The Hamburg Ballet - John Neumeier : Beethoven Project - 47th Hong Kong Arts Festival

衷心祝賀香港藝術節今年邁向第4 7屆。今屆藝 術節陣容鼎盛，共有超過1700名來自香港和世 界各地的藝術家傾力演出，為觀眾帶來近1 7 0 場精彩表演。 今年藝術節的節目多姿多彩，當代及古典音 樂、舞蹈、戲劇等不同形式的藝術表演共冶一 爐。每個節目從幕後製作到台前演出，均盡顯 精湛的藝術造詣和超凡的想像力。 我很高興知道最近完成活化的中區警署建築 群，即現在的大館古蹟及藝術館，會在兩個周 末呈獻約5 0場舞蹈表演，供公眾免費入場觀 賞。大家更有機會一起參與在大館的檢閱廣 場、監獄操場，甚至是監獄囚室進行的表演節 目。牛棚藝術村亦會打造為藝術共生創造社， 首度成為藝術節發展作品的平台，場內設有不 同創意領域的工作坊，觀眾並可以欣賞一些創 作中的作品，感受藝術家的多元創意。 除了精彩表演，藝術節亦一如以往，悉心籌備 各項教育和外展活動，致力培育本地藝術人 才。「香港藝術節青少年之友」計劃讓本地學 生有機會觀賞世界級的表演和參與各式各樣的 藝術活動。此外，藝術節亦透過後台參觀和大 師班等「加料節目」，讓觀眾與國際頂尖藝術 家互動接觸，了解節目的幕後製作過程。 衷心感謝香港藝術節團隊一直致力推動本港的 藝術發展，成績斐然。我亦感謝贊助商和捐款 者的大力支持，令每年的藝術節圓滿成功，大 獲好評。 謹祝二零一九年香港藝術節所有觀眾、參加者 和表演者可以盡情享受這次藝術之旅，留下愉 快難忘的回憶。

林鄭月娥 香港特別行政區行政長官

I am pleased to congratulate the Hong Kong Arts Festival, which turns 47 this year in grand fashion, with nearly 170 performances featuring more than 1,700 artists from Hong Kong and all over the world.

This year, the Festival showcases a dazzling range of classic and contemporary music, dance, theatre and more, each produced, staged and performed with consummate artistry and imagination.

I am also delighted to note that our newly revitalised Central Police Station Compound, now Tai Kwun, Centre for Heritage and Arts, is the venue for some 50 free dance performances over the course of two weekends. I am told that audiences will also have the opportunity to participate in the performances taking place at Tai Kwun’s Parade Ground, Prison Yard and even its prison cell blocks. For the first time, the Arts Festival will turn Cattle Depot Artist Village into a Creative Hub for showcasing workshops and works in progress from a variety of creative disciplines.

Beyond its captivating performances, the Festival remains committed to its educational activities, outreach and development of local artists. The Young Friends of the Hong Kong Arts Festival enables local students to enjoy world-class performances and participate in a range of arts activities, while PLUS programmes bring audiences behind the scenes with some of the world’s greatest artists through backstage tours, masterclasses and more.

I am grateful to the Hong Kong Arts Festival team for its continuing commitment and manifold contributions to the development of the arts in Hong Kong. I am grateful, too, to the many sponsors and donors who, each year, help make the Festival a resounding success.

I wish audiences, participants and performers alike a delightful and memorable 2019 Hong Kong Arts Festival experience.

Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region

歡迎閣下蒞臨欣賞第4 7屆香港藝術節的這場 演出。感謝您與我們一起歌頌表演藝術在舞 台上的不同季節和階段。 我們要感謝香港特別行政區政府透過康樂及 文化事務署的年度恆常撥款。這項資助對香 港藝術節每年得以成功舉辦，至關重要。多 謝香港賽馬會慈善信託基金持續的支持，為 我們致力豐富城中文化生活，打下根基。另 外要感謝眾多企業贊助商、慈善基金會以至 個人捐助者。他們的慷慨捐助，讓我們能夠 呈獻世界各地的優秀藝術家、發展新作、培 育年青觀眾，並在國際舞台上引薦本地人 才。 最重要的是感謝您前來欣賞今天的表演。香 港藝術節的成功，正是有賴觀眾的熱情和參 與。謹祝您享受藝術節今天這場演出，渡過 難忘的時光。

查懋成 香港藝術節主席

I am delighted to welcome you to this performance at the 47th Hong Kong Arts Festival. Thank you for joining in our celebration of the seasons and stages of the performing arts.

I would like to extend my gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention, which is vital to the continued success of the Festival. I am also grateful to the Hong Kong Jockey Club Charities Trust, whose ongoing support is a cornerstone in our efforts to enrich the cultural calendar of the city. Thanks are also due to our many corporate sponsors, charitable foundations and individual donors, whose generous support enables us to host some of the world’s leading artists, develop new works, cultivate young audiences, and promote local talent on a world stage.

Above all, I offer my warm thanks to you for joining today’s performance. The enthusiasm and engagement of our audiences is the foundation of the Hong Kong Arts Festival’s success. I sincerely hope that you will find your time spent at the Festival today memorable and enjoyable.

Victor Cha Chairman, Hong Kong Arts Festival

衷心感謝閣下蒞臨欣賞第47屆香港藝術節的演 出。 今屆藝術節以「一步一舞台」為主題。舞台， 不僅是我們呈獻新穎及經典表演的地方，更是 藝術轉化向前的關鍵。頂尖藝術家及明日之星 於舞台相遇，各展姿彩；透過忠實致敬及大膽 改編，經典劇目得以重現觀眾眼前；嶄新作品 以原創設計、技術及敍事方法，挑戰傳統舞台 的極限。 無論於哪個舞台表演，我們會繼續想像藝術世 界的無限可能，亦期望今屆表演能為閣下帶來 啟發和歡愉。另外，誠邀您參加「加料節目」 的各項活動，深入了解重點表演，令藝術節體 驗更全面。 謹代表藝術節團隊，感謝您參與香港藝術節， 支持我們的使命，為香港締造一個世界級藝術 節。

It is a pleasure and a privilege to welcome you to this performance at the 47th Hong Kong Arts Festival.

This year, we celebrate artists and artworks “At Every Stage”. Not only do we spotlight exhilarating programmes at stages old and new across Hong Kong, but also reflect on the stage as a process of transformation. Leading artists at the peak of their careers perform alongside the next generation of rising stars. Classic repertoire is reinvented through brave homages and boldly experimental retellings, and the original designs, technologies and storytelling modes of new works crash through the boundaries of the traditional stage.

I hope that this and many other performances at the 47th HKAF will provoke, inspire and delight you, and that in the course of viewing works at every stage, we may continue to envision the myriad possibilities of the arts. As part of your Festival experience, I would also recommend you join the many PLUS performances, workshops and events that have been designed to bring insight into our core programmes.

Together with the entire team, I would like to thank you for your support of the Hong Kong Arts Festival, which sustains us in our mission to bring a world-class arts festival to Hong Kong.

何嘉坤 香港藝術節行政總監

Tisa Ho Executive Director, Hong Kong Arts Festival

香港藝術節 扎根香港的國際藝壇盛事 香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的 文化盛事，於每年 2、3 月期間呈獻眾多優秀本地及國 際藝術家的演出，以及舉辦多元化的「加料」和教育 活動，致力豐富香港的文化生活。 香港藝術節是一所非牟利機構，2019 年第 47 屆藝術節 的年度預算約港幣一億三千六百萬，當中香港特區政 府的基本撥款佔總收入的近 13%，接近 6% 來自政府 新增加的五年限期額外撥款，另外約 28% 需來自票房 收入，逾 33% 則需依賴來自各大企業、熱心人士和慈 善基金會的贊助和捐款。預計餘下的大約 20% 則來自 其他收入，包括政府針對捐款和贊助收入而提供的配 對資助。 香港藝術節每年呈獻眾多國際演藝名家精采多元的演 出，例如 *： •歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯 科大劇院、聖彼得堡馬林斯基劇院 •中國戲曲：中國國家京劇院、河北梆子劇院、上海 張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百 花越劇團 •古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、趙 成珍、古斯塔沃．杜達美、菲力普．格拉斯、馬友友、 丹尼斯．馬祖耶夫、安娜．涅翠柯、詹安德列亞． 諾斯達、小澤征爾、甘拿迪．羅傑斯特汶斯基、克 里斯蒂安．泰利曼、倫敦交響樂團、NHK 交響樂團、 皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、 萊比錫聖多馬合唱團、維也納愛樂樂團 •爵士樂及世界音樂：波比．麥非年、尤蘇．恩多爾、 艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼 •舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘．漢、 美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團 – 約翰． 紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、翩 娜．包殊烏珀塔爾舞蹈劇場

2019 年藝術節預計收入來源 （約港幣一億三千六百萬） Estimated Income Sources for the 2019 HKAF (Approximately HK$136 Million)

贊助和捐款 Sponsorship & Donations

over 逾

•戲劇：彼得．布祿克、蜷川幸雄、羅柏特．威爾遜、 柏林劇團、中國國家話劇院、皇家莎士比亞劇團 •大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝 坊 •戶外節目：《聲光園》、《幻光動感池》、《聲光頌》 香港藝術節積極與本地演藝人才合作，並致力為新晉 藝術家提供展示才華的平台。藝術節至今委約及製作 逾 2 0 0 套本地全新創作，包括戲劇、室內歌劇、音樂 和舞蹈作品，近年開始同步出版新作劇本，不少製作 更已在香港及海外多度重演。近年的藝術節新製作包 括粵劇《百花亭贈劍》、《香港家族》三部曲、《世紀． 香港》音樂會、《論語》、《炫舞場》、《大同》、《金 蘭姊妹》、《爆蛹》、《野豬》、《聖荷西謀殺案》等。 香港藝術節多年來與知名海外藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節、香港歌德學 院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗 人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街 製作公司製作、香港藝術節為聯合委約機構之一的「橫 貫計劃」之《暴風雨》及《李察三世》、由香港藝術 節及上海國際藝術節聯合委約的《青蛇》、三藩市歌 劇院與香港藝術節聯合製作的《紅樓夢》等。 香港藝術節大力投資下一代的藝術教育。「青少年之 友」成立 27 年來，已為逾 750,000 位本地中學生及大 專生提供藝術體驗活動。藝術節近年亦開展多項針對 大、中、小學生的藝術教育活動，包括由國際及本地 藝術家主持的示範講座及工作坊、學生展演、演前講 座、公開彩排、以及欣賞藝術節演出。同時，通過「學 生票捐助計劃」，藝術節每年提供約 1 0 , 0 0 0 張半價學 生票。 香港藝術節每年主辦一系列多元化並深入社區的「加 料節目」，例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等， 鼓勵觀眾與藝術家互動接觸。

33% around 約

20% nearly 近 6% nearly 近 13%

around 約

28%

票房收入 Box Office （2019 年 1 月更新 Updated January 2019）

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 Income (Including Possible Government Matching Grant for Sponsorship and Donation Income) 政府五年限期額外撥款 Government's Time-limited Addition Funding (for 5 years)

政府的基本撥款 Government Baseline Funding

Hong Kong Arts Festival A Major International Arts FestivaI ln, Of and For Hong Kong 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.

HKAF is a non-profit organisation. Secured government baseline funding represents about 13% of the 2019 Festival’s HK$136 million budget, with another nearly 6% specially provided by the Government as time-limited additional funding for five years. Around 28% of the Festival’s income needs to come from the box office, and over 33% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 20% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations.

HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western Opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch • Theatre: Peter Brook, 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 HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include the Cantonese Opera - Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong–The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few.

HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

HKAF invests heavily in arts education for young people.

Over the past 27 years, our “Young Friends” scheme has reached over 750,000 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.

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.

誠邀贊助或捐助第 47 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 47th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: 直綫 Direct Lines: 網頁 Website:

dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us

* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2018.html

Presents

漢堡芭蕾舞團—約翰．紐邁亞

《貝多芬計劃》 The Hamburg Ballet John Neumeier

Beethoven Project 19-20 3月 MAR

香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 演出長約 2 小時 45 分鐘，包括一節中場休息 Approximately 2 hours and 45 minutes including one interval

封面照片 Cover Photograph: © Kiran West

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

HKartsfestival

本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.

www.hk.artsfestival.org

《貝多芬計劃》

Beethoven Project 音樂 Music 貝多芬 Ludwig van Beethoven 編舞及服裝 約翰．紐邁亞

Choreography and Costumes John Neumeier

佈景設計 海因里希．托路加

Set Design Heinrich Tröger

指揮 Conductor 西蒙．希維特 Simon Hewett 鋼琴 Pianist 米哈爾．比亞克 Michał Białk 室樂及管弦樂 香港管弦樂團

Chamber Ensemble and Orchestra The Hong Kong Philharmonic Orchestra

首演 Premiere 2018 年 6 月 24 日 24 June 2018 漢堡芭蕾舞團 Hamburg Ballet

© Kiran West

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I. Beethoven Fragments

第一章 貝多芬片段 降 E 大調變奏曲及賦格曲，作品 35， 「英雄變奏曲」

Variations and Fugue in E-flat major, Op 35, “Eroica Variations” Introduction: Allegro vivace Theme in E-flat major Variations I–XV Finale: Allegro con brio

前奏：活潑的快板 降 E 大調主題 第一至十五首變奏曲 終曲：生氣勃勃的快板

D 大調鋼琴三重奏，作品 70 之一，「鬼魅」 Piano Trio in D major, Op 70, No 1, "Ghost" II. Largo assai ed espressivo

第二樂章：富感情的極廣板

D 大調鋼琴奏鳴曲，作品 10 之三

Piano Sonata in D major, Op 10, No 3 II. Largo e mesto (excerpts, partly combined with a sound collage)

第二樂章：憂鬱的廣板 （選段，經聲音拼貼）

A 小調第十五弦樂四重奏，作品 132

String Quartet No 15 in A minor, Op 132 III. Molto adagio

第三樂章：極慢板

II. Intermezzo

第二章 間奏曲

Excerpts from The Creatures of Prometheus, Op 43

《普羅米修斯的創造物》選段， 作品 43

Overture: Adagio – Allegro molto e con brio Introduction: Allegro non troppo V. Adagio – Andante quasi allegretto XVI. Finale: Allegretto – Allegro molto – Presto

序曲：慢板—非常生氣勃勃的快板 前奏：不太快的快板 第五樂章：慢板—接近稍快板的行板 第十六樂章（終曲）：小快板—極快板—急板

— 中場休息 Interval —

第三章 英雄 降 E 大調第三交響曲，作品 55， 「英雄」

III. Eroica Symphony No 3 in E-flat major, Op 55, “Eroica” Allegro con brio Marcia funebre. Adagio assai Scherzo: Allegro vivace – Trio Finale: Allegro molto – Poco andante – Presto

生氣勃勃的快板 葬禮進行曲：甚慢板 諧謔曲：活潑的快板—中段 終曲：極快板—稍快的行板—急板 是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

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Š Kiran West

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降 E 大調變奏曲及賦格曲，作品 35，「英雄變奏曲」 Variations and Fugue in E-flat major, Op 35 “Eroica Variations” 角色及演出 Cast 舞者貝多芬

Aleix Martínez

A Dancer as Ludwig van Beethoven 貝多芬世界裏的人物、幻想及恐懼

Figures, Fantasies and Fears of His World

D 大調鋼琴三重奏，作品 70 之一，「鬼魅」 Piano Trio in D major, Op 70, No 1, "Ghost" D 大調鋼琴奏鳴曲，作品 10 之三 Piano Sonata in D major, Op 10, No 3 A 小調第十五弦樂四重奏，作品 132 String Quartet No 15 in A minor, Op 132

Edvin Revazov Matias Oberlin, David Rodriguez Madoka Sugai, Jacopo Bellussi Greta Jörgens Borja Bermudez Georgina Hills, Xue Lin Christopher Evans, Nicolas Gläsmann Marià Huguet, Florian Pohl Patricia Friza Ensemble Anna Laudere Borja Bermudez Ensemble Vladimir Kocić （發送員 Dispatcher）

《普羅米修斯的創造物》選段，作品 43 Excerpts from The Creatures of Prometheus, Op 43 角色及演出 Cast 普羅米修斯 Prometheus 他的創造物 His Creatures

Aleix Martínez Madoka Sugai, Borja Bermudez

阿波羅 Apollo

Edvin Revazov

忒耳西科瑞 Terpsichore

Anna Laudere

神話人物 Mythical Figures

Hayley Page – Florian Pohl Priscilla Tselikova – Mathieu Rouaux Sara Coffield – Lizhong Wang

社會 Society

Greta Jörgens – Jacopo Bellussi Xue Lin – Christopher Evans Madoka Sugai – Borja Bermudez Georgina Hills – Nicolas Gläsmann Yaiza Coll – David Rodriguez Charlotte Larzelere – Marià Huguet Patricia Friza

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降 E 大調第三交響曲，作品 55，「英雄」 Symphony No 3 in E-flat major, Op 55, “Eroica” 演出 Cast 生氣勃勃的快板

Aleix Martínez

Allegro con brio

Mayo Arii – Karen Azatyan Yun-Su Park – Marc Jubete Kristina Borbélyová – Leeroy Boone Sara Coffield – Marcelino Libao Olivia Betteridge – Pietro Pelleri Georgina Hills – Mathieu Rouaux Yaiza Coll – Lizhong Wang Nako Hiraki – Eliot Worrell Giorgia Giani – Graeme Fuhrman Pascal Schmidt Anna Laudere – Edvin Revazov

葬禮進行曲

Marcia funebre

諧謔曲：中段

Scherzo & Trio

Anna Laudere – Edvin Revazov Karen Azatyan, Leeroy Boone, Graeme Fuhrman, Marc Jubete, Marcelino Libao, Pietro Pelleri, Mathieu Rouaux, Pascal Schmidt, Lizhong Wang, Eliot Worrell Emilie Mazoń – Jacopo Bellussi Greta Jörgens – Christopher Evans Nako Hiraki, Madoka Sugai Hayley Page – Florian Pohl Lucia Ríos – David Rodriguez Charlotte Larzelere – Nicolas Gläsmann

終曲

Finale

Anna Laudere – Edvin Revazov, Mayo Arii – Karen Azatyan Yun-Su Park – Marc Jubete, Madoka Sugai – Marià Huguet Emilie Mazoń – Jacopo Bellussi, Nako Hiraki – Christopher Evans Xue Lin – Matias Oberlin, Greta Jörgens – Lizhong Wang Yaiza Coll – Borja Bermudez, Lucia Ríos – David Rodriguez Hayley Page – Florian Pohl, Kristina Borbélyová – Leeroy Boone Sara Coffield – Marcelino Libao, Viktoria Bodahl – Eliot Worrell Charlotte Larzelere – Nicolas Gläsmann, Olivia Betteridge – Pietro Pelleri Georgina Hills – Mathieu Rouaux, Mengting You – Illia Zakrevskyi Giorgia Giani – Graeme Fuhrman, Priscilla Tselikova – Pascal Schmidt Frederike Midderhoff – Roberto Pérez Aleix Martínez

以連接號分隔的舞者將表演雙人舞 Performers with dash perform in duet

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《貝多芬計劃》的步伐— 約翰．紐邁亞日記節錄

Excerpts from John Neumeier's Diary

別具一格的編舞風格 A Different Choreographic Form 5.4.2018 《貝多芬計劃》受貝多芬音樂的啟發，融合 了敘事以及交響芭蕾舞的元素。我想一邊聽 着貝多芬的音樂，一邊將主觀感受轉變為舞 蹈。沒有事先深思熟慮的計劃、沒有敘述， 甚至沒有「戲劇概念」，我只是跟着他的音 樂一邊即興創作舞蹈動作，一邊探究和了解 貝多芬，發掘並思考他事業和個人生活中的 點點滴滴。 這兩項同時進行的工作或許在不知不覺間影 響了我芭蕾作品中單純的交響樂性質。在 創作過程中，一個人物、一幕情景、一種情 緒、一種關係或者貝多芬本人都可能（或者 似乎）顯現出來，與作曲人的傳記互相呼 應。一些人透過作品，可能會直觀地感受或 識別出作曲家生活中的一些點滴。可是，我 最初且最主要的目的只不過是跟着他的音樂 跳舞，透過舞蹈，用最直接的方式表達貝多 芬。因此，這部舞作應該首先被視為一個交 響樂作品，音樂決定了畫面的出現，也發展 出一系列的動作和關係。

The Beethoven Project blends elements of narrative and symphonic ballets, inspired by the music of Ludwig van Beethoven. My intention: translating my subjective feelings into choreography while listening to Beethoven's music. Without a previously thoughtout plan, narrative or "dramaturgical concept", I simply create movement situations while improvising to his music—at the same time researching, learning about Beethoven—discovering and considering the facts of his professional and private life.

This parallel rational endeavour may, however, unconsciously influence the purely symphonic nature of the ballet (or ballets) I am creating. The suggestion of a character, a situation, a mood, a relationship or Beethoven himself may emerge (or seem to emerge) during the working process, recalling the composer's biography. Some facts of the composer's own life may, to some, be suggested intuitively or recognized in the work. But my first, primary intention was and is simply to dance to his music—thus speaking choreographically of Beethoven in the most direct way. The ballet should be seen, therefore, firstly and primarily, as a symphonic work—one in which music alone determines the images which emerge and the actions and relationships which develop.

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© Kiran West

同時，它不 是 一 個 反 映 貝 多 芬 音 樂 形 態 的 「抽象」 作 品，因 為 戲 劇 場 景 片 段 的 存 在 不能被否認。這位作曲家曾表示，當他作曲 時，心中總有一個故事，有時來自文學。但 由於他並未向我們揭示故事的來源，大部分 時候，我們只能猜測是甚麼個人環境激發了 這位作曲家的靈感。因此我認為，伴隨着貝 多芬的音樂，芭蕾舞應該被視為一首由舞蹈 動作譜寫的視覺詩歌，與樂曲的音調互相呼 應。毫無疑問，在樂曲縝密的結構中，往往 隱藏着個人情感，每個人都可以憑自己的方 式去感受和詮釋。 大家應該這樣理解我的《貝多芬計劃》：一 個編舞家受偉大音樂啟發而創作，在音樂的 奇妙結構中發掘更多層次的情感，而這種結 構是以一幅幅自然產生的畫面為基礎，日復 日、一步步構思出來的。 一首受貝多芬音樂或者貝多芬本人啟發，並 用舞蹈譜寫的詩歌……

At the same time, it is not an "abstract" work reflecting the form of Beethoven's music, because fragments of dramatic situations are undeniable. The composer has said that he always had a story in mind—sometimes derived from literature—when he composed. But as he did not or does not reveal the source of this story, most of the time we can only guess at what personal situation inspired the composer. I think, therefore, that the ballet should be seen as Beethoven's music is heard—as a visual movement poem—corresponding to the tone poetry of Beethoven’s music. Undoubtedly, there is often an emotional subtext to the strict architecture of the music—there for each to sense and interpret in his own way.

This is how my Beethoven Project should be seen: the work of a choreographer fascinated by extraordinary music, discovering ever more layers of feelings and emotions in its amazing architecture—building dayby-day, step-by-step on what images spontaneously emerge.

A choreographic poem inspired by Beethoven's music and perhaps Beethoven himself...

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維也納河畔劇院—工作室 Theatre an der Wien—In the Studio 5.5.2018 這是一次短暫但特別辛苦的彩排。由於身在巴

這個劇院是貝多芬第三交響曲「英雄」首次公

黎為下一季的《茶花女》進行選角，我過去幾

開演出的地方（此前，作品曾在維也納的洛布

日都無法參與排練。但在劇院觀看這些年輕的

科維茨宮非公開演奏。我這次也去參觀了那個

現代編舞者彩排時，我再次懷疑起自己之前所

地方），在這裏彩排是一次特別的體驗。

做的一切。我決定要讓這個舞作的風格更加自 由，於是立即與阿歷西斯和波嘉（然後是其他 舞者和阿歷西斯），嘗試將其中顯得做作、或 把只圖美觀的部分統統剔除。節奏加快，動作 更加流暢，產生一種令人沉重且真正失衡的感 覺。表演以「即興雙人舞」形式演繹。這次排 練得很好。不過一如既往，我並不肯定有甚麼 會被保留下來。

© Kiran West

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奇怪的是，第二天早上我醒來時，感覺左耳疼 痛，於是不得不在漢堡找了一間診所檢查，原 來是中耳炎。真是奇怪，那隻耳朵幾乎聽不到 聲音。難道是我在貝多芬的世界裏走火入魔了？

A short, but very intensive rehearsal. As I was not able to rehearse the past few days—being in Paris to cast Lady of the Camellias for next season— but, at the Opera Ballet watching rehearsals of some young modern choreographers—I again put everything I’d done so far very much in question.

Decided the style of the project must be even more free than until now—and so worked quickly with Aleix and Borja (then, the girls and Aleix) trying to eliminate anything that seemed a pose or in any sense simply “pretty”—all faster— movement continuous—a heaviness—sense of

true off balance—in “partner improv”—was a good rehearsal—as always, not sure what will remain.

Rehearsing in this room, in this theatre where the "Eroica" was premiered (after the private performance in the Palais Lobkowitz which I also visited this time in Vienna), was a special experience.

Strange, the next morning, I awoke with an earache in my left ear. In Hamburg, had to visit the clinic to check—an infection in the middle ear. Strange, hard to hear from that ear…too intense the identification with Beethoven?

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貝多芬的形象 An Image of Beethoven 17.5.2018 我嘗試用芭蕾舞來塑造貝多芬音樂的形態和 情感。他的音樂源源不絕地為我提供最直接 的傳記材料。在我看來，五本厚重的傳記、 多部影片和數不清的文章呈現出來的是位完 全不同的人！而在我芭蕾舞中的貝多芬，它 自然而然，或者偶然之間變成了除音樂以 外，不源於任何一種記載的形象⋯⋯一個如 貝多芬的舞者。 克里斯蒂安．荷爾文的象牙畫着實令人驚 訝……三十出頭的貝多芬，樣貌相當英俊！ （甚至學者也證實這幅肖像與歷史人物相 似）。他優雅的外表與我在學術書籍中看到 的千篇一律的描述背道而馳：貝多芬，一個 邋遢、蓬頭垢面的天才，他對傳統禮節不屑 一顧，嚇壞了歌德。我完全相信，當畫中這 位三十一歲的男子向世人展示其獨具匠心的 創作時，他的個人魅力足以讓維也納以至整 個歐洲都為之傾倒。

My ballet—an attempt to give physical shape to the form and emotion of Beethoven’s music. The music continues to offer me the most direct biographical material. Five thick books, numerous films and countless articles describe, to me, several very different people! If one should see Beethoven in my ballet, it is spontaneous, perhaps accidental—a creature based on no single source—except what music itself tells me…A dancer as Ludwig van Beethoven.

The ivory miniature by Christian Horneman! Taken by surprise…In his early thirties, Beethoven looked really beautiful! (Even scholars confirm that the portrait resembles the historical person.) His elegant appearance belies all the clichés that I learned from academic books: Beethoven, a messy, unkempt genius whose disregard of conventional demeanor horrified Goethe. I can truly believe that the 31-year-old man on the miniature had the personal charisma to enthrall his adopted hometown Vienna and finally all of Europe when presenting his innovative compositions.

的「偉大」。

But, my choreography does not aim to illustrate any historical picture. I’m rather interested in the contradictory aspects of our image of Beethoven.

As a choreographer, I look for equivalents that are communicated by movements alone. Transforming the confusing image of Beethoven into bizarre sequences of movements! I look for a level of communication that can be perceived intuitively—and, at the same time, addresses the “greatness” of Beethoven that has been projected onto the historical person and his music.

為早已過時的關係帶來一股清流 !

A fresh breeze for an outdated relationship!

不過，我的編舞並非要展示任何歷史畫面。 我更感興趣的是大眾心中貝多芬形象的各種 反差。作為一位編舞，我要尋找單憑動作就 能夠表達的替代品，將令人困擾的貝多芬形 象轉化為一連串奇怪的動作！我想尋找一個 合適的交流層面，既能夠被觀眾直觀感知， 同時也能表達貝多芬這位歷史人物及其音樂

© Kiran West

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普羅米修斯—一場夢？ Prometheus—A Dream?

23.5.2018 我創作的普羅米修斯芭蕾舞是否就是貝多芬的 一個夢呢？在這個奇異荒唐的夢境中，貝多芬 自己變成了普羅米修斯。這是一個完全有可能 且符合邏輯的結果。每一位藝術家都需要將自 己帶入他所創作的角色裏。這個過程，從他將 腦海中的形象刻畫出來的那一刻便開始了，他

Is my Prometheus ballet Beethoven’s dream?

In this bizarre and absurd dream, Beethoven becomes Prometheus himself. A possible, logical consequence—every artist has to put himself inside the characters of his creations, from the very moment of “drawing” them from his imagination— to give them a new life from within.

為這些人物注入了內在的生命力。

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貝多芬的舞曲與英雄交響曲

Beethoven’s Dance and the Eroica 在與貝多芬同代的人眼中，不論彈琴作曲， 貝多芬都是天才。雖然他生於約二百五十多 年前，但至今仍是古典音樂會必備的作曲家 之一，成就實在驚人！ 有不少關於貝多芬的生動描述，都能為他的 偉大成就作佐證，但有時這些描述卻不無互 相矛盾之處：他是第一批不在宮廷任職，但 可以過幾十年舒適生活的自由作曲家。他與 眾不同，對當權者諸多批評，寫得出置習俗 於不顧但大受歡迎的作品。他面對贊助自己 的貴族不亢不卑，對待諸如李施諾夫斯基親 王的態度更是眾所周知的自信─貝多芬對 李施諾夫斯基親王說：「親王，你之所以有 今日，全靠運氣和出身；我之所以有今日， 卻全靠我自己。皇親國戚有成千上萬，但貝 多芬只有一個。」

© Kiran West

For his contemporaries, Ludwig van Beethoven was a genius as a pianist and composer. Although born some 250 years ago, today he remains one of the household gods of the classical concert scene—an astonishing success story!

There are many, sometimes contradictory images of Beethoven corroborating his greatness. He was one of the first freelance composers to not depend upon court employment yet still made a comfortable living over a number of decades. He was unorthodox and critical of the authorities and delivered popular compositions without any deference to the conventions of his time.

Beethoven’s self-assurance even towards aristocratic patrons like Prince Lichnowsky is the stuff of legend.

To him, he said: “Prince, what you are, you are through chance and birth; what I am, I am through myself. There are many princes and there will be thousands more, but there is only one Beethoven.”

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浪漫主義者將貝多芬的成就神話化，器樂 作 品 尤 甚。 千 百 年 來， 音 樂 向 來 被 視 為 點 綴， 而 且 地 位 比 文 學 低； 但 維 肯 羅 達 ( 1773- 1798) 和 E. T. A. 賀夫曼 ( 1776- 1822) 等作者，卻聲稱不通過文字，就可以達到 人類情感的最高級表現方式。貝多芬面對 命運的沉重打擊時剛毅頑強（例如失聰越 來越嚴重），成為了這類「靈感型」藝術 家的理想代表人物。但後世的研究員卻從 貝多芬的筆記本找到許多證據，證明這位 德高望重的作曲家會將樂思反覆推敲，直 至他找到最終採用的版本；這種漫長而艱 辛的過程引證了其作品的強大表現力。

The romantics mythologised Beethoven’s achievements, particularly regarding instrumental music . After centuries during which music only counted as an accompaniment secondary to literary works, authors like Heinrich Wackenroder (1773–1798) and E.T.A. Hoffmann (1776–1822) claimed that the highest expression of human feeling could be reached without words. Beethoven’s fortitude in facing extreme blows of fate, such as his increasing deafness, made him an ideal representative for this type of “inspired” artist. Later generations of researchers have found abundant proof in Beethoven’s notebooks that the revered composer continuously rethought and improved his ideas until he reached their final versions; this laborious and painstaking process was taken as yet another “proof” of the expressive quality of Beethoven’s work.

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英雄交響曲

Sinfonia Eroica

貝多芬有不少作品都能說明他的獨到之處，

Of the works used to expound upon Beethoven’s uniqueness as a composer, the Symphony No 3, Op 55 ranks among the most discussed. With it, he blasted away many conventions. Apparently, he was completely aware of this, because he had the work performed privately a number of times and rehearsed it extensively before conducting himself the official world premiere on 7 April 1805 in the Theater an der Wien, Vienna. The sheer scale of the piece, with a length of 45–55 minutes, surpassed everything in the genre up to then, as did Beethoven’s development of the music from a tiny nucleus of an idea.

但大家談論得最多的幾首作品中，肯定包括 第三交響曲，作品 5 5。作曲家在作品中揚 棄了許多慣常寫法，他也顯然察覺到這一 點：因為他先將樂曲在私人場合演出數次， 而且樂曲也經過仔細排練，並於 1805 年 4 月 7 日才正式在維也納河畔劇院作世界首 演，由作曲家親自指揮。樂曲規模宏大，演 出時間長達四十五至五十五分鐘，前人所有 交響曲都望塵莫及；另外，貝多芬擅長從樂 思提取精簡的核心素材再加以發展，這種手 法也同樣前無古人。 樂曲的標題更惹來許多猜測。樂曲的完整標 題是〈英雄交響曲，為追憶一位偉人而寫〉。 從貝多芬身邊人的說法、貝多芬本人的書 信，以及樂譜上的隻言片語，可知樂曲最初 是與拿破崙有關的，作曲家也想過將樂曲題 獻給對方。可是拿破崙 1804 年 12 月 2 日自 立為帝，貝多芬失望之下，就打消了這個念 頭。 一首對舞舞曲 貝多芬在第三交響曲中採用的一種作曲方 法，就是以一首舊作的主題作為基礎。這個 主題不但在貝多芬 1 800 年後的作品中經常 出現，而且用法十分明顯。當代音樂會的觀 眾會認得這個舞曲旋律就是第三交響曲終章 的主題。這個旋律也在其他樂曲出現過，計 有《十二首樂團對舞曲》（WoO 14，1802 年出版）第七首、芭蕾舞劇《普羅米修斯的 創造物》終曲（1 8 0 1 年首演），以及降 E 大調鋼琴變奏及賦格曲，作品 35，「英雄 變奏曲」（1802 年創作）。 上述各個年份顯示，這個旋律最初要麼是獨 立的舞曲，要麼就是普羅米修斯芭蕾舞劇的 一部份。芭蕾舞劇的靈感來自啟蒙時代的理

© Kiran West

The title, in particular, led to much speculation. In full, it is Sinfonia eroica, composta per festeggiare il sovvenire di un grand’uomo (Heroic symphony, composed to celebrate the memory of a great man). We know from sources close to Beethoven, as well as from letters and jottings on the score, that he initially associated the work with Napoleon Bonaparte and thought about dedicating it to him. However, disappointed that Napoleon had himself crowned as Emperor on 2 December 1804, Beethoven refrained from doing so.

A contredanse One of Beethoven’s approaches to composing this symphony is based on a theme that the composer used repeatedly and prominently after 1800. It’s a dance melody that contemporary concert audiences recognise as the main theme of the “Eroica” finale. We find this melody also in the seventh of the 12 Contredanses for Orchestra, WoO 14 (published in 1802), in the finale of the ballet The Creatures of Prometheus (premiered in 1801) and in the Variations and Fugue for Piano in E-flat major, Op 35 (or the “Eroica” Variations, composed in 1802).

These dates indicate that Beethoven invented the melody either as an independent dance or used it first in his Prometheus ballet. The latter was inspired

by Enlightenment ideals: Prometheus does not only provide mankind with fire, but also access to the arts and to science. He leads them to Parnassus, where they are transformed into enlightened and

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想：普羅米修斯不但將火帶給人類，更令人 類得以接觸藝術與科學。他將人類帶到帕納 索斯山，讓太陽神阿波羅和繆斯女神點化， 令人類變得開明、敏銳。這個舞曲旋律在舞 劇結束時響起，慶祝人類成功「得到人性」。

Wo O 1 4 的標題是〈對舞曲〉，顯示這個旋 律不只是悅耳的娛樂。「對舞」是一種英國 鄉間舞蹈的法式演變，舞姿彬彬有禮。舞者 面對面排成兩行，然後不斷轉換舞伴，確保 舞者能與其他階層的舞者跳舞，因此有人認 為對舞能表達民主觀念。時任奧地利皇帝

sensitive creatures by Apollo and the muses. The dance melody marks the end and celebrates their successful “humanisation”.

The attribution as Contredanse in WoO 14 additionally s h ow s t h a t t h e m e l o dy i s n ’t m e re ly p l e a s i n g entertainment. It is a courtly French variation of the English country dance, in which two lines of dancers face each other and changing pair constellations ensure that participants dance with partners from outside their own class. A contredanse, therefore, was regarded as an expression of democratic attitudes, which was politically tricky in the reactionary Austria of Franz II.

法蘭茲二世極為保守，要在當時表達民主觀

Political and artistic ideals

念，在政治上是非常棘手。

The contredanse became fashionable in Vienna at the very end of the 18th century, but its democratic connotations weren’t only due to the experience of changing partners. In his 1793 Kallias letters, the author Friedrich Schiller characterised the English dance or Anglaise as an emblem of an enlightened society founded on consideration for one another: "I know no more suitable image for the ideal of beautiful behaviour than a well-performed English dance, composed from many complicated figures [...] It is the most suitable metaphor of the asserted self-freedom and the spared freedom of the other."

政治與藝術理想 十八世紀末，「對舞」在維也納大行其道， 但這種舞蹈與民主的關聯，卻不限於轉換舞 伴。作家席勒在《論美書簡》（1793 年）裏， 將這種英國舞說成是開明社會的象徵，而且 這個開明社會以關懷別人為基礎：「英國舞 有許多複雜的旋轉，要是跳得好，那就是社 會互動的理想方式。我想不出更貼切的象徵 了。[ . . . ] 以英國舞象徵個人自由、代表對別 人自由的尊重，實在十分恰當。」 因此，貝多芬在第三交響曲的第四樂章用上

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「對舞曲」，便可以透過完全不同的角度來 詮釋。1 8 0 0 年前後，好些歌頌拿破崙的文 學作品先後出版，將拿破崙與神話人物普羅 米修斯相提並論。貝多芬引用來自普羅米修 斯芭蕾舞劇的旋律，可以視為明明白白地 向拿破崙致敬，認為他是個建立秩序的開明 統治者。不過席勒關於英國舞的說法卻指向 另一種詮釋，一個並非與特定人物有關的詮 釋：也許「英雄交響曲」利用這個舞曲旋律， 表達出對政治的樂觀態度。 這樣可以解釋貝多芬為何對此旋律這麼熱 衷， 以 至 在 多 個 不 同 樂 種 都 引 用 過。 比 方 說，根據一封他寫給出版商的信，貝多芬在 「英雄變奏曲」嘗試以「全新風格」寫作。 即使時至今日，大家看着舞台，看着作曲家 如何將簡單至極的低音線條漸漸發展，依然 令人嘆為觀止。

Beethoven’s use of the contredanse in the finale of his Symphony No 3 thus can be interpreted in completely different ways. Around 1800, a number of literary works praising Napoleon were published, which associated him with the mythical figure of Prometheus. The “quotation” from the ballet music might be seen as an explicit hint at an homage to Napoleon as an enlightened ruler establishing order. Schiller’s remarks about the English dance, however, point towards a less personalised interpretation: the “Heroic” Symphony, by way of this dance melody, could signal a spirit of political optimism.

This would also explain the various genres in which Beethoven used the melody in such an ambitious manner. For example, according to a letter to his publisher, Beethoven tried out a “style completely new” in the Eroica Variations. Even today, it is highly impressive to see how Beethoven develops his theme onstage starting from an extremely simple bassline.

音樂的意義 要確定第三交響曲的真正意義是不可能的。 也許貝多芬音樂的偉大之處，正好在於樂曲 有廣闊的詮釋空間，能以不同方法詮釋。他 身邊的人經常說，貝多芬從真人真事中得到 創作靈感。可是他的藝術哲學卻令他不太願 意公開這種創作動機。以當代的角度看來， 他之所以如此成功，「沉默」也實在功不可 沒。第三交響曲的標題雖然內容豐富（「英 雄 交 響 曲， 為 追 憶 一 位 偉 人 而 寫 」）， 但 在座各位大可當成鼓勵大家細心地聆聽的 說法，不是限制多多的欣賞手冊。畢竟，貝 多芬的音樂激動人心；他也緊隨啟蒙運動的 原則，作品以心胸廣闊、觸覺敏銳的人為對 象。 耶恩．李克霍夫 原文刊登於漢堡國立歌劇院 2018 年 6 月雙月刊 經舞團允許轉載

© Kiran West

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The meaning of music It is impossible to pinpoint the true significance of Beethoven’s Third Symphony. Perhaps the greatness of Beethoven’s music is determined by its openness to different interpretations. People close to him often referred to the fact that his compositions were inspired by real events. His philosophy of art only very rarely allowed him to make this kind of motivation public.

From a contemporary perspective, we can say that this reticence helped his success. One could even advise today’s audience simply to look at the multifaceted title of the Third Symphony (Heroic Symphony, composed to celebrate the memory of a great man) as an encouragement to listen carefully and not as a restrictive manual. After all, with his stirring music, Beethoven— following Enlightenment principles—appealed to openminded and sensitive fellow human beings.

Jörn Rieckhoff Article originally published in Hamburg State Opera's Journal (June/July 2018) Published with permission from the company.

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Š Kiran West

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我認為最能表達完美姿態的畫面，是一場由複雜人物 共同演繹的精彩英國民族舞。在觀眾眼前，繁複的舞 姿生動地相互交錯、簡潔明快地變換着方向，卻從不 互相碰撞。一切都井井有條，大家彼此之間充滿默契， 配合起來游刃有餘且自然而然。每個人似乎只專注自己 的方向，卻不會踏入別人的空間。這便是我所謂的個人 自由和他人自由最好的象徵。 弗里德里希．席勒 《Friedrich Schiller, Poet of Freedom》，第二卷 席勒學院，華盛頓特區，1988 年，第 512-519 頁

I know no more suitable image for the ideal of beautiful behaviour than a well-performed English dance, composed from many complicated figures. A spectator from the gallery sees innumerable movements, which cross one another most vividly and alter their direction briskly and playfully and yet never knock into one another. Everything is so ordered, that the one has already made room when the other arrives; everyone fits so skillfully and yet again so artlessly into one another, that each seems to follow only his own head and yet never steps in the way of the other. It is the most suitable metaphor of the asserted self-freedom and the spared freedom of the other.

Friedrich Schiller, Poet of Freedom, Vol. II, Schiller Institute, Washington, D.C., 1988, pp. 512-19.

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藝術節加料節目

19.3（二 Tue）6:45–7:15pm

演前講座 Pre-Performance Talk

Podium Workshop, Hong Kong Cultural Centre

香港文化中心平台工作室 漢堡芭蕾舞團傳訊與公共關係及戲劇顧問主管耶恩．李 克霍夫介紹《貝多芬計劃》

Jörn Rieckhoff, Head of Communications, PR and Dramaturgy at the Hamburg Ballet, speaks on Beethoven Project

英語主講

In English

約翰．紐邁亞及漢堡芭蕾舞團展覽

20.2-24.3 9:00am–11:00pm

John Neumeier and Hamburg Ballet Photo Exhibition Foyer, Hong Kong Cultural Centre

香港文化中心大堂 漢堡芭蕾舞團攝影師基蘭．韋斯分享約翰．紐邁亞及其 他舞者彩排《約翰．紐邁亞的世界》及《貝多芬計劃》 的時刻

The Hamburg Ballet photographer, Kiran West, takes a closer look at John Neumeier and his dancers during the rehearsal of The World of John Neumeier and Beethoven Project.

藝術家沙龍︰約翰．紐邁亞

21.3（四 Thu）7:30–8:30pm

Artist Salon: John Neumeier Lanson Place Hotel, Hong Kong

香港逸蘭精品酒店 漢堡芭蕾舞團藝術總監約翰．紐邁亞將與觀眾分享他對 舞蹈與藝術品的熱愛，暢談他收藏的尼金斯基雕像、繪 畫和照片等

John Neumeier, the artistic director of the Hamburg Ballet, shares his love of ballet and fine art, and talks about his extensive Nijinsky-related art collection.

英語主講

In English

港幣 $350（ 包一杯香檳及小食）

HK$350 (Includes a glass of champagne and light refreshment)

16.3（六 Sat）10:00–11:30am ( 中級程度 Intermediate Level) （已舉行 Past Event）

漢堡芭蕾舞團大師班

Hamburg Ballet Masterclass

24.3（日 Sun）10:00–11:30am ( 高級程度 Advanced Level) Rehearsal Room GR2, Hong Kong Cultural Centre

香港文化中心 GR2 排演室 漢堡芭蕾舞團在訪港期間舉辦兩場大師班，設有高級和 中級程度，適合不同經驗的芭蕾舞者參加

Two ballet masterclasses led by Hamburg Ballet masters and mistresses cater to intermediate and advanced levels.

英語主講

In English

港幣 $500

HK$500

© Kiran West

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漢堡芭蕾舞團早課參觀

15.3（五 Fri）7:30–8:30pm

Observing Company Class

（已舉行 Past Event）

《胡桃夾子》後台參觀

Backstage at The Nutcracker

15.3（五 Fri）5:00–5:30pm （已舉行 Past Event）

漢堡芭蕾舞團《胡桃夾子》兒童工作坊

17.3（日 Sun）11:30am–12:45pm, 2:15–4:00pm

Hamburg Ballet The Nutcracker Introductory Class for Kids

（已舉行 Past Event）

更多加料節目詳情 More Festival PLUS

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貝多芬生平

Beethoven Timeline 1770

生於 12 月 17 日 Born on 17 December

1778

年僅七歲的貝多芬首次 在科隆公開演出

First public performance in Cologne at age seven

1780

跟隨德國歌劇作曲家及指揮 哥特洛柏．倪富學習

Begins lessons with Christian Gottlob Neefe, a German opera composer and conductor

1783

克 里 斯 蒂 安． 荷 爾 文 為 貝 多 芬 繪 畫 的 象牙畫，約 1803 年 Beethoven's ivory miniature by Christian Horneman, circa 1803.

於十二歲完成首部作品： 《依德磊斯勒進行曲的九個變奏》

Composes Nine Variations on a March

by Dressler, WoO 63 at age 12

1787

於維也納結識莫扎特

1802

Meets Mozart in Vienna

1791

Composes the “Eroica” Variations and Fugue for Piano in E-flat major, Op 35

創作芭蕾舞劇《騎士》

Composes the Ritterballet

1793

跟隨海頓學習

1803

Begins lessons with Haydn

1797

1799

1805

完成歌劇《費德里奧》， 原名《里奧諾》

Completes composition of his opera, Fidelio, originally titled Leonore

創作首部弦樂四重奏，作品 18

Composes String Quartet No 1, Op 18

1801

創作降 E 大調第三交響曲， 作品 55，「英雄」

Composes “Eroica” Symphony No 3 in E-flat major, Op 55

因病導致聽覺受損

Contracts serious illness that leads to deafness

創作降 E 大調變奏曲及賦格曲， 作品 35， 「英雄」變奏曲

創作升 C 小調第十四鋼琴奏鳴曲， 又稱「月光奏鳴曲」，作品 27 之二

1824

Composes "Moonlight" Sonata No 14 in C-sharp minor, Op 27, No 2

1827

完成第九交響曲，作品 125

Finishes Symphony No 9, Op 125 於 3 月 26 日逝世

Dies on 26 March

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約翰．紐邁亞

John Neumeier 編舞及服裝 Choreography and Costumes 約翰．紐邁亞在 1 9 3 9 年生於威斯康辛州的 密爾沃基，並在其家鄉，以及芝加哥、哥本 哈根和倫敦研習舞蹈。1963 年，他受約翰． 格蘭高的邀請加入史圖加芭蕾舞團，後來成 為舞團的獨舞者，並發展編舞作品；1969 年，他獲委任為法蘭克福芭蕾舞團總監，其 對家傳戶曉的芭蕾舞劇如《胡桃夾子》和 《羅密歐與茱麗葉》的詮釋引起了轟動；

1 9 7 3 年他出任漢堡芭蕾舞團總監和首席編 舞，在他的帶領下，漢堡芭蕾舞團在德國舞 蹈界鋒芒畢露，還是備受國際認可的頂級芭 蕾舞團之一。 作為編舞家，紐邁亞致力保存芭蕾舞的傳 統特色，並同時在作品中加入現代戲劇的 結構。他的舞劇題材廣泛，從新版的長篇 故事式芭蕾舞劇至音樂劇，交響芭蕾以至 莊嚴的聖樂編舞，皆有涉獵。《貝多芬計 畫》（ 2018 ）、《安娜．卡列妮娜》（ 2017 ） 及《圖蘭加里拉》（ 2 0 1 6 ）是他為漢堡芭 蕾舞團編製的最新作品。除了漢堡芭蕾舞 團，紐邁亞也經常為多個知名國際芭蕾舞 團擔任客席編舞。

1 9 7 5 年，紐邁亞想到以「漢堡芭蕾舞日」 作為每個舞季的高潮。三年後他創辦漢堡芭 蕾舞團的芭蕾舞學校，至今舞團超過百分之 七十的舞者都是該校畢業生。2011 年，他 成立德國國家青年芭蕾舞團，是一個充滿創 意的年輕舞團，並在學校、護老院和監獄演 出。 紐邁亞深受國際認可且屢獲殊榮，獲獎包括 美國「舞蹈」雜誌獎（1983）、德國聯邦 十字勳章、法國藝術與文學勳章及法國榮譽

Born in Milwaukee, Wisconsin in 1939, John Neumeier studied dance in his native city as well as in Chicago, Copenhagen and London. In 1963, John Cranko invited Neumeier to join the Stuttgart Ballet, where he progressed to soloist and continued his choreographic development. Appointed Director of the Ballet Frankfurt in 1969, Neumeier soon caused a sensation with his new interpretations of such well-known ballets as The Nutcracker and Romeo and Juliet. In 1973, he became Director and Chief Choreographer of the Hamburg Ballet. Under his direction, the Hamburg Ballet became one of the leading ballet companies on the German dance scene and soon received international recognition.

As a choreographer, Neumeier has continually focused on the preservation of ballet tradition, while giving his works a modern dramatic framework. His ballets range from new versions of full-length narrative ballets to musicals, symphonic ballets and choreographies to sacred music. His latest creations for the Hamburg Ballet include: Beethoven Project (2018), Anna Karenina (2017) and Turangalîla (2016). In addition to his greater commitment to the Hamburg Ballet, Neumeier regularly works as guest choreographer with some of the world’s most renowned international ballet companies.

In 1975, Neumeier conceived the festival Hamburg Ballet Days as a climax to each season. Three years later, he founded The School of the Hamburg Ballet.

Today, more than 70% of the company’s dancers are graduates from the school. In 2011, Neumeier founded Germany’s National Youth Ballet, a creative and young company that performs in schools, retirement homes and prisons.

Neumeier is the recipient of multiple prestigious international awards, including the Dance Magazine Award (1983), the Order of Merit of the Federal Republic

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軍團騎士團勳章。他亦是尼金斯基終身成就 獎（2 0 0 6）、赫伯特．馮．卡拉揚音樂獎 （2 0 0 7）、德國銀禧舞蹈獎（2008）、俄 羅斯聯邦友誼勳章（2 0 12）、稻盛財團基 金的日本京都藝術與哲學獎（2015）、貝 諾瓦芭蕾舞大獎的終身成就獎（2016）、 洛桑國際芭蕾舞大賽的終身成就獎（2017） 和埃里希．弗羅姆大獎（2017）。2007 年， 他更成為漢堡的榮譽市民。

2006 年紐邁亞創立了約翰．紐邁亞基金會， 希望保存及向大眾介紹他的舞作和與芭蕾相 關的收藏。

of Germany, the French Order of Arts and Letters and the Legion of Honour. He is also the recipient of the Nijinsky Award for Lifetime Achievement (2006), the Herbert von Karajan Musikpreis (2007), the Deutscher Jubiläums-Tanzpreis (2008), the Order of Friendship of the Russian Federation (2012), the Inamori Foundation’s Kyoto Prize in Arts and Philosophy (2015), the Lifetime Achievement Award of the Prix Benois de la Danse (2016), the Lifetime Achievement Award of the Prix de Lausanne (2017) and the Erich Fromm Prize (2017).

Neumeier was made an honorary citizen of Hamburg in 2007.

In 2006, Neumeier established the John Neumeier Foundation with the aim of preserving and eventually making available to the public his collection of dance and ballet-related objects.

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海因里希．托路加

Heinrich Tröger 佈景設計 Set Design

德國佈景設計師海因里希．托路加自 2011 年起便與約翰．紐邁亞合作，協助不同製 作的佈景設計，包括巴黎、維也納、莫斯 科、 芝 加 哥 及 近 期 的 漢 堡 （ 漢 堡 芭 蕾 舞 團《安娜．卡列妮娜》）等。托路加在法 蘭克福歌劇院技術部工作前，主修建築、 劇場科學和哲學。隨後，他在曼咸國立劇 院開始了為期三年的舞台設計助理實習。 在返回曼咸國立劇院擔任劇團工作坊領導 前，他是一位自由身的佈景設計師，其後 他在法蘭克福歌劇院接任相同職位。 1990 年代，托路加擔任薩爾斯堡藝術節的技術 經理，同時亦於薩爾斯堡莫扎特音樂大學 任教。自 1997 年至 2011 年他都是漢堡國 家歌劇院工作坊的領導，自此以後，他便 成為一位成功的建築師及自由身設計師。 托路加為大眾汽車位於狼堡廠房設計並舉 辦「Event Cinema」（2003），以及負責

The German set designer Heinrich Tröger has collaborated with John Neumeier since 2011, assisting in the creation of productions in Paris, Vienna, Moscow, Chicago and most recently Hamburg (Hamburg Ballet’s Anna Karenina). Tröger studied architecture, theater science and philosophy before launching his career in the technical department of the Frankfurt Opera. Subsequently, he began a three-year tenure as stage-design assistant at the National Theater Mannheim. He freelanced as a set designer for another three years before returning to Mannheim to take the position of leader of the company’s workshops. He then undertook the same position for the Städtische Bühnen in Frankfurt. For much of the 1990s, Tröger was technical manager of the Salzburg Festival, while also teaching at the Mozarteum University. He was leader of the workshops of the Hamburg State Opera from 1997 to 2011. Since then, he has enjoyed a career as an architect and freelance designer. Tröger designed and executed Volkswagen’s “Event Cinema” at the company’s factory in Wolfsburg (2003) and the “50 Years of Audi Culture” exhibition in Ingolstadt (2012).

德國英戈爾施塔特「奧迪文化五十年」展 覽的設計。

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西蒙．希維特

Simon Hewett 指揮 Conductor

西蒙．希維特是漢堡芭蕾舞團的首席指揮。 除了舞團的工作，他在 2011 年至 2016 年 也是史圖加歌劇團的首席指揮，更曾以客 席身分與巴黎歌劇院芭蕾舞團、倫敦高文花 園皇家芭蕾舞團、維也納國家歌劇院芭蕾舞 團和柏林國家芭蕾舞團合作。希維特就讀澳 洲昆士蘭大學及德國威瑪李斯特音樂學院。

2 0 0 5 年，他獲邀加入漢堡國家歌劇團成為 駐團指揮及助理音樂總監。自從在 2006 年 指揮約翰．紐邁亞的《帕西瓦爾》首演後， 希維特便與漢堡芭蕾舞團緊密合作，分別在 薩爾斯堡藝術節、澳洲、美國及日本的巡迴 演出。他也在多個約翰．紐邁亞芭蕾舞作品 的國際首演擔任指揮，包括《貝多芬計劃》、 《安娜．卡列妮娜》及《塔提安娜》。

Simon Hewett is principal conductor of the Hamburg Ballet. In addition to his commitments in Hamburg, he was principal conductor of the Stuttgart Opera from 2011–2016 and has appeared as a guest conductor with the Paris Opera Ballet, the Royal Ballet, the Vienna State Opera Ballet and the Berlin State Ballet. Hewett studied at the University of Queensland (Australia) and at the Hochschule für Musik Franz Liszt, Weimar (Germany). In 2005, Hewett was invited to join the Hamburg State Opera as resident conductor and assistant music director. Since conducting the premiere of John Neumeier’s Parzival – Episodes and Echo in 2006, Hewett has enjoyed a close collaboration with the Hamburg Ballet including tours to the Salzburg Festival, Australia, the US and Japan. Hewett has conducted numerous world premieres of ballets by John Neumeier, including Beethoven Project, Anna Karenina and Tatiana.

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米哈爾．比亞克

Micha Bia k 鋼琴 Piano

米哈爾．比亞克生於波蘭克拉科夫。他與歐 列．麥森柏格在維也納緊密合作，也參與 皮奧特．安德佐夫斯基在巴黎及阿姆斯特 丹的大師班，造就了他藝術發展的核心主 題。自他與克拉科夫愛樂樂團的首次演出， 他已經常在歐洲大部分國家、北非及亞洲舉 行音樂會。比亞克是法國、西班牙、意大利 及土耳其國際鋼琴比賽的得獎者。他對波蘭 及西班牙音樂的演繹在多個場合都受到認 可。他亦獲得瑞士 ProRuropa Foundation 的

Prix d’Espoir 大獎及歐洲青年藝術家大獎。 自 2 0 0 6 年，比亞克與漢堡芭蕾舞團發展了 緊密的合作關係，並在約翰．紐邁亞的《茶 花女》和傑羅姆．羅賓斯的《The Concert》 演出。他在 2018 年參與了約翰．紐邁亞《貝 多芬計劃》的創作。

Michał Białk was born in Kraków, Poland. He developed his artistic skills through intensive collaboration with Oleg Maisenberg in Vienna and participating in masterclasses with Piotr Anderszewski in Paris and Amsterdam. Since his debut with the Kraków Philharmonic, he has regularly given concerts across Europe and in North Africa and Asia. Białk is prizewinner of international piano competitions in France, Spain, Italy and Turkey. On several occasions, he has been distinguished for his interpretations of Polish and Spanish music. He has also received the Prix d’Espoir from the Pro Europa Foundation (Switzerland) and the European Advancement Award for Young Artists. Since 2006, Białk has closely collaborated with the Hamburg Ballet, performing in Lady of the Camellias by John Neumeier and The Concert by Jerome Robbins. In 2018, he was part of the creation process for Neumeier’s Beethoven Project.

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亞歷西斯．馬丁尼茲 獨舞者

Aleix Martínez Soloist 亞歷西斯．馬丁尼茲生於西班牙巴塞隆拿，於大衛坎波斯芭蕾舞學校、馬賽科萊特阿 曼德芭蕾舞學校及漢堡芭蕾舞學校接受教育。他在 2 0 1 0 年加入漢堡芭蕾舞團，並在 2014 年成為獨舞員。他在 2008 年獲得洛桑國際舞蹈大賽大獎和波西塔諾舞蹈大獎， 以及 2010 年在馬德里的舞蹈之家的榮譽之友。在 2012 年，德國《舞蹈》雜誌封他為 最有前途的青年人才，而在 2013 年，他獲得威廉．沃柏多夫博士藝術大獎。約翰． 紐邁亞為他創造了《利里奧姆》的路易、《安娜．卡列妮娜》的康斯坦丁．德米特里 維奇．萊文和《貝多芬計劃》的貝多芬等角色。馬丁尼茲也是個積極編舞家。他最近 的作品包括為漢堡芭蕾舞團的青年編舞家計劃所創作的《教條》和為 2 0 1 5 年越南高 地鑼文化節所編的《源》。 Born in Barcelona, Spain, Aleix Martínez was educated at the Escuela Ballet David Campos, the Studio Ballet Colette Armand in Marseilles and at the School of the Hamburg Ballet. He joined the Hamburg Ballet in 2010 and was promoted to soloist in 2014. He was awarded the Prix de Lausanne and the Premio Positano in 2008 as well as the Amigo de Honor by the Casa de la Danza in Madrid in 2010. In 2012, Tanz Magazine named him Promising Young Talent and in 2013 he won the Dr Wilhelm Oberdörffer Prize. John Neumeier created for him Louis in Liliom, Konstantin Dmitrievich Levin in Anna Karenina and Ludwig van Beethoven in Beethoven Project.

Martínez is also an active choreographer. His latest works include Dogma in 2018 for the Young Choreographers programme and Origens for the Gong Festival 2015.

卡洛琳娜．阿古艾洛 首席舞者

Carolina Agüero Principal Dancer 卡洛琳娜．阿古艾洛出生於阿根廷哥多華，畢業於阿根廷李維納因達特劇院芭蕾舞學 校。她曾是哥多華芭蕾舞團、阿根廷芭蕾舞團、聖地亞哥芭蕾舞團、史圖加芭蕾舞團、 德累斯頓芭蕾舞團以及芬蘭國家芭蕾舞團的成員。2 0 0 6 年，她加入漢堡芭蕾舞團成 為獨舞者，並在 2007 年成為首席舞者。阿古艾洛曾獲多個獎項，包括 1992 年烏魯瓜 亞納市芭蕾舞大賽金獎、2004 年愛德華法茲爾大獎及 2009 年科奈克斯文化基金大獎。 約翰．紐邁亞為她創造了在《阿爾米德的涼亭》的角色塔瑪拉．卡莎薇娜，以及《塔 堤安娜》的「塔堤亞娜愛讀的浪漫小說角色」，其他芭蕾劇目包括由多個紐邁亞及其 他編舞家創造的主角。她曾飾演紐邁亞《尼金斯基》中的羅姆拉．尼金斯基，該製作 於 2018 年 4 月錄製成 DVD 並於美國發行。 Born in Córdoba, Argentina, Carolina Agüero completed her dance education at the Escuela de Ballet del Teatro Rivera Indarte. She was a member of the Córdoba Ballet, Ballet Argentino, Ballet de Santiago (Chile), Stuttgart Ballet, Dresden Ballet and Finnish National Ballet. In 2006, she joined the Hamburg Ballet as soloist and was promoted to principal dancer in 2007. She has won several awards, including the gold medal at the Uruguayana Ballet Competition 1992, Edvard Fazer Award 2004 and Konex Award 2009. John Neumeier created the roles of Tamara Karsavina in Le Pavillon d’Armide, and “a figure from the romantic novels Tatiana loves to read” in Tatiana for her. Her repertory includes numerous leading roles in ballets by Neumeier and other choreographers. She has made guest appearances in Argentina, Spain, Italy, Bremen and Havana.

Agüero stars as Romola Nijinska in Neumeier's Nijinsky, which was recently filmed and released on DVD in April 2018 in US.

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藝術絕不止於劇場或舞台，而是能延伸至生活的每個小節。無論您是藝術節的忠實擁躉、藝術 愛好者或年輕藝術家，PLUS誠邀您透過一系列老少咸宜的節目與特備活動，一起探索與體驗 香港藝術節「演出之外，更多精采！」 PLUS extends your festival experience to more than what you see on stage. Experienced festivalgoers, newcomers, budding artists, and the young and old alike will be delighted that there are "More than Great Performances" at the Hong Kong Arts Festival!

漢堡芭蕾舞團的世界

The World of Hamburg Ballet

漢堡芭蕾舞團 — 舞蹈電影系列 Hamburg Ballet at the Cinema ������Nijinsky 2/3 六 Sat ���������J.S. Bach: Christmas Oratorio 24/3 日 Sun ������Tatiana 30/3 六 Sat 購票詳情 Ticketing details: uacinemas.com.hk

������������ Artist Salon: John Neumeier 21/3 四 Thu 7:30 - 8:30pm 香港逸蘭精品酒店 Lanson Place Hotel, HK

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

h ,JSBO 8FTU

16/3 六 Sat 10:00 -11:30am (中級 Intermediate) 24/3 日 Sun 10:00 -11:30am (高級 Advanced) 香港文化中心 GR2 排演室 Rehearsal Room GR2, HK Cultural Centre

漢堡芭蕾舞團����������� Hamburg Ballet The Nutcracker Introductory Class for Kids 17/3 日 Sun 11:30am - 12:45pm | 2:15 - 3:30pm 香港文化中心 GR2 排演室 Rehearsal Room GR2, HK Cultural Centre h ,JSBO 8FTU

報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org

西爾維亞．阿佐妮 首席舞者

Silvia Azzoni Principal Dancer 西爾維亞．阿佐妮出生於意大利都靈市，並在漢堡芭蕾舞學校畢業。自 1 9 9 3 年她已 是漢堡芭蕾舞團的成員，並在 1996 年成為獨舞者及在 2001 年成為首席舞者。她曾在 慕尼黑、米蘭、莫斯科及維也納以客席身分演出，更是多個享負盛名的國際芭蕾舞慶 典常客。紐邁亞與她創作了《魂斷威尼斯》的「奧森巴哈主義」、《編舞家私人札記》 的角色西爾維雅、《聖誕神劇 I- V I》的天使、《杜絲》的對手（莎拉．伯恩哈特）。 阿佐妮在紐邁亞的芭蕾舞品作中亦擔任了不少主要角色，並出現在多個 D V D 製作之 中。她獲得的獎項包括憑《小美人魚》獲得 2 0 0 8 年貝諾瓦芭蕾舞大獎，以及獲頒意 大利功績勳章。 Born in Torino, Italy, Silvia Azzoni completed her dance education at the School of the Hamburg Ballet. A member of the Hamburg Ballet ensemble since 1993, she was appointed soloist in 1996 and principal dancer in 2001. She has made guest appearances in Munich, Milan, Moscow and Vienna and is a regular guest at prestigious international ballet galas. John Neumeier created with her, among others, Aschenbach’s Concepts in Death in Venice, Silvia in Préludes CV, an Angel in Christmas Oratorio I-VI and The Rival (Sarah Bernhardt) in Duse. Azzoni has danced many title roles in Neumeier’s ballets and was part of several DVD productions. Her awards include the Benois de la Danse 2008 for her performance in The Little Mermaid and the Order of Merit della Repubblica Italiana.

海倫．布歇 首席舞者

Hélène Bouchet Principal Dancer 海倫．布歇在康城高等舞蹈學校及馬賽國家舞蹈學校畢業，曾是馬賽國家芭蕾舞團及 英國國家芭蕾舞團的成員。1998 年，她加入漢堡芭蕾舞舞團，在 2003 年成為獨舞者 並在 2005 年成為首席舞者。布歇曾獲得 2002 年保加利亞瓦爾納市第二十屆國際芭蕾 舞大賽銀獎、2004 年威廉．沃柏多夫博士藝術大獎及 2010 年貝諾瓦芭蕾舞大獎。紐 邁亞為她設計了不少角色，包括《塔堤安娜》中的主要角色、《編舞家私人札記》中 的西爾維雅、《魂斷威尼斯》中的芭芭蕾舞者、《奧菲斯》中的尤麗黛絲及《煉獄》 中的靈魂。她更主演紐邁亞的《圖蘭加里拉》及《大地之歌》，兩齣舞劇均在德國首 演。她曾於大阪、東京、盧森堡、休斯頓、聖彼德堡及其他知名的國際芭蕾匯演。 Hélène Bouchet completed her dance education at the Centre de Danse Rosella Hightower in Cannes and the École Nationale de Danse de Marseille. She was a member of the Ballet National de Marseille and the English National Ballet. In 1998, she joined the Hamburg Ballet.

In 2003, she was promoted to soloist and was promoted again to principal dancer in 2005.

She won the silver medal at the 20th International Ballet Competition – Varna in 2002, the Dr Wilhelm Oberdörffer Prize 2004 and Benois de la Danse 2010. John Neumeier created for her the title role in his ballet Tatiana, Silvia in Préludes CV, La Barbarina in Death in Venice, Eurydice in Orpheus and Alma in Purgatorio. Bouchet performed one of the leading roles in Neumeier’s Turangalîla and the leading female role at the German premiere of his The Song of the Earth. She has made guest appearances in Osaka, Tokyo, Luxemburg, Houston, Moscow, St Petersburg and several prestigious international ballet galas.

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萊斯利．海里曼 首席舞者

Leslie Heylmann Principal Dancer 萊斯利．海里曼生於巴西聖利奧波爾杜，並在巴西 Sinos 芭蕾舞團、Concerto 芭蕾舞團， 以及德累斯頓舞蹈學院鑽研舞蹈。她曾是德累斯頓培森歌劇院芭蕾舞團成員，其後在 2008 年加入漢堡芭蕾舞團成為獨舞者，並在 2012 年升為首席舞者。海里曼是 2009 年 威廉．沃柏多夫博士藝術大獎及巴西利亞國際舞蹈大會一等獎的得主，曾出演約翰． 紐邁亞的《塔堤安娜》中的奧爾加．拉靈娜、《利里奧姆》中的瑪莉及《阿爾米德的 涼亭》中的亞歷山德拉．巴爾迪納，而她在漢堡芭蕾舞團的劇目則包括多個約翰．紐 邁亞舞作中創造的主要角色及獨舞者。她曾於羅馬及伯明翰作客席演出。 Born in São Leopoldo, Brazil, Leslie Heylmann completed her dance education at the Ballet Sinos and Ballet Concerto in Brazil and at the Palucca School for Dance in Dresden. After dancing at the Dresden Semperoper Ballet, she joined the Hamburg Ballet in 2008. She was promoted to principal dancer in 2012. Heylmann was awarded the Dr Wilhelm Oberdörffer Prize and the First Prize of the Seminário Internacional de Dança de Brasília in 2009. Together with John Neumeier, she created Olga Larina in his ballet Tatiana, Marie in Liliom and Alexandra Baldina in Le Pavillon d'Armide. Her repertory during her career with the Hamburg Ballet includes numerous leading roles and solos in ballets by John Neumeier. She has made guest appearances in Rome and Birmingham.

安娜．羅黛爾 首席舞者

Anna Laudere Principal Dancer 安娜．羅黛爾生於拉脫維亞的錫古爾達，並在拉脫維亞的里加芭蕾舞學校和漢堡芭蕾 舞學校完成她的舞蹈教育。她在 2001 年加入漢堡芭蕾舞團，並在 2008 年成為獨舞員 及在 2011 年成為首席舞蹈員。她在 2008 年獲得威廉．沃柏多夫博士藝術大獎。約翰． 紐邁亞為她創作的角色包括《珀西瓦里：插段與迴響》的「不笑的少女」、《奧菲斯》 的卡利俄珀、《杜絲》的朋友（伊莎朵拉．鄧肯）和《安娜．卡列妮娜》的安娜．卡 列妮娜。她的劇目包括飾演大量紐邁亞和其他編舞家芭蕾舞作品的主角。編舞家迪亞 格．博爾丁、埃德文．雷瓦佐夫及大石裕香也為她創作了芭蕾舞劇。她在拉脫維亞及 英國也當過客席演出，以及和埃德文．雷瓦佐夫為悼念菲利普．布倫瑞克出席 2 0 1 1 年洛桑國際舞蹈大賽的演出。 Born in Sigulda, Latvia, Anna Laudere completed her dance education at the Riga Ballet School and the School of the Hamburg Ballet. She joined the Hamburg Ballet in 2001 and was promoted to soloist in 2008 and principal dancer in 2011. She won the Dr Wilhelm Oberdörffer Prize in 2008. John Neumeier created for her the "maiden-who-never-laughs" in Parzival – Episodes and Echo, Calliope in Orpheus, The Friend (Isadora Duncan) in Duse and Anna Karenina in Anna Karenina. Her repertory includes numerous leading roles in ballets by Neumeier and other choreographers. The choreographers Thiago Bordin, Edvin Revazov and Yuka Oishi created ballets for her. She has made guest appearances in Latvia and England as well as at the Prix de Lausanne 2011 together with Edvin Revazov in memory of Philippe Braunschweig.

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亞里娜．科作卡羅 客席首席舞者

Alina Cojocaru Guest Principal Dancer 亞里娜．科作卡羅生於羅馬尼亞的布加勒斯特，並在 1 9 9 7 年加入倫敦皇家芭蕾舞學 校。她返回基輔後成為基輔芭蕾舞團的首席舞者。一年後，亞里娜加入皇家芭蕾舞團， 並在舞季結束時升為獨舞者，2001 年成為首席舞者。2 0 1 3 年，她是英國國家芭蕾舞 團的首席舞者。她在漢堡芭蕾舞團主演過無數約翰．紐邁亞的芭蕾舞劇，並於漢堡的 尼金斯基慶典中演出，紐邁亞亦為她創造了《利里奧姆》中的茱莉一角。此外，科作 卡羅獲的獎項包括 2012 年及 2004 年的貝諾瓦芭蕾舞大獎、2004 年的尼金斯基大獎、 2014 年的塔里奧尼歐洲芭蕾舞大獎，也被德國《舞蹈》及《為你起舞》雜誌選為年 度舞蹈員。她經常於其他芭蕾舞團及知名芭蕾匯演作客席演出。 Born in Bucharest, Romania, Alina Cojocaru joined the Royal Ballet School in 1997. She returned to Kiev to join the company as a principal dancer. A year later, she joined the Royal Ballet Company and, at the end of the season, was promoted to soloist. In 2001, she was promoted to the rank of principal dancer. She joined the English National Ballet in 2013 as a leading principal dancer. Together with the Hamburg Ballet, she performed numerous leading roles in ballets by John Neumeier and appeared in Nijinsky Galas in Hamburg. Neumeier created Julie in Liliom for her. Cojocaru’s awards include Benois de la Danse 2012, Benois de la Danse 2004, Nijinsky Award 2004, Taglioni European Ballet Award 2014, Dancer of the Year by Tanz Magazine and Dancer of the Year by Dance for You Magazine. She is a regular guest with ballet companies and at prestigious ballet galas worldwide.

海倫．阿扎特揚 首席舞者

Karen Azatyan Principal Dancer 海倫．阿扎特揚生於亞美尼亞埃里溫，並在埃里溫舞蹈藝術學院及蘇黎世舞蹈學院畢 業。他曾是巴伐利亞國家劇院芭蕾舞團的成員，於 2 0 1 4 年加入漢堡芭蕾舞團成為獨 舞者，2016 年被委任成為首席舞者。阿扎特揚在 2005 年德國柏林國際舞蹈奧林匹克 比賽的古典獨舞組獲得亞軍，並在同年贏得洛桑國際芭蕾舞大賽。他是 2 0 0 6 年瓦爾 納國際芭蕾舞大賽的最有前途青年大獎得主。約翰．紐邁亞為他創造了《杜絲》中的 誘惑者（加布里埃爾．鄧南遮）及《安娜．卡列妮娜》中的農夫角色。2 0 1 6 年，阿 扎特揚主演紐邁亞在德國首演的芭蕾舞劇《大地之歌》。 Born in Yerevan, Armenia, Karen Azatyan completed his dance education at the Yerevan Dancing Art State College and the Zurich Dance Academy. He was a member of the Bavarian State Ballet and joined the Hamburg Ballet in 2014 as a soloist. He was appointed principal dancer in 2016.

Azatyan came second at the Tanzolymp Berlin 2005 in the classic variation category and won the Prix de Lausanne in the same year. In 2006, he won the Prize for Promising Young Dancer at the International Ballet Competition – Varna. Together with John Neumeier, he created The Seducer (Gabriele D’Annunzio) in Duse and a Muzhik in Anna Karenina. In 2016, he performed one of the leading roles at the German premiere of Neumeier’s ballet The Song of the Earth.

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基斯杜化．伊凡斯 首席舞者

Christopher Evans Principal Dancer 基斯杜化．伊凡斯在 1994 年出生於美國科羅拉多州的拉夫蘭。他在 BalletMet 舞蹈學 院、加拿大國家芭蕾舞學校及漢堡芭蕾舞學校接受舞蹈訓練。伊凡斯 2 0 1 0 年成為洛 桑國際芭舞大賽得獎者；自 2012 年，他便是漢堡芭蕾舞團的成員；2015 年，獲頒威廉． 沃柏多夫博士藝術大獎並於同年升為獨舞者，2 0 1 8 年成為首席舞者。約翰．紐邁亞 在《圖蘭加里拉》為他創造了一個主要角色，而伊凡斯最近亦首次在紐邁亞的《茶花 女》芭蕾舞劇中飾演阿芒，與飾演主角的奧佳．斯莫諾娃同台演出；他也曾主演紐邁 亞 2018 年的《伯恩斯坦舞曲》（重演）。伊凡斯加入了漢堡芭蕾舞團的青年編舞家 計劃，並為《宇宙一秒鐘》（2017）及《心靈素描》（2016）編舞。 Christopher Evans was born in 1994 in Loveland, Colorado. He received his training at the BalletMet Dance Academy, Canada's National Ballet School and the School of the Hamburg Ballet. In 2010, he was awarded the Prix de Lausanne. Since 2012, Evans has been a member of the ensemble of the Hamburg Ballet. In 2015, he won the Dr Wilhelm Oberdörffer Prize and was promoted to soloist. In 2018, he was appointed a principal dancer. John Neumeier created a leading role in Turangalîla for him. He recently made his debut as Armand in Neumeier's ballet Lady of the Camellias alongside Olga Smirnova in the title role. He performed the leading male role in the revival series of Neumeier’s Bernstein Dances (2018). Evans choreographed A Cosmic Second (2017) and Soul Sketch (2016) for the Young Choreographers programme.

卡斯騰．容 首席舞者

Carsten Jung Principal Dancer 卡斯騰．容在德累斯頓帕魯卡舞蹈學校及漢堡芭蕾舞學校畢業。他在 1 9 9 4 年加入漢 堡芭蕾舞團，1998 年升為獨舞者，2004 年被委任為首席舞者。1999 年他獲頒威廉． 沃柏多夫博士藝術大獎，以及在 2 0 1 2 年憑《利里奧姆》獲得貝諾瓦芭蕾舞大獎。容 曾飾演多個角色，包括《利里奧姆》中的主要角色、《尼金斯基》中的托馬斯．尼金 斯基、《聖誕神劇 I-VI》中的牧羊人、《塔堤亞娜》中的熊 / 皇子、《杜絲》中的導師（阿 里格．博伊托）、《安娜．卡列妮娜》中的亞歷山大．卡列寧，以及約翰．紐邁亞《圖 蘭加里拉》中的主要角色之一。他也是紐邁亞其他芭蕾舞劇中的常見主角之一，同時 也參與了多部 D V D 製作。此外，容亦以客席舞者的身分在澳洲、史圖加、奧斯陸、 倫敦、布宜諾斯艾利斯及莫斯科演出。 Carsten Jung completed his dance education at the Palucca School for Dance in Dresden and the School of the Hamburg Ballet. He joined the Hamburg Ballet in 1994 and was promoted to soloist in 1998. In 2004, he was appointed principal dancer. Jung won the Dr Wilhelm Oberdörffer Prize in 1999 and Benois de la Danse in 2012 for his interpretation of the title role in Liliom. He has created several roles including the title role in Liliom, Thomas Nijinsky in Nijinsky, A Shepherd in Christmas Oratorio I-VI, The Bear/Prince N. in Tatiana, The Mentor (Arrigo Boito) in Duse, Alexei Karenin in Anna Karenina and one of the leading roles in John Neumeier’s Turangalîla. He has danced many title roles in Neumeier’s ballets and was part of several DVD productions. As a guest artist, he has performed in Australia, Stuttgart, Oslo, London, Buenos Aires and Moscow.

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埃德文．雷瓦佐夫 客席獨舞者

Edvin Revazov Guest Soloist 埃德文．雷瓦佐夫生於克里米亞半島的塞瓦斯托波，畢業於莫斯科舞蹈學校和漢堡芭 蕾舞學校。2003 年，他加入漢堡芭蕾舞團，2007 年成為獨舞者，2010 年晉升為首席 舞者，2007 年，他獲頒威廉．沃柏多夫博士藝術大獎。雷瓦佐夫參演約翰．紐邁亞 多部作品，包括《安娜．卡列妮娜》中的佛倫斯基、《魂斷威尼斯》中的達秋、《帕 西瓦爾：插段與迴響》中的主角、《奧菲斯》中的阿波羅、《利里奧姆》中的當關、 《塔堤安娜》中的尤金．奧尼金及約翰．紐邁亞《貝多芬計劃》的其中一個主要角色。 他在漢堡芭蕾舞團的劇目還包括紐邁亞多部芭蕾舞劇中的主要角色及獨舞者。此外， 雷瓦佐夫亦是一個積極的編舞家，他曾以客席舞者身分在莫斯科和慕尼黑演出，並與 莫斯科大劇院芭蕾舞團一同演出紐邁亞的《安娜．卡列妮娜》。 Born in Sevastopol on the Crimean Peninsula, Edvin Revazov completed his dance education at Moscow School and the School of the Hamburg Ballet. He joined the Hamburg Ballet in 2003 and was promoted to soloist in 2007. In 2010, he was appointed principal dancer. He won the Dr Wilhelm Oberdörffer Prize in 2007. Together with John Neumeier, he created Count Alexei Vronsky in Anna Karenina, Tadzio in Death in Venice, the title role in Parzival – Episodes and Echo, Apollo in Orpheus, Gate Keeper in Liliom, Eugene Onegin in Tatiana and one of the leading roles in John Neumeier’s Beethoven Project. His repertory during his career with the Hamburg Ballet includes numerous leading roles and solos in ballets by Neumeier. Revazov is also an active choreographer. As a guest artist, he has performed in Moscow and Munich and has staged Neumeier’s Anna Karenina for the Bolshoi Ballet.

亞歷山大．里亞比科 首席舞者

Alexandre Riabko Principal Dancer 亞歷山大．里亞比科畢業於基輔芭蕾舞學校和漢堡芭蕾舞學校。他在 1 9 9 6 年加入漢 堡芭蕾舞團；1999 年成為獨舞者；2001 年成為首席舞者。他經常亮相於多個國際舞台， 包括星光芭蕾慶典及東京世界芭蕾舞節。曾演出劇目角色曾演出劇目角色包括《尼金 斯基》的小丑及玫瑰之魂、《編舞家私人札記》的莎莎及《阿爾米德的涼亭》的瓦斯 拉夫．尼金斯基等；他在約翰．紐邁亞的《尼金斯基》中的主要角色演出更成為他的 成名作，他與加拿大國家芭蕾舞團飾演此角，也在漢堡芭蕾舞團 2018 年的 DVD 製作 中演出。里亞比科曾入圍洛桑國際芭蕾舞大賽決賽，也獲得不少獎項如威廉．沃柏多 夫博士藝術大獎及 2000 年法國芭蕾之星舞蹈大獎。2016 年，他因優秀的搭檔表現獲 頒貝諾瓦芭蕾舞大獎。 Alexandre Riabko completed his dance education at the Kiev Ballet School and the School of the Hamburg Ballet. He joined the Hamburg Ballet in 1996 and was promoted to soloist in 1999 and principal dancer in 2001. He regularly performs on international stages, including at the Etoile Gala and at the World Ballet Festival in Tokyo. He created Arlequin and the Spirit of the Rose in Nijinsky, Sascha in Preludes CV, and Vaslov Nijinsky in Le Pavillon d'Armide, among others. The title role of John Neumeier’s Nijinsky has become his signature role, which he's performed with the National Ballet of Canada and in the Hamburg Ballet’s 2018 DVD production. His awards include Finalist of the Prix de Lausanne, Dr Wilhelm Oberdörffer Prize and Les Étoiles du Ballet 2000 Dance Award. In 2016, he was awarded the Benois de la Danse for excellence in partnering.

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勞埃德．里金斯 首席舞者

Lloyd Riggins Principal Dancer 勞埃德．里金斯在美國佛羅里達州的奧蘭多南方芭蕾舞劇院學校畢業，其後在南方芭 蕾舞劇院任職。1987 年他加入丹麥皇家芭蕾舞團。1 9 9 5 年以首席舞者身分加入漢堡 芭蕾舞團。由 2006 年至 2009 年，他擔任助理芭蕾舞導師，同年晉升為芭蕾舞導師。 里金斯在 2015/ 16 舞季擔任漢堡芭蕾舞團的副藝術總監。他獲得的獎項包括 2004 年 貝諾瓦芭蕾舞大獎和意大利舞蹈大獎。此外，他曾出演多部約翰．紐邁亞作品的角色， 例如《瓦爾第或你會甚麼》中的塞巴斯蒂安、《哈姆雷特》中的主要角色、《尼金斯基》 中的彼楚虛卡、《海鷗》中的彼得．尼古拉耶維奇．索林、《編舞家私人札記》中的 勞埃德、《魂斷威尼斯》中的古斯塔夫．馮．奧森巴哈及《聖誕神劇 I-VI》中的男人。 2014 年，他參與漢堡芭蕾舞團製作的《拿坡里》（奧古斯特．布農維爾）編舞和演出。 Lloyd Riggins completed his dance education at the School of Southern Ballet Theatre in Orlando, Florida. He received his first engagement with the Southern Ballet Theatre and joined the Royal Danish Ballet in 1987. In 1995, he joined the Hamburg Ballet as principal dancer.

From 2006 to 2009, he was assistant ballet master and has been ballet master since 2009.

Lloyd Riggins became deputy artistic director of the Hamburg Ballet in the 2015/16 season.

His awards include Benois de la Danse 2004 and Danza & Danza Prize 2004. Together with John Neumeier, he created Sebastian in VIVALDI or What You Will, the title role in Hamlet, Petrushka in Nijinsky, Piotr Nikolayevich Sorin in The Seagull, Lloyd in Préludes CV, Gustav von Aschenbach in Death in Venice, and A Man in Christmas Oratorio I-VI. He regularly stages Neumeier's ballets for international ballet companies. In 2014, he staged and choreographed August Bournonville’s Napoli for the Hamburg Ballet.

亞歷山德．崔奇 首席舞者

Alexandr Trusch Principal Dancer 亞歷山德．崔奇在 1989 年生於烏克蘭聶伯城，並在漢堡芭蕾舞學校接受舞蹈訓練。 2007 年他加入漢堡芭蕾舞團；2010 年成為獨舞者並在 2014 年升為首席舞者。他出演 了多部約翰．紐邁亞作品的角色，包括《阿爾米德的涼亭》中的學生瓦斯拉夫．尼金 斯基、《塔堤安娜》中的連斯基、《聖誕神劇 I-VI》中的天使及《杜絲》中的士兵（盧 西亞諾．尼卡斯特羅）；他亦曾在紐邁亞 2 0 1 8 年的《伯恩斯坦舞曲》（重演）中擔 任主要領舞者，以及在《大地之歌》德國首演中飾演男主角。其他劇目還包括《灰姑 娘》中的王子、《尼金斯基》和《羅密歐與茱麗葉》的主要角色及《胡桃夾子》的管 特和費立茲。此外，崔奇在 2010 年獲頒威廉．沃柏多夫博士藝術大獎。 Born in Dnipropetrowsk, Ukraine in 1989, Alexandr Trusch received his dance training at the School of the Hamburg Ballet and joined the Hamburg Ballet ensemble in 2007. He was promoted to soloist in 2010 and to principal dancer in 2014. Together with John Neumeier, he created the roles Vaslav Nijinsky as a Student in Le Pavillon d'Armide, Vladimir Lensky in Tatiana, an Angel in Christmas Oratorio I-VI and The Soldier (Luciano Nicastro) in Duse. Dancing the leading male role, he performed in the revival series of John Neumeier’s Bernstein Dances (2018) and the German premiere of John Neumeier’s The Song of the Earth (2016). His repertory includes The Prince in A Cinderella Story, the title roles in Nijinsky and Romeo and Juliet, and Günter and Fritz in The Nutcracker. In 2010, he was awarded the Dr Wilhelm Oberdörffer Prize.

56

伊凡．烏爾班 首席角色藝術家

Ivan Urban Principal Character Artist 伊凡．烏爾班生於白俄羅斯戈梅利市，畢業於明斯克芭蕾舞學校並在漢堡芭蕾舞學校 完成舞蹈訓練。他在 1994 年加入漢堡芭蕾舞團；1 9 9 7 年成為獨舞者及在 1 9 9 8 年升 為首席舞者。2016 年，他成為特別藝術家及助理芭蕾舞導師。1 9 9 2 年，伊凡曾晉身 洛桑國際舞蹈大賽的準決賽；1996 年獲頒威廉．沃柏多夫博士藝術大獎。他參演了 多個角色，包括《奧德賽》中的鐵拉馬庫斯、《哈姆雷特》中的國王凱爾 / 福丁布朗、 《瓦爾第或你會甚麼》中的安德魯爵士、《伯恩斯坦舞曲》中的厄洛斯、《尼金斯基》 中的謝爾蓋．達基列夫、《魂斷威尼斯》中的偉大的弗雷德里克、《海鷗》中的康斯 坦丁．加夫里洛維奇．特里普夫及《阿爾米德的涼亭》中的醫生和謝爾蓋．達基列夫。 其編舞作品《瞬間》2006 年在莫斯科大劇院首演。 Born in Gomel, Belarus, Ivan Urban graduated from the Minsk Ballet School and completed his education at the School of the Hamburg Ballet. He joined the Hamburg Ballet in 1994 and was promoted to soloist in 1997 and to principal dancer in 1998. In 2016, he became special artist and assistant ballet master. In 1992, he was semi-finalist of the Prix de Lausanne and won the Dr Wilhelm Oberdörffer Prize in 1996. He has created several roles, including Telemachos in Odyssey, King Koll/Fortinbras in Hamlet, Sir Andrew in VIVALDI or What You Will, Eros in Bernstein Dances, Serge Diaghilev in Nijinsky, Frederick the Great in Death in Venice, Konstantin Gavrilovich Triplev in The Seagull, and The Doctor and Serge Diaghilev in Le Pavillon d'Armide. His choreography Instant premiered in 2006 at the Bolshoi Theatre.

57

漢堡芭蕾舞團

Hamburg Ballet 漢堡芭蕾舞團榮獲全球最傑出舞蹈團之一 的美譽。他們的國際巡迴演出不但成為國 際芭蕾舞蹈界的焦點，更是德國其中一位 重要的文化大使。 藝術總監及首席編舞家約翰．紐邁亞是舞 團的核心人物，自 1973 年起便帶領舞團至 今；他擅長糅合現代舞蹈和古典芭蕾舞於 作品之中，並創立了獨特的個人舞蹈語言。 他的演講示範是漢堡芭蕾舞團的傳統特色； 自 1973 年起的每個舞季，多次在漢堡國家 歌劇院的舞台進行，紐邁亞與其團隊會在 演講中仔細講解芭蕾舞歷史，包括現時劇 目的主題，或傳統芭蕾舞的技巧及歷史背 景。 自 1975 年，「漢堡芭蕾舞日」都是每個舞 季的高潮及結尾。按照傳統，這舞蹈節會 以一齣新作的首演為開幕演出，然後以尼 金斯基節結束，多個國際知名的客席演出 嘉賓和整個漢堡芭蕾舞團都會參與演出。 舞團雖然於漢堡國家歌劇院演出，但它的 主要創作空間、排練場地和教育中心則位 處於另一棟大樓：1989 年開幕的漢堡芭蕾 舞中心；芭蕾舞學校則早於 1978 年成立， 透過寄宿設施、幼兒芭蕾部門、八個專業 舞蹈班和兩年制的「戲劇班」計劃來訓練 新一代舞者；2011 年紐邁亞成立的國家青 年芭蕾舞團也是處於芭蕾舞中心。 漢堡芭蕾舞團以往於香港藝術節的演出包 括：《伯恩斯坦之舞》及《仲夏夜之夢》 （1999）；《馬太受難曲》、《茶花女》、《尼 金斯基》（2003）及《馬勒第三交響曲》、 《慾望號街車》（2012）。

The Hamburg Ballet has achieved a phenomenal reputation as one of the world’s most outstanding dance companies. International tours have made it not only a highlight of the international ballet scene, but also one of Germany’s most important cultural ambassadors.

The heart of the company is Artistic Director and Chief Choreographer John Neumeier, who has directed the company since 1973. Neumeier is a master at combining classical ballet tradition with contemporary forms in his works, while developing a unique personal choreographic language.

His lecture demonstrations are a special feature of the Hamburg Ballet’s tradition. During these matinees, which have taken place on the stage of the Hamburg State Opera several times per season since 1973, Neumeier and his company explain specific aspects of ballet history: the themes of current repertoire, or the technical and historical background of traditional ballets.

Since 1975, the dance festival Hamburg Ballet Days has provided the high point and finale of every season.

The festival traditionally opens with a premiere of a new work and ends with the Nijinsky Gala, featuring international guest stars as well as the entire Hamburg Ballet ensemble.

Although the company performs at the Hamburg State Opera, its creative home, rehearsal venue, and educational centre is a separate building: the Hamburg Ballet Centre, opened in 1989. Its ballet school, originally founded in 1978, trains the next generation of dancers with its integrated boarding facilities, a pre-ballet department, eight professional classes, and a final two-year "Theatre Class" programme. The Ballet Centre is also home to the National Youth Ballet, founded by Neumeier in 2011.

Hamburg Ballet’s past performances at HKAF include Bernstein Dances and A Midsummer Night's Dream (1999); Saint Matthew Passion, The Lady of the Camellias and Nijinsky (2003) and Third Symphony of Gustav Mahler and A Streetcar Named Desire (2012).

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2019 年香港巡演成員 Touring Ensemble, Hong Kong 2019 約翰．紐邁亞 John Neumeier 藝術總監及首席編舞家 Artistic Director and Chief Choreographer

Managing Director and Deputy Director Ulrike Schmidt Deputy Artistic Director, Ballet Master and Principal Dancer Lloyd Riggins Conductor Simon Hewett Pianist (soloist) Michał Białk Artistic Production Coordinator and Ballet Master Eduardo Bertini First Ballet Master Kevin Haigen Ballet Masters and Mistresses Eduardo Bertini, Laura Cazzaniga, Leslie McBeth, Niurka Moredo, Lloyd Riggins, Radik Zaripov Assistant Ballet Master Ivan Urban Choreologist Sonja Tinnes Musical Coordinator Ondřej Rudčenko Pianist Mark Harjes Principals Carolina Agüero, Silvia Azzoni, Hélène Bouchet, Leslie Heylmann, Anna Laudere, Alina Cojocaru (Guest Principal Dancer), Karen Azatyan, Christopher Evans, Carsten Jung, Edvin Revazov, Alexandre Riabko, Lloyd Riggins, Alexandr Trusch, Ivan Urban (Special Principal Character) Soloists Mayo Arii, Patricia Friza, Xue Lin, Emilie Mazon, Yun-Su Park, Lucia Ríos, Madoka Sugai, Jacopo Bellussi, Dario Franconi, Marc Jubete, Aleix Martínez, Matias Oberlin, Konstantin Tselikov

Corps de ballet Olivia Betteridge, Kristína Borbélyová, Sara Coffield, Yaiza Coll, Sara Ezzell, Giorgia Giani, Georgina Hills, Nako Hiraki, Greta Jörgens, Charlotte Larzelere, Frederike Midderhoff, Hayley Page, Priscilla Tselikova, Mengting You, Borja Bermudez, Leeroy Boone, Graeme Fuhrman, Nicolas Gläsmann, Marià Huguet, Marcelino Libao, Pietro Pelleri, Florian Pohl, David Rodriguez, Mathieu Rouaux, Pascal Schmidt, Ricardo Urbina, Lizhong Wang, Eliot Worrell, Illia Zakrevskyi

Technical Director Frank Zöllner

Apprentices Viktoria Bodahl, Chiara Ruaro, Airi Suzuki, Louis Haslach, Diogo Maia, Roberto Pérez

Lighting Technicians Andreas Rudloff, Rene Condné, Frank Bayer, Thomas Becker, Jörn Dehmlow, Joshua Paul, Ueli Riegg, Tobias van Harten

Theatre Class (School of the Hamburg Ballet) Isabelle Greenwood, Francesca Harvey, Alice Mazzasette, Mirabelle Seymour, Ana Torrequebrada, Pepijn Gelderman, Lennard Giesenberg, Lasse Graubner-Caballero, Thomas Krähenbühl, Lucas Praetorius, Torben Seguin Tour Manager Rachel Nowak Head of Communications, PR and Dramaturgy Dr Jörn Rieckhoff Photographer & Graphic Designer Kiran West Assistant to Mr Neumeier Catherine Dumont Assistant to Ms Schmidt Nicolas Hartmann Physician Dr Sandra Kowalsky Physiotherapist Daan van den Akker

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Technical Production Coordinator Vladimir Kocić Stage Manager Ulrich Ruckdeschel Stage Technicians Corinna Korth, Andreas Weiland, Marcel Beck, Mathias Braun, Marco Eggers, Kim Förster, Hauke Gotsch, Jens Ludolphi, Florian Schnoor Head of Lighting Ralf Merkel

Properties Master Jürgen Tessmann Properties Technicians Sabine Frerichs, Julia Schmitz Head of Sound Frédéric Couson Sound Technician Jochen Schefe Wardrobe Mistress Barbara Huber Dressers Susann Hawel, Diana Räkers, Sandra Schmidt, Lysann Teucher, Undine Gabbert, Karina Rüprich, Grit Steffen, Piret Univer Make-up Artists Andrea Ellegast, Adnan Metin, Sina Hönicke, Birgit Müller, Hartmut Poppe, Werner-Albert Püthe

香港管弦樂團

Hong Kong Philharmonic Orchestra 音樂總監：梵志登 首席客席指揮：余隆 香港管弦樂團（港樂）是亞洲知名的古典管 弦樂團。在為期四十四週的樂季中，樂團共 演出超過一百五十場音樂會，把音樂帶給超 過二十萬名觀眾。 梵志登是現今國際古典樂壇最炙手可熱的 指揮之一，他自 2012/ 13 樂季正式擔任港樂 音樂總監一職。由 2018/ 19 樂季起，他正式 成為紐約愛樂第二十六任音樂總監。余隆由

2015/16 樂季開始為首席客席指揮。 樂團在音樂總監梵志登的領導下，完成了多 個宏大的演出計劃，當中包括為期四年的華 格納《尼伯龍的指環》四部曲的歌劇音樂會 及錄音。 港樂積極於海外展開巡演，包括歐洲、中國 內地各大城市，以及於 2017 年前赴首爾、 大阪、新加坡、墨爾本、悉尼演出，以慶祝 香港特區成立二十週年。

Music Director: Jaap van Zweden Principal Guest Conductor: Yu Long The Hong Kong Philharmonic Orchestra (HK Phil) is recognised as Asia’s foremost classical orchestra.

Presenting more than 150 concerts over a 44-week season, the HK Phil attracts more than 200,000 music lovers annually.

Jaap van Zweden, one of today’s most sought-after conductors, has been the orchestra’s music director since the 2012/13 concert season. Maestro van Zweden is also the 26th music director of the New York Philharmonic from the 2018/19 season. Yu Long has been principal guest conductor since the 2015/16 season.

Under the dynamic leadership of Music Director Jaap van Zweden, the HK Phil has accomplished various ambitious initiatives including the four-year project to perform and record the complete Ring of the Nibelung (Richard Wagner).

The orchestra has toured extensively—to Europe, throughout Mainland China on numerous occasions, and to Seoul, Osaka, Singapore, Melbourne and Sydney in 2017 as part of the HKSAR’s 20th anniversary celebrations.

港樂獲香港政府慷慨資助，以及首席贊助太 古集團、香港賽馬會慈善信託基金和其他支 持者的長期贊助，成為全職樂團，每年定期 舉行古典音樂會、流行音樂會及推出廣泛而 全面的教育和社區外展活動；並與香港歌劇 院和香港藝術節合作演出。 港樂最初名為中英管弦樂團，後來於 1957 年改名為香港管弦樂團，並於 1974 年職業 化。港樂是註冊慈善機構。

Thanks to a significant subsidy from the Hong Kong Government and long-term funding from Principal Patron Swire, the Hong Kong Jockey Club Charities Trust and other supporters, the HK Phil now boasts a full-time annual schedule of classical music concerts, pops concerts, extensive education and community programmes, and collaborations with, among others, Opera Hong Kong and the Hong Kong Arts Festival.

Originally called the Sino-British Orchestra, it was renamed the Hong Kong Philharmonic Orchestra in 1957 and became fully professional in 1974. The HK Phil is a registered charitable organisation.

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Players' List for Beethoven Project 音樂總監 Music Director

梵志登 Jaap van Zweden

首席客席指揮 Principal Guest Conductor

余隆 Yu Long

鋼琴三重奏（小提琴） Piano Trio (Violin)

王亮 Wang Liang

鋼琴三重奏（大提琴） Piano Trio (Cello)

方曉牧 Fang Xiaomu

第一小提琴 First Violins

中提琴 Violas

雙簧管 Oboes

樂團第一副首席 First Associate Concertmaster 梁建楓 Leung Kin-fung ◆

凌顯祐 Andrew Ling ● 熊谷佳織 Kaori Wilson ▲ 蔡書麟 Chris Choi 崔宏偉 Cui Hongwei 付水淼 Fu Shuimiao 洪依凡 Ethan Heath 羅舜詩 Alice Rosen 孫斌 Sun Bin 張姝影 Zhang Shuying

韋爾遜 Michael Wilson ● 金勞思 Marrie Rose Kim

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 ◆

史安祖 Andrew Simon ●

低音單簧管 Bass Clarinet 艾爾高 Lorenzo Iosco

把文晶 Ba Wenjing 程立 Cheng Li 桂麗 Gui Li 李智勝 Li Zhisheng 劉芳希 Liu Fangxi 毛華 Mao Hua 梅麗芷 Rachael Mellado 倪瀾 Ni Lan 徐姮 Xu Heng 張希 Zhang Xi 張文蕊 Kitty Cheung *

大提琴 Cellos

第二小提琴 Second Violins

林達僑 George Lomdaridze ● 張沛姮 Chang Pei-heng 馮榕 Feng Rong 林傑飛 Jeffrey Lehmberg 鮑爾菲 Philip Powell 范戴克 Jonathan Van Dyke

梁文瑄 Leslie Ryang Moonsun ▲ 艾瑾 Ai Jin 方潔 Fang Jie 何珈樑 Gallant Ho Ka-leung 簡宏道 Russell Kan Wang-to 劉博軒 Liu Boxuan 潘廷亮 Martin Poon Ting-leung 華嘉蓮 Katrina Rafferty 冒田中知子 Tomoko Tanaka Mao 黃嘉怡 Christine Wong 周騰飛 Zhou Tengfei

單簧管 Clarinets

巴松管 Bassoons 方曉牧 Fang Xiaomu ■ 林穎 Dora Lam ▲ 陳屹洲 Chan Ngat-chau 陳怡君 Chen Yichun 關統安 Anna Kwan Ton-an 李銘蘆 Li Ming-lu 宋亞林 Song Yalin

陳劭桐 Toby Chan ■

低音巴松管 Contra Bassoon 崔祖斯 Adam Treverton Jones

圓號 Horns 低音大提琴 Double Basses 柏如瑟 Russell Bonifede ■ 托多爾 Todor Popstoyanov 李少霖 Homer Lee

定音鼓 Timpani 龐樂思 James Boznos ●

長笛 Flutes

豎琴 Harp

史德琳 Megan Sterling ● 柯布魯 Ander Erburu

史基道 Christopher Sidenius ●

首席 Principal 聯合首席 Co-Principal ◆ 副首席 Associate Principal ▲ 助理首席 Assistant Principal * 特約樂手 Freelance Player ● ■

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鳴謝 Acknowledgements 香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Members

嘉里控股有限公司 Kerry Holdings Limited 新鴻基有限公司 Sun Hung Kai & Co. Limited

黃金會員 Gold Member

怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

銅鑼閣有限公司 Causeway Corner Limited 太古集團慈善信託基金 The Swire Group Charitable Trust

青銅會員 Bronze Members

鷹君集團有限公司 Great Eagle Holdings Limited 上海商業銀行 Shanghai Commercial Bank Limited

其他支持機構 Other Supporters •Agency for Cultural Affairs, Government of Japan •ANA Holdings Inc. •British Columbia Arts Council

•British Council •Canada Council for the Arts •HEED

實物支持機構 In-kind Supporters •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •香港國際機場 Hong Kong International Airport •In Technical Productions Limited

•香港德迅貨運代理有限公司 Kuehne & Nagel Limited •立信專業顧問 Lap Shun Professional Consultant •奧海城 Olympian City •信和集團 Sino Group •崇光 ( 香港 ) 百貨 SOGO Hong Kong •屯門市廣場 TMT Plaza

藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •Mrs Miriam Hwa •Lincoln & Yu-San Leong •Nine Queens Investment Limited •Yip Foundation Ltd 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •林護紀念基金有限公司 Lam Woo Foundation Limited •Martin Rogers & Janet Cheng •Mr & Mrs Stephen Suen 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •無名氏 Anonymous •Jeffrey & Helen Chan •Mrs K L Chan •陳求德醫生 Dr Chan Kow Tak •Mrs Mona Leong •Ms Leung Wai Yee Candice •林聖竤 Chris Lin •Ms Sun Tien Chen •Mr & Mrs David S Y Wong 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 (3) Anonymous (3) •Mr & Mrs S Cheng •Mr Edwin Choy •Consigliere Limited •Alex & Hanne Fung •Mr & Mrs Kenneth H C Fung •Richard & Ruth Herbst •Ms Jenny Hodgson •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Mrs A M Peyer

•Mr Stephen Tan •曹延洲醫生 Dr Tsao Yen Chow •Linda Wang •Samuel & Amy Wang •黃逸思先生夫人 Mr & Mrs Y S Wong •Mr Wong Yick Kam 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (3) Anonymous (3) •Dr York YN Chow •Ms Ka Shi Lau •Ms Lee Lai-Kuen Shelley •Jonathan Leung •Mr & Mrs David S L Lin •Dr Michael Mak •Mr & Mrs Gilles Martin •Dr Poon Yee Ling Eligina •Ms Jacqueline Swain •Tsang Wing Fun •Ms Tse Chiu Ming •Ms Enoch Yiu •Ms Isabel Yiu 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (4) Anonymous (4) •AIA AGAPE A&F •Atkinson Lambert Limited •Ms Alice Au •Mrs Anson Chan •Mr Edmund Cheung •Bethan and Tim Clark •Dr David Fang •HUI Silvia •Ms Khoo Li Lian

•Legrand Jewellery •Ms Lim Geck Chin Mavis •Gary & Flavia Ma •So Ching

•Leland & Helen Sun •Ms Christine Tong •Mr Christopher Wong & Dr Ivo Chen •殷和順劉善萍伉儷

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •C H Mak •麥禮和醫生 Dr Mak Lai Wo •無名氏 (2) Anonymous (2) •Vernon & Karen Moore •Burger Collection •Mrs A M Peyer •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •Dr Poon Yee Ling Eligina •恒生銀行 Hang Seng Bank •Mr & Mrs Kenneth Quinn 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •Tsang Wing Fun •曹延洲醫生 Dr Tsao Yen Chow •法國巴黎銀行 BNP Paribas •Martin Rogers & Janet Cheng •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •黃乃正教授及陳頴儀醫生 •田家炳基金會 Tin Ka Ping Foundation •Mr Wong Yick Kam •芝蘭基金會 Zhilan Foundation 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999

青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999

•林聖竤 Chris Lin •Roger & Lina Lui •Mr & Mrs Stephen Suen

•無名氏 (12) Anonymous (12) •Antonhill Company Limited •Biz Office Limited •Carthy Limited •Cynthia Cheng & Aaron Chan •Dr Chan Chun Yin •Dr Cindy Chan •Dr Chan Wan Tung •D Chang •Ms Cheung Kit Fung •張宏毅律師及江淑慧夫人 Mr & Mrs Joseph W N Cheung •Ms Grace Chiang •Mr & Mrs Norman Chui •Community Partner Foundation Limited •Mr & Mrs Kenneth H C Fung •giliproduction •HUI Silvia •Betty Hung •Dr Alfred Lau •Joanna Lau •Dr Nancy Leung •Savita Leung •Maya & Dirk 4ever •Ms Janice Ritchie •Susan Lim & Neil Roberts •Mr Siddique Salleh •Mr So Kin Man •William Stork & Jasmine Wong •Dr Tam Oi Wo Joyce •Ms Wong Siu Yee Amy •殷和順劉善萍伉儷 •Ms Yim Chui Chu •Mr Desmond Yu •野豬先生 •皮皮

黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •Mr & Mrs Herbert Au-Yeung •Ms Margaret Cheng •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •馮兆林先生 Mr Fung Shiu Lam •Richard & Ruth Herbst •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Yvonne Cheng & Kelvin Koo •Caroline & Stefan Kracht •Mrs Carol Murray •Nathaniel Foundation Limited •Diana d'Arenberg & Jay Parmanand •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •黃逸思先生夫人 Mr & Mrs Y S Wong •Ms Wong Yuen Mee Elsa •Mrs Wu Tseng Helen 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (2) Anonymous (2) •區燊耀先生 Mr Au Son Yiu •Mr Iain Bruce •趙穎雅 Winnie W N Chiu •天智合規顧問有限公司 CompliancePlus Consulting Limited •Mr & Mrs A R Hamilton •Ms Winnie W Ho •羅偉騫先生及夫人 Andy Law & Wendy Chan •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund

新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •Ms Sun Tien Chen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •Ms Winnie W Ho

•Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (3) Anonymous (3) •Michael and Jennifer Barth •Star B Chan & MDB •Dr Xina Lo •Mrs A M Peyer •黃逸思先生夫人 Mr & Mrs Y S Wong

支持及協助 Support and Co-operation •Acorn Design •Alfie Leung Design •AMC Pacific Place •艺鵠 Arts and Culture Outreach •香港展能藝術會 Arts with the Disabled Association Hong Kong •教育局藝術教育組 Arts Education Section, Education Bureau •香港愉景灣酒店 Auberge Discovery Bay Hong Kong •樺利廣告有限公司 Avanny Advertising Co Ltd •庇理羅士女子中學 Belilios Public School •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •中國對外文化集團公司 China Arts and Entertainment Group (CAEG) •中華基督教會公理堂 China Congregational Church •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •思聯設計有限公司 CL3 Architects Ltd •阿根廷駐港總領事館 Consulate General of Argentina in Hong Kong •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •巴西駐港總領事館 Consulate General of Brazil in Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •希臘駐港總領事館 Consulate General of Greece in Hong Kong •愛爾蘭駐港澳總領事館 Consulate General of Ireland in Hong Kong and Macau •意大利駐港總領事館 Consulate General of Italy in Hong Kong •日本國駐香港總領事館 Consulate General of Japan in Hong Kong •馬來西亞駐港澳總領事館 Consulate General of Malaysia in Hong Kong and Macau SAR •印尼駐港總領事館 Consulate General of the Republic of Indonesia in Hong Kong •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •英國駐港總領事館 Consulate General of United Kingdom in Hong Kong •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •Die Konzertisten •拔萃男書院 Diocesan Boys' School •拔萃女小學 Diocesan Girls' Junior School •拔萃女書院 Diocesan Girls' School •香港荃灣帝盛酒店 Dorsett Tsuen Wan •Edge 'n Pointe Dance Centre •港威酒店 Gateway Hotel •德國駐香港總領事館 German Consulate General Hong Kong •六國酒店 Gloucester Luk Kwok Hong Kong •香港歌德學院 Goethe-Institut Hong Kong •香港君悅酒店 Grand Hyatt Hong Kong •8 度海逸酒店 Harbour Plaza 8 Degrees •嘉湖海逸酒店 Harbour Plaza Resort City •快達票香港有限公司 HK Ticketing •香港聖公會聖保羅堂 HKSKH St. Paul's Church

•香港藝術行政人員協會 Hong Kong Arts Administrators Association •香港藝術中心 Hong Kong Arts Centre •香港藝術發展局 Hong Kong Arts Development Council •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme 政治及國際關係學系 Department of Government and International Studies •美國管風琴家協會香港分會 Hong Kong Chapter of the American Guild of Organists •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港文化博物館 Hong Kong Heritage Museum •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港公共圖書館 Hong Kong Public Libraries •香港唱片 Hong Kong Records •香港樹仁大學 Hong Kong Shue Yan University 圖書館 Library •香港旅遊發展局 Hong Kong Tourism Board •香港童聲合唱團 Hong Kong Treble Choir •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •富薈馬頭圍酒店 iclub Ma Tau Wai Hotel •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •益普索香港 Ipsos Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •賽馬會創意藝術中心 Jockey Club Creative Arts Centre •賽馬會官立中學 Jockey Club Government Secondary School •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Center •中央人民政府駐香港特別行政區聯絡辦公室 Liaison office of the Central People's Government in the HKSAR •嶺南大學 Lingnan University 文學院 Faculty of Arts 黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit 學生服務中心 Student Service Centre •香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong •La Rotisserie •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •中華人民共和國文化和旅遊部 Ministry of Culture and Tourism, PRC •Mission Production Company Ltd •音樂事務處 Music Office •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •香港帝景酒店 Royal View Hotel •沙田大會堂 Sha Tin Town Hall •聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin Secondary School •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •香港西班牙商會 Spanish Chamber of Commerce in Hong Kong

•事必達推廣有限公司 Speedy Promotion Limited •聖雅各福群會 St. James' Settlement •辰衝圖書有限公司 Swindon Book Co. Ltd. •大館 Tai Kwun •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港八和會館 The Chinese Artists Association of Hong Kong •香港中文大學 The Chinese University of Hong Kong 戲曲資料中心 Chinese Opera Information Centre 音樂系 Department of Music 文學院 Faculty of Arts 和聲書院 Lee Woo Sing College 聯合書院 United College •香港城市大學 The City University of Hong Kong 中文系 Department of Chinese and History 英文系 Department of English 城大創意媒體學院 School of Creative Media •城景國際 The Cityview •香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts 圖書館 Library •梅夫人婦女會 The Helena May •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港兒童合唱團 The Hong Kong Children’s Choir •香港理工大學 The Hong Kong Polytechnic University 圖書館 Library •香港科技大學 The Hong Kong University of Science and Technology 藝術中心 Center for the Arts 人文學部 Division of Humanities 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office HKUST Music Alive!

•中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong Cultural Management Office 音樂系 Department of Music 通識教育部 General Education Unit 國際事務處 International Affairs Office 圖書館 Library 現代語言及文化學院 School of Modern Languages and Cultures 香港大學博物館學會 The University of Hong Kong Museum Society 香港大學美術博物館 University Museum and Art Gallery •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •通利琴行 Tom Lee Music Company Ltd •三角關係 Trinity Theatre •屯門大會堂 Tuen Mun Town Hall •UA CINEHUB •城市售票網 URBTIX •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •進富印刷公司 Wealthy Step Printing Co. •wine etc •油麻地戲院 Yau Ma Tei Theatre •葉氏兒童合唱團 Yip's Children's Choir •香港基督教青年會（港青） YMCA of Hong Kong •青年學院 Youth College •青年廣場 Youth Square •元朗劇院 Yuen Long Theatre •赤豚事務所 Zhu Graphizs

節目時間表 Programme Calendar 歌劇 戲 音樂 /曲 OPERA / CHINESE OPERA MUSIC

萊比錫歌劇院 華格納《唐懷瑟》

CCGT

1/3 2/3

7pm 6pm

Madame White Snake

by Zhou Long and Cerise Lim Jacobs

APAL

8-9/3

7:30pm

粵劇《百花亭贈劍》 毛俊輝導演作品（更新版）

Cantonese Opera - Pavilion of a Hundred Flowers Directed by Fredric Mao (Reboot)

STTHAUD

1-2/3

8pm

粵劇越洋半世紀 -《紅了櫻桃碎了心》 - 白玉堂折子戲 -《胡不歸》 - 名伶花旦展演話當年

Cantonese Opera - Global Traces, Local Stages YMTT - Red Cherries and a Broken Heart - Vignettes of Pak Yuk-tong’s “Three Big Trials” - Why Don’t You Return?

- A Long Passion – Talk, Demonstration and Performance

9/3 10/3 11/3 15-17/3

7:30pm 2:30pm 7:30pm 7:30pm

香港小交響樂團 小號巨星納卡里亞科夫

Hong Kong Sinfonietta Sergei Nakariakov • The Art of the Trumpet

CHCH

16/2

8pm

瑪琳．艾爾梭與聖保羅交響樂團

Marin Alsop with the São Paulo Symphony Orchestra

CCCH

21-22/2

8pm

Hong Kong Chinese Orchestra Meeting Across Nine Millennia of Time

CHCH

22/2

8pm

鮮于睿權鋼琴獨奏會

Yekwon Sunwoo Piano Recital

CHCH

23/2

8pm

帕佛．約菲與 NHK 交響樂團

Paavo Järvi with the NHK Symphony Orchestra, Tokyo

CCCH

28/2

8pm

法國世紀樂團：白遼士 150 指揮：麥森．帕斯高

Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal

CCCH

2/3 3/3

8pm 4:30pm

萊比錫歌劇院合唱團 《歌劇合唱盛會》

Chor der Oper Leipzig Opera Chorus Concert

CCCH

3/3

8:15pm

馬祖耶夫鋼琴獨奏會

Denis Matsuev Piano Recital

CHCH

7/3

8pm

馬祖耶夫與得獎新晉鋼琴家匯演

Matsuev and Young Laureates Piano Gala

CHCH

8/3

8pm

Quondam Spanish Renaissance Choral Masterpieces

CHCH

9/3 10/3

8pm 4pm

Li Biao Percussion Group - From Baroque to Tango

CCCH

15/3

8pm

P is for PERCUSSION! Family Concert

by Li Biao Percussion Group

CCCH

16/3

8pm

洪儷僖管風琴獨奏會

Riyehee Hong Organ Recital

CCCH

18/3

8pm

克雷莫納弦樂四重奏

Quartetto di Cremona

CHCH

21-22/3

8pm

爵士新潮 - 馬可．梅斯基達三重奏《拉威爾的夢》

Nouveau Jazz Weekend - Marco Mezquida Trio - Ravel's Dreams

APAD 22/2 23/2 23/2 23/2

8pm 7:30pm 4pm 9:30pm

2-3/3 2/3 3/3

4:30pm 8pm 8pm

《白蛇傳》 作曲：周龍 | 編劇：林曉英

香港中樂團 《九千年的邂逅》

時光之音 《西班牙文藝復興合唱代表作》 李飈打擊樂團《巴羅克．探戈》 《好！擊！動！》親子音樂會 李飈打擊樂團

爵士樂 世 / 界音樂 JAzz / WOrLD MUSIC

- 馬可．梅斯基達鋼琴獨奏會 - 佐治．達洛查低音大提琴獨奏獨唱會

Oper Leipzig Wagner’s Tannhäuser

- Marco Mezquida Piano Solo - Jorge da Rocha Solo

世界音樂週末營 - Criatures 二人組及 Belda & Sanjosex - 易莎．拉娜三重奏《路》 - 佐治．達洛查三重奏《放下．放開》

World Music Weekend - Criatures and Belda & Sanjosex - Yexza Lara - Camino - Jorge da Rocha - To Drop and Let Go

HKAC-ST

馬祖耶夫爵士樂隊

DANCE

舞蹈

Matsuev and Friends Play Jazz

CCCH

9/3

8pm

湯瑪士．夸斯托夫四重奏 《Nice 'N' Easy》

Thomas Quasthoff Quartet Nice 'N' Easy

CCCH

14/3

8pm

希薇雅．佩瑞茲．克露絲 《夜妝》

Sílvia Pérez Cruz Dressed by the Night (Vestida de Nit)

CCCH

22/3

8pm

香港藝術節 @ 大館

HKartsFestival@TaiKwun

TK

2-3/3 9-10/3

雲門舞集 45 週年 林懷民舞作精選

Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min's Works

CCGT

21-23/2 24/2

8:15pm 2pm

Euripides Laskaridis / Osmosis TITANS

APAD

26-27/2

8:15pm

歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊 《泰坦 – 諸神之舞》

CCGT CCCH CCST CHCH

香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港大會堂音樂廳 Concert Hall, HK City Hall

CHT APAL APADT HKAC-ST

香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

DANCE

舞蹈

香港賽馬會當代舞蹈平台 -《舞鬥》 -《雙篇雙人舞》 -「兩地書」-《沒有大象》 亞太舞蹈平台 -《由削木開始》 -《黃翊與庫卡》

The Hong Kong Jockey Club Contemporary Dance Series - Dance Off

CCST

- Double Bubble

CCST

- Dance Exchange - Elephant in the Room Asia Pacific Dance Platform - From starting to cut the wood - HUANG YI & KUKA

CCST

28/2, 1/3 2/3 15/3 16/3 20-21/3

8:15pm 3pm 8:15pm 2:45pm 8:15pm

KTT-BBT APA-DT

12-13/3 1-2/3

8pm 8:15pm

THEATrE

戲劇

漢堡芭蕾舞團 – 約翰．紐邁亞 《胡桃夾子》

The Hamburg Ballet - John Neumeier The Nutcracker

CCGT

13-15/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞 《貝多芬計劃》

The Hamburg Ballet - John Neumeier Beethoven Project

CCGT

19-20/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞 《約翰．紐邁亞的世界》

The Hamburg Ballet - John Neumeier The World of John Neumeier

CCGT

23/3 24/3

7:30pm 2:30pm

重新劇團 《追憶消逝的人生》

Theatre Re The Nature of Forgetting

CCST

21-24/2 23-24/2

8:30pm 4:30pm

瑞士默劇團 《百變樂園》

Mummenschanz Reloaded

APAL YLT-AUD

21-22/2 24/2 24/2

7:30pm 1pm 5pm

倫敦燃料劇團、布里斯托爾老域劇團、 愛丁堡皇家蘭心劇院與北安普敦皇家及 德蓋特劇院聯合製作 《攀越冰峰》

A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, and Royal & Derngate Northampton co-production Touching the Void

CHT

21-24, 8pm 26-28/2, 1-2/3 23-24/2, 2/3 3pm

機器神製作 羅伯特．利柏殊創作及演出 《887》

Ex Machina Created and performed by Robert Lepage 887

APAL

27-28/2, 1-2/3 8pm 2/3 3pm

賽馬會本地菁英創作系列 《陪着你走》

Jockey Club Local Creative Talents Series Always by Your Side

KTT-AUD

2,6-9/3 3,9-10/3

8pm 3pm

正點劇團 《哈姆尼特─莎士比亞之子》

Dead Centre Hamnet

CCST

4-5/3

8:15pm

正點劇團 《契訶夫處女作》

Dead Centre Chekhov's First Play

CCST

8-9/3 9-10/3

8:15pm 3pm

北京李六乙戲劇工作室 《哈姆雷特》

Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark

CCGT

7-8/3 9/3

7:30pm 2:30pm

《九江》

Gangsters of Hong Kong

CHTH

8-9,13-16, 20-23/3 10, 17, 24/3

8pm

Ontroerend Goed 《金錢世界》( 英語版 )

Ontroerend Goed - £¥€$ (LIES) (English Version)

TK-F Hall

《金錢世界》( 粵語版 )

- £¥€$ (LIES) (Cantonese Version)

12-17/3 12-15/3 16-17/3 20-24/3 20-22/3 23-24/3

6pm 9pm 3pm 6pm 9pm 3pm

離奇作業劇團 《蛙人》

curious directive Frogman

CDAV

12-15/3 12-15/3 16-17/3 16-17/3

7pm 9pm 3pm 5pm

傑夫．索貝爾 《家》

Geoff Sobelle Home

APAL

14-16/3 16/3

8pm 3pm

皮普．德爾邦諾劇團 《快樂大本營》

Compagnia Pippo Delbono La Gioia (Joy)

APAL

22-23/3

8pm

馬里安諾．潘恩索廸及瑪利亞劇團 《三個女人搞革命》

Mariano Pensotti / Grupo Marea Burning Bright in the Forest of the Night

CCST

23/3 24/3

8:15pm 5pm

3pm

資料截至 Information as of: Jan 2019

KTT-BBT KTT-AUD YLT-AUD STTH-AUD

葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre 元朗劇院演藝廳 Auditorium, Yuen Long Theatre 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

YMTT TK CDAV

油麻地戲院 Yau Ma Tei Theatre 大館 Tai Kwun 牛棚藝術村 Cattle Depot Artist Village

香港藝術節@牛棚 - 藝術共生創造社 HKAF@Cattle Depot Creative Hub

報名及登記 Booking and registration: www.hkartsfestivalplus.org

藝術節加料節目 節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 音樂 MUSic

特備節目 SpecialS 25/1/2019

26/1/2019

樂與畫音樂會：《哥雅之畫》- 葛拉納多斯的音樂意境 Music and Art Concert: Goya’s World through Granados’s Goyescas 《風琴遊蹤》導賞遊與風琴獨奏會 Pipe Organ Walk & Organ Recital

20/2/2019

聖保羅交響樂團四重奏 SPSO String Quartet

22/2/2019

香港藝術節傑出文化領袖講座系列 講者︰葉 芠芠（雲門文化藝術基金會執行總監） HKAF Distinguished Cultural Leader Series (VI) Speaker: Yeh Wen-wen (Executive Director of Cloud Gate Cultural and Arts Foundation)

20/2/2019

公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團 與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras

22/2/2019

聖保羅交響樂團演前導賞講座 : 瑪琳．艾爾梭 細說伯恩斯坦與她的指揮生涯 Sao Paulo Symphony Orchestra Pre-performance Talk: Marin Alsop on Bernstein and Her Conducting Career

22/2/2019

馬可．梅斯基達爵士樂工作坊 Marco Mezquida Jazz Improvisation Workshop

28/2/2019

NHK 交響樂團演前導賞講座︰細聽二十世紀改革之風 NHK Symphony Orchestra Pre-performance Talk: Listen to the Winds of Changes PLUS 兒童合唱團大堂音樂會 Festival PLUS Children's Choir Foyer Performance

22/2/2019 24/2/2019

《舞城遊蹤》 Choreography Walk

26/2/2019 3/3/2019

《家常便飯》 Family Dinner

2/3/2019

2/3/2019

《歌劇探秘同樂日》Opera Adventure Day

2/3/2019

28/2 - 3/3/ 2019

「萊比錫樂韻之路」展覽 Leipzig Music Trail (Leipziger Notenspur) Exhibition

《萊比錫樂韻之路》室樂音樂會 Leipzig Music Trail Chamber Concert

2/3/2019

《一齊玩》戲劇工作坊 We PLAY Theatre Workshop

16/3/2019

《好！擊！動！》同樂日 P is for Percussion! Family Day

2/3/2019

法國世紀樂團演前導賞講座︰幻想交響曲 Les Siècles Pre-performance Talk: Symphonie Fantastique

3/3/2019

萊比錫布業大廳樂團雙簧管、圓號、長號大師班 Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig

3/3/2019

法國世紀樂團演前導賞講座︰白遼士的一生 Les Siècles Pre-performance Talk: The Life of Berlioz

3/3/2019

萊比錫歌劇院演前導賞講座︰《歌劇合唱盛會》 Oper Leipzig Pre-performance Talk: Opera Chorus Concert

21/3/2019

藝術家沙龍︰約翰．紐邁亞 Artist Salon: John Neumeier

舞蹈 DaNce 19, 23/2/2019

雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop

1/3/2019

公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble

11/3/2019

藝術家對談︰從工藝到舞蹈 Arts Chat: From Crafting to Dancing

13/3/2019

漢堡芭蕾舞團演前導賞講座 : 交流網絡的藝術 The Hamburg Ballet Pre-Performance Talk: The Art of Networking

15/3/2019

漢堡芭蕾舞團早課參觀 Observing Company Class

15/3/2019

《胡桃夾子》後台參觀 Backstage at The Nutcracker

4/3/2019

《白蛇傳》歌劇創作講座 Madame White Snake Reimagined

9, 11/3/2019

時光之音合唱指揮工作坊 Choral Conducting and Choral Singing Workshop with Rupert Damerell

9/3/2019

馬祖耶夫爵士樂隊演前導賞講座︰ 古典音樂與爵士音樂的交匯 Matsuev and Friends Play Jazz Pre-performance Talk: Harmony between Classical and Jazz

16, 24/3/2019

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

17/3/2019

漢堡芭蕾舞團《胡桃夾子》兒童工作坊 Hamburg Ballet The Nutcracker Ballet Introductory Class for Kids

13/3/2019

湯瑪士．夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass

19/3/2019

漢堡芭蕾舞團《貝多芬計劃》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: Beethoven Project

14/3/2019

23/3/2019

漢堡芭蕾舞團《約翰．紐邁亞的世界》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: The World of John Neumeier

湯瑪士．夸斯托夫四重奏演前導賞講座 : 古典音樂與爵士音樂的交匯（二） Thomas Quasthoff Quartet Pre-Performance Talk: Harmony between Classical and Jazz II

13, 14/3/2019

李飈打擊樂團敲擊樂大師班 Percussion Ensemble Masterclass by Li Biao Percussion Group

15/3/2019

李飈打擊樂團演前導賞講座︰《巴羅克．探戈》 Li Biao Percussion Group Pre-Performance Talk : From Baroque to Tango

16, 17/3/2019

洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass

歌劇／戲曲 OpeRa 1, 2/3/2019

萊比錫歌劇院演前導賞講座︰《唐懷瑟》 Oper Leipzig Pre-performance Talk: Tannhäuser

2/3/2019

萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig's Tannhäuser Backstage Tour

12/3/2019

蔡艷香粵劇南派工作坊 Southern School of Cantonese Opera Workshop with Choy Him-heong

戲劇 THeaTRe

16/3/2019

《好！擊！動！》互動敲擊展覽 P is for Percussion Interactive Percussion Exhibition

16/3/2019

拇指琴 及「升」樂樽工作坊 Thumbiano and Musical Bottle Workshop 《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance

28/2/2019

藝術家對談︰與劇場大師羅伯特．利柏殊對話 Arts Chat: In Conversation with Robert Lepage

16/3/2019

9/3/2019

藝術家對談︰導演李六乙的莎士比亞 Arts Chat: Director Li Liuyi's Interpretation of Shakespeare

20/3/2019

克雷莫納弦樂四重奏示範講座 Quartetto di Cremona Lecture Demonstration

22/3/2019

希薇雅．佩瑞茲．克露絲 演前導賞講座︰皆有可能 Sílvia Pérez Cruz Pre-Performance Talk: Everything Possible

電影 FilM 27/2/2019 2, 24, 30/3/ 2019

《攀越冰峰》電影放映與影後分享會 Touching the Void: Screening and Post-screening Talk 漢堡芭蕾舞團 - 舞蹈電影系列 Hamburg Ballet at the Cinema

贊助人

林鄭月娥女士

PATrON

永遠名譽會長 執行委員會 主席 副主席 義務司庫 委員

邵逸夫爵士

HONOrArY LIFE PrESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members

節目委員會 主席 委員

財務委員會 主席 委員 發展委員會 主席 副主席 委員

顧問

名譽法律顧問 核數師

查懋成先生 盧景文教授 李錦榮先生 鄭維新先生 鄭惠貞女士 劉鎮漢先生 梁靳羽珊女士 梁卓偉教授 姚潔莉女士 楊 光先生 盧景文教授 白諾信先生 紀大衛教授 羅志力先生 毛俊輝先生 李 義法官 約瑟．施力先生 + 譚榮邦先生 姚 珏女士 李錦榮先生 鄭惠貞女士 梁國輝先生 梁靳羽珊女士 雍景欣女士 鄭阮培恩女士 邱詠筠女士 龐建貽先生 孫林宣雅女士 姚祖輝先生 夏佳理先生 鮑 磊先生 李業廣先生 梁紹榮夫人 李國寶博士 孖士打律師行 羅兵咸永道 會計師事務所

香港藝術節基金會 主席 霍 璽先生 管理人 陳祖澤博士 陳達文先生 梁紹榮夫人 +

PrOGrAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

HONOrArY SOLICITOr AUDITOr

Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman Vice Chairman Members

ADVISOrS

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)

Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown PricewaterhouseCoopers

HONG KONG ArTS FESTIVAL TrUST Chairman Mr Angus H Forsyth Trustees Dr John C C Chan, GBS JP Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP

榮譽節目顧問 Honorary Programme Advisor

地址 : 香港灣仔港灣道 2 號 12 樓 1205 室 電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430

電子郵箱 : afgen@hkaf.org

Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430

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STAFF Executive Director Assistant to Executive Director Programme Programme Director Associate Programme Director Programme Managers

何嘉坤 何丹蓉 梁掌瑋 蘇國雲 葉健鈴 余瑞婷 * 蘇雪凌 黃傲軒 * 譚小敏 * 張翠騫 * 金學忠 *

陳韻妍 林淦鈞 * 胡鎮華 *

梁雅芝 * 莫賦斌 * 林秋美 * 廖健邦 * 林惠賢 * 李冠輝 張鼎丞 * 譚曉峯 * 李玨熙 * 李萬祺 * 鄭尚榮 胡銘堯 周 怡 楊 璞* 許慧儀 * 陳閏霖 * 鄭佩欣 * 鄭鈞澤 * 梁彩雲 黃煒城 * 余潔儀 張慧芝 * 譚樂瑤 蘇寶蓮 * 莫穎哲 * 袁愷晴 *

黎家欣 *

林嘉敏 *

鍾玉如 *

張嘉麟 *

楊恆怡 *

麥紫琴 *

鄺敬婷 杜詩麗 * 蘇永恆 * 馮紹昌 簡凱彤 * 李美娟 黃國愛 楊文秀 * 陳慧晶 * 鄧冠恒 * 鄺嘉欣 * 蔡珮珊 * 彭健欣 * 雲希朗 * 羅雪芬 * 梁嘉倩 * 李菁菁 * 周 怡 *

陳穎業 *

Tisa Ho Connie Ho

Grace Lang So Kwok-wan Linda Yip Vanessa Chan Susanna Yu* Lam Kam-kwan* Programme Manager (Administration) Shirley So Assistant Programme Manager Joseph Wong* Programme Coordinators Tracy Tam* Angus Wu* Programme Officer (Administration) Tracy Cheung* Logistic Manager Elvis King* • Technical Production Manager Shirley Leung* Assistant Production Manager Benny Mok* • Publications English Editor Gloria Furness* Chinese Editor James Liu* Assistant Editors Grace Lam* Melody Lai* • Outreach Senior Outreach Manager Kenneth Lee Assistant Outreach Manager Bell Cheung* Outreach Coordinators Mitch Tam* Carmen Lam* Joey Chung* Outreach Assistant Michael Lee* Arts Administrator Trainee Kelvin Li* MArKETING Marketing Director Katy Cheng Associate Marketing Director Dennis Wu Marketing Managers Alexia Chow Louis Cheung* Deputy Marketing Manager Michelle Yeung* Assistant Marketing Manager Surina Hui* Digital Marketing Specialist Ben Chan* Marketing Officer Bonnie Cheng* Arts Administrator Trainee Jeff Cheng* Marketing Manager (Ticketing) Eppie Leung Customer Service Officers Benny Wong* Hayley Yeung* DEVELOPMENT Development Director Flora Yu Development Managers Anna Cheung* Mak Tsz-kam* Deputy Development Manager Lorna Tam Assistant Development Manager Conny Souw* Development Coordinator Esther Mok* Development Assistant Antonia Yuen* ACCOUNTS Head of Accounts Department Teresa Kwong Assistant Accounting Manager Connie To* Accounting Officer Peter So* Hr & ADMINISTrATION HR & Administration Manager Calvin Fung HR & Administration Officer Vivian Kan* Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong NO LIMITS Senior Project Manager Camelia Yeung* Assistant Programme Ainslee Chan* and Production Manager Assistant Outreach Manager Joe Tang* Assistant Technical Manager Karen Kwong* Marketing Coordinator Silvia Choy* Senior Accounting Officer Janice Pang* Project Officer Alana Wan* HKAF@TAIKWUN Producers Georgina Lo* Leung Ka Sin* Chan Wing Yip* Cheryl Li* Eva Chau* Technicial Coordinators

技術統籌 * Technical Coordinators*

歐慧瑜 Rachel Au、陳佩儀 Claudia Chan、陳詠杰 Chan Wing Kit、陳家彤 Doris Chen、范文恩 Fan Man Yan、 許肇麟 Boolu Hui 、黎智勇 Martin Lai、李浩賢 Lawrence Lee、羅瑞麟 Wheel Lo、蕭健邦 Leo Siu

藝術家統籌 * Artist Coordinators*

鄭瑋菁 Virginia Cheng 、竺諺民 Edwin Chuk、張素真 Susan Hayden、向怡君 Cassandra Heung 、 何嘉露 Carrol Ho、洪飛鳴 Fei Hung、李仲文 Conan Lee、李海盈 Jane Li、彭慧雯 Jan Pang、 樊明媚 Tess Pham、潘頴詩 Renee Poon、譚善渝 Sally Tam * 合約職員 Contract Staff