香港藝術節匯聚全城文化精髓， 是享譽亞洲的文化盛事。藝術節 絢麗多姿的節目，每年吸引無數 海內外藝術愛好者熱烈捧場。觀
眾無論以香港為家，還是慕名而 來，都不難感受箇中都會魅力。
香港藝術節雲集本地以至全球名 家傾力演出，盡展藝術才華。精 選節目包羅萬象，古今俱備，觀 眾既可欣賞當代新銳創作，更可 回味大師經典作品。
欣逢香港藝術節四十周年，可喜 可賀。謹祝各位有一個愉快難忘 的晚上。
獻辭 message
The Hong Kong Arts Festival is a highlight of our city’s cultural calendar and a widely celebrated arts event in Asia. Each year it presents a feast of exciting programmes that draw arts lovers from near and far, adding to Hong Kong’s attractiveness both as a home and a tourist destination.
The Festival is an important platform for showcasing local talent alongside the best artists from around the world. With a judicious mix of programmes, it champions new and contemporary works while celebrating great masterpieces, giving audiences much to savour.
I congratulate the Hong Kong Arts Festival on its 40th Anniversary and wish you all a truly memorable evening.
香港特別行政區行政長官
Chief Executive Hong Kong Special Administrative Region
General Manager Nikolaus Bachler
音樂：莫扎特
Music: Wolfgang Amadeus Mozart
劇本：達龐特
Libretto: Lorenzo da Ponte
意大利語演唱，附中英文字幕
Performed in Italian with English and Chinese surtitles
分鐘，包括一節30分鐘中場休息
Running time: approximately 3 hours and 35 minutes with one 30-minute interval
香港文化中心大劇院 Grand Theatre, HK Cultural Centre
All photographs © Wilfried Hösl
敬請關掉所有響鬧及發光裝置，請勿擅自攝影、錄音或錄影，多謝合作。
Please switch off all sound-making and light-emitting devices. Unauthorised photography or recording of any kind is strictly prohibited. Thank you for your co-operation.
指揮
Conductor
製作
馬克．威格斯沃
Mark Wigglesworth
迪特．德恩
Production Dieter Dorn
舞台及服裝設計
Set and Costumes
燈光設計
Lighting
合唱指導
Chorus
樂團
Orchestra
合唱
Chorus
主要演員 ｜ Main Cast
約甘．路斯
Jürgen Rose
馬克斯．凱勒
Max Keller
蘇連．埃克霍夫
Sören Eckhoff
巴伐利亞國立交響樂團
Bayerisches Staatsorchester (Bavarian State Orchestra)
巴伐利亞國立歌劇院合唱團
Chor der Bayerischen Staatsoper (Chorus of the Bavarian State Opera)
費奧迪麗姬
Fiordiligi
朵拉貝拉
A組演員（2月23、25日） B組演員（2月24、26日）
Cast A (Feb 23 & 25)
米亞．皮亞遜
Cast B (Feb 24 & 26)
莎雲娜．法爾瑙卡婭
Miah Persson Serena Farnocchia
妲拉．愛朗
安琪拉．寶華
Dorabella Tara Erraught Angela Brower
費蘭多
亞列克謝．庫德里亞
艾曼紐．達古安諾
Ferrando Alexey Kudrya Emanuele D’Aguanno
古列爾摩
Guglielmo
黛絲比娜
萊文特．莫爾納
馬提斯．郝斯曼
Levente Molnár Matthias Hausmann
蘿拉．特圖列斯庫
安娜．維洛芙蘭絲姬
Despina Laura Tatulescu Anna Virovlansky
艾方索
湯馬．斯艾倫
彼得羅．史帕格諾里
Don Alfonso Thomas Allen Pietro Spagnoli
英文字幕
English Surtitles
中文字幕
米高‧拉布
Michael Raab
陳靜文
Chinese Surtitles Christine Chan
字幕操控
Surtitles Operator
羅曉晴
Jasmine Law
藝術節加料節目 Festival PLUS 莫扎特歌劇全方位電影系列
《費加羅的婚禮》
《唐‧喬望尼》
《皇帝的慈悲》
《魔笛》
26 12 2011-15 1 2012
All About Mozart’s Opera Film Series
Le nozze di Figaro Don Giovanni
Mitridate, ré di Ponto Die Zauberfl te 26.12.2011-15.1.2012
老師歌劇班 Opera for Teachers
18.2.2012 (六)
18 2 2012 (Sat)
學生歌劇班 Opera for Students
19.2.2012 (日)
德國歌劇與中國戲曲的 觀眾拓展及教育
21.2.2012 (二)
引入《女人心》
26.2.2012 (日) 上午11:00-下午12:00
香港文化中心大劇院後台
八樓二號排練室 (GR2)
名額︰100
英語主講，免費入場
「心」入後台
26.2.2012 (日) 下午12:30-1:00
香港文化中心大劇院後台
名額︰30
費用︰$20
英語主講
更多加料節目信息請參閱藝術節加料節目指南，或
瀏覽網站：www hk artsfestivalplus org
19.2.2012 (Sun)
Audience Building and Education for German Opera and Chinese Opera
21.2.2012 (Tue)
Before Così
26.2.2012 (Sun) 11:00am-12:00pm
GR2, 8/F, Backstage of the Grand Theatre, Hong Kong Cultural Centre
No of participants: 100
In English Free admission
Backstage at Così
26.2.2012 (Sun) 12:30-1:00pm
Backstage of the Grand Theatre, Hong Kong Cultural Centre
No of participants: 30
Fee: $20
In English
Find out more about Festival PLUS in the Festival PLUS Booklet or at www.hk.artsfestivalplus.org
巴伐利亞國立歌劇院
Bayerische Staatsoper (Bavarian State Opera)
繼承傳統、持續發展、精彩劇目︰這些都是世界最著名的歌劇院之一─巴伐利亞國立 歌劇院的重要基石。劇院的歷史可追溯至超過350 年前，因着宮廷的文化傳統，歌劇 院早於1653年以慕尼黑為家。自此，歌劇院的發展與慕尼黑的音樂歷史及社會政治變 遷有着密不可分的聯繫。
在巴伐利亞國立歌劇院，每年有超過60 萬觀眾入場欣賞超過300 場演出，為慕尼黑作 為國際文化中心的地位作出重大貢獻。在單一劇季，歌劇院除演出超過30個來自五個 世紀以來的歌劇外，同時亦上演芭蕾舞、音樂會及藝術歌曲演唱會，使巴伐利亞國立 歌劇院成為世界各個歌劇院中演出節目範圍最廣泛的歌劇院之一。
Tradition, continuity and an impressive repertoire: these are the solid pillars supporting the Bavarian State Opera – one of the world’s leading opera houses. It can look back proudly on a cultural history of over 350 years. Thanks to a court tradition, opera found a home in Munich in 1653; since then its historic music and sociopolitical development has continued in a way unparalleled anywhere else worldwide.
The Bavarian State Opera, with some 600,000 persons attending its over 300 performances each year, makes a major contribution to Munich’s reputation as one of the great international cultural capitals. In the course of a single season, over 30 operas from five centuries are performed along with ballets, concerts and songs. This makes the programme of the Bavarian State Opera one of the most richly varied performance schedules of all the international opera houses.
劇情簡介 Synopsis
第一幕 Act I
哲學家艾方索深受啟蒙運動思想影響，偏 執理性，情感淡薄。他的兩位軍官友人
費蘭多和古列爾摩不住讚歎未婚妻朵拉貝 拉和費奧迪麗姬兩姊妹的美貌與忠貞，令 艾方索甚為不忿。他認為女人天生水性楊
花，更為了證明自己的想法設下賭局：他 以一百塊金子向兩位年輕軍官挑戰，要在 一天內考驗兩位將為人婦的年輕女子，測
試她們的忠貞。費蘭多和古列爾摩同意打 賭，且願意無條件服從艾方索的指令。若 然兩位女子忠貞不二，兩位年輕人便會贏 得押注。
朵拉貝拉和費奧迪麗姬正期待他們的未婚 夫到來。此時艾方索現身，為兩姊妹帶來
噩耗：兩位軍官須即時奉召上前線作戰，
不得有誤。兩對準新人難捨難離，雙雙送 別：男的矯情飾行，女的卻情真意切。
在這時候，艾方索買通了兩姊妹的侍女黛 絲比娜，着她向兩位主子引薦喬裝成富貴 異鄉人的費蘭多和古列爾摩。他們以陌生 身份追求對方的未婚妻，同被她們怒而拒 絕。兩準連襟正想宣示勝出，艾方索卻不 以為然，並表示一天的限期仍未結束。兩 位男士唯有發動新一輪追求攻勢，佯裝為 愛殉情。兩位女子為他們的癡情動容之 際，假扮醫生的黛絲比娜及時出現，令 兩位追求者「死而復生」。他們甦醒後不 住吐露心曲、熱烈追求，終令兩女情迷意 亂，倉惶逃走。
Don Alfonso, a cynically inclined follower of Enlightenment philosophy, feels provoked by the officers Ferrando and Guglielmo: they over-exaggerate for his taste the beauty and above all the fidelity of their fiancées, the sisters Dorabella and Fiordiligi. Alfonso is deeply sceptical about the constancy of the fairer sex. Therefore he proposes to his protesting friends a wager of one hundred gold pieces: the constancy of the young women is to be tested over the course of a day. Ferrando and Guglielmo agree to the deal. They promise to follow Alfonso's orders without question. If the women remain steadfast, the young men will have won the wager.
Dorabella and Fiordiligi are expecting their fiancés. Alfonso appears instead with the terrible news that both officers have been called up to go to war without delay. The lovers bid their tender farewells: while for the men the sorrow is feigned, for the women it is genuine and deeply felt.
With a bribe Don Alfonso acquires the active help of Despina, the sisters' maid. It is her task to introduce to her mistresses Ferrando and Guglielmo who are disguised as rich Albanians. Without being recognised, the strangers cheekily pay court to each other's fiancées. The women indignantly reject these overtures. The friends want to claim victory. But Alfonso reminds them that the deadline for the wager has not yet expired. So the men renew their assault and pretend to attempt suicide out of desperation over their unrequited love. The ladies begin to feel pity. Despina, disguised as a doctor, revives the supposedly "dead" lovers, who begin their passionate assault once again, whereupon the ladies flee in confusion.
第二幕 Act II
早被艾方索收買的黛絲比娜力勸兩姊 妹積極考慮兩位來自異國的追求者。
她們再三思忖，決定淺嘗一下調情的 滋味。朵拉貝拉很快便移情別戀，接 受古列爾摩的追求，令眾人大失所 望。費奧迪麗姬則強作掙扎，力保專 一。經過此事，兩位友人的感情首次 受到重創，心生嫌隙。
為免把持不定，費奧迪麗姬決定上前 線會合未婚夫。在離開前夕，費蘭多 再次現身向她表達愛意，她終於心軟 屈服，再沒法抵擋其熱烈追求。
獲得最後勝利的艾方索向兩位失意友 人大談他冷漠的人生哲學：女人心， 海底針，天下女子皆善變。兩對熱戀 新人的婚禮迅速準備就緒，並由黛絲 比娜任證婚人。婚禮進行途中，她們 的舊戀人費蘭多和古列爾摩突然出 現，從前線趕返現場。他們怨懟曾經 愛慕的未婚妻；新娘子內疚不已，為 自己驟然變心痛感悔恨羞恥。艾方索 此時現身說法，披露整件事的來龍去 脈，力勸兩對有情人和解。黯然神傷 的新人們別無他法，接受艾方索的和 解協定，在惘然失措中上演大團圓結 局。
中譯︰李凱琪
Meanwhile Despina, who is in league with Alfonso, urges her mistresses to look favourably on the foreign suitors. After much hesitation Dorabella and Fiordiligi agree to allow themselves a harmless flirt. Dorabella succumbs to Guglielmo's overtures more quickly than expected. Fiordiligi on the other hand struggles desperately to remain steadfast. The friendship between the two young men suffers a first dangerous rift.
As a kind of salutary remedy against all temptation, Fiordiligi resolves to join her fiancé at the front. When Ferrando suddenly confronts her again, she weakens and gives in: she can no longer resist his declarations of love.
Victorious, Don Alfonso explains to the disillusioned friends his cynical philosophy of life: così fan tutte — all women are like that. The wedding of the two new couples is quickly prepared. Despina enters disguised as a notary. In the middle of the marriage ceremony the old suitors Ferrando and Guglielmo suddenly appear, returned from the war. There are feelings of disappointment and reproach on the part of the men towards the women, who for their part express feelings of guilt, shame and regret. Alfonso reveals the game he has played and urges reconciliation. In the midst of the general despair nobody wants to reject his suggestion. The couples agree to a reconciliation as the best of all possible solutions.
Mozart’s Occasional Peccadillo
《女人心》（ 1790 ）是莫扎特和劇
作家達龐特合作的三部作品的最後一 部。有人認為莫扎特是令「喜歌劇」 這種音樂形式趨於完美的音樂家。這
部歌劇被認為是喜劇與精彩旋律的完 美結合，人們廣泛稱讚它是部佈局勻 稱、製作精良的劇作。然而，此前的 兩部歌劇《費加羅的婚禮》（1786） 和《唐‧喬望尼》（1787）都獲得立
竿見影、經久不衰的成功，而《女人
心》則經歷了較長時間才找到自己的 一席之地，這是因為對某些人而言， 這部歌劇的情節似乎晦澀難懂。
達龐特以十八世紀的那不勒斯為故事 背景，故事裏的老哲學家艾方索打賭
說費蘭多和古烈爾摩的未婚妻不足以 信任，於是雙方立下賭約。兩位未 婚妻，費奧迪麗姬和朵拉貝拉這對姐 妹，深信她們的未婚夫上了前線打 仗，經過傷心欲絕的離別以及信誓旦 旦的海誓山盟後，費蘭多和古烈爾摩 都喬裝假扮成「阿爾巴尼亞人」來勾 引對方的未婚妻。在女僕黛絲比娜的 幫助下，艾方索在打賭中勝出。全劇 的結尾以和解原諒為主，而大家都接 受「女人皆如此」這個觀念。
關於《女人心》一劇的出處起源幾乎 無據可考，有人說是約瑟夫二世委約 創作。達龐特稱是莫扎特請求由他來 創作劇本。可以確信的是，此劇在 1790 年1 月26 日於維也納城堡劇院首 窩心浪漫背後
In Così fan tutte (1790), the last of three works written in collaboration with librettist Lorenzo da Ponte, Mozart is thought by some to have perfected the opera buffa form. The opera is esteemed for its mix of comedy and gorgeous melody, and widely praised as a theatrical work of fine, symmetrical construction. But whereas its predecessors, The Marriage of Figaro (1786) and Don Giovanni (1787), were both immediately and continuously successful, Così fan tutte took longer to find its place. Its plot, for some, presented difficulties.
Da Ponte’s story is set in 18th-century Naples, where Ferrando and Guglielmo make a bet with the old philosopher Don Alfonso, who says that they cannot trust the fidelity of their fiancées. The women, sisters Fiordiligi and Dorabella, are subsequently tricked into believing that the young men have been sent to the war. After a tearful farewell, and pledges of fidelity, they are seduced by Ferrando and Guglielmo disguised as visiting “Albanians”. With the help of the women’s maid, Despina, Don Alfonso wins the bet, but the opera ends with reconciliation and an acceptance that “women are like that (così fan tutte)”.
Little is known with certainty about the origins of Così fan tutte . Some have suggested that Emperor Joseph II commissioned the opera. Da Ponte claimed that Mozart requested the libretto. In any event, the Burgtheater production opened on 26 January 1790 but was forced to close after just five performances, when
演，但演出到第五場就因為約瑟夫二
世的逝世而停演。1791年至1794年之 間，這部歌劇在布拉格、阿姆斯特丹 和德國許多城市上演，並獲得不錯的 評價。
然而，《女人心》漸漸不獲好評。貝 多芬認為這部歌劇的主題配不上莫扎 特的才華；華格納認為由於這部歌劇 劇本太「膚淺」而使莫扎特無法譜寫 有內涵的音樂。然而1790年維也納的
聽眾似乎對此毫不介意，只是十九世 紀的人對其評價較為一般。雖然在喜 歌劇的故事情節裏「濫交」不是什麼 新鮮事，但在故事中，通常這類不道 德的行為都會受到某種懲罰。比如在 《費加羅的婚禮》中，艾瑪維瓦伯爵
因為試圖不忠而遭到羞辱；而唐 ‧ 喬 望尼則因為他的「行為不檢」而被罰 下地獄。在《女人心》中費蘭多和古
烈爾摩卻似乎接受了費奧迪麗姬和朵 拉貝拉的善變，彷彿一切早在意料之 中。
在十九世紀，要把《女人心》搬上舞 台，製作人通常會對歌劇進行實質性 的更改，甚至是重寫，即是把莫扎特 的音樂套上新的唱詞。其中有部法 語作品便把《女人心》的音樂配上了 莎士比亞《愛的徒勞》的翻譯劇本。
直到二十世紀《女人心》才重新受到 重視，憑着莫扎特音樂的實力，在世 界各大歌劇院的節目單中佔有一席之 地。
在整套音樂中，莫扎特利用了達龐特
劇本裏的二元對立：兩位旁觀者和兩 對情侶在兩幕戲中的故事，每位演員
Joseph II died. Following the official period of mourning, five more performances of the opera were given. Between 1791 and 1794, the opera played in Prague and Amsterdam and in many German cities where it was generally well received.
Gradually, though, Così was viewed less favourably. Beethoven considered the subject to have been unworthy of Mozart’s talent. Wagner believed Mozart had failed to compose music of substance because of the “shallowness” of the libretto. Whereas Viennese audiences of 1790 seem to have been untroubled by the subject, those in the nineteenth century took a dimmer view of it. Although promiscuity was hardly new to comic opera, immorality usually resulted in some form of punishment. In The Marriage of Figaro, Count Almaviva is humiliated for his attempted infidelities. And of course Don Giovanni is dragged down to hell for his “indiscretions”. In Così fan tutte , Ferrando and Guglielmo come to accept the fickleness of Fiordiligi and Dorabella as something to be expected.
Così fan tutte in the Romantic Period
To stage Così fan tutte in the 19th century, producers subjected the opera to substantial changes and even to complete re-writing, with Mozart’s music set to new words. One French-language production adapted the music to a translation of Shakespeare’s Love’s Labour’s Lost. Only in the 20th century did Così finally re-emerge and take its place in the repertoire of opera houses around the world, largely through the strength of Mozart’s music.
Throughout his score, Mozart draws on dualities found in da Ponte’s libretto: the story
在每一幕當中都有一段咏歎調。剛開 場時，莫扎特着重強調費奧迪麗姬和 朵拉貝拉之間、古烈爾摩和費蘭多之 間的「共同點」，一直到第一幕的尾 聲，兩對人的性格才顯出不同。最明 顯的是費奧迪麗姬以一首《我心如磐 石》唱出自己的忠貞不移，突顯出朵 拉貝拉的隨便。在男主角方面，費蘭 多的一曲《愛的氣息》顯示出他比古 烈爾摩來得浪漫。
戲假情真 對於歌手，尤其是女主角來說，最大 的挑戰是既要傳遞真摯的感情，又不 能影響觀眾沉浸在喜劇的氣氛中。男 主角準備「上戰場」時的一段五重 唱（《天啊，我感到腳步在顫抖》）
of two observers and two pairs of lovers presented in two acts. All of the six singers have an aria in each act. In the opening scenes, Mozart emphasises the “sameness” both of Fiordiligi and Dorabella, and of Guglielmo and Ferrando. Their characters begin to diverge only towards the end of act one. This takes place most conspicuously as Fiordiligi sings of her firmness to stay true to her man (Come scoglio — “Like a rock”), unlike the easy Dorabella. Between the male leads, Ferrando’s Un’aura amorosa (A loving breath), suggests he is at heart more of a romantic than Guglielmo.
對於朵拉貝拉和費奧迪麗姬來說是 悲劇性的時刻（她們的悲傷是真實 的）。同樣，在接下來的三重唱中， 女人在祈求她們的男人一路平安的時 候（《風輕輕地吹》），在這些悲傷 的音樂之後，艾方索或許有必要再現 身，給觀眾使使眼色，提醒觀眾無須 擔心。
The challenge for the singers, and especially the female leads, is to convey seemingly genuine emotions without diminishing the comedy that the audience is on. The quintet that sees the men “off to battle” ( Sento , oddio , che questo piede – “O Heaven, I feel my steps falter”) is for Dorabella and Fiordiligi a tragic moment (their tragedy is real). This is also true in the glorious trio that follows, as the women pray that their men have a safe voyage (Soave sia il vento — “Gentle be the breeze”). After such poignant music, a wink from Don Alfonso may be needed to remind the audience that there is no cause for concern.
第二幕是更直接了當的喜劇。對於這 四名男女最後如何配對，莫扎特和達 龐特都沒有清楚交代，也許是特意這 樣處理。在原來的版本，兩對情侶復 合，許多現代版的製作則以兩對情侶 交換配對為結局。無論如何，當代觀 眾似乎和十八世紀維也納的觀眾一樣 欣賞《女人心》的成功，如費蘭多和 古列爾摩，各人都願意寬容一些偶然 的瑕疵。
文︰拜恩‧湯臣
中譯︰王明宇
Act II offers more straightforward comedy. And perhaps intentionally, neither Mozart nor da Ponte indicated conclusively how the four leads should be paired at the end. The original staging saw the couples re-united. Many productions now end with them in their re-pairings. Either way, contemporary audiences seem in tune with those of 18thcentury Vienna on the success of Così fan tutte and, like Ferrando and Gulielmo, willing to overlook the occasional peccadillo.
By Brian C. Thompson
馬克．威格斯沃 Mark Wigglesworth
Conductor
威格斯沃生於英國亞丁萊，畢業於倫敦皇家音樂學院。他曾與世界
多個主要樂團合作，包括紐約愛樂樂團、芝加哥交響樂團、克里夫
蘭管弦樂團、倫敦愛樂樂團、洛杉磯愛樂樂團、柏林愛樂樂團、皇
家阿姆斯特丹音樂廳樂團及以色列愛樂樂團等。他亦為多齣歌劇擔 任指揮，包括威爾斯國家歌劇院的《崔斯坦與伊索爾德》、《埃萊克特拉》、《浪子
的歷程》；格蘭特堡歌劇團的《彼得．格萊姆斯》和《波希米亞人》；英國國家歌劇 團的《莫桑斯克的馬克白夫人》和《法爾斯塔夫》；紐約大都會歌劇院的《費加羅的 婚禮》以及倫敦高文花園皇家歌劇院的《紐倫堡的名歌手》。他將在2011 /12 年劇季 為巴伐利亞國立歌劇院的《女人心》及《皇帝的慈悲》擔任指揮。
Wigglesworth was born in Ardingley, England and graduated from the Royal Academy of Music in London. He has worked internationally with a large number of major orchestras, such as the New York Philharmonic Orchestra, the Chicago Symphony, the Cleveland Orchestra, the London Philharmonic, the Los Angeles Philharmonic Orchestra, the Berlin Philharmonic, the Royal Concertgebouw Orchestra and the Israel Philharmonic Orchestra. The many works he has conducted include Tristan und Isolde Elektra and The Rake’s Progress at the Welsh National Opera; Peter Grimes bohème at the Glyndebourne Festival Opera; Lady Macbeth of Mtsensk and the English National Opera; Le nozze di Figaro at the Metropolitan Opera in New York; and Die Meistersinger von Nürnberg at London’s Royal Opera House Covent Garden. He will be conducting Così fan tutte and Mitridate, rè di Ponto during the 2011/12 season at the Bavarian State Opera.
Dieter Dorn Production
Born in Leipzig, Dorn studied drama at the theatre school of his hometown and acting at the Max-Reinhardt-Schule in Berlin. He has directed at the Schauspielhaus in Hamburg, at the Vienna Burgtheater, the Staatlichen Schauspielbühnen Berlin and at the Salzburg Festival. From 1983 to 2001 he was director of the Munich Kammerspiele. From 2001 until 2011, Dorn has been director of the Bavarian National Theatre. He has been a member of the Academy of Arts in Berlin since 1986 and Director of the Department of Performing Arts of the Bavarian Academy of Fine Arts. At the Bayreuth Festival, he directed The Flying Dutchman and at the New York Metropolitan Opera, Tristan und Isolde. His repertoire for the Bavarian State Opera includes Così fan tutte and Le nozze di Figaro.
迪特‧德恩生於德國萊比錫，分別在故鄉的戲劇學院及柏林萊哈 德特戲劇學校修讀戲劇及表演。他曾在漢堡話劇院、維也納宮廷 劇院、柏林國家劇院及薩爾斯堡藝術節擔任導演。1983至2001年 間，他在慕尼黑室內劇院任導演，並於2001至2011年在巴伐利亞 國家大劇院出任導演。德恩自1986年起成為柏林藝術學院成員，並 為巴伐利亞藝術學院表演藝術系的總監。他分別在拜雷特音樂節及紐約大都會歌劇院 執導《漂泊的荷蘭人》及《崔斯坦與伊索爾德》。在巴伐利亞國立歌劇院，他執導的 劇目包括《女人心》和《費加羅的婚禮》。
約甘．路斯 Jürgen Rose
舞台及服裝設計 Set and Costumes
約甘．路斯生於德國貝恩堡（薩勒），曾就讀柏林藝術學院。1961 2001年間，他於慕尼黑室內劇院出任舞台及服裝設計。1970年
起，他在維也納、漢堡、斯圖加特、柏林、倫敦、巴黎、米蘭及紐 約等地擔任舞台及服裝設計，並參與拜雷特音樂節及薩爾斯堡藝術 年間，他在斯圖加特國家藝術學院任舞台設計教授，並由1996年起 編導自己的歌劇製作。他與巴伐利亞國立歌劇院及巴伐利亞國立芭蕾舞團合作緊密， 劇季他所參與的製作包括《魔笛》、《女人心》、《費加羅的婚禮》、 《諾曼》、《馴悍記》及《胡桃夾子》。
Born in Bernburg, Saale, Rose studied at the Berlin Academy of Fine Arts. From 1961 to 2001 he worked as stage and costume designer for the Munich Kammerspiele. From 1970, he has designed sets and costumes in Vienna, Hamburg, Stuttgart, Berlin, London, Paris, Milan and New York and at festivals in Bayreuth and Salzburg. From 1973 to 2000 he was Professor of Stage Design at the State Academy of Fine Arts in Stuttgart. In 1996, he began directing his own opera productions. He is connected to the Bavarian State Opera and the Bavarian State Ballet through numerous projects. His work can be seen in the following 2011/12 season productions: Die Zauberflöte, Così fan tutte, Le nozze di Figaro, Norma, The Taming of the Shrew and The Nutcracker.
湯馬士．艾倫爵士 Sir Thomas Allen 艾方索 Don Alfonso
艾倫爵士是世界各大歌劇院的巨星。2006年他慶祝在倫敦高文花園
皇家歌劇院首次登場演出35週年紀念，多年來他在此演出的角色不
下50 個；同年他亦慶祝在紐約大都會歌劇院首次登場演出25 週年
紀念。除歌劇演出外，他的獨唱會也廣受歡迎，曾於英國、歐洲各 地、澳洲及美國演出。大部份他有份參演的歌劇已灌錄成唱片。
他在英國皇家歌劇院演繹《賈尼．斯基基》的同名角色，為近年的精湛演出之一。他 於2003年在英國皇家音樂學院首次執導《亞伯特．赫瑞》，取得成功。1989年，他獲 頒大英帝國司令勳章，並於1999年獲冊封為男爵。
Sir Thomas Allen is an established star of the world’s great opera houses. In 2006, he celebrated the 35th anniversary of his debut with the Royal Opera House, Covent Garden, where he has sung no less than 50 roles. In 2006, he also celebrated his 25th anniversary of his debut at the Metropolitan Opera, New York. Equally renowned on the concert platform, Allen appears in recitals in the UK, throughout Europe, in Australia and America, and has performed with the world's great orchestras and conductors. The greatest part of his repertoire has been extensively recorded.
His recent successes include the title role in Gianni Schicchi at the Royal Opera House. Allen made a triumphant directing debut in 2003 with Albert Herring at the Royal College of Music. In 1989, he was made a Commander of the British Empire and in 1999, he was made a Knight Bachelor.
安琪拉．寶華 Angela Brower
朵拉貝拉 Dorabella 寶華成長於美國亞利桑那州鳳凰城，就讀亞利桑那州立大學及印第 安那大學。早在求學時期，她已開展演唱事業，透過演繹一系列角 色如《費加羅的婚禮》的凱魯比諾、《凱撒大帝》的凱撒、《糖果 屋歷險記》的韓賽爾和《魔笛》的第二夫人侍女等，從而建立廣闊 的歌劇演唱領域。屢獲殊榮的她於2008年光玻歌劇節的美國年輕藝 術家計劃中演唱，繼而獲巴伐利亞國立歌劇院的歌劇工作室邀請加 盟，於2008至2010年期間成為工作室成員。她在這段時期演繹過多個角色，包括《糖 果屋歷險記》的睡魔、《春宮夜未眠》的奧西尼、《意大利的土耳其人》的賽達。她 在慕尼黑國家大劇院的主舞台演繹《女人心》中朵拉貝拉一角，備受注目。寶華是 2009年慕尼黑音樂節大獎的得獎者，現為巴伐利亞國立歌劇院的劇團成員。
Brower was raised in Phoenix, Arizona and studied at Arizona State University and Indiana University. During her studies she began an active concert career and developed a broad operatic repertoire with such roles as Cherubino in Le nozze di Figaro, Cesare in Giulio Cesare in Egitto and Hansel in Hänsel und Gretel and Zweite Dame in Die Zauberflöte. In addition to earning several awards and prizes, in 2008 she performed at Glimmerglass Opera in the Young American Artists Program. From there Brower was invited into the Opernstudio of the Bayerische Staatsoper where she was a member from 2008-2010 and debuted such roles as Sandman in Hänsel und Gretel, Orsini in Lucrezia Borgia and Zaida in Il Turco in Italia. Her portrayal of Dorabella in Così fan tutte earned her particular attention on the main stage of the National Theatre. She is the recipient of the prestigious 2009 Munich Festival Prize and is currently a member of the ensemble at the Bavarian State Opera.
艾曼紐．達古安諾
Emanuele D'Aguanno 費蘭多Ferrando 達古安諾於意大利維琴察音樂學院完成音樂訓練，先主修結他，後 轉修聲樂，現隨威廉．馬特濟和拉蒙．瓦格斯深造。他在托蒂達比 賽中獲頒研習經費，使他有機會在意大利、奧地利、突尼西亞、智 利、阿根廷、烏拉圭和巴西各地的劇場演出。
達古安諾分別在《狄多與依尼阿斯》、《柏林祭獻》和《塞爾維亞 的理髮師》擔演依尼阿斯、列卡多和艾瑪維瓦伯爵等角色，實力備受肯定。2004年， 他於米蘭歐洲年輕抒情歌手比賽演繹《愛情靈藥》中莫利諾一角。在 2011 / 12 年劇 季，他將於巴伐利亞國立歌劇院演出普契尼《杜蘭朵》中彭一角，以及邁爾的《美狄 亞在科林托》中的國王埃勾斯。
D'Aguanno completed his musical studies at the Vicenza Conservatory, first as a guitarist and then as a singer. Presently he studies with William Matteuzzi and Ramon Vargas. A study grant awarded to him at the Toti dal Monte competition in Treviso led to engagements in Theatres in Italy, Austria, Tunisia, Chile, Argentina, Uruguay and Brazil.
D'Aguanno has distinguished himself in singing roles such as Aeneas in Dido and Aeneas, Riccardo in Fanatico in Berlina, and Count Almaviva in Il barbiere di Siviglia
In 2004 he sang Nemorino in L’Elisir d’amore in the young European lyric singer competition in Milan. In the 2011/12 season at the Bavarian State Opera, he will perform the role of Pong in a new production of Puccini’s Turandot and Egeo in Mayr’s Medea in Corinto
妲拉．愛朗 Tara Erraught
朵拉貝拉 Dorabella
愛朗於愛爾蘭出生，畢業於都柏林愛爾蘭皇家音樂學院。2008 至 2010年間，她為巴伐利亞國立歌劇院歌劇工作室的成員之一，並於 2010/11劇季成為該劇院的團員。
2011
年初，她擔演由長野健指揮 的新製作《孩子與魔術》，憑演繹孩子一角贏得讚譽。同年，她亦 參演伯里尼的《卡布烈與蒙太奇家族》，飾演羅密歐一角。
愛朗在她的故鄉愛爾蘭參與過兩場特別演唱會，一為慶祝都柏林國家音樂廳30週年音 樂會，另一場則與都柏林RTÉ國家交響樂團合作演出。
月，愛朗贏得捷克積及．佩絲汀國際聲樂比賽冠軍，共同時贏獲薩紮瓦河畔 茲達爾觀眾大獎。同年，她亦在維也納舉行的漢斯嘉伯國際聲樂比賽獲頒休斯頓歌劇 院獎及華盛頓國家歌劇院獎。
2010
年，她獲都柏林國家音樂廳頒發飛躍新星大獎。在 年劇季，她於巴伐利亞國立歌劇院演出的角色包括《愛情靈藥》中的吉安內 塔、《孩子與魔法》中的孩子，以及《塞維利亞的理髮師》中的露西娜。
Born in Ireland, Erraught graduated from the Royal Irish Academy of Music in Dublin. She was a member of the Opernstudio at the Bavarian State Opera in Munich from 2008 to 2010. From the 2010-11 season she became an ensemble member of the Bavarian State Opera where in early 2011, she scored great acclaim with the title role in a new production of L’Enfant et les Sortilèges conducted by Maestro Kent Nagano and as Romeo in a new production of Bellini’s I Capuleti e I Montecchi
In May of 2008, Erraught won First Prize in the Jackub Pustine International Singing Competition along with the Zdar nad Sazavou Audience Prize in the Czech Republic. That same year she was awarded both the Houston Grand Opera Prize and Washington National Opera Prize at the International Hans Gabor Belvedere Singing Competition in Vienna. In 2010 she was named Dublin’s National Concert Hall’s Rising Star Prize. Roles at the Bavarian State Opera in the 2011/12 season include Giannetta ), L’enfant (L’Enfant et les Sortilèges) and Rosina (Il barbiere di Siviglia).
莎雲娜．法爾瑙卡亞 Serena Farnocchia 費奧迪麗姬 Fiordiligi
生於意大利盧卡的法爾瑙卡亞是歐洲多個歌唱比賽的優勝者，也是 1995 年在美國費城舉行的盧奇亞諾．巴伐洛堤聲樂大賽的冠軍得 主。1997年她蒙指揮家列卡度‧慕迪賞識加入米蘭歌劇工作室，獲 點名演出莫扎特《唐．喬望尼》中安娜一角。她把這個極富挑戰的 角色演繹得絲絲入扣，取得成功。
Bolívar Youth Orchestra and Stuttgart’s Bach Academy. Conductors with whom he has worked include Daniel Barenboim, Riccardo Chailly, Karel Mark Chichon, Sir Colin Davis and Gustavo Dudamel.
亞歷克謝．庫德里亞 Alexey Kudrya 費蘭多 Ferrando 貴為2009 年多明高世界歌劇大賽的優勝者，庫德里亞深受世界各 地劇院歡迎。他的高音輕巧細膩，不論是抒情或美聲歌劇他都能夠 駕馭。他曾參演的劇目包括意大利巴利帕德采里劇院的《愛情靈 藥》、安特衛普和巴伐利亞國立歌劇院的《女人心》、由列卡度． 慕迪指揮，在科隆演出的《唐帕斯夸萊》、分別在西班牙特內里費 島及莫斯科上演的《塞爾維亞的理髮師》、在法國巡迴演出的《萊 茵之旅》、在西班牙拉科魯尼亞公演的《唐．喬望尼》、法國漢斯大劇院的《登陸夢 幻島》、在奧地利聖瑪格利特上演的《魔笛》、慕尼黑的《愛情靈藥》、分別在慕尼 黑、莫斯科和巴勒摩上演的《塞爾維亞的理髮師》；《塞》將也是他在紐約大都會歌 劇院首次登場演出的劇目。在2011 /12 年樂季，他於巴伐利亞國立歌劇院演出的角色 包括《女人心》的費蘭多及《皇帝的慈悲》的馬茲奧。
Kudrya won the Operalia Competition 2009 and is in great demand by theatres across the world. His light lyric tenor voice has a volume that allows him to sing also lyric and bel canto repertoire. Kudrya’s commitments include L’Elisir d’amore at the Teatro Petruzzelli in Bari, Così fan tutte in Antwerp and the Bayerische Staatsoper in Munich, Don Pasquale in Cologne under the baton of Riccardo Muti, Il barbiere di Siviglia in Tenerife and Moscow, Il Viaggio a Reims in a tour of France, Don Giovanni in La Coruña, La Cenerentola at the Grand Théâtre de Reims, The Magic Flute in St Margarethen, L’Elisir d’amore in Munich, and Il barbiere di Siviglia in Moscow, Palermo and Munich. He is about to make his debut at the MET with Il barbiere di Siviglia. Roles at the Bavarian State Opera in the 2011/12 season include Ferrando (Così fan tutte) and Marzio (Mitridate, rè di Ponto).
Guglielmo
莫爾納生於羅馬尼亞德蘭斯瓦尼亞，於匈牙利長大。他從14歲起在 納吉‧艾斯特凡藝術及音樂學院接受聲樂訓練，並於2001年入讀奧 拉迪亞大學聲樂系，師從瑪利安．寶亞。
2003年，他加入布達佩斯國立歌劇院的歌劇工作室，並於2006年
首次演出，飾演唐．喬望尼一角。作為布達佩斯國立歌劇院的正規成員，他演繹過的 角色包括古列爾摩（《女人心》）、艾瑪維瓦伯爵（《費加羅的婚禮》）、馬切洛 （《波希米亞人》）、馬拉泰斯塔醫生（《唐帕斯夸萊》）及《尤金．奧涅金》的同 名角色。2008年秋季，他在倫敦高文花園皇家歌劇院憑演繹《唐．喬望尼》中馬塞特 一角大受歡迎。自2009 /10 劇季起，他在巴伐利亞國立歌劇院擔任獨唱，飾演貝爾柯 雷（《愛情靈藥》）、父親（《糖果屋歷險記》）、獄卒（《斷頭台上的修女》）、 古列爾摩（《女人心》）及費加羅（《塞爾維亞的理髮師》）等角色。
Molnár was born in Transylvania and grew up in Hungary. At the age of 14, he began his vocal studies at the Nagy István School for Music and Fine Arts. He entered the Singing Faculty of the Music University of Oradea in 2001, studying with Marian Boboia.
In 2003 he joined the Opernstudio at the State Opera in Budapest, where he debuted in 2006 as Don Giovanni. As a member of the regular company at the Budapest State Opera he sang such roles as Guglielmo (Così fan tutte), Count Almaviva (Le nozze di Figaro), Marcello, (La bohème), Dr. Malatesta (Don Pasquale) and the title role in Evgeny Onegin . In the autumn of 2008 he scored a major success at the Royal Opera House Covent Garden in London as Masetto (Don Giovanni). Since the 2009/10 season he has been on the solo roster at the Bavarian State Opera. His roles here include Belcore (L’elisir d’amore), Father (Hänsel und Gretel), Le geôlier (Les Dialogues des Carmélites), Guglielmo (Così fan tutte) and Figaro (Il barbiere di Siviglia). 米亞．皮亞遜 Miah Persson
瑞典女高音皮亞遜廣受世界各地主要歌劇院及樂團歡迎。她曾在薩 爾斯堡藝術節、倫敦高文花園皇家歌劇院、紐約大都會歌劇院、法 國艾克斯音樂節、巴塞隆拿那利西厄大劇院等地演出，曾飾演的角 色包括《玫瑰騎士》的蘇菲，《糖果屋歷險記》的葛瑞特和《女人 心》的費奧迪麗姬，《玫瑰騎士》更是她2009年在大都會歌劇院的 首次獻唱。2001年，她獲瑞典國王委任為宮廷歌手。
在演唱會方面，她曾與柏林交響樂團、芝加哥交響樂團、羅浮宮音樂家古樂團、布達 佩斯節日樂團和洛杉磯愛樂樂團合作，並在英國BBC逍遙音樂節亮相演出；她亦曾在 倫敦威格摩爾音樂廳和法蘭克福歌劇院作公開演唱。歷年與她合作演出的指揮家包括 查爾斯．馬克拉斯爵士、阿殊堅納西、丹尼爾．巴倫波、伊佛．波頓及皮埃爾．布列 茲。
Spagnoli has performed in many operas by Mozart, Rossini and Donizetti, including Don Giovanni and Leporello in Don Giovanni, Figaro in Il barbiere di Siviglia, and Belcore and Doctor Dulcamara in L'elisir d'amore . He has appeared in many prestigious festivals and also worked with many directors such as Irina Brook, Robert Carsen, Liliana Cavani, Pippo Crivelli and Paul Curran. Spagnoli’s well-known singing and acting gifts garnered him notice and his natural talent matured as he worked with conductors like Rinaldo Alessandrini, Maurizio Benini, Richard Bonynge, Bruno Campanella and Riccardo Chailly.
蘿拉．特圖列斯庫 Laura Tatulescu 黛絲比娜 Despina
特圖列斯庫生於美國，本為小提琴家，及後她前往羅馬尼亞布加勒 斯特國立音樂大學深造，獲歌劇碩士學位。她憑藉優美的聲線和台 上精彩的演出深獲各界認同，並曾在一眾知名指揮家如列卡度‧慕 迪、小澤征爾、菲利浦．約丹、亞當．費雪和詹士．康隆的指揮下 演出。2004 年她首次於羅馬尼亞布加勒斯特國家劇院演出歌劇， 飾演《浮士德》的瑪格麗特。此後她在維也納國立歌劇院擔任獨 唱，曾演繹《費黛里奧》的瑪采琳、《波希米亞人》的穆塞塔及《維特》的蘇菲。在
2008 /09 劇季，她分別於洛杉磯歌劇院及史波雷多藝術節演繹《賈尼．斯基基》中蘿
利塔一角，並於2009/10劇季起於巴伐利亞國立歌劇院作定期演出。在2011/12劇季， 她將演繹《糖果屋歷險記》的葛瑞特、《波希米亞人》的穆塞塔、《唐卡洛斯》的泰 巴多，以及《女人心》的黛絲比娜。
Tatulescu was born in the US and began her musical career as a violinist. She later graduated with a Masters Degree in Opera from the National Music University in Bucharest, Romania. Tatulescu has gained recognition for her beauty of voice and her exciting portrayals on the operatic stage. She has performed under the batons of such eminent conductors as Riccardo Muti, Seiji Ozawa, Philippe Jordan, Adam Fischer and James Conlon. She made her operatic debut in 2004 as Marguerite in Faust at the National Theatre in Bucharest. After that she was a soloist at the Vienna State Opera, where she sang such roles as Marzelline in Fidelio, Musetta in La bohème and Sophie in Werther. In 2008/09 she sang Lauretta in Gianni Schicchi at the Los Angeles Opera and the Spoleto Festival. Since the 2009/10 season she has been on the roster at the Bavarian State Opera. Here, in the 2011/12 season, she sings Gretel (Hänsel und Gretel), Musetta (La bohème), Tebaldo (Don Carlo) and Despina (Così fan tutte).
安娜．維洛芙蘭絲姬 Anna Virovlansky 黛絲比娜 Despina
維洛芙蘭絲姬生於俄羅斯聖彼德堡，於以色列魯賓演藝學院跟隨艾 潔妮絲．馬西尼研習聲樂。她於2003/04年度畢業後旋即獲賞識， 加入以色列歌劇工作室。
維洛芙蘭絲姬於2003年在以色列贏得春之聲大賽，初次嶄露頭角。
2004 年，她在德國舉行的新聲國際聲樂比賽脫穎而出，因而獲德 國波恩歌劇團簽約成為團員，在團內掌握廣泛劇目。在2004 年的維也納貝芙黛瑞國 際聲樂比賽中，她獲巴塞爾劇院邀請加盟，並獲國際歌劇導演協會頒發特別獎。2010 年夏天，維洛芙蘭絲姬首次於格萊德波恩歌劇節演出，演繹《唐．喬望尼》中崔琳娜 一角，獲傳媒及觀眾一致讚賞。由2011 /12 劇季起，她成為巴伐利亞國立歌劇院的成 員，演繹《玫瑰騎士》的蘇菲、《蝙蝠》的艾黛兒，以及《費黛里奧》的瑪采琳等角 色。
Born in St Petersburg, Virovlansky studied voice with Agness Massini at the Rubin Academy in Jerusalem, and was accepted into the Israeli Opera Studio immediately upon completing her studies in the 2003/04 season.
Virovlansky first attracted attention when she won the Spring Voices Competition in Israel in 2003. In 2004 her success at the international singing competition Neue Stimmen in Germany led to her contract with the Bonn opera house, where she acquired a broad repertoire. At the Belvedere Competition in Vienna, 2004, she was awarded an engagement at the theatre in Basel, as well as a special prize from the Professional Association of Opera Directors. In the summer of 2010 Virovlansky made her Glyndebourne Festival debut as Zerlina in Don Giovanni, which was highly acclaimed by audience and press alike. From the 2011/12 season Virovlansky became a member of the ensemble at the Bavarian State Opera, where she appears in roles such as Sophie in Der Rosenkavalier, Adele in Die Fledermaus and Marzelline in Fidelio
贊助人 PATRON
曾蔭權先生
The Honourable Donald Tsang Yam-kuen
永遠名譽會長
HONORARY LIFE PRESIDENT
邵逸夫爵士 Sir Run Run Shaw
執行委員會 EXECUTIVE COMMITTEE
主席 Chairman
李業廣先生 Mr Charles Y K Lee, GBM GBS JP
副主席 Vice Chairman
許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP
義務司庫 H onorary Treasurer
李思權先生 Mr Billy Li
委員 Members
夏佳理先生 The Hon Ronald Arculli, GBS JP
紀大衛教授 Professor David Gwilt, MBE
查懋成先生 Mr Victor Cha
周永健先生 Mr Anthony Chow SBS JP
黃敏華女士 Ms Nikki Ng
李 義法官 The Hon Mr Justice Ribeiro
詹偉理先生 Mr James Riley
黃鳳嫺女士 Ms Gilly Wong
任志剛先生 Mr Joseph Yam, GBM JP
節目委員會 PROGRAMME COMMITTEE
主席 Chairman
許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP
副主席 Vice Chairman
紀大衛教授 Professor David Gwilt, MBE
委員 Members
盧景文教授 Professor Lo King-man, MBE JP
毛俊輝先生 Mr Fredric Mao, BBS
譚榮邦先生 Mr Tam Wing-pong, SBS JP
姚 珏 女士 Ms Jue Yao
伍日照先生 Mr Daniel Ng
羅志力先生 Mr Peter C L Lo
白諾信先生 Mr Giorgio Biancorosso
榮譽節目顧問 Honorary Programme Advisors
高德禮先生 Mr Douglas Gautier
Dr Peter Hagmann
約瑟．施力先生 Mr Joseph Seelig
財務及管理委員會 FINANCE AND MANAGEMENT COMMITTEE
主席 Chairman
李思權先生 Mr Billy Li
委員 Member
梁國輝先生 Mr Nelson Leong
發展委員會 DEVELOPMENT COMMITTEE
主席 Chairman
查懋成先生 Mr Victor Cha
副主席 Vice Chairman
梁靳羽珊女士 Mrs Leong Yu-san
委員 Members
杜安娜女士 Mrs Igna Dedeu
白碧儀女士 Ms Deborah Biber
廖碧欣女士 Ms Peggy Liao
黃慧玲女士 Ms Whang Hwee Leng
顧問 ADVISORS
鮑 磊先生 Mr Martin Barrow, GBS CBE JP
郭炳江先生 Mr Thomas Kwok, SBS JP
李國寶博士 Dr The Hon David K P Li, GBM GBS JP
梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP
名譽法律顧問
HONORARY SOLICITOR
史蒂文生黃律師事務所 Stevenson, Wang & Co
核數師 AUDITOR
羅兵咸永道會計師樓 PricewaterhouseCoopers
香港藝術節基金會
HONG KONG ARTS FESTIVAL TRUST
主席 Chairman
霍 璽先生 Mr Angus H Forsyth
管理人 Trustees
陳達文先生 Mr Darwin Chen, SBS ISO
梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP
陳祖澤博士 Dr John C C Chan, GBS JP
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職員 Staff
行政總監 Executive Director
何嘉坤 Tisa Ho
節目 Programme
節目總監 Programme Director
梁掌瑋 Grace Lang
副節目總監 Associate Programme Director
蘇國雲 So Kwok-wan
節目經理 Programme Manager
葉健鈴 Linda Yip
外展經理 Outreach Manager
梁偉然 Ian Leung
助理節目經理 Assistant Programme Manager
汪文鈺 Joy Wang
助理製作經理 Assistant Production Manager
蘇雪凌 Shirley So
節目主任 Programme Officer
李家穎 Becky Lee
市場推廣 Marketing
市場總監 Marketing Director
鄭尚榮 Katy Cheng
市場經理 Marketing Managers
周 怡 Alexia Chow
梁頌怡 Kitty Leung
鍾穎茵 Wendy Chung
助理市場經理（票務）
Assistant Marketing Manager (Ticketing)
梁彩雲 Eppie Leung
發展 Development
發展總監 Development Director
余潔儀 Flora Yu
發展經理 Development Manager
嚴翠芳 Josephine Yim
助理發展經理 Assistant Development Manager
陳艷馨 Eunice Chan
會計 Accounts
會計經理 Accounting Manager
陳綺敏 Katharine Chan
助理會計經理 Assistant Accounting Manager
曾愛明 Ming Jung
會計文員 Accounts Clerk
黃國愛 Bonia Wong
行政 Administration
行政秘書 Executive Secretary
陳詠詩 Heidi Chan
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
電話Tel: 2824 3555 傳真Fax: 2824 3798, 2824 3722 電子郵箱Email: afgen@hkaf.org
節目查詢(辦公時間內) Programme Enquiries (during office hours): 2824 2430
接待員 / 初級秘書 Receptionist / Junior Secretary
李美娟 Virginia Li
辦公室助理 Office Assistant
鄭誠金 Tony Cheng
職員 Staff (合約 contract)
節目 Programme
物流及接待經理 Logistics Manager
金學忠 Elvis King
製作經理 Production Manager
廖卓良 Liu Cheuk-leung
節目經理 Programme Manager
何玉凝 Amy Ho
助理節目經理 Assistant Programme Manager
陳采琦 Kathy Chan
項目經理 Project Manager
林慧茵 Jess Lam
藝術家統籌及項目經理
Artist Coordination and Project Manager
陳韻妍 Vanessa Chan
外展統籌 Outreach Coordinator
陳韻婷 Alyson Chan
外展主任 Outreach Officer
蔡樂庭 Vanessa Tsoi
外展助理 Outreach Assistant
陳慧晶 Ainslee Chan
節目及出版主任 Programme & Publications Officer
曾逸林 Zeng Yilin
技術統籌 Technical Coordinators
黎春成 Anthony Lai
陳寶愉 Bobo Chan
鄭潔儀 Catherine Cheng
陳詠杰 Chan Wing-kit
陳佩儀 Claudia Chan
何美蓮 Meilin Ho
出版 Publication
編輯 Editor
鄺潔冰 Cabbie Kwong
英文編輯 English Editor
魏卓華 Mikel Echevarría
助理編輯 Assistant Editor
陳楚珊 Sharon Chan
市場推廣 Marketing
助理市場經理 Assistant Marketing Manager
陳燕 Lilian Chan
市場主任 Marketing Officer
梁愷樺 Anthea Leung
票務主任 Ticketing Officer
關穎思 Catherine Kwan
客戶服務主任 Customer Services Officers
劉寶軒 Xanthe Lau
楊蘊楹 Flora Yeung
姜嘉敏 Joyce Keung
發展 Development
發展經理 Development Manager
譚穎敏 Myra Tam