Insula orchestra and accentus
A Battle for Peace
26－28.03.2025 / 7:30pm
Concert Hall, Hong Kong Cultural Centre
Approximately one hour with no interval
Sung in German with Chinese and English translations provided in lyric booklets available at venue
Video contains English narration with Chinese subtitles
Suitable for children aged six and above and their families
House Rules
※ Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ Unauthorised photography or recording of any kind is strictly prohibited.
※ Please keep noise to a minimum during the performance.
※ The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.
※ The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
※ Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
※ The HKAF also reserves the sole discretion to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.
※ In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
※ The English versions of the house rules on the HKAF website and front-of-house announcements will prevail in the event of any dispute.
Talk
The Secrets Behind Rapid Growth, Audience Expansion and Fundraising Success of Insula Orchestra
25.03.2025 (Past event)
Performance
Take the baton with Insula orchestra
28.03.2025 / 8:45-9:15pm Foyer, Hong Kong Cultural Centre Free admission. No registration required
Conducted in English
Contents
Chief Executive’s Message
Chairman’s Message
Foreword
Programme
Synopsis
Characters
Programme Notes
Interview
About Ludwig van Beethoven
The Year of 1811
Conductor’s Profile
About accentus
About Insula orchestra
Singers’ Profiles
Creative Team Profiles
Creative and Production Team
Performers
Technical Team
About the Hong Kong Arts Festival
Committee and Staff List
Acknowledgements
Message
I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 2025 season—the 53rd edition of one of the world’s most celebrated international cultural events.
This year’s Festival brings together over 1,300 international and local artists in some 125 performances covering music, dance, theatre, Chinese and Western opera and much more. The Festival-opening performance, by Italy’s Orchestra of the Teatro Comunale di Bologna, conducted by Maestro Donato Renzetti, features classic Italian opera arias. Renowned Chinese conductor Lü Jia and the China National Centre for the Performing Arts Orchestra, together with international pianist Zhang Haochen and soprano Song Yuanming, bring the Festival to a close in grand style.
Festival PLUS returns, presenting a wealth of artist-audience events, including masterclasses and workshops, backstage visits, guided cultural tours and more. Besides, the Festival’s “Young Friends” programme features school tours, pre-performance talks, arts demonstrations and other special events designed to engage local young people with a world of arts and culture.
The Government is determined to enhance the appeal of Hong Kong’s culture. To further solidify Hong Kong’s position as a vibrant Eastmeets-West centre for international cultural exchanges, the Government has launched the Blueprint for Arts and Culture and Creative Industries Development in November 2024, and has been actively working on the 71 measures under four key strategic directions as outlined in the Blueprint.
I am grateful to the Hong Kong Arts Festival and its dedicated team for their unremitting efforts in promoting arts and culture in Hong Kong, throughout the region and around the world. I am grateful, too, to the many sponsors and donors for their generous support for the Festival.
I wish this year’s Hong Kong Arts Festival another resplendent season of arts and culture, entertainment and memorable community engagement.
John KC LEE Chief Executive Hong Kong Special Administrative Region
Chairman’s Message
A warm welcome to the 53rd Hong Kong Arts Festival. As a leading international performing arts event, the Festival is continuing its mission of enhancing Hong Kong’s cultural landscape by showcasing over 1,300 exceptional international and local artists in more than 125 performances of over 45 unique programmes, as well as organising about 300 PLUS and educational activities for the community.
I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant which are not only essential to our operations, but also an important recognition of the work we do. I also want to thank The Hong Kong Jockey Club Charities Trust for its unwavering support during the past 53 years, as well as other corporate sponsors, charitable foundations and donors, whose contributions have enabled us to reach out to different sectors of the community and positively impact society through the performing arts.
My deepest gratitude goes to all participating artists for their dedication and exceptional performances. I also thank all HKAF staff, who worked extremely hard to bring this Festival to life.
Most importantly, I extend my heartfelt appreciation to all audience members for your participation and support. May you find joy and inspiration in our programmes and events.
Lo Kingman Chairman Hong Kong Arts Festival
Supporting Organisation:
Promoting international cultural exchange has always been a key objective of the Hong Kong Arts Festival. This year’s Festival continues to invite renowned global masters and internationally recognised young pioneers to present a range of worldclass programmes, respecting tradition while encouraging new, innovative initiatives. Many of these works are inspired by classic literature or offer rediscoveries of the original, bringing vibrant artistic experiences to the city.
We will also present a series of programmes centred around “fantasy and adventure”. These include works that seamlessly blend the arts with VR and AR technology, as well as captivating new creations that draw on traditional puppetry and circus performances. The Festival will also continue to support local artists and encourage exchanges to foster a vibrant and diversified platform for the arts.
We also remain dedicated to advancing arts education and audience building. Our PLUS programmes will present a series of thoughtfully curated masterclasses, backstage visits, post-performance artist talks and an exhibition. And our Young Friends and educational activities will continue to offer multidimensional arts experiences to students.
We hope that you will enjoy this year’s arts extravaganza prepared by the Hong Kong Arts Festival team.
Flora Yu Executive Director Hong Kong Arts Festival
The Hong Kong Arts Festival is made possible with the funding support of:
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Programme
Ludwig van Beethoven (1770-1827)
King Stephen, Op 117
Overture, Andante con moto–Presto
Chorus, “Ruhend von seinen Taten”, Andante maestoso e con moto
Chorus, “Auf dunkelm Irrweg in finstern Hainen”, Allegro con brio
Victory March, Feurig und stolz
Melodrama, Grave risoluto e ben marcato–Andante maestoso–Maestoso con moto–Presto–Agitato–Più allegro
Chorus, “Wo die Unschuld Blumen streute”, Andante con moto all'Ongarese
Melodrama, Vivace
Chorus, “Eine neue strahlende Sonne”, Vivace
Religious March, Moderato
Melodrama with Chorus, “Heil unserm Könige”, Allegro vivace e con brio
Melodrama, Andante mosso–Allegro molto–Maestoso
Final chorus, “Heil! Heil unsern Enkeln!”, Presto
The Ruins of Athens, Op 113
Overture, A ndante con moto–Allegro ma non troppo
Duet, “Ohne Verschulden”, Andante con moto–Poco piu mosso
Turkish March, Vivace
Chorus, “Du hast in deines Armels Falten”, Allegro ma non troppo
Soprano Ellen Giacone
Bass Matthieu Heim
Leonore Prohaska, WoO96 Funeral March, In gehender annehmlicher Bewegung
Melodrama, Feierlich, doch nicht schleppend
Romance, “Es blüht eine Blume”, In gehender, annehmlicher Bewegung
Soprano Ellen Giacone
The Ruins of Athens, Op 113
March with Chorus, “Schmückt die Altäre!”, Assai moderato
On a distant planet, Stephen and Gisele face the end of a world ravaged by war. Two enemy peoples embark on a quest through space that will bring them back to Earth, culminating in epic intergalactic battles set to Beethoven's music. Will they succeed in establishing peace and harmony among mankind?
The story is loosely inspired by the librettos of Beethoven's two stage works, King Stephen and The Ruins of Athens
The tale begins in a war-torn landscape. King Stephen and Athena engage in a relentless battle, forgetting that they once played together as children, known then as Stephen and Gisele. After a fierce duel, peace is finally achieved.
The two powers unite and decide to explore Earth, a planet known only to Thot. The nomadic people seek a new place to settle and wonder if life could once again thrive on this planet. Athena sets out as a scout.
She discovers a Earth filled with lush landscapes and vibrant underwater life, contrasting sharply with the ruins of past civilisations. Statues lie in disrepair among ancient stones, ravaged by time and war.
The warrior’s lungs are not accustomed to Earth's air, which is tainted. Exhausted, Gisele falls into a deep coma. Stephen rushes to her aid and suffers the same fate. Gyula finds them and brings them to safety aboard the spaceship. Gisele remains in a coma for many months. Upon awakening, she discovers a theatre has been built by the united people and it becomes a symbol of resistance against destruction and war.
King Stephen is the war name of Stephen. In Beethoven Wars, King Stephen appears both young and aged. As a child, he played with Gisele, but as adults they engage in a fierce duel before finally signing a peace treaty. The aged King Stephen serves as the narrator of this story.
Athena is Gisele’s war name. After signing the peace deal with Stephen, she is the first to venture to the uninhabited Earth and explore its landscapes.
Gyula
Gyula is Gisele’s brother. He watches over his sister and her companions, and ultimately saves her when Earth’s poisoned air sends her into a coma.
Thot, the Wise
Thot represents the memory of King Stephen’s clan. At the beginning of the story, he is the only one aware of Earth’s existence. He encourages Stephen and Gisele to explore this planet to determine if it can be habitable for humanity once again.
Gisele/Athena
Programme Notes
Ludwig van Beethoven (1770-1827) King Stephen, Op 117
From 1811-12, Beethoven completed several of the final works of what would become known as his middle period: the Archduke Trio, Op 97, the Seventh Symphony, Op 92, the Eighth Symphony, Op 93, and the Violin Sonata in G Major, Op 96. He also found time to complete commissions, including composing the incidental music for two stage plays by the German playwright August Friedrich Ferdinand von Kotzebue—two works that Beethoven would later publish as King Stephen, Op 117, and The Ruins of Athens, Op 113.
The occasion was the inaugural performance, on 9 February 1812, of the new German theatre at Pest in Hungary. Although he was disliked by many (he would be murdered by a German nationalist in 1819), Kotzebue was well connected and understood the imperial administration’s objectives with the opening of the new theatre. The evening was to be a celebration of Austrian power while acknowledging Hungarian history and so the subject of the opening piece on the programme focused on Hungary’s founding monarch, Stephen I (975-1038). Beethoven’s music for King Stephen comprises an overture and nine vocal numbers. The overture presents two themes. The first theme will return as the melody of the women’s chorus, “Wo die Unschuld Blumen streute” (“Where innocence strewed flowers”). Music from the second theme, which most strongly evokes a Hungarian idyll, will return in the Finale, “Heil! Heil unsern Enkeln!” (“Hail, hail our grandchildren”).
The Ruins of Athens, Op 113
The Ruins of Athens is in the form of a secular cantata, employing a mix of spoken word and song, with overtures, ensembles and solos. The text explores themes of freedom, hardiness and cultural rebirth. The idealism and a sense of hope conveyed in Kotzebue’s text appears to have provided an enduring inspiration for Beethoven, one that would be fully realised a decade later with the Ninth Symphony.
Despite its seemingly tragic title, the play’s subject matter reflects the era’s fascination with Ancient Greece, while serving primarily as a celebration of the Hapsburg administration of Emperor Franz I (1768-1835) of Austria. The destruction of Athens is briefly evoked with the slow introduction of the Overture. A short march passage then shifts the tonality from G minor to G Major, preparing for the arrival of the main section of the Overture. Set in ternary form (A-B-A), the Overture contains just one main theme (Allegro), presented first in the woodwinds before passing quickly to the strings.
As the play opens, the goddess Athena awakens and observes the state of her ruined city, occupied by the Ottoman Empire. She is joined by a cast of fellow mythical figures and even by Emperor Franz I, in the form of a bust.
The Ottomans are evoked by way of Beethoven’s Turkish March, a piece he composed in 1809 for his Six Variations, Op 76, and re-used here to good effect. Ultimately, the dedication of the Germanlanguage theatre was a confirmation of Austrian authority, but presented so as to affirm Hungary’s place within the empire. This performance will conclude with March with Chorus from The Ruins of Athens, Op 113.
Leonore Prohaska, WoO96
In 1814, Beethoven accepted another commission for incidental music, this time for Johann Friedrich Duncker’s play about Marie Christiane Eleonore Prochaska, a German woman who served in the Prussian army and is remembered by some as “Potsdam’s Joan of Arc”. Prochaska had been mortally wounded during the Battle of Göhrde in September 1813 and was becoming a martyr for the Prussian cause. The story of heroism no doubt resonated strongly with Beethoven, whose contempt for Napoleon dated back more than a decade.
Although ultimately no performance of the play took place, Beethoven composed and later published four pieces of music for it: a chorus, “Wir bauen und sterben” (“We build and die”); a romance, “Es blüht eine Blume im Garten mein” (“A flower blooms in my garden”); and a melodrama, as well as an orchestral arrangement of the funeral march from his Piano Sonata No 12 in A-flat Major, Op 26 (transposed to B). The contrasting character of the two opening pieces draws attention to Prochaska’s sacrifice and to her gender in the context of the military. Beethoven emphases the masculine character of the opening chorus not only by scoring it for tenors and basses, but also through the homophonic texture, the rhythm and metre, and the syllabic setting of the text. In the romance, with its lilting melody in 6/8 sung by soprano, the emphasis on the feminine and the perspective is that of Prochaska herself.
Text: Brian C. Thompson Chinese translation: Eos Cheng
A Sci-Fi Manga Symphony: Back to the Future with Beethoven
Music director Laurence Equilbey has earned a dedicated and enthusiastic following by combining historically informed performances with modern technology in her role as founder of the Paris-based Insula orchestra and accentus choir. Determined to reach new audiences, “especially young people at a stage in life when a single work can inspire a lifetime”, Equilbey and Insula devote two productions each year to the exploration of multisensory innovations.
At the HKAF in 2025, Equilbey will present their first immersive project, Beethoven
Wars: A Battle for Peace, that combines two rarely performed gems by Beethoven with the world of manga, projected on a screen.
© Julien Benhamou
War and the arts
“One of the core principles of Insula orchestra,” Equilbey says, “is to revive forgotten and rarely performed works.” Beethoven Wars: A Battle for Peace originated with Beethoven’s incidental music for the theatrical plays King Stephen and The Ruins of Athens Beethoven originally wrote the music for the two plays by August von Kotzebue and intricately connected it to the dramaturgy.
The plays date from 1811 and the inauguration of a new theatre in Pest, the eastern part of Budapest. Written at the height of the Napoleonic Empire, both plays were performed on the same evening programme. While King Stephen celebrates peace, heroism and the establishment of basic law after years of bitter conflict, The Ruins of Athens speaks of the importance of the arts for humanity.
Idealism and social harmony
Kotzebue was murdered for his advocacy of a liberal press and academic freedom, and his themes of idealism, love of humanity and the importance of the arts for social harmony strongly resonated with Beethoven. For Kotzebue, Beethoven crafted scores of symphonic richness, with clear musical intentions and a fullness of emotional character. His incidental music also features inspired choral sections that are rarely heard in concert performances.
For Equilbey, “the music conjures a vast musical panorama and engenders a rich palette of emotions”. Taking advantage of the manga universe created for Beethoven Wars allowed Equilbey to reinstate the melodrama and provided an opportunity for a performance of the complete score.
A voyage into manga
In collaboration with film director Antonin Baudry, Equilbey created a large-scale project of dramatic richness using Beethoven’s incidental music. The story of this symphonic voyage into manga is loosely inspired by the librettos of both plays, and the original themes and places are transferred into an otherworldly setting.
As Stephen and his friends are forced to flee a distant planet ravaged and devastated by war, they encounter Gisele.
A fierce battle ensues, but realising the emptiness of their conflict, the two leaders join forces in search of a better world. Their heroic quest brings them back to Earth, where the environment has been poisoned and destructive robots have taken charge. Overcoming all challenges, they establish a kingdom where war, suffering and tears have been replaced by art, beauty, music and science.
Surrounded by a space opera
The idea of building a better world strikes a chord in the challenging times we live in today, while the manga setting is well suited to illustrating this dystopian universe and its endless cycle of hope and unity. Film co-director Arthur Qwak says: “The idea of manga immersion is to embark on a journey into a sublime setting and to follow the emotions experienced by the characters.” On stage, the performers are surrounded by a manga space opera projected on the screen of the auditorium. The objective, according to Baudry, is to “create resonance and dialogue between expressive and poetic drawn images, immersing the audience to enable them to intimately engage with what unfolds before their eyes”.
Towards a better world
The values in the story of Beethoven Wars are coloured by mythological and magical elements, and according to Equilbey, “present amplified visions of good and evil”. The heroic, idealistic, and luminous profiles of the manga characters, filtered through the rich sounds of Beethoven’s music, strongly resonate with the composer’s hopes for humanity. “It is important to note that it all started with Beethoven’s music, and the addition of the film created a new relationship between the audience and the music,” Equilbey says.
It may be unusual to see cinematic visuals and sound design in a concert hall, but the project “believes in the wonder children feel when faced with beauty, in the possibility of peace, and in the reconciliation of people who have been enemies for generations”. Beethoven Wars strongly believes in this utopian vision and aims to share it with the widest possible audience, “from opera enthusiasts to manga enthusiasts and lovers of new stage experiences, regardless of their generation”, Equilbey says.
Text: Georg A. Predota Chinese translation: Konstance Li
This article was originally published on the HKAF's News & Features website in December 2024
About Ludwig van Beethoven
Ludwig van Beethoven (1770-1827)
Ludwig van Beethoven, born in Bonn in 1770, is one of the most famous and influential composers in the history of Western music. Coming from a family of musicians, he demonstrated exceptional talent from a young age and received rigorous musical training. In 1792, he moved to Vienna, where he studied under Joseph Haydn and quickly became a respected pianist and composer.
Beethoven revolutionised the music of his time by pushing the boundaries of Classical forms and introducing elements of passion and personal expression into his compositions. His style evolved significantly throughout his career, transitioning from Classical heritage to radical innovations that foreshadowed musical Romanticism.
Among his most famous works are his nine symphonies, including the Third (“Eroica”) and the Ninth (featuring the renowned “Ode to Joy”), as well as his piano sonatas, concertos and string quartets. Beethoven also composed numerous pieces for solo piano, showcasing his own pianistic genius. Additionally, his repertoire includes stage music intended to accompany theatrical performances or dance. Although these works are less well-known, they demonstrate his talent for conveying emotions through music.
Beethoven suffered from progressive hearing loss that began in his twenties and ultimately left him completely deaf by the end of his life. Despite this challenge, he continued to compose, drawing on his inner strength to create some of his most profound and moving music ever made. The composer passed away in 1827 in Vienna, having paved the way for future musicians toward Romanticism.
● Birth of Franz Liszt, Hungarian composer and pianist, on 22 October
● Premiere of Beethoven's “Emperor” Concerto with Archduke Rudolf of Austria as the soloist History
● The British take possession of the Seychelles. Java is conquered by the British, and the
is annexed to the British
● Venezuela becomes the first Latin American country to declare independence, followed later that
●
Conductor’s Profile
Laurence Equilbey
© Irmeli Jung
Laurence Equilbey, conductor and musical director of Insula orchestra and accentus choir, blends artistic excellence with innovation. She founded accentus in the 1990s and the period instrument ensemble Insula orchestra in 2012, with support from the Hauts-de-Seine department.
Equilbey aims to renew performance experiences and make them accessible to diverse audiences. Each season, she creates staged productions at La Seine Musicale, pairing classic masterpieces with innovative staging by artists such as filmmakers Pascale Ferrand and David Bobée, and choreographers MarieAgnès Gillot, Philippe Decouflé and Yoann Bourgeois. In 2024, she debuted Beethoven Wars, an immersive show blending manga and new technologies, and in 2025, she will stage Schumann's Paradise and the Peri with Daniela Kerck and video artist Astrid Steiner.
Her operatic repertoire includes conducting Weber’s Der Freischütz, Mozart’s Lucio Silla, Gounod’s La Nonne sanglante, and Beethoven’s Fidelio. In 2025, she will conduct Cherubini’s Medea at the Opéra Comique in Paris.
Equilbey also champions overlooked women composers, with albums dedicated to Louise Farrenc and Emilie Mayer set for release in 2025.
About accentus
Founded by Laurence Equilbey, accentus is a prestigious choir known for its a cappella repertoire. Christophe Grapperon has served as its Associate Conductor since 2013. The choir performs in major French and international venues, and is a key partner of the Philharmonie de Paris. In residence at the Rouen Opera House, accentus directs the Chœur accentus/Opéra de Rouen Normandie and engages in operas and educational projects. Partnering with Insula orchestra, it presents innovative operas at La Seine Musicale. In 2019, the French Ministry of Culture entrusted accentus with establishing France’s first national centre of vocal art to revitalise choral music.
accentus, national center of vocal art, for Paris Île-de-France-Normandie is supported by the Regional Department of Cultural Affairs (Île-de-France), the French Ministry of Culture and is subsidised by the City of Paris, the Région Île-deFrance and the Région Normandie. It also receives support from SACEM. The Department of Hauts-de-Seine provides support for accentus' cultural activities in the department. The Société Générale Foundation is its main sponsor. accio, the circle of friends of accentus and Insula orchestra, supports its artistic and educational activities.
© Stephen Layton
About Insula orchestra
Artistic Director: Laurence Equilbey Orchestra-in-residence at La Seine Musicale
Insula orchestra's mission is to deliver historically informed performances of Baroque, Classical and pre-Romantic music. Founded in 2012 by conductor Laurence Equilbey and supported by the Hauts-de-Seine Department, it became the resident orchestra at La Seine Musicale in 2017. The orchestra performs internationally at premier venues and festivals, and showcases lesser-known works by composers such as Louise Farrenc and Emilie Mayer using period instruments. Known for innovative programming, it explores digital technology and immersive experiences. In the 2024/25 season, it will tour Beethoven Wars, perform Cherubini’s Medea and present a new version of Schumann’s Paradise and the Peri
Insula orchestra is sponsored by Région Île-de-France. The circle of friends accio and the Insula orchestra-Laurence Equilbey Foundation accompany its projects. Insula orchestra is a member of FEVIS and SPPF.
© Julien Benhamou
Singers’ Profiles
Soprano
Ellen Giacone
Ellen Giacone trained as an opera singer in Paris and has a passion for the Baroque repertoire. She has performed under Ton Koopman at Carnegie Hall in London, where her interpretation of Handel’s Ode to Saint Cecilia was praised by The New York Times, and with the Monteverdi Choir under Sir John Eliot Gardiner.
Specialising in early music, she recorded two collections of French Baroque motets with Ensemble Athénaïs. In addition to her solo recitals, she regularly collaborates with Baroque ensembles such as La Fenice and Les Musiciens de Mademoiselle de Guise, as well as participating in projects with La Compagnie La Tempête and Les Arts Florissants. Her close collaboration with accentus includes choral and solo performances, a cappella programmes, contemporary works and stage creations. She is also interested in jazz and improvised music, collaborating with AUM Grand Ensemble, and founded the quintet Body & Soul Consort in 2018.
Bass
Matthieu Heim
Matthieu Heim studied under Howard Crook at the Conservatoire National Supérieur in Paris and earned a Master’s in Opera Performance from the Swiss Opera Studio. He is a laureate of the Royaumont Foundation. He has performed in La cambiale di matrimonio under Leonardo García Alarcón, Mozart's Requiem with the Moroccan Philharmonic Orchestra, and Le Bourgeois gentilhomme directed by Denis Podalydès. His repertoire includes La Servante Maîtresse, Les contes d’Hoffmann at the Festival Lyrique d’Aix-les-Bains, La Traviata and Neptune in Idomeno, conducted by Christophe Rousset. Critics have praised his “rich timbre of dark sun” (forumopera.com) in Café Libertà! at the Opéra de Nantes and as a “vibrant” Chiron in Sartorio’s Orfeo (baroquiades.com). Additionally, Heim holds a degree in literature and is an agrégé in history.
© Maciej Kotlarski
Film Director & Staging
Antonin Baudry
Antonin Baudry, also known by his
pen name Abel Lanzac, is a French author and director born in Paris in 1975. Trained as an engineer and a French diplomat specialising in cultural affairs, he created the Albertine bookstore in New York. He is also a comic book author, known for Quai d’Orsay, which won the Fauve d’Or for Best Comic at the Angoulême Festival, and for films such as Quai d’Orsay (2014) and Le Chant du Loup (2018). In 2018, he directed his first feature film, Le Chant du Loup, which was released in 2019, attracting more than 1.6 million viewers in France and distributed in about 50 countries. In 2021, he staged his first play, La Nuit des rois, featuring lesser-known works by Robert Schumann.
Co-Director Arthur Qwak
Arthur Qwak is a director and screenwriter in animated film and a comic book author. After three years at the École nationale supérieure des Arts Décoratifs in Paris, he began as a storyboard artist and layout man on the Astérix films produced by Gaumont in the late 1980s. He cofounded the Asylum workshop with Riff, Cromwell, Kisler, Ralph and Gonnort, where he created his first comic, Le Soleil des Loups (Volume I), released in 1988 and awarded the Best First Comic prize at the Angoulême Festival, followed by two additional volumes. In the 1990s, he joined Canal+’s Ellipse studio, working on the Tintin series and directing his first TV show, Orson et Olivia, before creating the series Chasseurs de Dragons for Futurikon and France 3, leading to a 3D feature film in 2008. In 2004, he released the adult comic Lola Cordova, reissued in 2020 as Apocalypse selon Lola
Collaboration on Film & Co-Staging
Sandrine Lanno
Sandrine Lanno studied economics at the Paris Dauphine University before training in acting and directing at École Florent and the Nomadic Unit for Directing at the Conservatoire National Supérieur d’Art Dramatique. In 1997, she founded L’Indicible Compagnie, staging works by Rilke, Beckett, Rabeux, Gabily, Harris, Racine, Euripides, Césaire, Ravey and Chiambretto, as well as an opera by Benjamin Britten. Her productions have been performed at prestigious venues such as Théâtre du RondPoint, Théâtre de la Bastille and Centre dramatique national Besançon. Lanno regularly collaborates with renowned directors such as François Girard and Grzegorz Jarzyna in opera productions for the Opéra National de Lyon, Aix-en-Provence Festival and the Metropolitan Opera in New York, among others.
Artistic Producer Emilien Dessons
© DESSONS
Emilien Dessons boasts 25 years of experience in film and animation. Born into an artistic family, he firmly believes in the alliance between art and technology. After studying graphic design, he taught himself CGI before starting a career in the aerospace industry, where he developed solid technical expertise. His passion for cinema quickly led him to pivot towards pioneering French 3D animation studios. Initially working as a graphic designer and then as a supervisor, he specialised in directing special effects for feature films and producing commercial films. He also enriches academia with teachings and lectures at prestigious institutions such as Beaux-Arts and Gobelins in Paris. As a commissioner at the CNC, an expert for the “France 2030” plan and a consultant for the AI Commission, he significantly influences the technological and artistic evolution of the industry.
Creative and Production Team
Music Director
Laurence Equilbey
Film Director & Staging
Antonin Baudry
Co-Director
Arthur Qwak
Collaboration on Film & Co-Staging
Sandrine Lanno
Collaboration on Writing
Martin Quenehen
Laurence Equilbey
Choirmaster Frank Markowitsch
Artistic Producer
Emilien Dessons
Executive Producer
Jean-Baptiste Guionie
Assistant Conductor
Antoine Dutaillis
Choreography
Marion Lévy
Costumes
Pétronille Salomé
Hair & Make-up
Judith Scotto Le Massese
Lighting Design Cécile Trelluyer
Artistic Director Mapping Ludovic Benoit
Delegated Production
Insula orchestra
Co-Production
Grand Théâtre de Provence Orchestre Philharmonique Royal de Liege
Executive Production
Les Improductibles
Artistic Production Emilien Dessons
2D Studio
Je Suis Bien Content
Sound Studio Studios O'Bahamas
Video Mapping Fosphor
Award-winning project of the France Relance Future Investment Programme operated by the Caisse des Dépôts. This initiative is supported by the state as part of the Augmented Experience of Live Performance scheme within the cultural and creative industries sector of France 2030, operated by the Caisse des Dépôts.
Performance Technical Team
Stage Manager
Timon Nicolas
Sound Engineer
Jean-Damien Juille
Audio Tape Operator
Brice Lelièvre
Video Operators
Patrick Lefèvre
Hugo Lefèvre
Soprano Ellen Giacone
Bass Matthieu Heim
Glass Harmonica Thomas Bloch
Voiceover
Paul Bandey as King Stephen
Tristan Bowles as Stephen/Young King Stephen
Kaycie Chase as Gisele/Athena
Maxence Cazorla as Thot
Accentus
Choir Conductor Frank Markowitsch
Soprano
Emilie Brégeon
Dania El Zein
Pauline Feracci
Pauline Gaillard
Ellen Giacone
Émilie Husson
Angéline Le Ray-Sautjeau
Marie Ranvier
Marie Serri
Kristina Vahrenkamp
Alto
Emmanuelle Biscara
Caroline Chassany
Geneviève Cirasse
Gabrielle Desalbres
Marie Favier
Maria Kondrashkova
Violaine Lucas Valérie Rio
Tenor Camillo Angarita Stephen Collardelle
Ivar Andreas Hervieu
Alexandre Jamar
Maciej Kotlarski
Mathieu Montagne
Sébastien d’Oriano
Pierre Perny
Maurizio Rossano
Marc Valero
Bass
Jean-Baptiste Alcouffe
Pierre Corbel
Matthieu Heim
Jean-Christophe Jacques Pierre Jeannot
Julien Neyer
Guillaume Pérault
Arnaud Richard Laurent Slaars
Insula orchestra
Solo Violin
Stéphanie Paulet
First Violin
Karine Gillette Catherine Ambach
Arnaud Bassand
Mojca Jerman
Te-eun Kim
Laure Massoni
Bénédicte Pernet
Louis-Jean Perreau
Enrico Tedde
Second Violin Pablo Gutiérrez Ruiz
Maximilienne Caravassilis
François Costa
Cécile Garcia
Cécile Kubik Martin Lissola
Heide Sibley Byron Wallis
Alto Brigitte Clément
Dahlia Adamopoulos
Laurent Gaspar
Julien Lo Pinto Chloé Parisot Michel Renard
Cello Damien Ventula
Anne-Charlotte Dupas
Pablo Garrido
Clotilde Lacroix
Eglantine Latil
Double Bass Roberto Fernandez de Larrinoa
Gautier Blondel Marion Mallevaës Charlotte Testu
Piccolo
Sophie Gourlet
Flute Annie Laflamme Morgane Eouzan
Oboe
Jean-Marc Philippe Anne Chamussy
Clarinet Himawari Arai
Ana Melo
Bassoon Niels Coppalle François Charruyer
Contrabassoon Emmanuel Vigneron
Horns Georg Koehler Gilbert Cami-farras
Yannick Maillet Mark De Merlier
Trumpet Serge Tizac
Jean-Baptiste Lapierre
Trombone Frédéric Lucchi
Guy Duverget
Lucas Perruchon
Timpani Koen Plaetinck
Percussion
Matthieu Chardon
Glenn Liebaut
Harp
Virginie Tarrête
Les Improductibles
Co-Producers
Renaud Chélélékian
Jean-Baptiste Guionie
Financial Director
Donia Zine
Accountant Natacha Gauthey
Production Director
Constance Devanne
Production Manager
Hugo Tessier
Production Officer
Capucine Delapille
Technical Director
Sofiane Balland
Mapping Supervisor
Ludovic Benoit
3D/2D Graphic Designers
Tim Legot
Christophe Lavacry
Arnaud Leang
Gaëtan Nouvel
Logan Guinaudeau
2D Graphic Designers
Marc Roger Julie Decoruee
Benoit Hasboun
Anne Charlotte Benoit
Chief Editor
Fanny Herman
Editor Adrien Deleule
Je suis bien content
Production
Je suis bien content
Marc Jousset
Perrine Capron
Set Research
Thomas Dubois
Storyboard
Pascal Valdes
Solène Azernour
Nicolas Pawlowski
Florent Remize
Character Design, Layout Posing
Supervisor
Jérémie Hoarau
Character Design, Layout Posing Emmanuelle Fleury
Layout Posing
Clément Bardonneau
Set Supervisor, Set Design, Colour
Design for Sets & Characters
Mattias Pham-Ngoc
Set Design, Colour Design for Sets & Characters
Elora Meunier
Colour Design for Sets &
Characters
Lucas Daveau
Colour Characters
Cécile Gasnier
Interns
Kimberly Bouhnik
Luc Lé Fanny Rondeau
Lucille Deterre
Pipeline Graphic Designer
Yvan Roche
O’Bahamas
General Director
Margot Tutin
Production Director
Alice Buffet
Sound Engineer & Sound Design
Marine Pigeon
Sound Engineer, Recording & Mixing
Christophe Gadonna
David Cailleaux
About the Hong Kong Arts Festival
Launched in 1973, the Hong Kong Arts Festival is a major international arts festival committed to enriching the cultural life of the city. In February and March every year, the Festival presents leading local and international artists in all genres of the performing arts, placing equal importance on great traditions and contemporary creations. The Festival also commissions and produces work in Cantonese opera, theatre, music, chamber opera and contemporary dance by Hong Kong’s creative talent and emerging artists; many of these works have had successful subsequent runs in Hong Kong and overseas. The Festival also presents “PLUS” and educational activities that bring a diverse range of arts experiences to the community as well as tertiary, secondary and primary school students. In addition, through the “No Limits” project co-presented with The Hong Kong Jockey Club Charities Trust, the Festival strives to create an inclusive space for people with different abilities to share the joys of the arts together.
The HKAF is a non-profit organisation. The total estimated income for FY2024/25 (including the 53rd Hong Kong Arts Festival and 2025 “No Limits”) is approximately HK$150 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 23% of the Festival’s income needs to come from the box office, and around 45% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations.
Completed Profile: https://www.hk.artsfestival.org/en/ about-us/index.html?
Committee and Staff List
ADDRESS
TEL （852）2824 3555
Room 1205, 12/F, 2 Harbour Road, Wan Chai, Hong Kong
FAX （852）2824 3798、（852）2824 3722
Email afgen@hkaf.org
Programme Enquiry Hotline （852）2824 2430
PATRON The Hon. John KC Lee, GBM SBS PDSM PMSM
HONORARY LIFE The Hon. Sir Run Run Shaw, GBM CBE (1907-2014)
PRESIDENT
EXECUTIVE COMMITTEE
Chairman
Vice-Chairman
Honorary Treasurer
Members
Prof. Lo Kingman, SBS MBE JP
Mr Sebastian Shiu-wai Man
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Michael Fung
Ms Joanna Hotung
Mr Hugh Simon
Mr Tam Wingpong, SBS
Ms Miriam Yao
Mr Sunny Yeung
PROGRAMME COMMITTEE
Chairman
Members
Mr Tam Wingpong, SBS
Prof. Giorgio Biancorosso
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Ms Jue Yao, SBS JP
FINANCE COMMITTEE
Chairman
Members
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Nelson Leong
DEVELOPMENT COMMITTEE
Members
ADVISORS
Mr Carey Cheung
Mr Michael Fung
Ms Ophelia Fung
Ms Catherine Leung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Mr Victor Cha
Dr John CC Chan, GBS 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
Ms Gabriela Kennedy, Mayer Brown Hong Kong LLP
HONORARY
SOLICITOR AUDITOR
PricewaterhouseCoopers + Honorary Programme Advisor
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Programme Coordinator
Programme Officers
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Crystal Chiu*,
Sophie Liao*, Katie Ma*
Ryan Yung*
Nicole Chow*, Dorothy Chung*
Production Assistant Alice Chan#
Programme Assistant
LOGISTICS
Logistics Manager
TECHNICAL Production Manager
Deputy Production Manager
PUBLICATIONS
Editorial Manager
Melissa Wong#
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan*
English Editor Adam Wright*
Associate Editors Shao yi Chan*, Trista Yeung*
OUTREACH
Outreach Manager
Outreach Coordinators
Carman Lam*
Giselle Li*, Tina Tang*, Ariel Wong*
Outreach Officers Olivia Chan*, Raven Chiu*
Outreach Assistants Angel Kwok*, Elaine Wong*
MARKETING
Marketing Director
Associate Marketing Director
Marketing Managers
Katy Cheng
Eugene Lo
Annie Chan*, Vicki Cheng*, Stephanie Cheung*,
Deputy Project Managers - Marketing Hill Li*, Hades Tam*
Deputy Marketing Manager
Marketing Coordinator
Margaret Tsang*
Lettie Lo*
Marketing Officer Isaac Leung*
Marketing Assistant Kelly Chan#
TICKETING
Senior Marketing Manager (Ticketing)
Ticketing Assistant Heidi Choi*
Eppie Leung
DEVELOPMENT
Development Director
Special Development Associate Alex So*
Senior Development Manager
Development Managers
Brenda Kan
Lorna Tam
Evelyn Ip*, Janice Wong*
Assistant Development Manager Angela Wong*
Development Assistant Jeria Yip*
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Teresa Kwong
Connie To*
Accounting & Administrative Assistant Charmaine Mak*
HR & ADMINISTRATION
HR and Admin Manager
Janet Yeung*
Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong
INFORMATION TECHNOLOGY
Information Technology Manager Derek Chan*
NO LIMITS
Project Director Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Manager Jasmine Poon*
Programme and Outreach Coordinator
Marketing Manager Carly Wong*
Cheung Chi-ling*
Deputy Marketing Managers Gina Chan*, King Ng*
Assistant Production Manager Dick Cheng*
Senior Accounting Officer
Head of Artist Coordinators Eleanor Chu*
Catherine Chung*
Artist Coordinators Haynes Cheung*, Viola Chong*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Giacomo Matelloni*, Jan Pang*, Renee Tsang*, Blanche Wu*, Jiajia Yang*, Bonnie Yung*
Production Officer Anissa Wong*
Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
*Contract Staff In alphabetical order # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council Updated February 2025
Gold Members The Jardine Matheson Group Shanghai Commercial Bank Limited
Silver Member Swire Properties
Sponsors of the Hong Kong Arts Festival 2024 Gala Dinner
Diamond Table Sponsors
Mr Victor Cha Mr Francis Lui Dr Sabrina Ho
Diamond Seat Sponsors Anonymous
Gold Table Sponsors
Anonymous Mrs Betty Yuen Cheng
Ms Vena Cheng and friends
Mr Michael Fung
Dr Mok Hing Hung
J.P. Morgan Private Bank (HK)
Dr & Mrs Ronald Lu
Mr Sebastian Man
Ms Wen Yi Wendy
Gold Seat Sponsors Mr Patrick Hui Hung Kwong Dr Elina Leung
Other Supporters Performing Arts Fund NL
In-Kind Supporters The Peninsula Hotel Limited Tom Lee Music Festival Donation Scheme PLATINUM DONORS (HK$140,000 OR ABOVE) Chung Mei Industries Limited DIAMOND DONORS (HK$70,000 - HK$139,999)
Anonymous Ms Doreen Pao Shanghai Commercial Bank Limited JADE DONORS (HK$30,000 - HK$69,999)
Anonymous Ms Eva Chan Nathan Road Investment Limited
Ms. Candice Leung
Karen Lin Arthur Mui
Ms Wendy Nam
Mrs. Purviz R. Shroff, MH and Late Mr. Rusy M. Shroff, BBS, MBE
Dr Stephen Suen
Mr Stephen Tan The Swire Group Charitable Trust GOLD DONORS (HK$12,000 - HK$29,999)
Anonymous (2) Dr Chow Yat Ngok, York
David and Monse Eldon
Mr Jeffrey Chan and Mrs Helen Chan
Mr & Mrs HO Che Kin
Sophia Kao The Elementary Charitable Foundation
Dr & Mrs TSAO Yen-Chow
Dr Sabrina TSAO
Mr & Mrs YS Wong SILVER DONORS (HK$6,000 - HK$11,999)
Anonymous (2)
Dr Keith Hariman Ho Man Fung Edith
Mr & Mrs David S L Lin
Michael Mak
Mrs Schmitt Ling Jane
Ray So Wang Family Foundation
Mr Wong Yick Kam
Ms Wu Tseng Helen
Ms Isabel Yiu Enoch Yiu BRONZE DONORS (HK$3,000 - HK$5,999)
Anonymous (8) Richard ARBLASTER
Mrs Anson Chan Bethan and Tim Clark CHEUNG Shuk Mei Cora
Flavia & Gary MA
Ms Mak Chi Tuen Jennie
Shai Joory José Manuel Sevilla & Julie Bisaillon
TAM Ching Yee Christine TONG Wong Kam Ming Chris Yang Rubi Ruby
Cecilia Yeung
Zhu Yuying
Student Ticket Scheme PLATINUM DONORS (HK$140,000 OR ABOVE)
Anonymous CYMA Charity Fund Limited The Lanson Foundation DIAMOND DONORS (HK$70,000 - HK$139,999)
Mrs Purviz R. Shroff, MH and Late Mr Rusy M. Shroff, BBS, MBE Tin Ka Ping Foundation Zhilan Foundation 陳德鏗先生 JADE DONORS (HK$30,000 - HK$69,999)
Anonymous Ms Cheng Wai Ching Margaret
Dr Stephen Suen
GOLD DONORS (HK$12,000 - HK$29,999)
Dr & Mrs Chan Kow Tak
CompliancePlus Consulting Limited
See Yuen CHUNG
Kenneth Lau & Anna Ang
C H Mak
Mr Stephen Tan Mr Allan Yu SILVER DONORS (HK$6,000 - HK$11,999)
Anonymous (2)
Mr and Mrs Herbert Au-Yeung
Dr. Cindy Chan
CHIANG Grace Mrs Margaret Hamilton Dr Keith Hariman
S Hon Dr Mak Lai Wo Karen and Vernon Moore
Ms Teresa Pong Dr & Mrs TSAO Yen-Chow Chui Pak Ming Norman, Wong Pie Yue Cleresa
Anna W.Y. Chan and Henry N.C. Wong
Ms Wu Tseng Helen BRONZE DONORS (HK$3,000 - HK$5,999)
Anonymous (3)
Mr Au Son Yiu
Biz Office Limited
Carthy Limited Dr Chan Wan Tung
D. Chang Cheung Kit Fung
Community Partner Foundation Limited
Dr Eddy Li
Ms Janice Ritchie Alan and Penny Smith
Simon So Savita Leung
Lian Crystal Rhinestone
Dr Xina Lo YIM Chui Chu
殷和順先生及劉善萍女仕
JADE DONORS (HK$30,000 - HK$69,999)
New Works Scheme
Nathan Road Investment Limited GOLD DONORS (HK$12,000 - HK$29,999)
Lau Yeung Chak Dr Tony Ling SILVER DONORS (HK$6,000 - HK$11,999)
MDB&StarB CHAN BRONZE DONORS（HK$3,000 - HK$5,999）
Anonymous (2) D. Chang CHANG Shen Ms CHIU Shui Man Tabitha W W Y Ho Dr Alfred Lau Mr LEE Ming Wai Joannes Dr LEE Wan Fai Walter
Digital Arts Education Scheme BRONZE DONORS (HK$3,000 - HK$5,999)
Anonymous HKCT ABRSM Alumni Association
Hong Kong Arts Festival Foundation Patrons
Lead Founding Patrons Mr Thomas Chan Ng Teng Fong Charitable Foundation PCCW The Wharf Group
Major Founding Patrons YF Life Insurance International Ltd ZA BANK
Founding Patrons Dr Raymond Chan, JP Tan Sri Dato’ David Chiu
Mr Silas Chou Mr and Mrs Canning and Eliza Fok
E.M. Fung Foundation Limited
Ms Pansy Ho, SBS, JP
Flair International (Holdings) Limited
Dr Elina Leung Dr Stephen Suen
Ms Cissy Pao, BBS and Mr Shinichiro Watari
Other Patron Goldman Sachs Gives Annual Giving Fund (Recommended by Mr James Houghton)