai Jin

把文晶 Ba Wenjing

程 立 Cheng Li

桂 麗 Gui Li

李智勝 Li Zhisheng

劉芳希 Liu Fangxi

毛 華 Mao Hua

梅麗芷 Rachael Mellado

張 希 Zhang Xi

首席客席指揮

PRINCIPAL GUEST CONDUCTOR

余 隆 Yu Long

第二小提琴 SECOND VIOLINS

趙瀅娜 Zhao Yingna ●

余思傑 Domas Juškys ■

梁文瑄 Leslie Ryang Moonsun ▲

方 潔 Fang Jie

何珈樑 Gallant Ho Ka-leung

劉博軒 Liu Boxuan

冒異國 Mao Yiguo

華嘉蓮 Katrina Rafferty

韋鈴木美矢香 Miyaka Suzuki Wilson

冒田中知子 Tomoko Tanaka Mao

黃嘉怡 Christine Wong

周騰飛 Zhou Tengfei

賈舒晨 Jia Shuchen # ●

李 祈 Li Chi # ●

● 樂師輪流於第一及第二聲部演出

Players may rotate between the First and Second Violin sections

中提琴 VIOLAS

凌顯祐 Andrew Ling ●

李嘉黎 Li Jiali ■

熊谷佳織 Kaori Wilson ▲

蔡書麟 Chris Choi

崔宏偉 Cui Hongwei

付水淼 Fu Shuimiao

洪依凡 Ethan Heath

黎 明 Li Ming

林慕華 Damara Lomdaridze

羅舜詩 Alice Rosen

孫 斌 Sun Bin

張姝影 Zhang Shuying

駐團指揮 RESIDENT CONDUCTOR

廖國敏 Lio Kuokman, JP

大提琴 CELLOS

鮑力卓 Richard Bamping ●

方曉牧 Fang Xiaomu ■

林 穎 Dora Lam ▲

陳屹洲 Chan Ngat-chau

陳怡君 Chen Yichun

霍 添 Timothy Frank

關統安 Anna Kwan Ton-an

宋泰美 Tae-mi Song

宋亞林 Song Yalin

低音大提琴 DOUBLE BASSES

林達僑 George Lomdaridze ●

姜馨來 Jiang Xinlai ◆

張沛姮 Chang Pei-heng

馮 榕 Feng Rong

費利亞 Samuel Ferrer

林傑飛 Jeffrey Lehmberg

鮑爾菲 Philip Powell

范戴克 Jonathan Van Dyke

長 笛 FLUTES

史德琳 Megan Sterling ● 盧韋歐 Olivier Nowak ■

浦翱飛 Josep Portella Orfila

短 笛 PICCOLO

施家蓮 Linda Stuckey

雙簧管 OBOES

韋爾遜 Michael Wilson ●

王譽博 Wang Yu-po ■

金勞思 Marrie Rose Kim

英國管 COR ANGLAIS

關尚峰 Kwan Sheung-fung

單簧管 CLARINETS

史安祖 Andrew Simon ●

史家翰 John Schertle ■

劉 蔚 Lau Wai

低音單簧管 BASS CLARINET

艾爾高 Lorenzo Iosco

巴松管 BASSOONS

莫班文 Benjamin Moermond ●

陳劭桐 Toby Chan ■

李浩山 Vance Lee ◆

低音巴松管 CONTRA BASSOON

崔祖斯 Adam Treverton Jones

圓 號 HORNS

江 藺 Lin Jiang ●

柏如瑟 Russell Bonifede ■

周智仲 Chow Chi-chung ▲

托多爾 Todor Popstoyanov

李少霖 Homer Lee

麥迪拿 Jorge Medina

小 號 TRUMPETS

巴力勛 Nitiphum Bamrungbanthum ●

莫思卓 Christopher Moyse ■

華達德 Douglas Waterston

施樂百 Robert Smith

長 號 TROMBONES

韋雅樂 Jarod Vermette ●

高基信 Christian Goldsmith

湯奇雲 Kevin Thompson

低音長號 BASS TROMBONE

區雅隆 Aaron Albert

大 號 TUBA

雷科斯 Paul Luxenberg ●

定音鼓 TIMPANI

龐樂思 James Boznos ●

敲擊樂器 PERCUSSION

白亞斯 Aziz D. Barnard Luce ●

梁偉華 Raymond Leung Wai-wa

胡淑徽 Sophia Woo Shuk-fai

豎 琴 HARP

敖 舜 Madeline Olson# ●

特約樂手 FREELANCE PLAYER

豎琴：譚懷理 Harp: Amy Tam

「管弦樂精英訓練計劃」駐團學員 THE ORCHESTRA ACADEMY HONG KONG (TOA) FELLOWS

小提琴：沈庭嘉

Violin: Vivian Shen Ting-chia

中提琴：姚詠瑜

Viola: Winnie Yiu Wing-yue

大提琴：梁卓恩

Cello: Vincent Leung Cheuk-yan

長笛：許嘉晴

Flute: Alice Hui Ka-ching

雙簧管：區可怡

Oboe: Holly Ao Ho-I

單簧管：溫子俊

Clarinet: Ryan Wan Tsz-chun

鳴謝

ACKNOWLEDGEMENTS

香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support:

香港藝術節基金會贊助人

Hong Kong Arts Festival Foundation Patrons

首席創始贊助人 Lead Founding Patrons

陳俊豪先生 Mr Thomas Chan

黃廷方慈善基金 Ng Teng Fong Charitable Foundation

電訊盈科 PCCW

九龍倉集團 The Wharf Group

主要創始贊助人 Major Founding Patrons

萬通保險國際有限公司 YF Life Insurance International Ltd

眾安銀行 ZA BANK

創始贊助人 Founding Patrons

陳煒文博士, JP Dr Raymond Chan, JP

丹斯里拿督邱達昌 Tan Sri Dato’ David Chiu

曹其鋒先生 Mr Silas Chou

霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok

馮氏基金有限公司 E.M. Fung Foundation Limited

何超瓊女士, SBS , JP Ms Pansy Ho, SBS, JP

科勁國際（控股）有限公司 King’s Flair International (Holdings) Limited

梁婉玲博士 Dr Elina Leung

孫漢明博士 Dr Stephen Suen

包陪麗女士, BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari

其他贊助人 Other Patrons

羅嘉瑞基金 KS & Feili Lo Foundation

孫大倫博士, BBS , JP Dr Dennis T L Sun, BBS, JP

慶祝香港藝術節五十周年晚宴之贊助人

Sponsors of the Hong Kong Arts Festival 50th Anniversary Gala Dinner

鑽石席 – 宴桌 Diamond Table Sponsors 香港上海匯豐銀行有限公司 上海商業銀行

洪祖杭博士, GBM , GBS , JP

鄭慕智博士, GBM , GBS , JP James Houghton 先生, 黃穎灝先生及梅慶堯先生 雍景欣女士

The Hongkong and Shanghai Banking Corporation Limited

Shanghai Commercial Bank

Dr the Hon Albert Hung Chao-hong, GBM, GBS, JP

Dr the Hon Moses Mo-chi Cheng, GBM, GBS, JP

Mr James Houghton, Mr Isaac Wong & Mr Arthur Mui

Ms Jingxin Yong

鑽石席 – 宴位 Diamond Seat Sponsors 呂元祥博士及夫人

譚允芝女士, SBS , SC , JP 龐維新先生及夫人 崇光(香港)百貨有限公司

黃金席 – 宴桌 Gold Table Sponsors 鄭阮培恩女士, 吳來盛先生及夫人 中美國際集團有限公司

華國強先生夫人 太古地產有限公司 卡地亞

黃金席 – 宴位 Gold Seat Sponsors 何苗春暉女士

林梅若梅女士

鄭馮亮琪女士

Janana Suleymanli Pasha 女士 鄭惠貞女士

張利平先生

Dr and Mrs Ronald Lu

Ms Winnie Tam Wan-chi, SBS, SC, JP

Mr and Mrs Wilson Pong

Sogo Hong Kong Company Limited

Mrs Betty Cheng, Mr and Mrs Emil Ng

Chung Mei International Holdings Limited

Mr Granger and Mrs Miriam Hwa

Swire Properties Limited

Cartier

Ms Joanna Hotung

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Mrs Fina Cheng

Ms Janana Suleymanli Pasha

Ms Margaret Cheng

Mr Zhang Liping

鳴謝 ACKNOWLEDGEMENTS (續 con' t)

香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members

鉑金會員 Platinum Member

嘉里控股有限公司

Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

其他支持機構 Other Supporters

加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

實物支持機構 In - kind Supporters

大亞國際集團 Altaya Group

香港愉景灣酒店 Auberge Discovery Bay Hong Kong

香港君悦酒店 Grand Hyatt Hong Kong

虎豹樂圃 Haw Par Music

藝術節捐助計劃 Festival Donation Scheme

鉑金捐款者 PLATINUM DONOR

HK$140,000 或以上 OR ABOVE

孫大倫博士, BBS , JP Dr Dennis T L Sun , BBS , JP

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

瑞安集團 Shui On Group

Dr Patrick Tong

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HK$30,000 – HK$69,999

無名氏 Anonymous

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Ms Leung Wai Yee Candice

馬美域女士 Ms Yvette Therese Ma

Dr Stephen Suen

楊傳亮先生, BBS , JP Mr Charles Yang , BBS , JP

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HK$12,000 – HK$29,999

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Mr & Mrs Jeffrey & Helen Chan

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Mrs Linda Wang

Mr & Mrs YS Wong

純銀會員 Silver Members 太古集團慈善信託基金

The Swire Group Charitable Trust

上海商業銀行有限公司

Shanghai Commercial Bank Limited

荷蘭駐港總領事館

Consulate of the Kingdom of the Netherlands in Hong Kong and Macau

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Apple Lee

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San Miguel Brewery Hong Kong Ltd .

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鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

Mrs Purviz R Shroff , MH and

Late Mr Rusy M Shroff , BBS , MBE

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無名氏 Anonymous

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凌霄志醫生 Dr Tony Ling

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Miss Jenny Hodgson

Mr Iain Bruce

麥禮和醫生 Dr Mak Lai Wo

Mr Vernon Zhang

陳穎儀與黃乃正

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 ( 3 ) Anonymous ( 3 )

Mr & Mrs Herbert Au - Yeung

Cynthia Cheng & Aaron Chan

Ms Kit Fung Cheung

Dr Alan Chiang

馮兆林先生太太 Mr & Mrs Fung Shiu Lam

Ms Maureen Leung

Ms Regina Lo

Ms Janice Ritchie

Mrs Anna Chan Sheh

Mr So Kin Man

文娛慈善基金 The Elementary Charitable Foundation

余德銘先生 Mr Desmond Yu

殷和順先生劉善萍夫人

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

Ms Judith Ling

Ms So Wing Yin

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

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

HK CT Alumni Association

支持及協助 SUPPORT AND COOPERATION

教育局藝術教育組

Arts Education Section, Education Bureau

香港展能藝術會

Arts with the Disabled Association Hong Kong

香港愉景灣酒店

Auberge Discovery Bay Hong Kong

澳洲駐香港及澳門總領事館 Australian Consulate-General Hong Kong and Macau

奧地利駐香港總領事館 Austrian Consulate General

Hong Kong

樺利廣告有限公司 Avanny Advertising Co Ltd

宏基國際賓館 Bishop Lei International House

BRICK LANE

英國文化協會 British Council

英國駐香港總領事館 British Consulate General Hong Kong

百老匯院線 Broadway Circuit burgundy etc

CAMPSITE

粵劇發展基金 Cantonese Opera Development Fund

牛棚藝術村 Cattle Depot Artist Village

周生生集團國際有限公司

Chow Sang Sang Jewellery Co. Ltd

中信國際電訊(信息技術)有限公司

CITIC Telecom International CPC Limited

城市當代舞蹈團 City Contemporary Dance Company

城巿花園酒店 City Garden Hotel

思聯設計有限公司 CL3 Architects Ltd

比利時駐港澳總領事館

Consulate General of Belgium in Hong Kong and Macau 加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

法國駐港澳總領事館

Consulate General of France in Hong Kong and Macau

西班牙駐香港總領事館

Consulate General of Spain in Hong Kong 瑞士駐香港總領事館

Consulate General of Switzerland in Hong Kong

荷蘭駐港總領事館

Consulate General of the Kingdom of Netherlands in Hong Kong and Macau

大韓民國駐香港總領事館

Consulate General of the Republic of Korea in Hong Kong

俄羅斯駐香港總領事館

Consulate General of the Russian Federation in the Hong Kong SAR, PRC

Die Konzertisten

拔萃女書院 Diocesan Girls' School

愛普生香港有限公司 Epson Hong Kong Limited

香港港威酒店 Gateway Hotel, Hong Kong

德國駐香港總領事館

German Consulate General Hong Kong

六國酒店 Gloucester Luk Kwok Hong Kong

香港歌德學院 Goethe-Institut Hong Kong

香港君悅酒店 Grand Hyatt Hong Kong

青苗琴行 Greenery Music

香港恒生大學

Hang Seng University of Hong Kong

學生事務處 Student Affairs Office

8 度海逸酒店 Harbour Plaza 8 Degrees

快達票香港有限公司 HK Ticketing

香港文聯 HKL&A

香港藝術行政人員協會 Hong Kong Arts Administrators Association

香港藝術中心 Hong Kong Arts Centre

香港浸會大學 Hong Kong Baptist University

音樂學院 Academy of Music

拉闊文化 Cultural Literacy Programme

英國語言文學系 Department of English Language and Literature

香港大會堂 Hong Kong City Hall

香港文化中心 Hong Kong Cultural Centre

香港電影資料館 Hong Kong Film Archive

香港黃金海岸酒店 Hong Kong Gold Coast Hotel

香港管弦樂團 Hong Kong Philharmonic Orchestra

香港公共圖書館 Hong Kong Public Libraries

香港旅遊發展局 Hong Kong Tourism Board

斯洛文尼亞駐港總領事館 Honorary Consulate of Slovenia in Hong Kong

香港都會大學

Hong Kong Metropolitan University

學生事務處 Student Affairs Office

登臺 Hotel Stage

宜必思香港中上環

ibis Hong Kong Central and Sheung Wan

工銀亞洲 ICBC (Asia)

入境事務處 Immigration Department

香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices

Outside Hong Kong

海景嘉福洲際酒店

InterContinental Grand Stanford Hong Kong

高山劇場 Ko Shan Theatre

九龍木球會 Kowloon Cricket Club

Kubrick

葵青劇院 Kwai Tsing Theatre

駐香港韓國文化院

Korean Cultural Center in Hong Kong

康樂及文化事務署

Leisure and Cultural Services Department

牧羊少年與他的浮萍 Lemna of the alchemist

中央人民政府駐香港特別行政區聯絡辦公室 Liaison Office of the Central People's Government in the HKSAR

嶺南大學 Lingnan University

黃炳禮音樂及演藝部

Wong Bing Lai Music and Performing Arts Unit

馬哥孛羅香港酒店 Marco Polo Hongkong Hotel

Maxibit HK/China

MCL K11 Art House

中華人民共和國文化和旅遊部

Ministry of Culture and Tourism, PRC 循道衛理聯合教會國際禮拜堂

Methodist International Church Hong Kong Mission Production Company Ltd

李鏡輝先生 Mr Alpha Li

黃月妙小姐 Ms Kitty Wong

黃宇軒先生 Mr Sampson Wong

音樂事務處 Music Office

北區大會堂 North District Town Hall

One Minden Tapas Kitchen

橙天嘉禾娛樂集團 Orange Sky Golden Harvest

Entertainment Group

柏斯琴行 Parsons Music Limited

奧華酒店 中環 Ovolo Central

卓滙達有限公司 Patsville Company Ltd

Performing Arts Fund NL

電訊盈科 PCCW Pixellent

犇華企業服務有限公司 Primasia Corporate Services Limited

鄭新文教授 Prof Tseng Sun-man

富豪酒店國際 Regal Hotels International

香港瑰麗酒店 Rosewood Hong Kong

皇家太平洋酒店 Royal Pacific Hotel

Russian Club in Hong Kong

沙田大會堂 Sha Tin Town Hall

上環文娛中心 Sheung Wan Civic Centre

聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin

Secondary School

南非駐香港總領事館

South African Consulate General Hong Kong SAR & Macao SAR, PRC

Southgate Design

香港西班牙商會

Spanish Chamber of Commerce in Hong Kong

事必達推廣有限公司 Speedy Promotion Limited

春天舞台劇製作有限公司 Spring-Time Stage Productions Limited

辰衝圖書有限公司 Swindon Book Co. Ltd.

香港瑞士商會有限公司 Swiss Chamber of Commerce in Hong Kong Limited

大館 Tai Kwun

台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

藝林文具印刷有限公司 The Artland Co Ltd

香港八和會館 The Chinese Artists Association of Hong Kong

香港中文大學 The Chinese University of Hong Kong

聯合書院 United College

藝術行政主任辦公室 The Office of the Arts Administrator

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

香港城市大學 The City University of Hong Kong

文化薈 Cultural Exchange Oasis

商務印書館（香港）有限公司 The Commercial Press (Hong Kong) Limited

香港教育大學 The Education University of Hong Kong

文化與創意藝術學系 Department of Cultural and Creative Arts

灣景國際 The Harbourview

梅夫人婦女會 The Helena May

香港演藝學院 The Hong Kong Academy for Performing Arts

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

音樂學院 School of Music

舞蹈學院 School of Dance

電影電視學院 School of Film and Television

學生事務處 Student Affairs Office

表演場地管理部 Venue Performance Unit

場地技術部 Venue Technical Unit

香港兒童合唱團 The Hong Kong Children’s Choir

香港理工大學 The Hong Kong Polytechnic Universit

文化及設施推廣處 Culture Promotion and Events Office

香港科技大學 The Hong Kong University of Science and Technology

藝術中心 Center for the Arts

The Swiss Chamber of Commerce in Hong Kong Limited

香港大學 The University of Hong Kong

音樂系 Department of Music

香港大學美術博物館 University Museum and Art Gallery Cultural Management Office

學生發展及資源中心 Centre of Development and Resources for Students

港青 - 香港基督教青年會

The Salisbury – YMCA of Hong Kong

通利琴行 Tom Lee Music Company Ltd

三角關係 Trinity Theatre

荃灣大會堂 Tsuen Wan Town Hall

屯門大會堂 Tuen Mun Town Hall

城市售票網 URBTIX

市區重建局 Urban Renewal Authority

同流黑盒劇場 WeDraman Black Box Theatre

進富印刷公司 Wealthy Step Printing Co.

西九文化區管理局

West Kowloon Cultural District Authority

粵海華美灣際酒店 Wharney Hotel

艾希妮網絡公關有限公司 X Social Group Limited

油麻地戲院 Yau Ma Tei Theatre

元朗劇院 Yuen Long Theatre

赤豚事務所 Zhu Graphizs

More than Great Performances!

2023 FESTIVAL PLUS PROGRAMME 藝術節加料節目

3/2

五 Fri

5/2

日 Sun

12/2

日 Sun

13/2 Mon

18/2 六 Sat

19/2 日 Sun

跨越界限——陳詠燊談劇本創作

Sunny Chan on Screenwriting and Playwriting

說說管風琴•說說巴赫

Tracing the Organ Music of Bach

廣陵情長——粵劇編寫竹林七賢傳奇

Writing Cantonese Opera for the Legendary Seven Sages of the Bamboo Grove

「禹•見」鋼琴大師

Masterclasses and Meet Bruce Liu

「短篇粵劇──戲說八德」演後藝人談

Virtues and Morality—Four Cantonese Operas

Post-Performance Meet-the-Artist

杜國威經典作品選映——《虎度門》

Hu Du Men

Collection of Raymond To’s Classics

杜國威經典作品選映——《劍雪浮生》

A Sentimental Journey Collection of Raymond To’s Classics

22/2 三 Wed 杜國威經典作品選映——《南海十三郎》

24/2 五 Fri

The Mad Phoenix Collection of Raymond To’s Classics

米歇爾．梵德阿《水之書》演後藝人談

The Book of Water Post-Performance Meet-the-Artist

香港藝術節加料節目 X 大館對談：

古董鋼琴與現代鋼琴

27/2 Mon

28/2

二 Tue

1 - 19/3

三 - 日 Wed - Sun

3/3

五 Fri

5/3

日 Sun

HKAF PLUS x Tai Kwun Conversations: Early Piano Vs. Modern Piano 盛原——古董鋼琴獨奏會

Antique Piano Recital by Yuan Sheng 韓德兩地的音樂旅途

A Music Journey between Two Cultures –Esme Quartet in Korea and in Germany

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

歌劇《尤利西斯歸鄉記》製作解碼展覽

The Making before The Return Exhibition

《超真實》裝置音樂會演後藝人談 Hyperreality—an installation concert

Post-Performance Meet-the-Artist

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

「笙世界 音樂會」演後藝人談

Sheng World Music— Kevin Cheng & Friends

Post-Performance Meet-the-Artist

長笛的進化史──從巴羅克到現代時期 Evolution of Flute from the Baroque to Modern Periods

8/3 三 Wed 古鋼琴大師班

Fortepiano Masterclass 10/3 五 Fri

沉浸式歌劇《小狐狸》舞台參觀及公開彩排 Into the World of Silent Opera - Vixen Stage Tour & Open Rehearsal 「毛俊輝•粵劇情」演後藝人談

Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

「長笛三次方——曾逸豪在繆思的庭院」 演後藝人談 Triptych for Flute—Tsang Yat-ho in Le jardin des muses

Post-Performance Meet-the-Artist

演唱蒙特威爾第 About Singing Monteverdi 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

呼吸，讓木偶栩栩如生 Breathing brings Puppet to Life 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

巴赫與我 All I Need is Bach

《末戀•無愛合約》演後藝人談 Loveless Romance Post-Performance Meet-the-Artist

以樂器之王為經典默片配樂 Writing Music for Silent Film – Tips from the Organist

傑出文化領袖講座系列（10） 與班貝格交響樂團行政總裁暨 藝術總監馬庫斯•魯道夫•阿克斯對談 Distinguished Cultural Leadership Series (10)

In Conversation with Marcus Rudolf Axt Chief Executive and Artistic Director, Bamberg Symphony 《狂人派對》演後藝人談 Dance Me to the End of Night Post-Performance Meet-the-Artist

傑出文化領袖講座系列（10） 與金像獎最佳編劇杜國威對談—戲畫人生 Distinguished Cultural Leadership Series (10)

From Stage to Ink: In Conversation with Award-winning Playwright and Screenwriter Raymond To Kwok-wai

贊助人 李家超先生, GBM SBS PDSM PMSM

永遠名譽會長 邵逸夫爵士 (1907-2014)

執行委員會

主席 查懋成先生

副主席 盧景文教授

義務司庫 范高廉先生

委員 鄭阮培恩女士 鄭惠貞女士 馮愉敏先生 何苗春暉女士 文肇偉先生 孫大倫博士 姚潔莉女士 楊　光先生

節目委員會

主席 盧景文教授

委員 白諾信教授 紀大衛教授 羅志力先生 毛俊輝教授 約瑟．施力先生+ 譚榮邦先生 姚　珏女士

財務委員會

主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生 發展委員會

主席 鄭阮培恩女士

副主席 雍景欣女士 委員 馮愉敏先生 龐心怡女士 孫林宣雅女士 文藝女士 姚祖輝先生

顧問 夏佳理先生 鮑　磊先生 陳祖澤博士 陳達文博士 霍　璽先生 李業廣先生 梁紹榮夫人 李國寶博士 名譽法律顧問 甘乃迪女士（孖士打）

核數師 羅兵咸永道 會計師事務所

PATRON

HONORARY LIFE PRESIDENT

EXECUTIVE COMMITTEE

Chairman

Vice-Chairman

Honorary Treasurer

Members

電話 TEL 2824 3555

傳真 FAX 2824 3798 / 2824 3722

電子郵箱 Email afgen@hkaf.org

節目查詢熱線 2824 2430

Programme

Enquiry Hotline

地址 ADDRESS 香港灣仔港灣道 2 號 12 樓 1205 室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

The Hon. John KC Lee, GBM SBS PDSM PMSM

The Hon. Sir Run Run Shaw, GBM CBE (1907-2014)

Mr Victor Cha

Prof. Lo King-man, SBS MBE JP

Mr Colin Farrell

Mrs Betty Yuen Cheng

Ms Margaret Cheng

Mr Michael Fung

Ms Joanna Hotung

Mr Sebastian Shiu-wai Man

Dr Dennis T L Sun, BBS JP

Ms Miriam Yao

Mr Sunny Yeung

PROGRAMME COMMITTEE

Chairman

Members

Prof. Lo King-man, SBS MBE JP

Prof. Giorgio Biancorosso

Prof. David Gwilt, MBE

Mr Peter C L Lo

Prof. Fredric Mao, BBS

Mr Joseph Seelig +

Mr Wing-pong Tam, SBS JP

Ms Jue Yao, JP

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

Mr Colin Farrell

Ms Margaret Cheng

Mr Nelson Leong

Mrs Betty Yuen Cheng

Ms Jane Yong

Mr Michael Fung

Ms Samanta Sum-yee Pong

Mrs Helen Lin Sun

Ms Yi Wen

Mr Andrew Yao

ADVISORS

The Hon. Ronald Arculli, GBM GBS

Mr Martin Barrow, GBS CBE JP

Dr John C C Chan, GBS CBE LVO JP

Dr Darwin Chen, SBS ISO

Mr Angus H Forsyth

The Hon. Charles YK Lee, GBM GBS OBE JP

Mrs Mona Leong, SBS BBS MBE JP

Dr The Hon Sir David KP Li, GBM GBS OBE JP

HONORARY SOLICITOR

AUDITOR

Ms Gabriela Kennedy, Mayer Brown

PricewaterhouseCoopers

職員

行政總監 余潔儀

行政總監助理 何丹蓉

節目

節目總監 梁掌瑋 蘇國雲

高級節目經理 梁偉然 *

節目經理 陳曉彤 * 鄭佩群 * 廖國穎 * 馬筠婷 * 司徒頌欣 *

短期節目經理 游慧姿 *

副節目經理 杜以樂 *

節目統籌 林穎茵 *

藝術行政見習員 容諾行 *

行政

節目經理 (行政) 蘇雪凌

節目主任 (行政) 林穎妍 *

物流

物流及接待經理 金學忠 *

技術

製作經理 梁雅芝 *

助理製作經理 陳梓衡 *

出版

編輯 陳詠恩 * Adam Wright*

助理編輯 陳劭儀 * 李芷晴 *

外展

外展經理 林嘉敏 *

助理外展經理 李萬祺 * 潘穎詩 *

外展主任 張凱柔 *

外展助理 馬曉瑩 *

藝術行政見習員 馮樂程 *

市場推廣

市場總監 鄭尚榮

副市場總監 盧伯全

副市場經理 陳靄婷 * 張予心 * 黃頴儀 *

助理項目經理 李穎軒 * 譚懿諾 *

助理市場經理 許樂欣 * 曾諾怡 *

市場主任 林培生 *

票務

市場經理(票務) 梁彩雲

票務主任 殷嘉駿 *

發展

發展總監 黃美儀

特別發展協理 蘇啟泰 *

發展經理 林思穎 * 吳綺菁 * 譚樂瑤 發展經理（大額捐獻） 鍾雅妍 * 發展主任 鄒穎妮 * 譚尹晴 *

藝術行政見習員 梁詠熙 *

短期發展助理 潘藹怡 *

行政事務

財務總監 鄺敬婷

會計

會計經理 杜詩麗 *

會計主任 顏悅恩 *

人力資源及行政

人力資源及行政經理 楊美君 *

接待員/初級秘書 李美娟

助理 黃國愛

資訊科技

資訊科技經理 陳啟明 *

無限亮

項目總監 錢 佑 * 節目及外展經理 鍾美琼 * 何敏凝 * 節目及外展統籌 何敬堯 * 潘詠汶 *

市場經理 何詩慧 *

副市場經理 廖愷瀅 * 助理製作經理 張詠宜 * 高級會計主任 鍾巧明 *

香港藝術節@大館

項目經理 鄺為立 * 公關及宣傳統籌 楊佩雯 *

STAFF

Executive Director

Assistant to Executive Director

PROGRAMME

Programme Directors

Senior Programme Manager

Programme Managers

Temporary Programme Manager

Deputy Programme Manager

Programme Coordinator

Arts Administrator Trainee

ADMINISTRATION

Programme Manager (Admin)

Programme Officer (Admin)

LOGISTICS

Logistics Manager

TECHNICAL

Production Manager

Assistant Production Manager

PUBLICATIONS

Editors

Assistant Editors

OUTREACH

Outreach Manager

Assistant Outreach Managers

Outreach Officer

Outreach Assistant

Arts Administrator Trainee

MARKETING

Marketing Director

Associate Marketing Director

Deputy Marketing Managers

Assistant Project Managers

Assistant Marketing Managers

Marketing Officer

TICKETING

Marketing Manager (Ticketing)

Ticketing Officer

DEVELOPMENT

Development Director

Special Development Associate

Development Managers

Development Manager (Major Gifts)

Development Officers

Arts Administrator Trainee

Temporary Development Assistant

CORPORATE SERVICES

Finance Director

ACCOUNTS

Account Manager

Accounting Officer

HR & ADMINISTRATION

HR and Admin Manager

Receptionist/Junior Secretary

General Assistant

INFORMATION TECHNOLOGY

Flora Yu

Connie Ho

Grace Lang So Kwok-wan

Ian Leung*

Kristen Chan* Cathy Cheng*

Sophie Liao* Katie Ma*

Samantha Szeto*

Janet Yau*

Tobe To*

Lilian Lam*

Ryan Yung*

Shirley So

Michelle Lam*

Elvis King*

Shirley Leung*

Jacob Chan*

Eugene Chan* Adam Wright*

Shao yi Chan* Rebecca Lee*

Carman Lam*

Kelvin Li* Renee Poon*

Hazel Cheung*

Queena Ma*

Crystal Fung*

Katy Cheng

Eugene Lo

Tobie Chan* Stephanie Cheung*

Joey Wong*

Hill Li* Hades Tam*

Sally Hui* Margaret Tsang*

Billy Lin

Eppie Leung

Cyrus Yan*

Angela Wong

Alex So*

Sharon Lam* Joey Ng*

Lorna Tam

Fiona Chung*

Chau Wing-ni* Linda Tam*

Kirstie Leung*

Carol Pun*

Teresa Kwong

Connie To*

Stephany Ngan*

Janet Yeung*

Virginia Li

Bonia Wong

Information Technology Manager Derek Chan*

NO LIMITS

Project Director

Programme and Outreach Manager

Programme and Outreach Coordinators

Marketing Manager

Deputy Marketing Manager

Assistant Production Manager

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

PR and Marketing Coordinator

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Ho Sze-wai*

Kaitlyn Liu*

Jess Cheung*

Catherine Chung*

Kwong Wai Lap*

Wind Yeung*

Production Officer Pang Ka Tat*

Technical Coordinators Rachel Au*, Tony Choi*, Cherry Fung*, Mandy Lai*, Martin Lai*, Lawrence Lee*, Joyi Tsang*