Insula orchestra and accentus- Sky Burial- 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)

香港藝術節

HONG KONG ARTS FESTIVAL

感謝 would like to thank

贊助 for sponsoring

The 23 Feb Performance of Insula orchestra and accentus Sky Burial as part of The Hong Kong Jockey Club Series

「香港賽馬會藝粹系列」之 島嶼管弦樂團及誦調合唱團

©Mat Collishaw 曲目 Programme

島嶼管弦樂團及誦調合唱團

Insula orchestra and accentus

SKY BURIAL  23.02.2023 8pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

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

藝術及音樂總監的話

Artistic and Musical Director’s Note

影像創作人的話 Video Creator’s Note

樂曲介紹

影像創作 Video Creator

Cover Photograph © 麥特・科利肖 Mat Collishaw

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

51 屆香港藝術節指定航 空公司芬蘭航空來回香港

Members of Insula orchestra and accentus flew to and from Hong Kong on Finnair, Official Airline of the 51st Hong Kong Arts Festival

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 at 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。

This programme is printed on environmentally friendly paper

The content of all works is independently produced by the organiser/creative team, and does not reflect the views or opinions of the Sponsor.

封面照片

古諾：《亞西西的聖方濟》

第一部分：在獄中

第二部分：聖方濟之死

男高音 Tenor

安宓泰．帕迪 Amitai Pati

( 聖方濟 St. Francis ）

佛瑞：《安魂曲》，作品 48

I. 進堂詠

II. 垂憐頌

III. 奉獻詠：主耶穌基督

IV. 歡呼頌

V. 慈悲耶穌

VI. 羔羊頌

VII. 永恆的光輝

VIII. 上主，求你救我

IX. 進入天國

男中音 Baritone 拉菲爾．費嘉羅 Rafael Fingerlos

Gounod: Saint François d’Assise

Part 1: The Cell

Part 2: The Death of Saint Francis

男中音 Baritone

拉菲爾．費嘉羅 Rafael Fingerlos

(十字架 The Crucifix)

中場休息 Interval

Fauré: Requiem, Op. 48

I. Introit

II. Kyrie

III. Offertory: Domine Jesu Christe

IV. Sanctus

V. Pie Jesu

VI. Agnus Dei

VII. Lux aeterna

VIII. Libera me

IX. In Paradisum

童聲獨唱 Treble Solo

孫信 Suen Shun

指揮 Conductor 洛朗絲．埃基爾貝

Laurence Equilbey

影像創作 Video Creator

麥特・科利肖 Mat Collishaw

製作 A production by Pont Neuf

Performing Fine Arts

誦調合唱團副指揮

Associate Conductor of accentus

基斯托弗．嘉柏隆

Christophe Grapperon

聯合製作 Co-produced by Festspielhaus Baden-Baden

島嶼管弦樂團 Insula orchestra

Paris and deSingel Antwerp

藝術及音樂總監的話 Artistic and Musical Director’s Note

古諾《亞西西的聖方濟》 古諾《亞西西的聖方濟》樂譜

手稿背後的故事可謂耐人尋 味。古諾在 1891 年 3 月，為 音樂會協會宗教音樂會譜寫了 人生最後一部神劇，然而手稿 後來卻消失無蹤。直到近百 年後，在聖類斯仁愛女修會省 會長尼可・耶果修女的熱忱之

下，這部被認為已經消失的手 稿，終於在修會的書庫之中重 見天日。作品最先在 1996 年於 瓦茲河畔歐韋爾音樂節重新面

世，並於 2016 年由洛朗絲．埃 基爾貝、誦調合唱團和巴黎室 內管弦樂團重新編曲及灌錄。 在曲中，我們在可以一見古諾 在旋律上的天賦，其中便有如 著名的《泰伊斯》〈沉思曲〉的 出神一節。

佛瑞《安魂曲》

佛瑞的《安魂曲》已經陪伴了 洛朗絲．埃基爾貝和誦調合唱 團多年。合唱團曾在世界各 地演出這首曲目，並灌錄了一 個經典錄音，使合唱團蜚聲國 際。就這首加布里埃爾・佛瑞

享譽寰球的作品，我們是次欣 然與視覺藝術家麥特・科利肖 合作，一同以當代方式演繹這 部安詳的安魂曲。

洛朗絲．埃基爾貝

Gounod’s Saint François d'Assise

The story of the manuscript of Saint François d'Assise is quite interesting. The manuscript of this last oratorio of Charles Gounod created during the Spiritual Concerts of the Société des Concerts in March 1891 had disappeared. A century later, the score, thought to be lost, was unearthed from the archives of the Sisters of Charity of St. Louise, thanks to the zeal of Sister Nicole Jégo, provincial superior of the congregation. The work was recreated in 1996 at the Festival of Auvers-surOise, then redone and recorded in 2016 by Laurence Equilbey, accentus, and the Orchestre de chambre de Paris. We find all the melodic genius of Gounod, including a trance scene that is reminiscent of the famous Méditation of "Thaïs".

Fauré’s Requiem

Fauré's Requiem has accompanied Equilbey and accentus for many years. It has contributed to the choir's reputation through numerous concerts throughout the world, as well as a reference recording. It is Gabriel Fauré's best-known work, worldwide. It is an often peaceful requiem, which we are pleased to present in a contemporary form, with the visual artist Mat Collishaw.

Laurence Equilbey

©Julien Benhamou

影像創作人的話 Video Creator' s Note

我對佛瑞《安魂曲》的想像， 是以大型錄像投影呼應音樂的 主題，以及當代世界更大的議 題及關心所在。我決定創造一 個有着反烏托邦思想的迷離境 界，把東方的喪葬習俗移植到 西方環境之中。

我把錄像的場景設置在市中心 的高樓大廈中，暗示可能發生 了某種大災難，使一般的喪葬 習俗難以舉行。我決定營造一 個詭異的氣氛，嘗試表現人類 與自然不和諧的關係，《安魂 曲》對死亡的沉思，在今日高 度機械化、後工業化的環境下 已然難以面對死亡的災革。

禿鷲飽餐亡者的殘忍場面，接

下來的是莊嚴的配樂，樂聲伴 着鳥兒飛向夕陽。野蠻的飽餐 在這裏，賦予了一個完整的敘 事，禿鷲成全了生態循環，縱 然野性，亦符合自然世界規律。

在 2018 年，提奧多‧庫倫奇思 邀請我為佛瑞《安魂曲》創作 一些影像。這首安魂曲相對平 和空靈，我因而選擇配上西藏 天葬習俗的畫面。

我把西藏天葬習俗搬到市中 心，營造出在世界另一端是極 度自然的習俗，當遷移到西方 環境卻變成為野蠻行徑的敘事。

在作品草創之時，新冠肺炎還 聞所未聞。直到影片製作的最 後階段，現實世界發生之事，

與我創作的作品之中的呼應才 發生。然而我不認為這些事件 會使作品的關聯減低，反而， 我認為我們與自然世界的矛盾 關係，更是藉由這駭人的發展 而突顯出來。

雖然禿鷲吞食人類屍體的行為 看似野蠻，但卻並非不自然。 我認為令我們對自然世界更為 敏感，而不被我們自己一手創 造的「文明監獄」所蒙蔽，對 於我們身心的存活都至為重要。 麥特・科利肖

©Mat Collishaw

My intention for Faure's Requiem is to present a large video projection that echoes the themes evoked in the music and resonates with broader issues and concerns in the contemporary world. I decided to create an ambiguous environment with a dystopian feel in which existing death rites from the East have been transposed to a Western environment.

I located my film in an innercity tower block, suggesting that some form of catastrophe may have occurred, preventing normal burial procedures from taking place. My decision to create an ominous atmosphere was an attempt to suggest that human relationships with nature were not altogether harmonious, and that sublime meditations on death and dying in the form of a requiem had become difficult for dealing with the inconvenience of death in a highly mechanical, post-industrial landscape.

The transgressively brutal feasting by the vultures on the dead bodies is countered by the subsequent sublime orchestration which serenades the birds as they fly into the sunset. The barbarous consumption in this context reframes the narrative in a holistic manner. The vultures contribute to an ecological cycle that while beastly is within the confines of the natural world.

In 2018, Teodor Currentzis asked me to create some visuals for a

performance of Faure's Requiem. As this requiem is relatively gentle and ethereal, I chose to illustrate it by referencing the Tibetan practice of sky burial.

I relocated the Tibetan practice of sky burial to an inner-city region to create a narrative that while completely natural in one part of the world is seemingly barbaric when transferred to a western environment.

At the time of conception, COVID-19 was unheard of and it was only in the final stages of producing the film that the parallels between what was happening in the real world and what I was constructing in the editing suite had certain resonances. However, I don't believe these events diminish the pertinence of the project. Contrarily, I think our uneasy relationship with the natural world has been pushed to the forefront by these harrowing developments.

While the act of vultures feasting on human flesh appears barbaric, it is not unnatural. I would argue that attuning ourselves more sensitively to the natural world and not becoming blinded by the civilised prisons we have built for ourselves is imperative for our psychological and physical survival.

Mat Collishaw

樂曲介紹 Programme Notes

合唱團，聯同男高音鮑彼赫、 男低音桑皮為此作灌錄全球首 演專輯。

古諾在學時，曾對天主教及修 士生活抱濃厚興趣，並開始着 手創作《亞西西的聖方濟》。

古諾 Charles-François Gounod （ 1818-1893 ）

古諾《亞西西的聖方濟》 古諾神劇《亞西西的聖方濟》 手稿失而復得，算是神蹟一 樁。關於這部小型神劇，音樂 學家只知有兩個樂章，並曾於 1891 年公演。作曲家死後，樂 譜旋即消失，一直作已佚論。

1992 年，法國布列塔尼省聖類 斯仁愛女修會省長尼可‧耶 果修女主動聯絡瓦茲河畔歐韋 爾音樂節始創總監艾斯罕德， 方令這手稿重見天日。時任修 女會院長迪碼莉修女逝世後， 耶果修女發現了這份手稿。原 來，迪瑪莉生前用皮革包裹手 稿，並一直將之收藏櫃內。消 失了超過一世紀，這部題獻給 畫家卡羅勒斯．杜蘭的古諾傑

作終在 1996 年 6 月 20 日於蓬圖 瓦茲主教堂舉行的瓦茲河畔歐 韋爾音樂節中重新面世。二十 年後，法國指揮洛朗絲．埃基 爾貝率領巴黎室內管弦樂團及

1839 年，第三次參賽的古諾終 獲巴黎音樂學院頒發羅馬大獎 獎學金，到羅馬美第奇別墅駐 留三年。受當年積極推動復興 道明會的拉歌迪爾神父影響， 古諾醉心鑽研文藝復興時期 的多聲部聖樂經典。 1843 年 5 月，古諾回國出任巴黎外方傳 教會音樂總監，並於往後五年 專心創作聖樂。 1846 年左右， 古諾曾認真想過要成為牧師， 更到聖敘爾皮斯教堂神學院修 讀兩年制牧師課程。事實上， 於 1847 年 10 月至 1848 年 2 月期 間，古諾的書信一律以修道士 專用的聖名「古諾神父」作下 款。然而，古諾對宗教的狂熱 雖流露於其華麗、戲劇而神秘 的音樂語言之中，卻只能滿足 他部分人生追求。最終，古諾 還是抵受不住歌劇舞台上流光 溢彩的引誘。

正如古諾自己寫道 ：「作曲家 要揚名立萬，只有一條可行之 路，就是戲劇。抽象地比較 起來，雖然宗教音樂和交響樂 好像更崇高，但要在這兩個範 疇打響名堂，機會不多，且 頂多受一撮小眾歡迎，不像戲 劇般街知巷聞。」歌劇《浮士 德》的成功令古諾一舉成名， 接下來他更一口氣完成五部歌 劇鉅著，令他與威爾第和華格 納聲名相當。數算古諾作曲生

涯後期最受大眾歡迎的，確實 都是聖樂作品，因為天主教信 仰成為他「最穩紥可靠的精神 支柱，伴他度過纏繞一生的情 緒困擾」。古諾去世前兩年， 曾重新整理《亞西西的聖方濟》 全譜，並於 1891 年的耶穌受難 節公演。

《亞西西的聖方濟》這部神劇 中，古諾「用豐厚抒情的音色 展現出方濟各的堅毅精神，亦 只有他能掌握箇中奧妙」全曲 簡潔地分為兩部聲樂，分別有 男高音、男低音獨唱，和合唱 及樂團部分。古諾用音樂將兩 幅著名聖方濟畫像描摹出來， 重塑這位方濟會先創聖賢簡樸 清貧、熱愛自然、親近動物得 會與雀鳥交談的形象。古諾曾 說 ：「我希望神劇的第一幕場 景，像是用音樂傳譯出牟利羅 的驚世畫作，活現他筆下聖方 濟擁抱十架耶穌的情景。神劇 第二幕，則是喬托傑作《聖方 濟之死》的音樂詮釋，重現眾 弟兄守候在臨終的聖方濟身旁 的情節。」

第一幕「在獄中」，描述聖方 濟身蒙十架聖痕，由豐富弦樂 和聲交疊出精心鋪排的擬古手 法。音樂層次逐漸擴張，獨 唱男高音飾演的聖方濟愈趨激 動地唱出禱文，表達對深奧信 仰的疑問。低音域持續響起 和弦，獨唱男低音扮演的上帝 溫柔堅定地鼓勵聖方濟背起十 架。見證神蹟的聖方濟興奮得 大叫起來，此時弦樂齊奏起令 人印象深刻的美妙旋律，伴隨 明亮純潔的豎琴撥音，表達聖

方濟的喜悅心情。接着，木管 部吹起半音階旋律，小號鍥而 不捨地響起不詳警號，第二幕 「死亡」由此展開。聖方濟召 集他的弟兄，預告自己快將離 世。平淡的音樂聽來像隱士的 對話，配以樸實安然和撫慰人 心的和聲來勾畫即將迎接死亡 的聖方濟。來到樂章結尾，音 樂以天使合唱描述聖方濟升天 的情節，完美捕捉古諾視死如 浮雲的人生觀。

Gounod’s Saint François d'Assise

The discovery of the manuscript for the oratorio Saint François d'Assise by Charles Gounod (1818-1893) might well be considered a miracle. Musicologists had known that the little oratorio in two parts had been performed in 1891, but the score disappeared soon after the composer’s death and was presumed lost. The Gounod manuscript first came to light in 1992 when Nicole Jégo, the Provincial Superior of the Sisters of Charity of St. Louis in Brittany, France, contacted Pascal Escande, Founding Director of the Festival d’Auverssur-Oise. Mother Jégo had found the manuscript after the death of Sister Aimée de Marie, Superior of the Sisters of Charity of St. Louis, who had been storing the leather-bound score in a cupboard. After more than a century of silence, the lost Gounod treasure dedicated to the painter Carolus Duran first sounded again on 20 June 1996 in Saint-Maclou Cathedral in Pontoise as part of the Festival d’Auvers-sur-Oise. Twenty years later, Laurence Equilbey, conducting the Orchestre de chambre de Paris and the accentus choir, alongside soloists Stanislas de Barbeyrac and Florian Sempey, produced the world premiere recording.

Gounod started work on Saint François d'Assise while still a student, during a time in which he was deeply attracted

to Catholicism and religious life. After winning the Prix de Rome scholarship from the Paris Conservatoire in 1839, on his third attempt, Gounod took up his three-year residence at the Villa Medici in Rome. Under the influence of Father Lacordaire, who lobbied for the restoration of the order of the Dominicans, Gounod devoted himself to the study of the old polyphonic masters. When he returned to Paris in May 1843, he accepted the position of Musical Director at Missions Étrangères, and for the better part of five years exclusively wrote religious music. By 1846, Gounod was seriously thinking of entering the priesthood and started a two-year course at the seminary of Saint-Sulpice. In fact, from October 1847 to February 1848 he donned the ecclesiastical frock and signed his letters “l'Abbé Gounod”. However, religious ecstasies, so beautifully expressed in his theatrical and mystic musical language, only satisfied one part of his personality, and he was eventually unable to resist the voluptuous seductions of the operatic stage.

As Gounod tellingly writes: “For a composer, there is but one road to follow in order to make a name, and that is the theatre. Religious music and the symphony are certainly of a higher order, abstractly considered, than dramatic music, but the opportunities and the means of making one's self known along those lines

are rare and appeal only to an intermittent public rather than to a regular public like that of the theatre.” Gounod scored a resounding success with his opera Faust, followed in quick succession by five more operatic works that assured that his name was mentioned in the same breath as Verdi and Wagner. It is fitting, however, that Gounod’s greatest public successes in his later career were religious works, as the Catholic faith provided Gounod a “stable anchor through the violent emotional swings that beset him throughout his whole life”. Two years before his death, Gounod re-engaged with Saint François d'Assise and led the work to a performance on Good Friday 1891.

In Saint François d'Assise, Gounod presents a sacred work of “Franciscan austerity with a full and at times sensual sound, something to which only he held the secret”. Modestly scored in two parts for tenor and bass soloists, choir and orchestra, Gounod musically encoded two famous paintings of St. Francis of Assisi, the founder of all Franciscan orders who embodied the spirit of simplicity and poverty, a man who deeply loved nature and who reportedly spoke to birds. Gounod said: “I wanted the first of the two tableaux to be a musical translation of that beautiful tableau by Murillo showing St. Francis embracing Christ on the cross. The second tableau would be a translation

of that fine work by Giotto, The Death of St. Francis, surrounded by his brothers.”

In the opening scene “The Cell”, St. Francis receives the stigmata of the cross and richly scored strings conjure up carefully tailored archaisms. The texture gradually expands before the tenor soloist, representing St. Francis, launches into an increasingly animated prayer questioning the mysteries of faith. Austere chords in the brass introduce the voice of the Lord, sung by the bass soloist, and St. Francis is gently but firmly invited to take up the cross. Exclaiming a miracle, St. Francis’ elation is joyously taken up by the orchestra, with unison strings sounding a superbly memorable melody over a bright and angelic harp accompaniment. Chromatic lines in the woodwinds, accompanied by ominous timpani strokes serve as the introduction to the second scene titled “Death”. St. Francis summons his brothers to warn them of his impending death. A monastic dialogue prepares for the death of St. Francis, musically drawn with simplicity, confidence and appeasement. The concluding choir of angels accompanying St. Francis to heaven beautifully captures Gounod’s own serene and weightless attitude towards death.

佛瑞

Gabriel Fauré (1845-1924)

佛瑞《安魂曲》，作品 48 佛瑞（ 1845-1924 年）創作《安 魂曲》的原意，是要譜上溫柔 細膩、恬靜動人的音樂，一點 不沾其他安魂彌散曲所瀰漫的 陰沉恐懼和死亡氣氛。

於是，他參照一巴黎古老天主 教典籍的經文鋪序，省略一般 安魂曲常頌的〈震怒之日〉，只 保留最尾章節〈慈悲的耶穌〉。 根據作曲家本人自稱，此作雛 形題為《小安魂曲》，於 1888 年完成。當時佛瑞聲稱《小安 魂曲》「不為特別場合儀式，純 為興趣而作，容我這麼形容」。 作品共有五大樂章（〈進堂詠 與垂憐頌〉、〈歡呼頌〉、〈慈悲 耶穌〉）、〈羔羊頌〉及〈進入 天國〉），同年於巴黎瑪德蓮教 堂首演。這部為室樂團而寫的 作品，器樂部分只配有低音弦 樂、小提琴獨奏、豎琴、定音 鼓、管風琴、銅管樂，卻沒有

小號和木管樂。

時至 1890 年，佛瑞加插剛完成 的〈奉獻詠〉以及早於 1877 年 寫好的〈上主，求你救我〉。這 時全作已達七個樂章，佛瑞於 是又為器樂部分加配圓號、小 號和長號。1893 年 1 月 21 日， 修改後的《安魂曲》完整版本 再次於巴黎瑪德蓮教堂公演。

由於當時教會不准女歌者出 演，佛瑞唯有另聘男童聲高音 獨唱，和男童聲中音合唱團表 演。1890 年下旬，出版商嘗試 說服佛再度擴充作品的器樂編 制，並加入完整人聲合唱和交 響樂。起初佛瑞雖有猶豫，卻 很快同意作第三次修改，並於 1901 年出版。絕大部分評論家 都認為，1893 年版本才是「可 能最接近作曲家的創作原意」。

然而，佛瑞從未摒棄修改後的 完整交響樂版本，更認為這配 樂「合符特定表演場合需求」。

今晚為觀眾呈獻的，正是 1901 年版本。正如指揮家洛朗絲． 埃基爾貝所解讀：「此作之所以 有不同版本，是為不同場合目 的而設。每個版本都是完整的 創作，音樂上亦鋪排恰當。」

佛瑞又解釋：「《安魂曲》徹 頭徹尾以人性化角度描寫對死 後安息的信念，而我亦嘗試將 所有宗教幻象變得充滿娛樂趣 味。」當時的樂評都豪不留情 地狠批《安魂曲》為「死亡搖 籃曲」，獲佛瑞這樣回應：「死 亡是充滿喜悅的過程，是享往 生喜樂的希冀，而非痛苦的體 驗。」無疑地，他創作的音樂 如實反映這套哲學。第一樂章

〈進堂詠與垂憐頌〉，時間像忽 然凝止。莊嚴的開首旋律以 D 小調寫成，恰如莫扎特《安魂 曲》，簡單的音樂織體為〈進堂 詠〉的首句歌詞「永遠的安息」 作好鋪陳。及後，這股神秘的 開首氛圍逐漸消散，直至歌詞 唱頌着「永遠的光輝」將音樂 推至高潮。這時，男高音唱 出兩段取材自天主教單聲聖歌 的旋律，後由女高音重複，合 唱團在那邊廂唱出如泣如訴的 禱文。接下來的〈垂憐頌〉短 暫得像曇花一現，並以首句歌 詞「永遠的安息」的音樂作基 調發展。

隨後的〈奉獻詠〉，男高音和 女中音輪流唱出富神秘色彩的 教會調式旋律，集中的四聲部 和聲音域如像祈求亡魂安息。

這樂章以 B 小調開首，音樂溫 柔平靜，男中音獨唱樂段稍為 高昂，整體抒情感人。此時， 合唱團部分重複樂章開首的旋 律，再發展成層次較豐厚的多 聲部複調織體，最後高唱激昂 的 B 大調「阿門」結束樂章。

〈歡呼頌〉樂章中，佛瑞描繪對 天國景象的幻想，以溫柔的豎 琴撥弦聲襯托出雙重合唱團扮 演天使的高音歌聲，歡欣地高

唱「歡呼之聲，響徹雲霄」， 配上厚實的銅管樂伴奏和聲， 掀起音樂澎湃高潮。很快音樂 又安靜起來，如夢般的豎琴撥 弦再次奏起，襯托着小提琴旋 律不斷向上延伸至樂章完結。

〈慈悲耶穌〉的禱文由女高音唱 出，管風琴靜靜彈奏簡單和弦 輪廓承托。過度樂段雖有弦樂

與木管樂相互爭妍，卻誰也不 敢阻斷願亡魂永恆安息的祈求。

〈羔羊頌〉聽起來充滿內省沉 思、廣闊而自由奔放，出乎意 料地以大調譜成，由男高音頌 出聖歌般的旋律開始樂章。 起初，這段聖歌旋律獲合唱團 齊聲唱出「羔羊」答和。第二 段經文的和聲逐漸發展，並 重現開首樂章歌詞「永遠的安 息」的音樂基調。〈上帝，求 你救我〉由男中音獨唱祈求亡 魂得以救贖的禱文，合唱團則 用歌聲描繪僅此一現的審判日 景象。全作品之中，這樂段的 音樂最呼嘯翻騰、黑暗陰沉， 銅管樂猛然奏起激昂兀突的音 色和焦躁不安的樂句，直至開 首的禱告重現。最後的〈進入 天國〉描述天使引領世人進天 國。音樂部分呈現出和平安靜 的天堂景象，樂團分開奏出三 和弦弦音來營造光芒耀目的想 像。來到樂段尾聲，合唱男 聲方最後加入合唱女聲和女聲 獨唱，縹緲出塵的柔婉歌聲縹 緲出塵結束此樂章。縱使佛瑞 《安魂曲》帶有些微陰沉，大 致上全曲洋溢純潔和喜悅的氣 氛。如柯普蘭明言解說 ：「追 求音樂細緻優美的人，會為佛 瑞作品中的澄澈的層次、明亮 的思維、以及恰到好處的鋪陳 所驚嘆。綜合起來，就是典型 的佛瑞魔法，雖難以明析，聽 起來卻扣人心弦。」

撰文：

裴德龍博士

Gabriel Fauré: Requiem, Op. 48

Gabriel Fauré (1845-1924) intended his Requiem to be intimate, peaceful and loving, containing none of the horrors of death commonly associated with the Mass for the Dead.

As such, his textual choice relied on an old Parisian rite that omitted the setting of the Requiem sequence “Dies Irae” (Day of Wrath), only including the final couplet “Pie Jesu” (Merciful Lord). According to the composer, the first version of the work titled un petit Requiem dates from 1888 and it wasn’t written for any specific occasion “but for pleasure, if I may call it that”. The work contained five movements (“Introit and Kyrie”, “Sanctus”, “Pie Jesu”, “Agnus Dei” and “In Paradisum”), and it first sounded at the Church of La Madeleine in Paris in 1888. Scored for chamber ensemble, the instrumentation called for only low strings, one solo violin, harp, timpani, organ, brass without trumpets, and no woodwinds.

By 1890, Fauré had added the completed “Offertory” and included his “Libera me” setting of 1877. As the work had now grown to seven movements, Fauré added horns, trumpets and trombones, and the first complete performance was again given at La Madeleine on 21 January 1893. Since church authorities did not allow female singers, Fauré employed a boy soprano soloist, and boy alto

choristers. In the late 1890s, Fauré’s publisher convinced the composer to expand the orchestration further to include a full complement of voices and a full symphony orchestra. Fauré seemed to have hesitated, but eventually agreed to issue a third version, published in 1901. For a good many commentators, Fauré’s 1893 version is “possibly closest to the composer’s intent”, although Fauré never renounced the full symphonic version, calling it appropriate for “certain concert situations”. Tonight’s performance will feature the 1901 version, and conductor Laurence Equilbey explains that “different versions were conceived for very different purposes, so they are all fully accomplished and musically legitimate”.

Fauré suggested that “everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest”. Critics harshly called the Requiem “a lullaby of death”, and Fauré was quick to say that to him, “death is a happy deliverance, an aspiration to happiness above rather than a painful experience”. Without doubt, the music he created is the very embodiment of that philosophy. Time seems to have suddenly stopped in the opening, “Introit and Kyrie”. The solemn opening is scored in the key of D minor, similar to Mozart’s Requiem, and the homophonic texture provides an almost monolithic foundation

for the “Requiem aeternam” (“eternal rest”). The mysterious opening mood is gradually dispelled, and the music reaches its first climax on “et lux perpetua” (“and lasting light”). Two chant-inspired tunes are introduced by the tenors and repeated by the sopranos, as the choir pleads for attention to its prayers. A remarkably short “Kyrie” is based on the music from the “Requiem aeternam” chant tune.

Mysterious modal melodies sung in canon by the tenors and altos in close harmony plead for the freeing of the souls of the departed in the “Offertoire”. Opening in the key of B minor, the movement is filled with a sense of serenity and rapturous beauty, including the more animated baritone solo. The choir returns to the opening material with more elaborate polyphony, and the movement concludes with an uplifting “Amen” in B Major. In the “Sanctus” movement, Fauré offers a vision of the Kingdom of Heaven, with gentle harp and string figuration supporting a double choir of angels in the high voices. The music rises to a triumphant climax at “Hosanna in excelsis” (“Hosanna in the highest”), powerfully supported by rich brass textures. However, the music quickly softens and returns to the dreamy harp arpeggios with the violin melody floating upwards to the final note. The prayer “Pie Jesu” (“Merciful Lord”) is voiced by the solo soprano, quietly accompanied

by simply harmonies intoned by the organ. And while strings and woodwinds claim their rightful place in transitional passages, they never interfere with the pleas for everlasting rest.

Introspective, expansive and freely flowing, the “Agnus Dei” (“Lamb of God”) is unexpectedly scored in the major key and opens with a chant-like intonation for the tenors. Initially, the chant is answered by a fullchoir response of the “Agnus” text, and the second incantation gradually builds to reveal the reprise of the choral opening “Requiem aeternam”. A baritone solo pleads for liberation and redemption in the “Libera me” (“Deliver me”), with the chorus providing the sole vision of Judgment Day. The movement contains some of the boldest and darkest music in the entire work, featuring powerful brass interruptions and anxious vocal phrases that eventually give way to a restatement of the opening plea. The text for the concluding movement “In Paradisum” (“Into Paradise”) speaks of angels leading us into paradise. Musically, it is a peaceful vision of paradise supported by the shimmering motion of broken triads in the orchestra. The male singers only join the sopranos and the soprano soloist in the closing lines, as the voices float ethereally towards a serene conclusion. While there is some darkness in the music of Fauré’s Requiem, there is plenty of room for purity and even joy. As Aaron Copland

tellingly wrote: “Those aware of musical refinements cannot help admire the transparent texture, the clarity of thought, the wellshaped proportions. Together they constitute a kind of Fauré magic that is difficult to analyse, but lovely to hear.”

Text: Dr. Georg Predota

回歸魂之所安

A Meditation on Life and Death in Sky Burial

乍看之下，刻意讓禿鷲痛快淋漓地吃人肉似乎十分令人反胃，既駭人聽聞又令人毛骨悚然。可是在西 藏古老的天葬習俗，將先人放在山巔，讓遺體自然腐爛，任由禿鷲啄食，卻是藏人信仰中靈魂轉世過 程的一環。

At first glance, the act of feeding dead bodies to vultures may seem revolting, macabre and sensationalist. However, the ancient Tibetan ritual of sky burial, the funeral practice in which corpses are placed on a mountaintop and left for the scavengers, is part of the belief in the transmigration of spirits.

Collishaw

©Mat

現實與歷史

在得獎視覺藝術家麥特‧科利 肖眼中，這種佛教儀式突出了 生命的短暫，也就是他種種反 烏托邦想法的基礎——他認為 環境必將崩潰，環球大災難必 將到來。他的影片《天葬》一 點不流於病態獵奇，反而是警 世之作，有力地提醒大家 ： 人 類自相矛盾，而且人類與大自 然關係並不健康。

科利肖《天葬》的影像令人難 忘，這次更配上佛瑞的聖樂。 原本的計畫只是揉合視覺與音 效，但這個計畫在 2023 年香 港藝術節卻得以更進一步，將 錄像投影與復古樂器現場演奏 共冶一爐。音樂會另外會演出 古諾的聖樂，有賴洛朗絲‧ 埃 基爾貝、島嶼管弦樂團及誦調 合唱團之間天衣無縫的配合， 這個非比尋常的演出才得以實 現。其實島嶼管弦樂團每樂季 都會製作非歌劇的劇場演出， 指揮埃基爾貝說 ：「其他的演 出計劃旨在讓過去的作品與當 世產生共鳴。將佛瑞和古諾的 聖樂以復古樂器演奏，再與視 覺藝術家攜手，也完全符合我 們的初衷。」

在國際樂壇上，埃基爾貝以對 待音樂和藝術的方針見稱，她 要求極高，同時又開明寬容。 她嘗試盡量模仿昔日的音響體 驗，並非為展現精確的原貌， 而是為了「在我們與前人的音 樂現實之間，建造一座座橋 樑」。埃基爾貝表示，選用樂 曲問世時的樂器，可以重塑出 獨特的音響平衡，而這個過程

就猶如利用現代媒體（如影像） 重現古老的佛教儀式。「橋樑 是不同了，但始終是橋樑。事 實是，『古早』的聲音加強了這 種轉折，呈現面對死亡時的妥 協，這一點在佛瑞和古諾的樂 曲裏都很明顯，樂曲亦顯現了 人類對大自然犯下的錯誤。」

甜美的釋放

佛瑞將死亡看作歡欣的解脫， 追求墳墓另一端的快樂，而不 是痛苦的經驗。確切地說，他 以巴黎一種古老儀式所用的音 樂與歌詞為根據。這套歌詞沒 有在「最後審判」着墨，沒有 刻劃那令人恐懼又有預言意味 的一幕。

而古諾學生時代已開始寫作 《亞西西的聖方濟》，卻在臨終 前兩年才完成。手稿 2011 年在 一位修女的櫥櫃裹被發現時， 已經是古諾逝世後差不多二百 年後了。埃基爾貝、島嶼管弦 樂團和誦調合唱團 2016 年灌錄 了《亞西西的聖方濟》，成為樂 曲首個錄音版本。在埃基爾貝 看來，佛瑞《安魂曲》是充滿 宗教意味的哀歌，是「羅馬式 風格的修道院戲劇」，以《亞西 西的聖方濟》作為佛瑞《安魂 曲》的開場白實在妙不可言。

《亞西西的聖方濟》有兩個場 景，一個詳細敘述聖方濟接受 十字架聖痕，另一個宣告他命 不久矣。聖方濟體現了樸素清 貧生活的精神，而且熱愛大自 然，這些都呼應了科利肖影片 中的核心觀念和關係。

撰文 ： 裴德龍博士 原文刊登於香港藝術節 2023 年之 《閱藝》雜誌

Reality and history

For award-winning visual artist Mat Collishaw, this Buddhist ritual emphasising the temporality of life served as the foundation for his dystopian vision of environmental collapse and global catastrophe. His film Sky Burial is not simply a morbid curiosity, but a potent reminder of human contradictions and our toxic relationship with nature.

Collishaw's haunting imagery in Sky Burial is accompanied by sacred music written by Gabriel Fauré (1845-1924), and follows a performance of a complementary piece written by Charles Gounod (1818-93). The original attempt to provide a fusion of the visual and the sonic will be even more intimately explored at the 2023 Hong Kong Arts Festival by combining the video projection with a live musical performance of Fauré's Requiem using period instruments. This exceptional presentation comes courtesy of Laurence Equilbey and the Paris-based Insula orchestra and accentus. The lnsula orchestra produces stage creations every season with non-opera works and "the combination of the sacred music of Faure and Gounod on original instruments with a visual artist," according to Equilbey, "is completely in line with projects that try to make works from the past resonate in the present".

Equilbey is internationally acknowledged for her demanding yet open-minded

approach to music and the arts. By attempting to approximate the sonic experience of the past as closely as possible, she is not trying to project an accurate image, but sees it “as a matter of building bridges between our musical reality and the one of our predecessors”. Using instruments from the time of composition restores a unique balance of sound and that process, Equilbey says, is similar to re-appropriating an ancient Buddhist ritual through a modern media such as video. “The bridge is different, but it remains a bridge. The fact that the sound is ‘original’ reinforces this twist between a form of appeasement in the face of death, which clearly exists in the music of Fauré and Gounod.”

The sweet release

Fauré saw death as a joyful deliverance, an aspiration towards happiness beyond the grave, rather than a painful experience. As such, he relied on the music and texts of an ancient Parisian rite, one that does not depict the frightening and apocalyptic vision of the Last Judgment.

Gounod started work on Saint François d'Assise during his student days and finished it two years before his death. The manuscript was only discovered in 2011 in a nun’s cupboard, nearly 200 years after Gounod’s death, and Equilbey, with Insula orchestra and accentus, produced the premiere recording in 2016. For Equilbey it is an

exceptional preamble to the religious lamentation of Fauré’s Requiem, “a monastic drama in a Romanesque style”. Two scenes recount St. Francis receiving the stigmata of the cross, and the announcement of his impending death. St. Francis embodied the spirit of simplicity and poverty, and he had a deep love of nature; concepts and relationships that are also located at the core of Collishaw’s film. Both Fauré’s and Gounod’s music reveal a serene and weightless attitude towards death, and their spiritual reflections, juxtaposed by Collishaw’s disturbing imagery, combine to call into question our uneasy relationship with life and death.

Text: Dr. Georg Predota Originally published in the HKAF's 2023 FestMag

Lyrics

Gounod: Saint François d’Assise

PREMIÈRE PARTIE : LA CELLULE

Saint François

Mon sauveur adoré, Seul amour de ma vie

Tout ce qui n’est pas toi

N’est plus rien pour mon coeur.

Ton mystère m’enivre

Et mon âme ravive, Allume en tous mes sens

Une ineffable ardeur.

Tout ce qui n’est pas toi

N’est plus rien pour mon coeur.

Agneau de Dieu !

Sainte victime !

En toi, Jésus, Mon coeur s’abîme !

De ton amour embrase-moi !

Tu meurs pour moi !

Je vis par toi !

De ton amour embrase-moi !

Comme le cerf soupire

Après l’eau des fontaines, Ainsi mon âme a soif de toi, Seigneur !

C’est ton sang adoré

Qui coule dans mes veines

Et m’enivre déjà du céleste bonheur !

Le Crucifix

Viens ! viens, amant de ma croix !

Viens ! ma douce victime !

En attendant la mort qui comblera tes voeux, De mon amour pour toi

Touche, un instant, la cime, et vois, Vois que, plus que toi, je veux ce que tu veux !

Saint François

Un miracle ! Jésus !

Et jusqu’à cet excès !

Je ne suis plus à moi !

Je t’adore… Et me tais !

DEUXIÈME PARTIE : LA MORT

Saint François

Mes enfants !... L’heure approche…

[Au séjour des élus,

Je vais donc voir, enfin, le doux Sauveur, Jésus !

Mais, avant que d’entrer dans la terre promise, Une dernière fois je veux bénir Assise !

Choeur d’hommes

Père qui régnez dans les cieux !

Ô Dieu d’amour ! Dieu de miséricorde !

Que votre grâce nous accorde

Ce qu’implorent de vous les larmes de nos yeux !

Par pitié pour notre misère

Par les clous vénérés de ses pieds, de ses mains, Ne rappelez pas notre père, Ne nous laissez pas orphelins !

Saint François

Mes fils ! Ne pleurez pas !

C’est le jour qui commence !

La lumière bientôt va dissiper la nuit !...

C’est la fin de l’exil, du deuil, De la souffrance, mes fils !

Ne pleurez pas !

C’est la mort qui s’enfuit ! (Il expire)

Choeur d’anges

TPrends ton vol vers les cieux, Bienheureux Séraphique !

De la terre pour toi les liens sont rompus !

Viens chanter pour toujours le céleste cantique ! Entre dans la paix des élus !

Gounod: Saint François d’Assise

PART ONE: THE CELL

St. Francis

My adored Saviour, Sole love of my life, All that is not Thee

Is henceforth as nothing for my heart. Thy mystery enraptures me

And revives my soul, Kindling in all my senses

An ineffable fervour. All that is not Thee

Is henceforth as nothing for my heart. Lamb of God!

Sacred victim!

In Thee, Jesus, My heart is engulfed!

Inflame me with Thy love!

Thou dost die for me!

I live through Thee!

Inflame me with Thy love!

Like as the hart

Desireth the water-brooks, So longeth my soul after thee, O Lord!

It is Thy beloved blood

That flows in my veins

And already intoxicates me with heavenly bliss!

The Crucifix

Come, come, lover of my Cross! Come, my gentle victim!

As you await the death that will fulfil all your desires, Touch, for an instant, the pinnacle, Of my love for you, and see, See that, more than yourself, I desire what you desire!

St. Francis

A miracle! Jesus!

And a supreme one!

I am no longer mine!

I adore Thee—and am silent!

PART TWO: THE DEATH OF ST. FRANCIS

St. Francis

My children! The hour draws nigh, In the abode of the chosen I shall at last see the sweet Saviour, Jesus! But before I enter the Promised Land, For the last time I wish to bless Assisi!

Chorus of Men

Father Who dost reign in the Heavens!

O God of love! God of mercy!

May Thy Grace grant us

What the tears of our eyes implore of Thee!

In pity for our misery, By the venerated stigmata of his feet and hands, Do not call our father to Thee, Do not leave us orphans!

St. Francis

My sons! Do not weep!

It is day that dawns!

Soon the light will dispel the darkness!

It is the end of exile, of mourning, Of suffering, my sons! Do not weep!

It is death that flees away! (He expires.)

Chorus of angels

Take flight towards the Heavens, Blessed Seraphic Father!

For you the bonds of earth are broken!

Come and sing the celestial hymn for evermore! Enter the peace of the chosen!

Chinese translation

Fei Hung

古諾：《亞西西的聖方濟》 第一部分：在獄中

聖方濟 我所尊的救世主 是我今生尊一所愛 聖主以外

我心無福裝載 聖靈奧妙教我着迷

使我魂重生 叫五感喚醒

無法言喻的熱情

聖主以外 我心無福裝載

聖主的羔羊！ 神聖的代罪人！

主耶穌啊 我心為祢充滿激情

讓主的慈愛火焰燃亮我身 主為我而死 我靠主而活

讓主的慈愛火焰燃亮我身

神啊 我心切慕祢 如鹿渴想溪水

是祢寶血 流淌我脈 讓我蒙聖寵而醉

十字架

來、來，樂意揹負榮耀十架的人

來吧，純如羔羊的罪人

當你靜待死亡到來

一切渴求終得如願

那怕只一剎那，好好身觸感受 感受我對你至崇高的愛，看啊

看我更想你所想，求你所求！

聖方濟

這是神蹟！主耶穌！ 是至高無上的神蹟！

我身已非我自主 為我敬愛的主—甘願從此安靜！

第二部分：聖方濟之死

聖方濟

我的孩童！時候到了 我將在神選賜的居所 與至寶救世主耶穌團聚 在我進入應許之地前 讓我給亞西西送上最後祝福！

眾男丁合唱

主宰天地的父上帝！ 慈愛的神啊！寬恕之神！ 求主恩保守

求祢垂聽我們淚眼所求！ 求主憐憫我們的悲痛 憐憫他手腳的聖痕

別領我父回天家 別叫我們孤苦無依！

聖方濟

我親愛的兒！別要流淚！

黎明即將破曉！ 晨㬢快將黑暗驅散！ 一切流離、哀慟、痛苦

要快將成為過去﹐我親愛的兒！ 別要流淚！

是死亡要遠避他方！ （嚥氣而終）

眾天使合唱 蒙福的純潔聖徒

願你快升上天堂！

地上枷鎖因你打破！

齊來頌唱永恆詩歌！

願你得享主賜安息！

中文翻譯 洪飛鳴

Chinese translation

Fei Hung

Requiem

1. Introïtus

Requiem aeternam dona eis, Domine; et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion; Et tibi reddetur votum in Jerusalem. Exaudi orationem meam; ad te omnis caro veniet.

2. Kyrie

Kyrie eleison. Christe eleison. Kyrie eleison.

3. Offertoire: Domine Jesu Christe

Domine Jesu Christe, Rex gloriae, libera animas omnium fidelum defunctorum

de poenis inferni et profondo lacu. Libera eas de ore leonis; ne absorbeat eas tartarus, ne cadant in obscurum.

Sed signifer sanctus Michael repraesentet eas in lucem sanctam quam olim Abrahæ promisisti et semini ejus.

Hostias et preces tibi, Domine, laudis offerimus.

Tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, quam olim Abrahæ promisisti et semini ejus.

4. Sanctus

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua. Hosanna in excelsis!

Benedictus qui venit in nomini Domini. Hosanna in excelsis!

5. Pie Jesu

Pie Jesu Domine, dona eis requiem sempiternam.

Requiem

1. Introit

Rest eternal grant unto them, O Lord; and let light perpetual shine upon them. A hymn, O God, becometh Thee in Sion; and a vow shall be paid to Thee in Jerusalem. Hear my prayer; all flesh shall come to Thee.

2. Kyrie

Lord have mercy. Christ have mercy. Lord have mercy.

3. Offertory: Domine Jesu Christe

O Lord Jesus Christ, King of glory, deliver the souls of the faithful departed from the pains of hell and from the bottomless pit. Deliver them from the lion’s mouth; that hell swallow them not up, that they fall not into darkness. But let the standard-bearer holy Michael lead them into that holy light Which thou didst promise of old to Abraham and his seed. We offer to Thee, O Lord, sacrifices and prayers. Thou receive them on behalf of those souls of whom we make memorial this day.

Grant them, O Lord, to pass from death to that life, which Thou didst promise of old to Abraham and to his seed.

4. Sanctus

Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is he who cometh in the name of the Lord. Hosanna in the highest!

5. Pie Jesu

Pious Lord Jesus, grant them everlasting rest.

安魂曲

一、進堂詠

上主，求你賜他們永遠的安息， 並讓永遠的光輝照耀他們。 天主，人應在熙雍山上歌詠讚美你， 同時也應在耶路撒冷向你還願， 因你允我所祈。

凡一切有血肉的人們，都向你投奔。

二、垂憐頌

上主，求你垂憐。

基督，求你垂憐。

上主，求你垂憐。

三、奉獻詠：主耶穌基督

主耶穌基督，榮耀的君王， 求你拯救已亡信眾的靈魂， 脫離陰間的痛苦，走出深暗的幽谷： 求你把他們從獅子口中拯救出來， 別讓他們陷入深淵， 不叫他們跌進黑暗。

但是讓持旗的聖彌額爾

引領他們進入那神聖的光輝， 正如你曾向亞巴郎和他的子孫所許諾的。 上主！我們向你奉獻：頌讚、犧牲和 祈禱，為了我們今天紀念的亡靈，求你 悅納；上主！求你使他們超越死亡進 入生命，正如你昔日對亞巴郎和他的後 裔所應許的。

四、歡呼頌

聖、聖、聖、上主，萬有的天主， 你的光榮充滿天地。

歡呼之聲，響徹雲霄。

奉主名而來的，當受讚美。 歡呼之聲，響徹雲霄。

五、慈悲耶穌 慈悲的主耶穌， 求你賜給他們永遠的安息。

6. Agnus Dei

Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

7. Lux aeterna

Lux aeterna luceat eis, Domine. Cum sanstis tuis in aeternam, quia pius es.

Requiem aeternam dona eis, Domine…

8. Libera me

Libera me, Domine, de morte aeterna, in die illa tremenda quando coeli movendi sunt et terra; dum veneris judicare saeculum per ignem.

Tremens factus sum ego et timeo, dum discussio venerit.

Atque ventura ira, dies illa, dies irae, calamitis et miseriae. Dies magna et amara valde dum veneris judicare saeculum per ignem.

Requiem æternam dona eis, Domine, et lux perpetua luceat eis.

9. In Paradisum

In Paradisum deducant te Angeli; in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem.

Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere, aeternam habeas requiem.

6. Agnus Dei

Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them eternal rest.

7. Lux aeterna

May light eternal shine upon them, O Lord.

With Thy Saints for evermore, for Thou art gracious. Rest eternal grant unto them, O Lord…

8. Libera me

Deliver me, O Lord, from death eternal, in that awful day when the heavens and the earth shall be moved; when Thou shalt come to judge the world by fire. Dread and trembling have laid hold on me, and I fear exceedingly because of the judgement and of the wrath to come. O that day, that day of wrath, of sore distress and of all wretchedness, that great day and exceeding bitter. Deliver me, O Lord, from death eternal when Thou shalt come to judge the world by fire.

Rest eternal grant unto them, O Lord, and let perpetual light shine upon them.

9. In Paradisum

May the Angels lead thee into paradise; may the Martyrs receive thee at thy coming, and lead thee into the holy city of Jerusalem.

May the choir of Angels receive thee, and mayest thou with Lazarus, who once was poor, have eternal rest.

六、羔羊頌

除免世罪的天主羔羊！求你賜給他 們安息。

除免世罪的天主羔羊！求你賜給他 們安息。

除免世罪的天主羔羊！求你賜給他 們永遠的安息。

七、永恆的光輝

上主！求你以永恆的光輝照耀他 們，

使他們與諸聖永遠同住；因你慈悲 為懷。

上主，求你賜他們永遠的安息⋯⋯ 八、上主，求你救我

上主，求你從永死中拯救我， 在那恐怖的日子， 天地將震動搖撼，

你要帶火來審判世界。

我戰慄死懼，

面對審判的來臨和即將到來的忿 怒， 那是一個震怒的日子， 災患和苦難， 事關重大，悲苦萬分的日子。

上主，求你從永死中拯救我， 你要帶火來審判世界。 上主，賜他們永遠的安息， 並讓永遠的光輝照耀他們。

九、進入天國

願天使領你進入天國； 殉道諸聖前來迎接，

領你到聖城耶路撒冷。

天使歌唱歡迎你，

使你與曾受貧困的拉匝祿， 同享永遠的安息。

洛朗絲．埃基爾貝

LAURENCE EQUILBEY

指揮

Conductor 洛朗絲．埃基爾貝是島嶼管弦 樂團及誦調合唱團的指揮、音 樂總監及創辦人，她領導下的 音樂演出既富藝術性且創新。

埃基爾貝曾與多個樂團合作， 包括： 英國廣播公司威爾斯國 家管弦樂團、蒙特利爾交響樂 團、倫敦愛樂樂團、蘇格蘭 室樂樂團、波士頓韓德爾與海 頓樂團、德國黑森廣播公司交 響樂團； 法國里昂、比利時列 日巿及德國萊比錫各樂團； 布 魯塞爾愛樂樂團、哥本哈根樂 團、葡萄牙古本江管弦樂團、 柏林古音樂學院樂團、科隆室 樂團、薩爾斯堡室樂團、薩爾 斯堡莫扎特管弦樂團、西班牙 巴塞隆拿及畢爾包多個樂團等。

2012 年埃基爾貝獲法國上塞納 省政府資助，成立了島嶼管弦樂 團，致力於早期樂器演奏，並 於 2017 年 4 月在法國巴黎塞納音 樂廳的開幕禮中演出，成為其藝 術駐場樂團，並參與定期演出。

埃基爾貝領導下的歌劇演出 亦不少： 曾與法國新魔法劇 團 14:20 合演韋伯的《魔彈射 手》，足跡遍佈各地，包括：

康城劇院、普羅旺斯艾克斯大 劇院、布魯塞爾藝術中心、維 也納河畔劇院、倫敦巴比肯藝 術中心、德國路德維希堡藝術 節、盧森堡大劇院及巴黎香榭 麗舍劇院； 亦曾與大衛．博貝 改編貝多芬的《費德里奧》，並 於倫敦及法國巴黎塞納音樂廳 演出； 又與麗塔．卡斯蒂諾合 作莫扎特的《路西奧．錫拉》； 與大衛．博貝合作古諾的《血 腥修女》； 以及與菲立普．德庫 弗列把莫扎特多首優美的歌劇 詠嘆調帶上舞台。

於法國巴黎塞納音樂廳駐場的 每個樂季，埃基爾貝也會與不

同背景的藝術團體，創作新穎 的舞台演出，例如： 與西班牙 加泰隆尼亞的拉夫拉前衛劇團 合作海頓的《創世紀》（曾於法 國普羅旺斯艾克斯、德國漢堡 市、維也納及紐約演出），以及 貝多芬的《田園》交響曲； 又 與法國舞蹈家尤安尼．布爾熱 瓦合作莫扎特的《安魂曲》； 與 排舞師瑪麗 - 艾格尼絲．吉約 改編芭蕾舞劇《年輕人與死》； 與帕絲卡．費弘合作莫扎特 的《 C 小調彌撒曲》等。而在

2022/2023 樂季，埃基爾貝將與 安東尼．博德瑞合演舒曼的最 後數首敍事曲，以及與麥特． 科利肖創作佛瑞的《安魂曲》。 埃基爾貝是法國普羅旺斯艾克 斯大劇院的駐團藝術家，與巴 黎愛樂樂團合作無間。

而誦調合唱團今年慶祝踏入第 30 個樂季，埃基爾貝繼續與合 唱團探索不同的精采曲目。今 年三月，她將會為觀眾帶來一 場孟德爾頌的音樂會。埃基爾 貝同時也是巴黎國立音樂學院 高級合唱團的藝術總監，致力 教育和傳承工作。

島嶼管弦樂團最近與華納古曲 唱片發行了兩張唱片，分別是 《愛拉托︰路易絲．法倫克第一 及第三交響曲》（ 2021 年 7 月） 和《莫扎特︰路西奧．錫拉》 （ 2022 年 4 月）。

埃基爾貝曾於巴黎、維也納及 倫敦修讀音樂，師承各大指揮 家，包括︰尼古拉斯．哈農庫 特、艾瑞克．艾立克森、丹妮 絲．漢姆、科林．梅特斯及約 爾瑪．帕努拉。

©Julien Benhamou

The conductor, musical director and founder of Insula orchestra and accentus, Laurence Equilbey embodies the alliance of artistic excellence and innovative, inclusive projects.

Her career in the symphonic repertoire has led her to conduct orchestras such as the BBC National Orchestra of Wales, the Montréal Symphony Orchestra, the Philharmonia in London, the Scottish Chamber Orchestra, H&H Boston, Hessischer Rundfunk, the orchestras of Lyon, Liège and Leipzig, the Brussels Philharmonic, Copenhagen, Gulbenkian, Akademie für Alte Musik Berlin, Concerto Köln, Camerata Salzburg, Mozarteumorchester Salzburg, Barcelona, Bilbao and so on.

With support from the Hautsde-Seine department, she founded Insula orchestra in 2012. The period instrument orchestra inaugurated an artistic residency at the Seine Musicale, on Seguin Island, in April 2017. It is also in charge of part of the Auditorium’s season.

On the lyric scene, Equilbey conducted Weber’s Der Freischütz staged by the new magic company 14:20 (Théâtre de Caen, Grand Théâtre de Provence, Bozar in Brussels, Theater an der Wien, Barbican centre, Ludwigsburg Festival, Grand Théâtre de Luxembourg, Théâtre des Champs-Élysées) and Beethoven’s Fidelio staged by David Bobée in London and at La Seine Musicale, along with

Mozart’s Lucio Silla with Rita Cosentino, Gounod’s Nonne Sanglante staged by David Bobée, Mozart’s most beautiful opera arias with Philippe Decouflé, and so on.

Every season at the Seine Musicale, Equilbey creates staged performances with artists from diverse backgrounds. For example, Haydn’s Die Schöpfung (performed in Aixen-Provence, Hamburg, Vienna and New York) or Beethoven’s Pastoral Symphony were created alongside the theatre company La Fura dels Baus, Mozart’s Requiem with Yoann Bourgeois, the ballet Le Jeune homme et la Mort (the Young Man and Death) with choreographer Marie-Agnès Gillot, and Mozart’s Mass in C minor with Pascal Ferran. In 2022-23, Equilbey will perform the last ballads of Robert Schumann with Antonin Baudry, and work with Mat Collishaw on Fauré’s Requiem. Equilbey is an associated artist at the Grand Théâtre d’Aix-en-Provence and enjoys a privileged relationship with the Paris Philharmonie.

With accentus, which celebrates its 30th birthday in 2022-23, she continually explores the great repertoire of vocal music. In March 2023, she will conduct a programme dedicated to Mendelssohn. Truly invested in education and the transmission of knowledge, she is the artistic and teaching director of the senior department for young singers at CRR de Paris.

Two recordings with Insula orchestra have recently been released under the label Warner Classics—Erato: Louise Farrenc’s 1st and 3rd Symphonies (July 2021) and Mozart’s Lucio Silla (April 2022).

Equilbey studied music in Paris, Vienna and London, with conductors such as Nikolaus Harnoncourt, Eric Ericson, Denise Ham, Colin Metters and Jorma Panula.

麥特・科利肖是當代英國藝術 界最重要及富影響力的藝術家 之一。他早年習藝於倫敦大 學金匠學院，是傳奇的「英國 青年藝術家」團體一員。他是 1988 年達米恩・赫斯特舉辦的 《凍結》展中，參展的 16 名年 輕藝術家之一，同時亦於 1997 年出展赫斯特富顛覆性的《感 觀》展。

在其三十載的藝術生涯中，科 利肖思考人類潛意識的本質， 並以不同媒介探討可以如何影 響潛意識。透過視覺幻覺、繪 畫、投影和移動雕塑，藝術家 創作出直接與無意識地與觀眾 互動的作品與場景。作品鼓勵 我們思考心理、歷史、社會學 和科學等根本問題。在這些作 品豐富炫目的表面之下，是對 我們如何以圖像及現代科技感 知今日世界，以及轉而如何被 影響的深入探討。行為控制、 編程、時間實相等問題，一直 流轉在觀看作品的經驗之中。

Mat Collishaw is one of the most significant and compelling artists in contemporary British art. With an early foundation at Goldsmiths College, Collishaw formed part of the legendary movement of Young British Artists. He was one of 16 young artists who participated in the seminal Freeze exhibition organised by Damien Hirst in 1988 as well as the provocative Sensation show of 1997.

Throughout his 30-year career, Collishaw has contemplated the nature of the human subconscious and explored ways to influence it through various media. Through optical illusions, paintings, projections and moving sculptures, the artist creates works and scenarios that directly and unconsciously engage their viewers. The works encourage us to think about fundamental questions of psychology, history, sociology and science. Behind the richness and visual appeal of each work there is a deep exploration of how we perceive and are influenced by the world today through images, and modern technology. Questions regarding behavioural manipulation, programming, temporal reality all linger in the viewing experience.

島嶼管弦樂團 INSULA ORCHESTRA

島嶼管弦樂團演出巴洛克、古 典及前浪漫主義時期的歷史音 樂，以時代樂器盡可能復原原 來的聲音、文字及曲目設計。

除經典作品外，樂團亦有演出 如露薏絲・法倫克的作品等較 罕見的曲目。

島嶼交響樂團在 2012 年在上塞 納省的支持下，由洛朗絲．埃 基爾貝創立。樂團於 2017 年為 塞納河音樂城揭幕。樂團負責 演奏廳樂季的部份節目，邀請 不同的合奏團及藝術家參演。

在 2023 年 6 月，島嶼管弦樂團

將會舉辦第一屆有關塞納河音 樂城收藏之時代樂器的學術會 議，並啟動名為「 HIP 歐洲」

的專業網絡。島嶼管弦樂團經 常在法國及世界各地頂尖場地 及音樂節表演，其中包括巴黎 愛樂廳、漢堡易北愛樂廳、倫 敦巴比肯藝術中心。

島嶼管弦樂團經常與尤安尼・布 爾熱瓦、安東寧・鮑德里、帕絲 卡・費蘭等不同藝術家合作舉行 舞台音樂會。同時亦投入如 360 度體驗和虛擬現實等數碼科技。

樂團在上塞納省推行推廣分享與 包容的多樣化、又富創新的教育 活動。在 2022 年，管弦樂團成 立了名為「島嶼文獻」的新的資

源中心，志在分享其音樂及科學 研究，以及教育及數碼資源。

島嶼管弦樂團現為 FEVIS 和 SPPF 一員，並蒙法蘭西島大 區贊助。安莉．佛利德斯特 塞特夫人和夏加爾慈善基金是 樂團的主要贊助人。樂團之友 accio 以及島嶼樂團－洛朗絲． 埃基爾貝基金亦支持樂團不同 的創作。

Insula orchestra performs historically informed music from the Baroque, Classical and preRomantic eras, performing on period instruments to match as closely as possible the original sound, text and writing design. Side by side with repertoire classics, the orchestra also performs rarer pieces, such as those by Louise Farrenc. With the Hauts-de-Seine department’s support, Insula orchestra was founded in 2012 by Laurence Equilbey. In 2017, it inaugurated the Seine Musicale venue. The orchestra partly oversees the Auditorium’s season, for which it invites numerous ensembles and artists. In June 2023, Insula orchestra will organise the first edition of a series of conferences about period instruments at La Seine Musicale and launches

the professional network HIP Europe. Insula orchestra also regularly performs in France and internationally in leading venues and festivals such as the Philharmonie de Paris, the Elbphilharmonie of Hamburg and the Barbican Centre in London.

The orchestra regularly produces staged concerts, working with artists including Yoann Bourgeois, Antonin Baudry and Pascale Ferran. It engages with digital technologies, including 360° experiences and virtual reality. A diversified and innovative education programme, striving towards sharing and inclusion, was developed throughout the Hautsde-Seine department. In 2022, a new resource centre was created to share its musical and scientific research plus educational and digital resources: Insula Documenta.

Insula orchestra, a member of FEVIS and SPPF, is sponsored by Région Île-de-France. Aline Foriel-Destezet and Chargeurs Philanthropies are its main patrons. The circle of friends accio and the Insula orchestra— Laurence Equilbey Foundation also support its projects.

©Julien Benhamou

藝術總監：洛朗絲．埃基爾貝

Artistic Director: Laurence Equilbey

塞納河音樂城駐場管弦樂團 Resident Orchestra at the Seine Musicale

誦調合唱團 A CCENTUS

誦調合唱團是洛朗絲．埃基爾 貝在 1991 年創立的室內合唱 團，精於無伴奏合唱、當代音 樂、神劇和歌劇。誦調合唱團 在 2018 年獲法國文化部選為 第一個國立聲樂藝術中心（巴 黎法蘭西島、諾曼第）。這項 殊榮鞏固長期的藝術及教育使 命同時，亦確立合唱團作為重 要國立及國際表演者的地位， 並以其銳意創新，團結及振奮 聲樂界。

誦調合唱團經常在法國及世界 各地頂尖場地和音樂節表演。

誦調合唱團是巴黎愛樂廳的主 要夥伴，並為盧昂-諾曼第歌 劇院的藝術駐場，亦是島嶼交 響樂團的主要合唱團。基斯杜 化・蓋柏隆自 2013 年起擔任誦 調合唱團的副指揮。

誦調合唱團一直與著名指揮 家、獨奏家、和交響樂團合 作，並參與不同的歌劇創作， 其中包括 2023 年 4 月於巴黎喜 歌劇院上演的《卡門》。

誦調合唱團透過不同的教育項 目，以及成立聲樂藝術資源中 心（ CEN ）(lecen.eu) 來推廣創 作、教育及資源共享。

誦調合唱團受法國文化部及法 蘭西島大區文化事務處的支 持，並受到巴黎市、法蘭西島

大區及諾曼第大區的資助。合 唱團荷蒙 SACEM 贊助。誦調 合唱團在上塞納省的表演及藝 術活動，受該省的支持。舒 萊爾・貝滕科特基金是合唱團 主要贊助人。誦調合唱團及島 嶼交響樂團的私人贊助者之友 accio，支持其藝術及教育活動。

accentus is a chamber choir founded in 1991 by Laurence Equilbey specialising in a cappella, contemporary music, oratorio and opera. accentus has been chosen by the French Ministry of Culture to take part in a national programme to promote vocal art (Paris Ile-deFrance, Normandy) in 2018. This strengthened its long-term artistic and educational mission while reaffirming its position as a key national and international player with initiative and innovation, bringing together and energising the vocal music industry.

accentus regularly performs in prominent venues and festivals in France and internationally. The choir is a prime partner of the Paris Philharmonie, continues an artistic residency at the RouenNormandie Opera, and is the prime choir of Insula orchestra. Christophe Grapperon has been Associate Conductor of accentus since 2013.

accentus collaborates with prestigious conductors, soloists and orchestras, and participates in numerous operatic productions, including Bizet’s Carmen at the Opéra Comique in April 2023.

accentus strives to produce, educate and share resources by diversifying its education programmes and creating the Cen, the resources centre for vocal art (lecen.eu).

The choir receives support from the Ile-de-France Regional Directorate of Cultural Affairs and the French Ministry of Culture, and is subsidised by the city of Paris, the Ile-de-France region and the Normandy region. It is sponsored by SACEM. accentus' performing and educational activities receive support from the Hauts-de-Seine department. The Bettencourt Schueller Foundation is its primary sponsor. Accio, the circle of private donors to accentus and Insula orchestra, supports its artistic and educational endeavours.

©Julien Benhamou

基斯托弗．嘉柏隆

CHRISTOPHE GRAPPERON

誦調合唱團副指揮

Associate Conductor of accentus

基斯托弗．嘉柏隆曾修讀手風 琴及音樂學，及後參加了丹尼 爾．德拉許的歌唱班，並師隨 凱瑟琳．西蒙皮特里及尼古拉 斯．布羅肖深造合唱及管弦樂 指揮技巧。

2010 年 4 月，洛朗絲．埃基爾 貝邀請他與誦調合唱團合作， 後來於 2013 年成為該合唱團的 副指揮。

嘉柏隆自 2007 年與洛伊克．布 瓦西耶成為盗賊樂團的音樂總 監，指揮家馬爾克．閔可夫斯 基更委託他於 2002-2007 年為法 國羅浮宮音樂家古樂團的合唱 指揮。嘉柏隆曾帶領誦調合唱 團演出埃爾韋的輕歌劇《偽善 的女人》，歌劇由帕拉澤托布魯 札恩音樂中心及多個法國歌劇 團共同製作。

嘉柏隆與法國巴黎喜歌劇團合 作無間，並於 2016 年 6 月為其 歌劇《歌劇院》指揮。他於同 年 9 月承繼拉希德．薩菲爾在 獨奏家 21 樂團的音樂總監之位。

此外，嘉柏隆亦曾與許多歌劇 團體合作。

他指揮過許多作曲家的作品， 包括︰雷吉斯．坎波、馬克奧利維耶．迪潘、提耶里．埃 斯凱希、弗朗索瓦．納博尼、 羅曼．迪迪埃等。嘉柏隆於 1995-2002 年在音樂家吉恩-菲 利普．沙克的巴黎專業學院及 大學音樂學院任教育總監，教 授多個合唱、管弦樂團及室樂 團課程。

After studying accordion and musicology, Christophe Grapperon joined Daniel Delarue's singing class and perfected his choral and orchestral conducting skills with Catherine Simonpietri and Nicolas Brochot.

In April 2010, Laurence Equilbey asked him to collaborate with accentus, of which he became Associate Conductor in 2013.

Since 2007, he has been the Musical Director of the company Les Brigands alongside Loïc Boissier. Marc Minkowski entrusted him with the direction of the choir of the Musiciens du Louvre-Grenoble from 2002 to 2007. He directed accentus in the operetta Mam'zelle Nitouche

by Hervé, co-produced by the Palazzeto BruZane and several opera houses in France.

He directed the 2016 project Opéraoké presented by Opéra Comique, with which he regularly collaborates. He succeeded Rachid Safir in September 2016 as Director of the ensemble Solistes XXI.

As a conductor, he conducts in many opera houses.

He has created works by Régis Campo, Marc-Olivier Dupin, Thierry Escaich, François Narboni, Romain Didier, and so on. From 1995 to 2002, he was Pedagogical Director at the Académie de Musique des Grandes Écoles et Universités de Paris, directed by Jean-Philippe Sarcos. He leads numerous courses in choral singing, orchestra and chamber music.

©Julien Benhamou

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》

The Mad Phoenix Collection of Raymond To’s Classics

24/2 五 Fri 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

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

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

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

《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

安宓泰．帕迪

AMITAI PATI

男高音

Tenor

薩摩亞藉男高音帕迪首次踏足 歐洲舞台，於巴黎愛樂廳飾 演比才歌劇《採珠者》中的納 迪，演出大獲好評，獲譽為頂 尖歌唱家。他於 2022/23 樂季 將於法國初次啼聲，並與蒙佩 利葉歌劇團合演《魔笛》中的 塔米諾。

帕迪於國際的知名度愈來愈 高，上樂季於英國首次與英國 國家歌劇團合演，並將會再次 參與三藩市歌劇團的演出。

除了歌劇演出外，帕迪也是一 位出色的音樂歌唱家，本樂季 他於紐西蘭威靈頓及巴黎愛樂 廳演唱莫扎特的《安魂曲》，亦 與島嶼管弦樂團於巴黎及普羅 旺斯演唱古諾較鮮為人知的神 劇《亞西西的聖方濟》。

他參與過的唱片包括由五音唱 片發行普契尼的《蝴蝶夫人》 及《西部女郎》。

帕迪畢業於英國威爾斯國際聲 樂學院，並於 2014 年獲邀參 與薩爾斯堡音樂節青年歌唱計 劃。他亦曾參與三藩市歌劇院 梅羅拉計劃，並首次擔任男主 角，飾演莫扎特《女人皆如此》

中的費蘭多。

帕迪與他的哥哥佩內．帕迪 （男高音）及親友莫塞斯．麥凱 （男中音）組成紐西蘭的三重唱 組合 SOL3 MIO。

Following his “sensational” European debut as Nadir in Bizet’s Les pêcheurs de perles at the Philharmonie de Paris, Samoan tenor Amitai Pati is gaining momentum as a “superb” artist. His 2022-23 season saw notable debuts in France, adding roles such as Tamino in Die Zauberflöte with Opéra de Montpellier.

Amitai’s international acclaim continues to grow, following last season’s British operatic debut with the English National Opera and his anticipated return to the San Francisco Opera.

Alongside his opera credits, Amitai is a versatile concert artist. This season he brings Mozart’s Requiem to Wellington and the Philharmonie de Paris. He sings Gounod’s lesser-known oratorio, St. François d’Assise with the Insula orchestra in Paris and Aix-en-Provence.

He appears on the Pentatone recordings of Puccini’s Madama Butterfly and La fanciulla del West.

Amitai is a graduate of the Wales International Academy of Voice and was invited to the 2014 Young Singers Project in Salzburg. He is an alumnus of the Merola Opera Programme in San Francisco, where he sang his first principal role as Ferrando in Così fan tutte

With his brother, fellow tenor Pene Pati, and their cousin, baritone Moses Mackey, Amitai is part of the New Zealand-based vocal trio SOL3 MIO.

©Garth-badger

拉菲爾．費嘉羅 Rafael Fingerlos

男中音 Baritone 孫信 Suen Shun

童聲獨唱 Treble Solo

香港兒童合唱團高級組團員

拉菲爾．費嘉羅生於奧地利薩 爾斯堡，2015 年夏天，他參加 了薩爾斯堡音樂節青年歌唱計 劃，翌年更以演奏者身分踏上音 樂節舞台，飾演湯瑪士．阿德 斯《泯滅天使》中的巴布羅。他 於 2016 年首次踏足德國德累斯

頓森柏歌劇院，飾演帕帕基諾， 並於 2016-2020 年期間為維也納 國家歌劇團成員。費嘉羅演唱 足跡遍及各地，包括：奧地利布 雷根茨音樂節、米蘭斯卡拉大劇 院、西班牙馬德里皇家劇院、 瑞典馬爾默歌劇院及比利時安特 衛普歌劇院，而今年他亦將會 首次踏足阿根廷哥倫布劇院。

身為音樂會及藝術歌曲演唱家， 費嘉羅至今已灌錄了七張個人唱 片，屢獲好評。

生於 2009 年，自小熱愛音樂，

五歲加入香港兒童合唱團，該團 成立於 1969 年，為香港首隊兒 童合唱團，並為註冊非牟利慈 善團體。

孫信自幼已累積不少演出經驗， 包括九歲時曾參加李錦記舉辦 之「代代有愛歌曲創作比賽」演 唱，並奪得金獎、最佳作曲及 填詞獎和觀眾投票至 Like 大獎。

十歲時獲選參與「香港同胞慶祝 中華人民共和國成立 71 周年大 會」演出。

11 歲時獲邀參加大 型原創音樂劇《歌王之王》，分 別飾演吉仔及功夫徒弟角色。

12 歲時在第一屆「天下華人唱 出好詩歌大賽」中，榮獲「創世 電視媒體宣教新力量大獎」。

Born in 2009, Suen Shun joined The Hong Kong Children's Choir at the age of 5.

Rafael Fingerlos was born in Salzburg, Austria. In summer 2015 he took part in the Salzburg Festival’s Young Singers Project and returned there in 2016 as Pablo in the world premiere of Thomas Adès’ The Exterminating Angel. He made his début at the Semperoper Dresden in 2016 as Pagageno and was a member of the ensemble of the Vienna Staatsoper from 2016 to 2020. To date, he has appeared at the Bregenz Festival, Teatro alla Scala Milan, Teatro Real Madrid, Opera Malmö and Opera Vlaanderen, and will have his début at Teatro Colón Buenos Aires in 2023. As a concert and Lieder singer, he appears worldwide and has recorded seven solo CDs to date.

HKCC was founded in 1969 as the first children's choir in Hong Kong. The HKCC is a registered non-profit charitable organisation.

Suen performs frequently on the local stage and takes part in various competitions. At the age of 9, he performed at “Loving Family”, a composition competition held by Lee Kum Kee, where he won the Gold Award, Best Composer and Lyricists Award. Other notable performances include “A Gala in Celebration of the 71st Anniversary of the Founding of the People’s Republic of China” (2020) and the grand original Cantonese musical King of Singers (2021), where he played the roles of Gut Jai and the Apprentice. In 2022, he won an award in a hymn singing competition held by Creation TV.

The Hong Kong Children's Choir Member from Senior Section

©Theresa Pewal

島嶼管弦樂團 Insula orchestra

小提琴獨奏 Violin Solo

Pablo Gutiérrez Ruiz

第一小提琴 First Violins

Catherine Ambach

Roldán Bernabé Carrión

Cécile Garcia

Mojca Jerman

Laure Massoni

Martin Reimann

Enrico Tedde

第二小提琴

Second Violins

Aude Caulé

Nathalie Cannistraro

Asim Delibegovic

Pascal Hotellier

Cécile Kubik

Arnaud Bassand

Bénédicte Pernet

Arnaud Bassand

Byron Wallis

中提琴 Violas

Alice Teixeira Vaz

Brigitte Clément

Dahlia Adamopoulos

Laurent Gaspar

Julien Lo Pinto

Jean-Luc Thonnérieux

大提琴 Cellos

Damien Ventula

Anne-Charlotte Dupas

Pauline Lacambra

Clotilde Lacroix

Alejandro Marias

Mátyás Virag

低音大提琴 Double Basses

Roberto Fernández De Larrinoa

Michael Chanu

Michael Greenberg

橫笛 Transverse Flutes

Anna Besson

Sophie Gourlet

雙簧管 Obos

Jean-Marc Philippe

Anne Chamussy

狩獵雙簧管 Oboe Da Caccia

Jean-Marc Philippe

單簧管 Clarinets

Vincenzo Casale

Ana Melo

低音管 Bassoons

François Charruyer

Emmanuel Vigneron

法國號 Cors

Georg Koehler

Gilbert Cami-farras

Yannick Maillet

Mark De Merlier

小號 Trumpets

Serge Tizac

Jean-Baptiste Lapierre

長號 Trombones

Frédéric Lucchi

Sylvain Delvaux

Guy Duverget

定音鼓 Timpani

Koen Plaetinck

管風琴 Organ

Christophe Henry

豎琴 Harp

Aurélie Saraf

女高音 Sopranos

Céline Boucard

Sophie Boyer

Eugénie De Padirac

Laurence Favier Durand

Pauline Feracci

Émilie Husson

Louise Leterme

Marie Picaut

Charlotte Plasse

女低音 Altos

Florence Barreau

Morgane Boudeville

Geneviève Cirasse

Marie Favier

Violaine Lucas

Valérie Rio

Thi-Lien Truong

男高音 Tenors

Camillo Angarita

Martin Candela

Sean Clayton

Stephen Collardelle

Maciej Kotlarski

Lancelot Lamotte

Mathieu Montagne

Pierre Perny

Maurizio Rossano

男低音 Basses

Pierre Corbel

Olivier Déjean

Grégoire Fohet-Duminil

Cyrille Gautreau

Jean-Christophe Jacques

Julien Neyer

Guillaume Pérault

Pierre Virly

香港彩排琴師 Hong Kong Rehearsal Pianist

廖梓丞 Jason Liu

誦調合唱團 accentus

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

Mrs Lavina Lim

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

文藝女士 Ms Wen Yi

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

無名氏 Anonymous

陳求德醫生及夫人 Dr & Mrs KT Chan

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

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 ( 2 ) Anonymous ( 2 )

Mr & Mrs Jeffrey & Helen Chan

Mr Edmond Huang

Dr Peter and Nancy Thompson

Dr Sabrina Tsao

曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow

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

香港故宮文化博物館 Hong Kong Palace Museum

文陳妙蘭女士 Mrs Christina Man

信興集團 Shun Hing Group

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

無名氏( 3 ) Anonymous ( 3 )

Dr Gillian Choa

Ms Ho Man Fung Edith

Mrs Schmitt Ling Jane

文娛慈善基金 The Elementary Charitable Foundation

Ms Isabel Yiu

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏( 2 ) Anonymous ( 2 )

AWORKS DESIGN

Jose Manuel Sevilla and Julie Bisaillon

Mrs Anson Chan

鍾雅妍博士 Dr Fiona Chung

Ms Zoe Ho

Ms Li Lian Khoo

Dr Alfred Lau

Apple Lee

李芸輝博士 Dr Lee Wan Fai Walter

Savita Leung

Mr Gary Ma

Mrs Lily Ma

Dr Michael Mak

Dr & Mrs Joseph Pang

San Miguel Brewery Hong Kong Ltd .

Mr A . Smith

The Brandon Centre Limited

Mr Wong Yick Kam

姚曼儀女士 Ms Enoch Yiu

朱玉迎女士 Ms Zhu Yuying

學生票捐助計劃 Student Ticket Scheme

鉑金捐款者 PLATINUM DONORS

HK$140,000 或以上 OR ABOVE

無名氏( 2 ) Anonymous ( 2 )

馬振玉慈善基金會有限公司

CYMA Charity Fund Ltd

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

田家炳基金會 Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

Mr Roger and Mrs Lina Lui

Dr Stephen Suen

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

Dr Chung See Yuen

天智合規顧問 CompliancePlus Consulting

Mr & Mrs Kenneth & Nelly Fung

C H Mak

Mr & Mrs Kenneth Quinn

曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

無名氏 ( 2 ) Anonymous ( 2 )

新作捐助計劃 New Works Scheme

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 Anonymous

劉仰澤先生 Mr Lau Yeung Chak

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

凌霄志醫生 Dr Tony Ling

區燊耀先生 Mr Au Son Yiu

Mr & Mrs Jeffrey & Helen Chan

Dr Chan Wan Tung

Mr & Mrs Norman Chui

Mrs Margaret Hamilton

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

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 黃嘉欣 *

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)

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

Programme Officer (Admin) Michelle Lam*

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

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

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Carly Wong*

Deputy Marketing Manager Kaitlyn Liu*

Assistant Production Manager Jess Cheung*

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

PR and Marketing Coordinator

Catherine Chung*

Kwong Wai Lap*

Wind Yeung*

Artist

Production Officer Pang Ka Tat*

Technical

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