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 artistaudience 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 East-meets-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
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.
The Hong Kong Arts Festival is made possible with the funding support of:
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 world-class 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 multi-dimensional 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
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
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 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.
The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu 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, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, 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, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, 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, the 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 Miss Julie, Table for Six On Stage, Loveless Romance, We Are Gay, 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 the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III
and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution, Green Snake co-commissioned with the Shanghai International Arts Festival, Dream of the Red Chamber co-produced with the San Francisco Opera, and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. Over the past 32 years, our “Young Friends” scheme has reached around 836,000 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 inclusion 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.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future largescale or special projects which its annual budget cannot cater for.
*有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2024.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2024/25年度預計收入來源（約港幣一億五千萬）
電郵 Email: dev@hkaf.org
直線 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
Estimated Income Sources for the Hong Kong Arts Festival Society in FY2024/25 (About HK$150 million)
約Around 45%
贊助和捐款 Sponsorship & Donations
約Around 23%
票房收入 Box Office
約Around 12%
政府的年度 恆常撥款 Current Government annual baseline funding
約Around 20%
其他收入 (包括按捐款和贊助收入 可望獲得的政府配對資助) Other Revenues (including possible Government Matching Grant for Sponsorship and Donation Income)
比才《卡門》
Bizet’s Carmen
27-28.03.2025 / 7:15pm
29-30.03.2025 / 2:15pm
香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre
後台參觀 Backstage Tour
29.03.2025 (6:00pm-6:20pm, 6:30pm-6:50pm)
香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre
演前講座 Pre-Performance Talk
經典重現：1875 年的比才《卡門》
登記參與 Scan to join
演出長約 3 小時 20 分鐘，包括一節中場休息
Approximately three hours and 20 minutes including one interval
法語演出，附中、英文字幕
Performed in French with Chinese and English surtitles
Carmen Unveiled: Recreating Bizet’s Authentic Vision from 1875 講者：羅曼爾 吉爾伯特（舞台導演）
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.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don't wish to keep this booklet, please return it to the admission point.
None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.
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.
本會保留全權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能 性及方式。
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 readmission), 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.
A co-production by Bru Zane France, Opéra Royal – Château de Versailles Spectacles, Opéra de Rouen Normandie, Palazzetto Bru Zane – Centre de musique romantique française
監製：法國布魯贊恩
Executive Producer: Bru Zane France
由德維諾工作室及魯昂諾曼第歌劇院工作室製作佈景
Sets made by Atelier Devineau and the workshops of the Opéra de Rouen Normandie
由卡拉高工作室及魯昂諾曼第歌劇院服裝工作室製作服裝
Costumes made by Atelier Caraco and the costume workshops of the Opéra de Rouen Normandie
樂譜由舒登出版社出版（布魯贊恩文化中心修訂）
Score published by Choudens (revised by Palazzetto Bru Zane)
歷史顧問：布魯贊恩文化中心研究團隊
Historical advice: Palazzetto Bru Zane scientific research team
演員及角色 Cast and Characters
艾洛伊絲．馬斯✽ 迪帕．強尼^ (女中音）
飾 卡門
朱利安．貝爾✽
奇雲．阿米爾^ (男高音）
飾 唐荷西
艾德溫．高士利-美世 (男低音）
飾 埃斯卡米洛
伊烏利亞．瑪利亞．丹 (女高音）
飾 米凱拉
福斯坦．德．莫奈斯 (女高音）
飾 芙拉斯基塔
安布羅辛．布雷
(女中音）
飾 梅賽黛斯
約安．迪布魯奇 (男中音）
飾 莫拉萊斯
尼古拉斯．布里文斯 (男低音）
飾 蘇尼加
湯瑪士．莫里斯 (男高音）
飾 雷門達多
弗洛朗．卡哈 (男中音）
飾 丹凱羅
Héloïse Mas✽
Deepa Johnny^ (mezzo-soprano) as Carmen
Julien Behr✽
Kévin Amiel^ (tenor) as Don José
Edwin Crossley-Mercer (bass) as Escamillo
Iulia Maria Dan (soprano) as Micaëla
Faustine de Monès (soprano) as Frasquita
Ambroisine Bré (mezzo-soprano) as Mercédès
Yoann Dubruque (baritone) as Moralès
Nicolas Brooymans (bass) as Zuniga
Thomas Morris (tenor) as Le Remendado
Florent Karrer (baritone) as Le Dancaïre
舞者 Dancers
阿黛爾．博德 安東尼．卡爾丁 皮埃里克．德菲夫 帕洛瑪．甘迪亞．伊茲 基多
Adèle Borde
Antoine Cardin
Pierrick Defives
Paloma Gandia Izquierdo
默劇演員 Mimes
塞德里克．布雷納 馬克西姆．努里薩
Cédric Brenner Maxime Nourissat
合唱團 Chorus
香港兒童合唱團 凡爾賽宮皇家歌劇院
合唱團
Hong Kong Children’s Choir Choir of the Opéra Royal Versailles
樂團 Orchestra
香港管弦樂團 Hong Kong Philharmonic Orchestra
排練伴奏 Rehearsal Pianist
張頌欣 Ronald Cheung
中文字幕
香港歌劇協會有限公司 授權使用
Chinese Surtitles
Authorised for use by Opera Hong Kong Limited
字幕操控 廖芍然 Surtitles Operator Liu Cheuk-yin
群戲演員：張嘉麟、劉穎聰、黎天逸、梁浩軒、盧子陶及葉大偉
Stage Extras: Alan K. Chang, Lau Wing-chung, Marco Lai Tin-yat, Jeremy Leung Ho-hin, Toto Lo Tsz-to and David Yip
Georges Bizet was a French composer of the Romantic era renowned for operas such as his masterpiece Carmen. Bizet struggled to gain recognition for his work and even the success of Carmen came too late for the composer. Bizet's talent was evident from a young age and he entered the Paris Conservatoire aged nine. Despite facing early criticism and setbacks, he continued to compose works characterised by rich melodies, vibrant orchestrations and emotional depth.
Bizet was an outstanding pianist, although he rarely performed in public, preferring to focus on composition. After a stint in Rome, he returned to Paris to find that most opera houses and theatres were giving preference to Classical works, rather than new compositions. His career stalled and he spent much of his time arranging and transcribing for others while his own works were ignored.
One of his breakthrough works was the opera Les pêcheurs de perles (“The Pearl Fishers”), which showcased his melodic inventiveness and skilful orchestration. But his reputation was solidified with Carmen, a groundbreaking work that blended French opera traditions with Spanish influences. Bizet did not live to see the success of Carmen as he died of a heart attack aged 36 shortly after the premiere of the opera.
French dramatist and librettist Henri Meilhac played an important role in shaping French opera during the 19th century, collaborating with composers such as Jacques Offenbach and Jules Massenet. He worked with French author and playwright Ludovic Halévy for about 20 years, and their most famous creation is the libretto for Georges Bizet’s Carmen. However, Meilhac’s work is most closely tied to the music of Offenbach, and their partnership led to the creation of several successful operettas, including the iconic La Belle Hélène and La Vie Parisienne.
Meilhac’s witty and sophisticated libretti were instrumental in elevating the genre of operetta to new artistic heights, seamlessly combining humour, satire and social commentary. In 1888 Meilhac was elected to the Académie française. He died in Paris in 1897.
Ludovic Halévy was a French librettist, playwright and author who made significant contributions to 19th-century French opera and theatre. Halévy’s collaboration with composer Jacques Offenbach and fellow librettist Henri Meilhac resulted in the creation of several successful operettas, including the comedic masterpiece La Périchole. His witty and sharp libretti played an integral role in the success of these works, capturing the essence of French society with humour and insight.
In addition to his works with Offenbach, Halévy collaborated with other celebrated composers such as Charles Gounod, Camille Saint-Saëns and Georges Bizet. His libretto for Bizet’s iconic opera Carmen, written with Meilhac, has remained one of his most enduring works. Halévy was elected to the Académie française in 1884 and he died in Paris in 1908.
From a guardroom opposite Seville’s tobacco factory, a squad of dragoons observes the passers-by. Country girl Micaëla asks to see a corporal, Don José, but is told he will not be back until the changing of the guard. When the bell rings for the cigar girls from the factory to take a break, all eyes are on the gypsy Carmencita. She hums a sensual habanera and calls out to José, who seems impervious to her charms. When Micaëla joins the young man, however, he struggles to hide the turmoil that the beautiful cigar girl has aroused in his heart. Carmen is arrested after a brawl in the factory and has no trouble getting the besotted corporal to facilitate her escape.
In Lillas Pastia’s tavern, Carmen sings a gypsy song in the company of Frasquita and Mercédès, watched by several smugglers, including Dancaïre and Remendado. She tells them of her love for José, who has been locked up for setting her free. The arrival of Escamillo, the star toreador, provides a diversion. Carmen is amused by the desire she rekindles in him. But José appears and is left alone with her. He takes offence at her mockery, then makes an unabashed declaration of love before pulling himself together again. When his superior Lieutenant Zuniga arrives, also with a view to making advances to Carmen, José draws his sabre. This altercation decides his fate: he will set out for the mountains, with the smugglers, to follow Carmen.
Act III
In the mountains, where goods are smuggled through the passes, Carmen tries to shake off the yoke that binds her to José. She reads the cards, which foretell death for both of them. José is standing sentry when Micaëla arrives unexpectedly, looking for him. Then Escamillo appears too, and José raises his navaja to confront him in a duel; Carmen’s sudden return saves the bullfighter from the fatal blow. Micaëla has come to summon José to his dying mother’s bedside. Racked with guilt, he leaves with her, though still threatening Carmen, as Escamillo’s voice echoes in the distance.
In front of the Seville bullring, the crowd is excited. Escamillo appears on Carmen’s arm as the cuadrilla marches past. José is there too, observing the gypsy. Ignoring Frasquita’s warnings to be careful, Carmen confronts him alone, with no illusions about the outcome of their encounter. She proclaims her unquenchable desire for freedom as José alternately pleads and threatens. Carmen proudly faces death. José stabs her, then gives himself up.
An illustration from an 1875 French magazine depicting Carmen. The caption reads: “What with all their Viennese, Neapolitan and Muscovite music, Caramba! Soon there won’t be anything French left but me!”
Rather than being elitist, opera was—back in the day—popular entertainment. And if any opera illustrates why, it’s Georges Bizet ’s Carmen. This now iconic story of the eponymous gypsy seductress and the fatally besotted soldier Don José combines drama that is both metaphorically and literally gut-stabbing with music that is sensuous, hummable and entirely unforgettable. Not only does Carmen remain one of the most popular operas worldwide, it inspired numerous films, musicals, orchestral compositions and ballets. A mezzo-soprano can hardly call her career complete without taking on this most celebrated of roles.
Carmen is based on the 1845 novella by the French writer Prosper Mérimée, who claimed the story was told to him by the Countess of Montijo. As is often the case, the popularity of the musical adaption relegated the original literary source to relative obscurity. Bizet (1838–75) himself was still young and much was expected of him, but the opera’s première at Paris’s OpéraComique in 1875 scandalised many, perhaps understandably given the focus on a woman— a gypsy no less!—of somewhat dubious virtue. And as inexplicable as it seems today, others were apparently bored.
Convinced it was a failure, Bizet died of a heart attack only a few months later, never to know of the tremendous global success that Carmen would achieve.
It is ironic that some of the best-known “Spanish music” was penned by a Frenchman. Bizet never actually visited Spain, but was not above “borrowing” music from Spanish composers: Carmen’s Act I, “Habanera ”, is a crib from El arreglito by Sebastián de Iradier. What is now among the most famous of operatic arias had to go through several (some accounts say as many as 30) versions—hurriedly written during rehearsals, no less—before it met with the approval of the first Carmen, Célestine GalliMarié, who had insisted on something “in the
line of gypsies”. A request to the Conservatory Library turned up what Bizet believed to be a folk song (he later credited the composer). The entr’acte which opens Act IV is also based on an Andalusian serenade from an 1804 operetta by Manuel García.
Bizet’s music is gloriously irresistible, so much so that it can obscure the fact that this simple story of a doomed love affair is populated by characters who are deeply ambivalent. Micaëla, the ostensibly simple country girl in love with Don José, is the one with courage and decency. She has given up on him, but nevertheless tracks him down at the smugglers' mountain camp: not for herself, and not to save him, but for his dying mother.
Meanwhile, Don José falls for Carmen in spite of himself with a passion that devours him. He is perhaps tragic, certainly proud, jealous and foolish—but men in love all too often are. In the end, however, José exudes only pathos: “There is still time,” he pleads in a final appeal to Carmen. “Let me save you, and in so doing, save myself as well!” This is met with the derision it deserves.
Carmen for her part is fiery, thoughtless, superstitious and completely irredeemable with no regard for anyone but herself, and yet... and yet she won’t be pushed around, least of all by men. When Don José returns to find her—stalks her, some might say—outside the bullring, she tells him: “I was born free and free I shall die!”
When he stands in her way as she tries to enter the bullring for her rendezvous with the matador, she tells him: “Either strike me or let me pass!” She takes off the ring he had given her and flings it at him.
This is a woman who knows who she is and has the dignity to stand up for herself. So even though the opera celebrates its 150th anniversary this year, it is also entirely modern. That, and not just the music, is surely why Carmen became, and remains, iconic: it still speaks to us—and not always in comfortable ways.
Text: Peter Gordon
不滅的激情之火
神還原 1875 年原版《卡門》
Travel Back to 1875 in a Restored Version of Carmen
A new production of Carmen takes an unexpectedly traditional approach to staging the iconic opera. Rather than opting for a contemporary reimagining, this rendition transports audiences back in time, meticulously recreating the aesthetic and ambience of the 1875 original.
French Romantic composer Georges Bizet’s 1875 masterpiece Carmen still feels strikingly modern, with its strong female lead, and the contrast between the wildness and violence of the two central characters and their genuine emotional connection. Telling the story of Spanish soldier Don José’s downfall after he falls for the passionate gypsy Carmen, it introduced elements that were shocking at the time: characters, particularly female ones such as Carmen, that weren’t cardboard cutouts of supposedly virtuous attributes, as well as action deemed dangerously risqué.
Many contemporary productions of the opera utilise innovative modern staging. But a new production being brought to the Hong Kong Arts Festival by the Venice-based Palazzetto Bru Zane—an organisation dedicated to rediscovering and popularising French Romantic music from 1780-1920—has done the opposite, taking the original Paris performance as its direct inspiration.
“We believe it’s something people have never seen,” says its stage director, Romain Gilbert.
“It’s not been done before: to recreate what people would have seen 150 years ago.
“It caused quite a scandal in 1875. Having this character who steals, who dies, in a theatre for the family. It was changed over the years and lost a bit of violence, so I went back to the source [an 1845 novella by Prosper Mérimée] to show how manipulative she is, and how violent they both are.”
The production—which debuted in 2023 at France’s Théâtre des Arts, Rouen—faithfully recreates the 1875 original. Fortunately, says Gilbert, plenty of sources were available to help with the process: illustrations and photos of sets and costumes, and in particular the detailed staging manual from the time.
“In this small booklet, you can find almost all the information you need to revive the show. It’s the document that made Carmen so famous abroad. All operas at the time had one. It has information about the costumes, the sets, where people should stand, where the extras and chorus were on the stage.”
So profound have the changes in opera production been during the past 150 years that Gilbert’s role didn’t even exist when Carmen was first staged. Today, his role in drawing out the emotional development of the characters is critical, something he says is particularly true in the case of the male lead.
“The character of Don José is very interesting psychologically. He’s fascinating for a director— always up and down. At the end of every act, he’s making a decision—and they’re always bad ones. He says: ‘If you don’t love me the way I want to be loved, I will turn violent.’ We need to understand where his violence is coming from.”
Physically recreating the production has involved numerous challenges. It was hard, Gilbert says, to find craftspeople capable of painting the sets, which are typically printed these days. The weak gas lighting of the 19th century could only fully illuminate the front of the stage, so the back was barely used—and this is hard to replicate with electric lighting. Then there are the costumes, reflecting the Iberian setting in their bold use of colour, which were created by famed couturier Christian Lacroix, who has been enjoying an acclaimed second act in the opera, using a blend of historical sources and a hefty dose of his own creativity.
“He had a lot of drawings, but some don’t exist at all; he had to invent them,” says Gilbert. “There is a museum in France dedicated to stage costumes [the National Centre of Stage Costume], which houses a guard's costume used in the 1875 premiere of Carmen. We were able to see the exact
yellow of the jacket and pants in order to be able to reproduce them.”
The production also varies in one key aspect from the 1875 Paris original—it features the recitatives, or sung narration, added by composer Ernest Guiraud for the version that subsequently toured Europe and the USA, rather than the spoken narration from Paris.
“We wanted to present the version that made Carmen famous,” says Gilbert. “With the spoken version, it would have been huge—you add maybe 40 minutes. We lose certain things but we gain in energy and dramatic tension.”
With Carmen celebrating its 150th anniversary in 2025, it’s that drama that makes the opera so enduring, Gilbert adds—together with the sheer power of its music. “This opera is played everywhere. Why is it so famous? Because the tunes are so captivating.”
Text: Richard Lord Chinese translation: Emily Wong
This article was originally published on the HKAF's News & Features website in December 2024
The vocation of the Palazzetto Bru Zane— Centre de musique romantique française is to promote the rediscovery of the French musical heritage of the long 19th century (1780-1920) and obtain international recognition for that repertory. Housed in Venice in a palazzo dating from 1695, specifically restored for the purpose, the Palazzetto Bru Zane—Centre de musique romantique française is supported by the Fondation Bru.
Combining artistic ambition with high scientific standards, the centre reflects the humanist spirit that guides the actions of its parent foundation. The Palazzetto Bru Zane’s main activities, carried out in close collaboration with numerous partners, are research, the publication of books and scores, the production and international distribution of concerts, support for teaching projects and the production of recordings.
Official site: bru-zane.com
Bru Zane Classical Radio— the French Romantic music web radio station: bru-zane.com/classical-radio
The winner of a special prize at the Besançon International Competition in 2019 and recipient of a Victoire de la Musique award in 2022, Victor Jacob was appointed in 2023 at the Opéra de Paris as Principal Conductor of the ADO (youth orchestra) for two consecutive seasons. He has conducted most of the orchestras in his native country, including the Orchestre Philharmonique de Radio France as well as orchestras in Belgium, Venezuela, Germany, Austria and Hong Kong.
Jacob has assisted and conducted operas at the Opéra de Monte-Carlo, the Rouen Opera, Théâtre des Champs-Élysées and the Montpellier Opera, where he led the production of Le Voyage dans la Lune in December 2024 and the Versailles Opera for La Vie Parisienne in 2025. A former singer, Jacob graduated as a conductor from the Royal Academy of Music in London, where he studied with Sian Edwards, and from the Conservatoire national supérieur de musique et de danse de Paris.
Romain Gilbert studied piano and singing at the Conservatoire de Paris and earned a degree in Musicology and a Master's in Music Management from the Paris-Sorbonne University. He gained production experience at the Théâtre du Châtelet and the Opéra National de Paris, with Jean-François Zygel and the Musiciens du Louvre, assisting directors Laurent Pelly, Ivan Alexandre, Ivo van Hove and Claus Guth.
He directed La Périchole at the Opéra National de Bordeaux and the Opéra Royal de Versailles, Werther at the Opéra National de Bordeaux, collaborating with Christian Lacroix and Palazzetto Bru Zane on La Vie Parisienne . He recently directed Carmen at the Rouen Opera House, Romeo and Juliet at The Dallas Opera and La Gioconda at Teatro di San Carlo in Naples.
Antoine Fontaine has served as head set designer for Éric Rohmer’s L'Anglaise et le Duc and Triple Agent . He designed the painted sets for Patrice Chéreau’s La Reine Margot , Roland Joffé’s Vatel , Sofia Coppola’s Marie Antoinette and Roman Polanski’s J'accuse . At the Capitole de Toulouse, he designed the sets for Die Meistersinger von Nürnberg (2002), The Nutcracker (2017), La Traviata (2018) and Les Pêcheurs de Perles (2023).
Finally, with Marc Minkowski, he produced sets and costumes for Lucio Silla (2012), and the Da Ponte trilogy at the Drottningholm Palace Theatre in Sweden (2015-17). For Coline Serreau, at the Opéra Bastille, he designed the sets for Die Fledermaus (2000), Le Barbier de Séville (2002) and Manon (2010). Finally, he joined the Opéra Royal de Versailles for Die Entführung aus dem Serail (2024).
After studying art history and a long career in haute couture (1980-2009), Christian Lacroix pursued his childhood dream of working in the theatre. He has worked at prestigious venues such as the La Monnaie in Brussels, the Opéra Garnier, Comédie-Française, the Opéra-Comique, Théâtre des Bouffes du Nord in Paris and the Metropolitan Opera in New York, and various European opera houses. Lacroix received Molière Awards for costume design for Phèdre (1996) and Cyrano de Bergerac (2007). In 2021, he ventured into directing with La Vie Parisienne , collaborating with Palazzetto Bru Zane, Laurent Delvert, Romain Gilbert and choreographer Glyslein Lefever. In 2022, he designed sets and costumes for the ballet Cendrillon (in Stockholm), and costumes for Werther (in Lausanne) and David et Jonathas (in Versailles). In 2023, he created costumes for L’Amour Médecin, Falstaff, Giulio Cesare in Egitto and La bohème .
Throughout his career, Hervé Gary has designed the lighting for Jocaste (Charles Chaynes), La Cenerentola and Il Barbiere di Siviglia (Rossini), La Vieille Maison (Landowski), Don Pasquale (Donizetti), Il Turco in Italia (Rossini) directed by Marc Adam and Wozzeck (Gurlitt), among others. His recent and upcoming projects include Si j’étais roi (Adam) in Tours, La Caravane du Caire (Grétry) in Toulon and Don Giovanni (Mozart) in Versailles.
Born in 1984 in Metz, Vincent Chaillet began dancing early and joined the Paris Opera Ballet School in 1995, entering the corps de ballet in 2002 and being promoted to Premier Danseur in 2009. Since 2017, he has been a guest professor and Ballet Master at the Bordeaux National Opera, the National Opera Ballet of the Rhine, La Scala and the Paris Opera Ballet.
After leaving the Paris Opera in 2021, he joined the Ballet du capitole de Toulouse as Ballet Master for a season before resuming freelance work. In 2021, he co-founded the Festival Castel Artès with singer Edwin Crossley-Mercer. His recent projects include Romeo and Juliet at the Dallas Opera and La Gioconda at Teatro San Carlo, in collaboration with Romain Gilbert.
Héloïse Mas (mezzo-soprano) as Carmen (27, 29 March)
After studying piano and organ, Héloïse Mas turned to singing. In 2010, she joined the Conservatoire national supérieur de musique et de danse de Lyon, earning a degree in Musicology in 2013 and a Master’s in Interpretation in 2015 with unanimous distinction. She participated in recording Stella di Napoli with Joyce DiDonato in 2014 and recorded her first album, Anachronistic Hearts , in 2021.
She won several prizes in the Les Nuits Lyriques de Marmande competition in 2013, was named “Révélation Classique” by the Adami artist organisation in 2014 and won two prizes in the Queen Elisabeth Competition in 2018. She has performed in numerous operas, concerts and recitals across the world, collaborating with renowned orchestras and conductors. Her performances include leading roles in Carmen, Werther, Die Fledermaus and Idomeneo , among others.
強尼曾在多場音樂會中獻唱，如與法國廣播愛樂樂 團合作，演唱莫扎特的 C 小調彌撒曲，並與溫尼伯 交響樂團合作，演唱韓德爾的《彌賽亞》。近年， 她首次與里爾管弦樂團合作，飾演《塞維利亞的理 髮師》的羅西娜，並在里昂歌劇院詮釋《女人心》 的朵拉貝拉。
Deepa Johnny (mezzo-soprano) as Carmen (28, 30 March)
Mezzo-soprano Deepa Johnny’s standout roles include the title role of Carmen at the Opéra de Rouen Normandie and Cherubino ( Le Nozze di Figaro ) at the Portland Opera. She also returned to Festival d’Aix-en-Provence as Penelope ( Il ritorno di Ulisse ) and in Ted Huffman and Philip Venables’ The Faggots and Their Friends Between Revolutions at the Manchester International Festival, Bregenzer Festspiele and the Southbank Centre.
Johnny’s concert appearances include Mozart’s Mass in C minor with the Orchestre Philharmonique de Radio France and Handel’s Messiah with the Winnipeg Symphony Orchestra. More recently, she has debuted with Opéra de Lille as Rosina ( Il barbiere di Siviglia ), and with the Opéra de Lyon as Dorabella ( Così fan tutte ).
Julien Behr is a renowned tenor who graduated with a Master’s degree in Business Law from the University of Lyon before pursuing music at the Conservatoire national supérieur de musique et de danse de Lyon, earning a first prize. Acclaimed for his versatility in Mozart, French Romanticism and bel canto, he has performed at prestigious venues including the Opéra national de Paris, Théâtre des Champs-Élysées and Salzburg’s Mozartwoche.
This season, he will debut as Don José in Paris, perform at Berlin's Komische Oper in a staged Messiah and sing Jason in Médée at the Paris Opéra-Comique. Behr will close the 2024/25 season as Alfredo in La traviata at the Grand Theâtre de Genève. His notable recent debuts include Roméo in Roméo et Juliette and Gerald in Lakmé . Nominated for the 2013 Victoires de la Musique, Behr is committed to making opera accessible to a broader audience.
Kévin Amiel, born in Toulouse, began studying singing in 2007. He was a finalist at the 2020 Victoires de la Musique Classique in the “Révélation artiste lyrique” category and has won several competitions, including Voix Nouvelles 2018. He was a member of the Atelier Lyrique of the Opéra National de Paris (201114), debuting in roles at the Paris Opera House. Amiel has performed on major stages in Paris, Bordeaux, Toulouse, Marseille, Turin and Hong Kong, taking on roles such as Alfredo ( La Traviata ), Nemorino ( L’Elisir d’amore ), Rodolfo ( La bohème ) and Roméo ( Roméo et Juliette ). His recent and upcoming engagements include Les Pêcheurs de perles, Falstaff, Carmina Burana and Fidelio , in which he showcases his talent as one of the most promising tenors of his generation.
Since the start of his career, Edwin CrossleyMercer has been a regular presence on the stages of Europe’s major opera houses and concerts halls. The most recent seasons have highlighted his vocal versatility with Rossini’s Moïse et Pharaon at the Opéra national de Lyon, Wagner’s Tannhäuser at Osterfestspiele Salzburg, von Weber’s Der Freischütz at Staatsoper Unter den Linden in Berlin, Britten’s Peter Grimes under Thomas Guggeis at Theater an der Wien, Mozart’s Così fan tutte at Opernhaus Zürich and the Bayerische Staatsoper, as well as Händel’s Jeptha at the Händel-Festspiele Halle, Rameau’s Les Indes galantes at the Opéra national de Paris and Rameau’s Platée for Gran Teatre del Liceu and Theater an der Wien.
Romanian soprano Iulia Maria Dan’s “richly coloured, beautifully finished but still radiantly clear sound” ( Sydney Morning Herald ) has made her a sought-after performer in Europe. Last season, she debuted at Opéra de Rouen as Micaëla in Carmen , and returned to the Israeli Opera Tel-Aviv as Desdemona in Otello . Her recent highlights include debuts at Oper Leipzig, the Ravenna Festival, Opéra Royal de Versailles and the Gran Teatre del Liceu. Dan has performed major roles at the Norwegian National Opera, the Romanian National Opera and Semperoper Dresden. As a member of the Staatsoper Hamburg and Bayerische Staatsoper ensembles, she has played roles such as Helena, Agathe and Mimì. She has also performed at the Verbier Festival, Oper Graz and Bregenz Festival.
Faustine de Monès’ recent appearances include Frasquita in Bizet’s Carmen for Opera de Rouen and the Théâtre des Champs-Élysées, Crobyle in Massenet’s Thaïs for Opera de Toulon, the world premiere of Betsy Jolas’ Ces belles années with Sir Simon Rattle and the London Symphony Orchestra at the Barbican Centre in London and the Aixen-Provence Festival. She also appeared in Saariaho’s Cinq Reflets with the Gulbenkian Orchestra in Lisbon.
Ambroisine Bré began her musical studies as a child and trained at the Paris regional and national conservatories. In 2017, she won multiple awards, including the Grand Prix Duo Chant/Piano at the Nadia and Lili Boulanger Competition, and the “Révélation Classique” award from the Adami artists’ organisation. Her recent roles include Lazuli ( L’Étoile ), Cherubino ( Le Nozze di Figaro ) and title part in Armide by Lully.
French baritone Yoann Dubruque is a promising young talent of his generation. He debuted in 2017 as Don Giovanni in Brussels and has since performed in major venues such as the Berliner Staatsoper, La Fenice in Venice, Munich’s Prinzregententheater and Brussels’ La Monnaie/De Munt. He was a member of the Paris Opera-Comique’s Troupe Favart from 2018-22. Dubruque has performed internationally, including in Hong Kong in 2024, where he performed Mercutio ( Romeo and Juliet ).
In a short time, Nicolas Brooymans has secured an undeniable place on the musical stage. He is regularly engaged as a soloist to interpret the great works of sacred repertoire such as Mozart’s Requiem, Bach’s Passions and Handel’s Messiah , but also the more lyrical repertoire such as Berlioz’s Summer Nights and Puccini’s Missa di Gloria . In the operatic repertoire, he played the roles of Sarastro in Mozart’s Magic Flute , and Hill in Puccini’s La bohème
Born in Paris, Thomas Morris studied singing with Georgette Rispal of the Paris Opera, while also studying literature and Russian at the Sorbonne. He has won numerous awards in international singing competitions. Recently, he played Remendado ( Carmen ) at the Opéra de Rouen and the Théâtre des Champs-Élysées, the First Notary/Tarapote/the Old Prisoner ( La Périchole ) at the Opéra-Comique and Docteur Cajus ( Falstaff ) at the Opéra de Nice.
A graduate of the Conservatoire national supérieur de musique et de danse de Lyon, Florent Karrer won the Grand Prix Opera at the Georges Enescu International Competition in Paris in 2018. In 2022, he appeared in Rigoletto (a version for young audiences) in Rouen and at the Théâtre des Champs-Élysées and created the role of Farhâd ( Shirine by Thierry Escaich) in Lyon. Most recently, he played the Dancaïre ( Carmen ) in Rouen and at the Théâtre des Champs-Élysées, where he was noticed singing Papageno ( The Magic Flute ).
The Choir of the Royal Opera of Versailles made its debut in 2022, lending a genuine musical identity to the Royal Opera of the Château de Versailles, along with the already established orchestra. Last season, the choir performed at Versailles and in Vienna in Lully’s Alceste conducted by Stéphane Fuget, and in Monteverdi’s L ’ Orfeo conducted by Jordi Savall at the Royal Opera and at the Grange au Lac festival in Évian. The choir has also taken part in the Royal Opera’s stage productions of Zingarelli's Giulietta e Romeo conducted by Stefan Plewniak, Mozart’s The Abduction from the Seraglio conducted by Gaétan Jarry, as well as programmes such as Couperin’s Les Leçons de Ténèbres both at the Chapelle Royale, and on tour in Spain and at summer festivals
This season, the choir performs with the Orchestra of the Royal Opera of Versailles in staged productions of Purcell’s Dido and Aeneas , Bizet’s Carmen and Donizetti’s The Daughter of the Regiment . The choir performs at a wide range of concerts, including the ADOR Gala Concert, Handel’s Messiah, Sonya Yoncheva’s recital, Fauré’s Requiem , Charpentier’s Mass for Four Choirs with the Consort Musica Vera and José de Torres’ Requiem for Louis I of Spain, King for 150 Days! with the Los Elementos Ensemble. This season, the choir makes its debut at the Auditorio Nacional de la Música in Madrid, the Théâtre du Capitole de Toulouse and the Händel-Festspiele Karlsruhe.
The Choir of the Royal Opera has already made a number of recordings, including Gloire Immortelle conducted by Hervé Niquet with the Orchestra of the Republican Guard, The Crown, Dis-moi Vénus ..., a recital of arias from French baroque operas with soprano Marie Perbost, and many more to come.
The Hong Kong Children’s Choir (HKCC) was founded in 1969 as the first children’s choir in Hong Kong. It is a registered non-profit charitable organisation and is now the largest children’s choir in the world with more than 5,000 members. Over the years it has grown into a diversified arts organisation for children. HKCC is invited to perform overseas each year, spreading its message of love and peace in different parts of the world. As the children’s choir that best represents Hong Kong, HKCC has taken part in many historical moments, including the Hong Kong Handover Ceremony in 1997, the Opening Ceremony of the Hong Kong International Airport in 1998, the Hong Kong Disneyland Grand Opening in 2005 and various performances to commemorate the anniversary of Hong Kong’s reunification with China.
In 2019, the HKCC presented the Asia Pacific Choral Summit, which was awarded the 14th HKADC Award for Arts Promotion, and the Hong Kong Choral Conducting Competition to celebrate its 50th Anniversary. The original Cantonese musical production King of Singers was selected as one of the Top 10 Music Headlines by RTHK. In 2023, HKCC Pays Tribute to Sam Hui concert was held to preserve and carry forward Cantopop culture for future generations.
The Hong Kong Philharmonic Orchestra (HK Phil) is regarded as one of the leading orchestras in Asia. Collaborating with internationally renowned conductors and soloists, the orchestra presents more than 150 concerts annually, attracting more than 200,000 music lovers. The HK Phil promotes the work of Hong Kong and Mainland Chinese composers, commissions new works, nurtures local talent and runs extensive education and community programmes.
Tarmo Peltokoski will become the HK Phil’s Music Director beginning in the 2026/27 season, after serving as Music Director Designate in 2025/26. Currently, Long Yu serves as Principal Guest Conductor, with Lio Kuokman serving as Resident Conductor and Daniele Gatti as Artistic Partner. The HK Phil has flourished in the past two decades under Jaap van Zweden (Music Director, 2012–24) and Edo de Waart (Artistic Director and Chief Conductor, 2004–12).
In 2019, the HK Phil won the prestigious Gramophone Orchestra of the Year Award—the first orchestra in Asia to receive this accolade from the UK classical music magazine. Its notable recent recording projects include Wagner’s complete Ring cycle, Mahler’s Symphony No 10, Shostakovich’s Symphony No 10, and Tchaikovsky’s Symphony No 6 and Piano Concerto No 1.
首席客席指揮 Principal Guest Conductor
駐團指揮 Resident Conductor
廖國敏 Lio Kuokman, JP
藝術夥伴 Artistic Partner
加蒂 Daniele Gatti
第一小提琴 First Violin
樂團首席 Concertmaster
王敬 Jing Wang
樂團第一副首席
First Associate Concertmaster
梁建楓 Leung Kin-fung
樂團第二副首席
Second Associate Concertmaster
許致雨 Anders Hui
樂團第二副首席
Second Associate Concertmaster
王亮 Wang Liang
樂團第三副首席
Third Associate Concertmaster
朱蓓 Bei de Gaulle
艾瑾 Ai Jin
把文晶 Ba Wenjing
程立 Cheng Li
桂麗 Gui Li
李祈 Li Chi
李智勝 Li Zhisheng
劉芳希 Liu Fangxi
毛華 Mao Hua
梅麗芷 Rachael Mellado
尹守廷 Soojeong Yoon
張希 Zhang Xi
第二小提琴 Second Violin
趙瀅娜 Zhao Yingna ●
余思傑 Domas Juškys █
梁文瑄 Leslie Ryang Moonsun
方潔 Fang Jie
何珈樑 Gallant Ho Ka-leung
劉博軒 Liu Boxuan
冒異國 Mao Yiguo
華嘉蓮 Katrina Rafferty
沈庭嘉 Vivian Shen
韋鈴木美矢香 Miyaka Suzuki Wilson
田中知子 Tomoko Tanaka
黃嘉怡 Christine Wong
張雨辰 Zhang Yuchen
周騰飛 Zhou Tengfei
賈舒晨 Jia Shuchen #✽
✽樂師輪流於第一及第二聲部演出 Players may rotate between the First and Second Violin sections.
製作主任 王子蕙* 技術統籌 張詠宜*、范文恩*、李浩賢*、彭家達*、曾以德* Head of Artist Coordinators Eleanor Chu* 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*
Production Officer Anissa Wong*
Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助 # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助 # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
