L’ Arpeggiata - 40th Hong Kong Arts Festival

歡迎蒞臨第40 屆香港藝術節。

作為重要的國際

文化盛會，香港

藝術節每年呈獻 世界頂尖及多元 化的表演節目。

今年榮幸再邀請

到世界各地及本

港藝術精英，帶

來舞蹈、音樂、

歌劇及戲劇等精采表演，讓觀眾可欣 賞振奮心靈的繽紛藝饌。

我藉此感謝香港特區政府、香港賽馬

會、各贊助企業及個人的慷慨資助。

踏入第40周年，香港藝術節除了雲

集世界各地的藝術界翹楚，帶來精采

演出，亦透過學生票贊助計劃及「青

少年之友」計劃，培養年青人的藝術

體驗；此舉有賴一群熱愛藝術的有心 人慷慨資助，鼓勵年青人參與藝術節

的精采演出，提升日後觀賞藝術的興 趣。

各位觀眾的支持和參與，乃驅動藝術

節向前邁進的力量。感謝您前來欣賞 本節目，希望本屆藝術節為您帶來美 好的觀賞時光。

I warmly welcome you to the 40th Hong Kong Arts Festival.

Recognised for the quality and variety of its programming, the annual Hong Kong Arts Festival is keenly anticipated as the premier event in Hong Kong’s cultural calendar. This year we again welcome top international and local talent in dance, music, opera and theatre, whose artistry will delight and inspire us.

I wish to acknowledge strong support of the Government of Hong Kong SAR, the Hong Kong Jockey Club, and sponsors and donors who make this Festival possible. At this 40 year mark, I am particularly delighted that in addition to presenting wonderful artists to a discerning public, we can also nurture young audiences through our Student Ticket Scheme and Young Friends Scheme, thanks to the contributions of donors and supporters who generously share their own love for the arts with audiences of the future.

Thank you very much for coming to this performance. Your presence is paramount to the success of the Festival, and I wish you a very enjoyable experience.

歡迎閣下蒞臨第 40屆香港藝術 節。

今年香港藝術節 呈獻的藝術名家 及精采節目，就 如香港大都會一 樣多元化又璀璨 奪目。延續四十 年的優良傳統， 我們繼續邀請

本地及國際知名的星級藝術家點亮香 港大小舞台，呈現世界豐碩的文化傳 統，豐富未來的文化面貌。

衷心感謝多年來熱心支持香港藝術節 的各界人士及團體。我們過去的成 功源自他們對藝術的熱忱，他們亦深 信豐盛多元的文化藝術生活，是香港 作為名副其實的國際大都會之重要支 柱。

感謝您與我們一起慶祝香港藝術節的 四十年。藝術節團隊向每一位支持香 港藝術節的觀眾衷心致謝，期望您盡 享連串多姿多采的節目。

It is a pleasure and privilege to welcome you to the 40th Hong Kong Arts Festival.

The array of artistic talent and programmatic content presented at this year’s Festival is as diverse and multi-faceted as the city which has hosted this annual event in the course of four decades. As we add to the roll call of local and international luminaries who grace our stages, we continue to draw upon the impressive traditions available to us, and work to augment a heritage for the future.

I am deeply grateful to many individuals and institutions for their contributions to the Festival’s success over the years, informed by a love for the arts and an appreciation of how important it is for a major city worthy of that description to have a rich cultural life.

Thank you for being here to celebrate forty years of the Hong Kong Arts Festival. The Festival would not happen without its audience. The entire Festival team appreciates your contribution to the 40th Hong Kong Arts Festival and hopes that you enjoy many wonderful performances.

Charles Lee, Chairman

Tisa Ho, Executive Director

香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:

琶音古樂團

總監 斯蒂娜．普盧哈

2.2.2012

《愛情劇院》

Teatro d’Amore

演出長約1小時35分鐘，不設中場休息

Approx 1 hr 35 mins with no interval

香港大會堂音樂廳

Concert Hall, HK City Hall

3.2.2012

《拿波里音樂風格》 Alla Napoletana

演出長約1小時5分鐘，不設中場休息

Approx 1 hr 5 mins with no interval

沙田大會堂演奏廳

Auditorium, Sha Tin Town hall

封面照片 Cover Photographs: (first row, from left to right) David Mayoral and Marcello Vitale © Reiner Pfisterer, Christina Pluhar © Marco Borggreve (second row) Haru Kitamika © Reiner Pfisterer (third row, from left to right) Lucilla Galeazzi © Helmut Lackinger, David Mayoral © Peter Rauchecker (fourth row, from left to right) Doron Sherwin and Carmen Gaggl © Reiner Pfisterer, Rodney Prada © Reiner Pfisterer

敬請關掉所有響鬧裝置，請勿擅自攝影、錄音或錄影，多謝合作。

Please switch off all sound-making devices. Unauthorised photography or recording of any kind is strictly prohibited. Thank you for your co-operation.

2.2.2012

愛情劇院 Teatro d’Amore

蒙特威爾第及同期音樂作品 Music by Monteverdi and his contemporaries

歌手 ︳Singers

演唱

露西亞．加利亞齊

Voice Lucilla Galeazzi

女高音

拉卡爾．安杜爾查 Soprano Raquel Andueza

次男高音 榮森佐．卡柏索圖

Contralto Vincenzo Capezzuto

樂手 ︳Instrumentalists

雙頸低音大琵琶 / 巴羅克豎琴 / 總監

克里斯蒂娜．普盧哈

Théorbo, Baroque Harp & Director Christina Pluhar

薩泰里琴 卡門．吉姬 Psaltery Carmen Gaggl

巴羅克結他

馬塞洛．維塔里

Baroque Guitar Marcello Vitale

短號 多倫．沙溫

Cornett Doron Sherwin

古大提琴 羅德尼．普拉達

Viola da Gamba Rodney Prada

風琴* / 古鍵琴

北御門はる

Organ* / Harpsichord Haru Kitamika

敲擊樂

戴維．梅奧奴

Percussion David Mayoral

國際巡演 ︱ International Tour Management

International Classical Artists Ltd.

高級項目及巡演經理

陸．德美

Senior Manager, Projects and Tours Tuck May Loke

副項目及巡演經理 蘇珊．多伊爾

Associate Manager, Projects and Tours Suzanne Doyle

* 風琴由香港演藝學院提供

* Chamber Organ is provided by The Hong Kong Academy For Performing Arts

是晚演出曲目或次序或有更改

Songs and their order of performance are subject to change

歌迪奧．蒙特威爾第 Claudio Monteverdi (1567-1643)

觸技曲 (器樂) Toccata

Toccata (instrumental)

芭芭拉．史特洛治 Barbara Strozzi

你能說甚麼呢？ Che si puo fare What Can One Say?

露西拉．加利亞齊 Lucilla Galeazzi

夜色清朗 Era una notte chiara

It Was a Clear Night

傳統民歌 Traditional

豐滿美女 Tu bella, ca lu tieni

My Beauty of the Rounded Breast

歌迪奧．蒙特威爾第 Claudio Monteverdi

輕蔑一瞥 Quel sguardo sdegnosetto That Scornful Little Glance

歌迪奧．蒙特威爾第 Claudio Monteverdi

可愛女郎，為我倒酒 Damigella, tutta bella

Lovely Girl, Come Pour

傳統民歌 Traditional

我的庇絲卡麗娜 Pizzica Tarantata

Pizzica Tarantata

歌迪奧．蒙特威爾第 Claudio Monteverdi

甜蜜的折磨 Si dolce e’l tormento So Sweet is the Torment

歌迪奧．蒙特威爾第 Claudio Monteverdi

躺下吧，波佩亞 Adagati Poppea Lie Down, Poppea

傳統民歌 Traditional

天空中有幾顆星 Quante stelle nel Cielo How Many Stars in the Sky?

歌迪奧．蒙特威爾第 Claudio Monteverdi

唉，我要墮落了﹗ Ohime ch’io cado Alas, I am Falling!

即興 Improvisation

本尼凡托的塔朗特舞曲 (器樂) Tarantella del Benevento Tarantella del Benevento (instrumental)

雷之．波治 Luigi Pozzi

最後一次歎息 Cantata Sopra il Passacaglio My Last Sigh

歌迪奧．蒙特威爾第 Claudio Monteverdi

金髮 Chiome d’oro

Hair of Gold

勞倫索．亞歷格 Lorenzo Allegri

加納利 (器樂) Canario Canario (instrumental)

多曼力哥．瑪莉亞美利 Domenico Maria Melli

可愛臉兒 Dispiegate, guance amate Reveal, Beloved Cheeks

安德烈亞．福爾肯尼洛 Andrea Falconiero

斯帕烈迪魯的劍 (器樂) Brando Il Spiritillo Brando Il Spiritillo (instrumental)

班奈迪托．法拉利 Benedetto Ferrari

我的滅亡 Son ruinato I am Ruined

傳統民歌 Traditional

鳥兒飛入了穀倉 Lu Passariellu A Bird is in the Grain

即興 Improvisation

貓兒吹風笛 Ninna, nanna sopra la Romanesca The Cat was Playing the Bagpipes

傑凡尼．美利 Giovanni Mealli

榮斯奧連拿（器樂） La Vinciolina La Vinciolina (instrumental)

傑凡尼．菲力斯聖安斯 Giovanni Felice Sances

聖母悼歌 Stabat Mater

Mournful Mother

歌迪奧．蒙特威爾第 Claudio Monteverdi

榮耀經 Laudate Dominum

Praise the Lord

Che si puo fare

le stelle rubelle non hanno pietà che s’el cielo non da un influso di pace al mio penare che si può fare. Che si può dire da gl’astri disastri mi piovano ogn’or; che si può dire che le perfido amer un respiro di niega al mio martire che si può dire.

Così va rio destin forte tiranna gl’innocenti con danna così l’oro più fido di costanza e di fè lasso convienelo raffini d’ogn’or fuoco di pene. Sì, sì, sì, sì penar deggio che darei sospiri deggio trarne i respiri.

In aspri guai per eternarmi il ciel niega mia sorte al periodo vital punto di morte. Voi spirti dannati ne sete beati s’ogni eumenide ria sol’ è intenta a crucciar l’anima mia.

Se sono sparite le furie di Dite voi ne gl’elisi eterni i di trahete io coverò gl’inferni.

Così avvien a chi tocca calcar l’orme d’un cieco alfin trabbocca.

What Can One Say?

What can one do if the rebel stars have no pity; what can be done if heaven has no peaceful influence to soothe my sorrows; what can one say from the stars disasters rain upon me at all hours; what can be said if perfidious love denies the slightest repose to my martyrdom; what can be said?

That is how it goes with perverse destiny, that condemns the innocent, so too constancy that most trusted gold and, oh, it nonetheless need be purified at every hour by the flames of my sorrows. Yes, yes I should suffer, yes, yes, from my sighs I should hold back my breath.

In bitter misfortunes so as to prolong my being, the heavens deny me my destiny, that my life’s course should lead to death. Cursed spirits, you do rejoice indeed, when each of the perverse furies has as its only goal the torment of my soul.

If the furies of this were to vanish, you would spend your days in the eternal Elysia, while I perish in the underworld.

So it happens to him who must follow the example of the blind man: in the end he falls to the ground.

你能說甚麼呢？

還能做甚麼呢？ 如果反叛的星星 不再憐憫； 還能做甚麼呢？ 如果天堂 不再以和平 來撫慰我的憂傷； 還能說甚麼呢？ 如果星星之災 時刻都繞着我打轉； 還能說甚麼呢？ 如果背信棄義的愛人 一點也不願意 停止對我的折磨； 還能說甚麼呢？

與人作對的 命運啊， 責難着無辜的人， 如此堅定不移 以致於最可信的金子， 仍需以我的憂傷之火 每小時提煉一次。

是啊，我應該受難， 是啊，在慨嘆聲中， 我應該要屏住呼吸。

為了繼續生存我歷盡苦難， 天神們也不願解救 我的命運， 我的生活軌跡 註定通向死亡。

被詛咒的靈魂啊， 你們確實是歡喜的， 而每一個固執的盛怒 都有它唯一的目標， 就是折磨我的靈魂。

如若這些盛怒 將要消失， 你會在永恆的極樂世界 度過你的時光， 而我則在陰間腐爛。

於是這一切便發生在他身上： 他必然像盲人般， 最終摔倒在地上。

Ah che spento io non sento il furor de gl’ardor miei. Men cocenti meno ardenti sono ohimè gli incendi Etnei.

Damigella tutta bella di quel vin tu non mi satii, fa che cada la ruggiada distillata da topatii.

Pizzica Tarantata

Pizzicarella mia, pizzicarella lu camminatu to’ la li li la lu camminatu to’ pare ca balla

A du te pizzicau ca no te scerne? sutta lu giru o la li li la sutta lu giru giru di la suttana.

Quantu t’amau t’amau lu core miu mo nun tte ama chiù la li li la mo nun tte ama chiù se ne scerrau.

Te l’ura ca te vitti te ‘mmirai ‘nu segnu fici a la li li la ‘nu segnu fici a mmienzu a ll’occhi toi.

Ca quiddu foì nu segnu particolare cu no’ te scerri a la li li la cu nu te scerri de l’amore toi.

Amore amore ce m’hai fattu fare de quindici anni a la li li la, de quindici anni m’hai fatto impazzire.

Pizzicarella mia, pizzicarella lu camminatu to’ la li li la lu camminatu to’ pare ca balla

Ah, but quenched I do not feel the raging fires of passion. Less vehement, less fervid are, alas, the fires of Etna.

Lovely girl, that wine doesn’t satisfy me: cause to flow the dew distilled from topaz.

Pizzica Tarantata

My little scallywag, The way you walk, la li la, The way you walk is dancing…

Where were you pinched, that you never stop?

Beneath the band, o la li li la, Beneath the band of your petticoat…

Oh how my heart loved you: But now it loves you, la li li la, Now it loves you no more, it is shut.

Ever since I set eyes on you, I admired you, And I made a mark, a la li li la, I made a mark between your eyes.

And it was a special sign So you would not shut, a la li li la, So you would not shut your heart to love.

O Love, Love, what you make me do! For fifteen years, a la li li la, For fifteen years, you've been driving me mad.

My little scallywag, The way you walk, la li la, The way you walk is dancing.

啊，卻熄滅了，

我已無法感受

熱情之火的煎熬。

熱烈不再，

激情不再， 唉，那是沉寂的埃特納火山。

可愛的女郎，

那紅酒

無法滿足我： 讓黃寶石

滲出的露珠 潺潺流動。

我的庇絲卡麗娜

我的小無賴， 你走起路來，啦哩哩啦， 步伐如舞動般搖曳……

你給人捏了哪處， 教你停不下來？ 在領口之下，噢啦哩哩啦， 在你衣領口之下

我曾經多麼愛你…… 可是我的心，啦哩哩啦， 現在已不再愛你， 心已關了。

自從我看見你，就仰慕你， 我作了個記號，呀啦哩哩啦， 在你雙眼之中， 作了個特別記號。

這是一個特別的記號

好讓你不會封閉，呀啦哩哩啦，

好讓你不會封閉心扉拒絕去愛。

啊愛情，要我有此作為﹗

十五年來，呀啦哩哩啦，

十五年來，你讓我神魂顛倒。

我的小無賴，

你走起路來，啦哩啦， 步伐如舞動般搖曳。

Si dolce e’l tormento

Sì dolce è ’l tormento che in seno mi sta ch’io vivo contento per cruda beltà. Nel ciel di bellezza s’accreschi fierezza e manchi pietà ché sempre qual scoglio all’onda d’orgoglio mia fede sarà.

La speme fallace rivolgam’ il piè, diletto né pace non scendano a me, e l’empia ch’adoro mi nieghi ristoro di buona mercé; tra doglia infinita, tra speme tradita vivrà la mia fé.

Se fiamma d’amore già mai non sentì quel rigido core ch’il cor mi rapì, se niega pietate la cruda beltate che l’alma invaghì, ben fia che dolente pentita e languente sospirimi un dì.

Adagati Poppea

Adagiati, Poppea, Acquietati, anima mia: Sarai ben custodita.

Oblivion soave I dolci senti menti In te figlia addormenti.

Posate vi occhi ladri Aper ti deh che fate

Se chiusi anco rubate.

Poppea, rimanti in pace; Luci care e gradite, Dor-mi-te.

So Sweet is the Torment

So sweet is the torment within my breast that I am content though my lady is cruel. In heaven let beauty’s arrogance increase and pity be absent, for like a rock battered by breakers of pride my love shall stand firm.

Let false hopes abandon me, joy and contentment never be mine, and let the one I adore deny me the solace of simple kindness; despite infinite sorrow, despite hope betrayed, my love will survive.

If passionate love was never felt by that austere spirit who stole my heart, if pity is denied by the cruel beauty who ravished my soul, it is right that in sorrow, repentant and pining, one day she sighs for me.

Lie Down, Poppea

Lie down, Poppea, rest, my heart. You shall be well guarded.

Let gentle oblivion lull your tender feelings to sleep, my child.

Close, heart-stealing eyes: what can you do when open, if closed you can still steal hearts?

Poppea, sleep in peace; eyes so dear and sweet, go to sleep now, sleep

甜蜜的折磨

我的胸膛中的 折磨是如此甜蜜， 縱使我的愛人冷酷， 我依然滿足。

在極樂之地， 讓美叫人心高氣傲， 憐憫漸逝， 即管遭受驕縱者 持續猛擊， 我的愛如磐石堅固。

讓虛假的希望 唾棄我，

歡樂和滿足 從不屬於我， 讓我傾慕的人 從不以單純的善良 給我慰藉； 縱使憂傷無限， 縱使希望破滅， 我的愛也依然存活。

如果我熱烈的愛情 不能讓偷走我心的 那個苦樸靈魂 感受得到， 如果使我神魂顛倒的 殘酷女子， 不願給我憐憫， 那麼總有一天， 在憂傷、懊悔和思念中， 她將為我歎息不盡。

躺下吧，波佩亞

躺下吧，波佩亞， 休息吧，我的心肝寶貝。 我會為你守護周全。

輕輕地遺忘一切， 讓你伴着纖柔的感覺進入夢鄉， 睡吧，我的孩子。

閉上那對偷心的眼； 若然閉上眼後你還能偷心， 那睜開眼時你會做甚麼呢？

波佩亞，恬靜地睡吧； 可愛又甜美的雙眼， 現在就入睡吧，酣睡吧。

Quante stelle nel Cielo

Quante stelle nel cielo con la luna sono luci che accendono gli amanti e più brillanti sono e più penso che quelle stelle brillano per me e per te.

Amore amore amore a perdifiato quante volte di notte t'ho sognato e t'ho cercato dal mare fino al monte come assetato cerca la sua fonte.

How Many Stars in the Sky?

How many stars in the sky with the moon lights that light lovers and the brightest are, the more I think the stars that shine for me and for you.

天空中有幾顆星

E quando lo trovavo come un vento di primavera sfiorava la mia mano poi di nuovo lontano era. Amore amore che inganni profumi d'aria di maggio ti tocco, ti credo vero svanisci come un miraggio amore che vieni e che vai come una cosa leggera ah,ah ah......

Amore amore per te ho messo un fiore nel mio giardino s'è sparso l'odore e notte e giorno io l'ho ben curato e questa volta il fiore non s'è seccato.

E l'ho bagnato con l'acqua di fonte e l'ho difeso dal vento del monte e l'ho nutrito a tutte quante l'ore amore amore amore amore amore.

E quando lo trovavo come un vento di primavera sfiorava la mia mano poi di nuovo lontano era. Amore amore che inganni profumi d'aria di maggio ti tocco, ti credo vero svanisci come un miraggio amore che vieni e che vai come una cosa leggera ah,ah ah......

Love, love, love at breakneck speed how many times at night dreamed thee and looked up from the sea to the mountain as a thirst looking for its source.

And when I found it like a spring wind that touched my hand but it was far away. Love, love that deception perfumes the air in May I touch you, you truly believe vanish like a mirage love that comes and goes as a light thing ah, ah ah...

Love, love for you I place a flower the smell is in my garden shed, night and day, I have well-maintained the flower and this time he is not annoyed.

And I soaked in spring water and have protected him from the wind of the mountain and I fed them all the hours love love love love love.

And when I found like a spring wind touched my hand then again it was far away. Love love that deception perfumes the air in May I touch you, you truly believe vanish like a mirage love that comes and goes as a light thing ah, ah ah...

天空中有幾顆星 和月光一起照耀着愛人們？ 我認為最明亮的那幾顆星， 是為你和我綻放光芒。 極速的愛如奪命般， 多少次在夜裏我夢見你。 然後從海洋仰望到山巔， 渴望尋找愛的來源。 當我找到它時， 它如春風般 拂過我的手， 可惜卻遠在天邊。

愛是一場詭計， 使五月瀰漫着香氣。

我觸碰你，讓你深信 如海市蜃樓般消失的 愛，就像細碎的東西 來無蹤，去無影 啊，啊，啊……

愛你，我為着愛你 放下一朵花兒， 來自我花房的芳香， 日與夜，我精心照料這朵花， 而這次，他不再備受困擾。

我曾將他浸於泉水中， 讓他不受 山風侵襲。

我總時刻澆灌他們， 愛情啊愛情。

當我找到它時， 它如春風般 拂過我的手， 可惜卻遠在天邊。

愛是一場詭計， 使五月瀰漫着香氣。

我觸碰你，讓你深信 如海市蜃樓般消失的 愛，就像細碎的東西 來無蹤，去無影 啊，啊，啊……

Ohime ch’io cado

Ohimè ch’io cado, ohimè ch’inciampo ancora il piè pur come pria, e la sfiorita mia caduta spene pur di novo rigar con fresco lagrimar hor mi conviene!

Lasso, del vecchio ardor conosco l’orme ancor dentro nel petto, ch’ha rotto il vago aspetto e i guardi amati, lo smalto adamantin ond’armaro il meschin pensier gelati.

Folle! credev’io pur d’aver schermo sicur da un nudo arciero, e pur io sì guerriero hor son codardo, né vaglio sostener il colpo lusinghier d’un solo sguardo.

O campion immortal sdegno, come sì fral or fugge indietro!

A sott’armi di vetro, incauto errante, m’hai condotto infedel, contro spada crudel d’aspro diamante.

O come sa punir tiranno Amor l’ardir d’alma rubella! Una dolce favella, un seren volto, un vezzoso mirar, sogliono rilegar un cor disciolto.

Alas, I am Falling!

Alas, I am falling! Alas, I am stumbling as I did before, and the faded hopes I thought were dead must now be watered with new-shed tears.

Ah, I recognise the signs in my breast of that past passion. What spoilt the charming face and eyes I loved?

The adamantine carapace with which her icy coldness armed the minx.

Fool! I thought I had a secure defence against love’s darts; but I, so soldierly, am now a coward, nor can I face the alluring attack of a single glance.

What a prize buffoon I am! How I despise the weakness of my retreat!

Armed with glass, a dreamy drifter, you led me treacherously against a cruel, adamantine sword.

How well does tyrannous love punish presumption in a rebellious soul!

A sugared word, an innocent expression, a flirtatious glance always recapture the unfettered heart.

Occhi belli, ah! se fu sempre bella virtù, giusta pietate, deh, voi non mi negate il guardo e ’l riso, che mi sia la prigion per sì bella cagion il Paradiso.

Beautiful eyes, ah, if only virtue were always beautiful, mercy just!

Come, do not deny me a glance, a smile, for by such pretty wiles you turn my prison into paradise!

唉，我要墮落了！

唉，我要墮落了！唉，

我又像從前那樣踉蹌了，

我以為枯萎的 希望已死，

現在又需要用剛流出的 淚水給它滋養。

啊，在我往昔熱情的胸膛內，

意識到這些跡象。

是甚麼破壞了我愛過的 迷人眼眸和臉龐？

那輕佻女子用冷若冰霜來 給自己武裝起堅硬的殼。

傻瓜！我以為我已經 有安全的防衛來抵禦愛之箭；

曾經英勇的我，

現在卻成了懦夫，

我也無法抵擋 驚鴻一瞥的醉迷突襲。

我真是個模範傻瓜！

我多恨自己軟弱畏縮啊！

以玻璃為盾， 恍惚的漂泊者， 你不可靠地帶領我 對抗殘酷堅硬的劍。

專橫的愛多麼善於 懲罰自以為是的 叛逆靈魂啊！ 甜蜜的言語， 無辜的表情， 調情的眼神， 總能重新俘獲不羈的心。

美麗的雙眼啊，如果 品行永遠是美好的話， 就給我憐憫吧！ 來吧，不要躲避我的眼神， 吝嗇你的笑容， 有了這些可愛的小詭計， 我的牢獄也給你變成天堂！

Sopra il Passacaglio

Cosi dal lungo sangue, saprso dagl’occhi fuor, In lacrimos’umor son fatto e sangue.

E’l moi tormento si grave hor sento che teme

l’almamia ch’il mio primo suspir, l’ultimo sia.

Pietà, piétà dunque hor confesso quell’amoroso ardor che commise’l mio cor.

Ah ! ah ! troppo spesso. Prima peccai perchè adorai un idolo d’or goglio, una donna non già non già ma, un crudo scoglio.

Confesso ch’ostinato nutij nel sen l’ardore, e’l suo infernal dolore chiamai chiamai beato ed a un doce volto solo rivolto,

dietro sue false scorte di mio proprio voler Cor si, cor si crosi allamorte cor si allamorte.

Confesso ch la vita io presi à sdegn’ancor e invidiai talhor chi la compita, e invidiai talhor chi la compita.

Con gl’occhi ardenti e troppo intenti ladr’accorto furai l’oro d’un crin e d’un bel d’un bel volto irai.

Credei che fusse inviso qual serpente tra fior il Paradiso, qual serpente tra fior il Paradiso.

Bramai sovente e in gor da mente un sen le forme in tatte, le forme in tatte d’un petti pomi e d’una mano il lette.

My Last Sigh

Thus, with blood streaming from my eyes, my strength abandons me

Mine is infinite suffering:

I feel in the terror of my soul that my first sigh will also be the last

So I beg for mercy, I confess to the amorous ardour that my heart, alas, has felt too often.

My first sin was to worship a proud idol, not a woman, but a hard, cruel stone.

I confess that persistently I fed that flame and called the terrible suffering of its unrequitedness bliss.

And I turned to a face that was indeed sweet, but I hid my thoughts.

I confess that I took to despising life and envied him who lived from day to day.

My eyes, ardent and too intent, stole the gold of her hair and the brightness of that fair countenance.

I thought her serpent's face was like the flowers of paradise

Often fervently I desired her body, her unsoiled breasts, her hands as white as milk.

最後一次歎息

於是，隨着眼中流出血淚， 我漸漸失去力氣。

我陷入無窮的痛苦：

靈魂中的恐懼讓我覺得， 這將是我的第一次， 亦是最後一次的歎息。

所以我乞求憐憫，我懺悔， 我的心啊，唉，時常感受到 愛的激情。

我的第一宗罪 是崇拜了驕傲的偶像， 她不是一個女子， 而是一塊堅硬冷酷的石頭。

我總是讓愛情之火 愈燒愈旺， 招來無盡折磨、 相思之苦。

我面向一個漂亮的人， 但我隱藏了我的思緒。

我懺悔，我習慣憤世嫉俗， 還嫉妒及時行樂的人。

我的雙眼，多情又過份專注， 竊取了她秀髮中的黃金和 嬌容中的明亮。

我曾認為她狡猾的面容 像天堂之花一樣。

我熱烈地渴望她的身體， 她柔嫩的胸脯， 她雪白的雙手。

Cantata

Hor ti preg’apietate che preghi con fervor con fervor le luci amate. Che s’una volta ella t’ascolta già purgato ne’pianti Mi le va al ciel. De’ più beati amanti.

Chiome d’oro

Chiome d'oro, Bel tesoro, Tu mi leghi in mille modi Se t'annodi, Se ti snodi.

Candidette Perle elette, Se le rose che coprite

Discoprite, mi ferite.

Vive stelle

Che sì belle

E sì vaghe risplendete, Se ridete M'ancidete.

Preziose, Amorose, Coralline labbra amate, Se parlate Mi beate.

O bel nodo Per cui godo!

O soave uscir di vita! O gradita

Mia ferita!

Dispiegate, guance amate

Dispegate, Guance amate

Quelle propora acerbetta Che perdenti Che dolenti

Fian le rose in sù l’herbetta

Deh, scoprite, Deh partite, Chiare stelle i vostri rai, Che partendo, Che scoprendo, Fia men chiaro il sol d’assai.

Now, (Love,) I beg you piteously, that you may plead with her beloved eyes: for if she listened to you once, I could leave the purgatory of my tears, and rise to the heaven of the most blissful lovers.

Hair of Gold

Hair of gold, Beautiful treasure, You tie me in a thousand ways If I undo, if I tie.

Pearls candid, selected If you reveal the roses You hide, you hurt me

Bright stars that shine So beautiful, so kind If you laugh, you kill me

Precious, love, Coral lips, love, If you speak I am blessed.

O beautiful tresses that I enjoy!

O sweet adventure of life!

O welcome

My wound!

Reveal, Beloved Cheeks

Reveal, beloved cheeks, that blushing harshness, that in loss, that in grief, makes roses over the grass.

Ah uncover, ah part, bright stars, your rays, that parting, that uncovering, the sun may be less bright.

現在啊，（愛情，） 我卑微地請求你，

去打動她可愛的眼睛：

只要她聽你說一次， 我就能離開我的淚之煉獄， 升上最幸福愛人的極樂天堂。

金髮

金髮，

漂亮的財富， 你用一千種方式將我捆綁 我是該解開， 還是該捆綁。

潔白的珍珠， 經過精挑細選。

若你展露了玫瑰，

然後避而不見， 我會因你受傷。

閃耀的明星， 如此美麗、

如此友善；

如若你笑了， 我就給你殺掉。

珍貴的，

愛人，

珊瑚般的唇，愛人，

如若你開口， 我會被保佑。

噢，美麗的一縷長髮，

我十分喜愛！

噢，生命的甜蜜歷險！

噢，歡迎你，

我的傷痛！

可愛臉兒

展露吧，

可愛的臉頰，

流露你的羞澀，

在遺憾中，

在傷痛中，

在草地上種下玫瑰花。

展露吧，

分離吧，

明亮的星星，你的光線，

在分離，

在揭示，

太陽也漸失光華。

Apri ò labro

Di cinabro

Un soriso ancor trà il velo, Ch’ad aprirlo, Ch’a scoprirlo Riderà terra, e’l cielo.

Tocca, tocca bella bocca

L’Aria homai di qulque accento, Che toccando, Che parlando

Tacerà per l’aria il vento.

Open your lips of cinnabar, a smile still through the veil, that when they open, when they are uncovered, earth will laugh, and heaven.

Give forth, give forth, fair mouth, the air of such beauty that giving forth, that speaking, through that air the wind shall be silent.

開啟吧 你的朱唇，

透過面紗流露的笑靨， 當開啟的一刻， 當流露的一刻， 天和地也綻放笑顏。

綻放吧，綻放吧， 漂亮的朱唇， 如此芳華， 在綻放中， 在訴說中， 連風也寂靜無話。

Son ruinato

Son ruinato appassionato; quel traditor d’amore mi guida al loco dov’il mio foco à poco si fà maggiore s’io vado presto laguisce il petto e s’io m’arresto villan son detto ah misero mio stato son ruinato appassionato

Son disperato assassinato; gia già tanto mi sente foco, e faville fiamma, e scintille, ch'à mill'à mille mi fan scontento; ne quest'ardore può far men forte, se non l'horrore del gel di morte; ahi mio destino ingrato; son disperato assassinato.

Son intricato ammartellato; se con amor m'impaccio repente cria nell'alma mia

I am Ruined

I am ruined With passion

That traitor of love

Drove me to the place Where my fire Is growing; If I go away soon reduce The chest

And if I stop they call me a rascal Oh poor me.

I am ruined, With passion.

I am desperately killed, He has to listen to me

Fire and spark Flames and sparks

That thousands and thousands left me dissatisfied

And not this fervour can give me force if not the horror of the cold death, Ah my ungrateful destiny.

I am desperately killed;

I am intricate tormented; If with love I become embarrassed Quickly grown

In my soul

The jealousy of icy flames

我的滅亡

激情

要我滅之。

愛的叛徒，

將我驅趕至此處。

我的火焰， 在此處燃燒。

若我即將離開， 心中會痛苦憔悴。

若我停滯不前， 他們會叫我無賴。

噢﹗可憐的我。

激情 要我滅之。

我已徹徹底底

被殺掉了， 他必須聽我說： 熱情和花火、 火焰和花火，

成千上萬，也不能滿足我。

就算冰冷的死亡

沒有帶來恐慌，

這股熱忱， 也不能賜我力量。

啊，我悲慘的命運。

我已徹徹底底

被殺掉了；

我的心思難懂，

受盡妒忌折磨。

我一旦戀愛，就會侷促不安。

我的靈魂，

會瞬間燃起 妒忌的冰火。

Italian and English lyrics courtesy of Scherzi musicali a tre voci, Naxos Group of LIbrary

la gelosia fiamme di ghiaccio; ch'il sesso amante di Donna instabile

e'l men costante e'l più variabile; ahi core sfortunato son intricato ammartellato.

Lu Passariellu

O re, re, lu passariello ‘nta ll’avena,

E si nun lu va’ a parà Tutta ll’avena se magnarrà

‘O riavulo, stanotte

E mugliereme è caduta da lu liette; ‘O riavulo stanotte

La jatta s’è magnata li cunfiette.

E si prima eremo a tre a ballà la tarantella, Mo’ simmo rimaste a dduje

E mugliereme quant’è bella.

Santo Michele sarva ogne Christiane moniche, monicelle e artigiane.

O re, re, lu passariello ‘nta ll’avena,

E si nun lu va’ a parà Tutta ll’avena se magnarrà.

That the love of an unstable woman

And the less constant And the more variable. Oh, unlucky heart I am intricate tormented.

那份愛

來自一個善變的女人，

愈不堅貞、

愈多變幻。

噢，不幸的心﹗ 我的心思難懂，

受盡折磨。

A Bird is in the Grain King, King, a bird is in the grain. And if you do nothing, then he will eat the whole grain. To hell, to hell, tonight is my wife fell off the bed. To hell, to hell, this night has become the cat, feasted on candy. And if we advance to third danced the tarantella, we are now left with a friend. Oh, how beautiful my wife! Oh, holy Michael, save every Christian, Nuns, novices and artisans. King, King, a bird is in the grain. And if you do nothing, then he will eat the whole grain.

Ninna, nanna sopra la Romanesca

Lu gattu la sonava la zampogna

lu sorce la davanti je ballava

La gallinella rifacea lu lettu

e lu gallettu je lu mesticava

Quante canzoni e quante canzonette

la famijola me le fa scordane

Chi vo’ le scarpe e chi vo’ le carzette

chi su la mezzanotte vo’ lo pane.

E mo’ che me credea d’ave’ finitu e chi vo’ pijà moje e chi maritu.

The Cat was Playing the Bagpipes

The cat was playing the bagpipes, The mouse was dancing before him; The hen was making the bed

And the cock was plumping the mattress.

What a lot of songs and ditties! Enough to make me forget my small family.

And who wants shoes and socks?

And who wants bread at midnight?

And now, just when I thought I’d finished

Who wants to take a wife and who seeks a husband?

鳥兒飛入了穀倉

主啊，主，

一隻鳥兒飛入了穀倉。

若然您袖手旁觀， 牠就會

將穀物吃清光。

落地獄，落地獄去吧，

今夜我妻子從床上摔下來。

落地獄，落地獄去吧，

今夜已變為貓兒，

飽嘗糖果。

若然我們繼而

跳第三隻旋轉舞， 現在剩下我們和一位朋友。

噢，我的妻子多麼漂亮﹗

噢，聖米迦勒，救救

基督徒吧，

修女、學徒及工匠們。

主啊，主，

一隻鳥兒飛入了穀倉。

若然您袖手旁觀，

牠就會

將穀物吃清光。

貓兒吹風笛

貓兒在吹奏風笛，

老鼠在跟前跳舞； 母雞在整理床鋪。

公雞正鼓起床墊。

這麼多歌兒和小調﹗

足以讓我忘掉我的小家園。

誰還想要鞋子和襪子？

誰想午夜起來吃麵包?

還以為一天的工作已經結束。

誰想討老婆誰要覓夫郎？

Stabat Mater

Stabat mater dolorosa juxta Crucem lacrimosa, dum pendebat Filius.

Cuius animam gementem, Contristatam et dolentem pertransivit gladius.

O quam tristis et afflicta Fuit illa benedicta mater unigenti !

Quae moerebat et dolebat Et tremebat, dum videbat Nati poenas incliti.

Quis est homo, quinon fleret, Matrem Christi si videret In tanto supplicio ?

Quis non posset contristari, Piam matrem contemplari Dolentem cum Filio.

Pro peccatis suae gentis Vidit Jesum in tormentis Et flagellis subditum.

Vidit suum dulcem natum Morientem desolatum, Dum emisit sprirtum.

Eja mater, fons amoris, Me sentire vim doloris Fac, ut tecum lugeam.

Fac, ut ardeat cor meum In amando Christum deum, Ut sibi complaceam.

Sancta mater, istud agas, Crucufixi fige plagas, Cordi meo valide !

Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.

Fac me vere tecum flere, Crucifixo condolere, Donec ego vixero.

Mournful Mother

At the cross her station keeping, stood the mournful Mother weeping, close to her Son to the last.

Through her heart, His sorrow sharing, all His bitter anguish bearing, now at length the sword has passed.

O how sad and sore distressed was that Mother, highly blest, of the sole-begotten One.

Christ above in torment hangs, she beneath beholds the pangs of her dying glorious Son.

Is there one who would not weep, whelmed in miseries so deep, Christ's dear Mother to behold?

Can the human heart refrain from partaking in her pain, in that Mother's pain untold?

For the sins of His own nation, She saw Jesus wracked with torment, All with scourges rent.

She beheld her tender Child, Saw Him hang in desolation, Till His spirit forth He sent.

O thou Mother! Fount of love! Touch my spirit from above, make my heart with thine accord:

Make me feel as thou hast felt; make my soul to glow and melt with the love of Christ my Lord.

Holy Mother! pierce me through, in my heart each wound renew of my Saviour crucified:

Let me share with thee His pain, who for all my sins was slain, who for me in torments died.

Let me mingle tears with thee, mourning Him who mourned for me, all the days that I may live.

聖母悼歌

當聖子高懸十字架上，

心靈長吟，鬱悶憂傷， 心中悲愴何其深， 如利刃刺透心。

獨生聖子之母， 憂悶悲愴。

榮光之子受盡苦難，

仁慈主母見之凄愴。 舉目仰視淚流長。

瞻仰基督親愛之母，

深陷悲愴幽谷， 誰能見之不哭？

瞻仰聖母不能言喻之創痛， 試問誰會忍心 拒絕分擔她的憂傷？

為救其民願捨其身， 仰視耶穌受盡苦辱， 被鞭至皮開肉綻。

目睹至親的愛兒， 孤伶地懸掛於人前， 直至靈魂被釋放。

噢，仁愛的慈母﹗熱愛之泉﹗ 求妳感動我的靈， 讓我感受妳的哀傷沉痛。

讓我與妳的心相連； 伴隨耶穌基督的慈愛， 讓靈魂發熱發亮。

求聖母施予慈愛， 將妳聖兒在苦架上的傷痕， 重新刺入我的心房。

聖子耶穌為我的罪行受盡苦難， 為我慘遭折磨， 讓我分擔祂所承受的痛楚。

讓我跟妳一起痛哭， 在我生存的每一天， 哀悼曾為我憂傷的祂。

蒙特威爾第 1567 年生於意大利克雷

莫納，是家中的長子。父親寶達沙是

個藥劑師兼理髮師，同時也是（非完

全合法的）外科醫生，於克雷莫納大

教堂的參事會租了一個小商舖工作。

雖然家境並不富裕，他也盡量讓兒子

們接受最好的音樂訓練，安排他們跟

大教堂的樂長

因杰涅里上私

人課，學費不 菲。

一生獻給藝術

蒙特威爾第早

在 15 歲時已

完成首套作品

《神聖小曲

集》， 23 歲時

獲得第一份工

作，於曼圖亞

榮森佐龔薩加

公爵府中任歌手和提琴手，但很快他

就成為一位傑出的作曲家。1596年公

爵府樂長賈謝斯德韋爾特逝世，蒙特

威爾第申請出任這個職位，卻不獲取

錄，令他十分沮喪。到1601年，在公

爵府工作16 年後，他才得到一直夢寐 以求的職位。

蒙特威爾第於1590 至1605 年間作了 四卷牧歌。1607年獲委約為周年狂歡

節和曼圖亞繼承人婚禮籌備工作創作

了第一部歌劇《奧菲歐》； 2 月 24 日 首演後，由於大獲成功，迅速於一周

後重演。不久太太去世，蒙特威爾第

起初還拒絕回曼圖亞，到1608年才於

Monteverdi was born in 1567 in Cremona, the eldest son of Baldassare Monteverdi. His father was an apothecary and barber, and practised (not entirely legally) as a surgeon. He conducted his business in a small shop rented from the chapter of Cremona Cathedral. Despite his modest circumstances, he arranged for his sons to receive the best possible musical training, in the shape of expensive private lessons with Marc’Antonio Ingegneri, maestro di cappella at the cathedral.

A Life for Art Monteverdi composed his first collection of works, the Sacrae cantiunculae , at the early age of 15. When he was 23 he received his first appointment, as singer and viol player at the court of Duke Vincenzo I Gonzaga in Mantua; once there, however, he very soon distinguished himself as a composer. When the court’s maestro di cappella Giaches de Wert died in 1596 Monteverdi applied for the job but was passed over, which embittered him. Only after sixteen years at the court, in 1601, did he finally obtain the post to which he aspired.

Monteverdi composed four books of madrigals between 1590 and 1605. In 1607 came his first opera, L’Orfeo, commissioned on the occasion of the annual Carnival and the preparations for the marriage of the

當地寫下另一部歌劇《阿里安娜》， 可惜現存的只有當中的《哀歌》。

1610年他寫下最重要的宗教作品《聖 母晚禱》，直至現在仍然是聖樂史上 最卓越的音樂。1612年，榮森佐公爵

逝世，作曲家和弟弟朱里奧因繼承人 弗朗切斯科的新「經濟政策」而被解 僱，然而這卻可能是蒙特威爾第整個 事業生涯裏最快活的時刻。後來，龔 薩加家族感到後悔，希望蒙特威爾第 回來，作曲家和曼圖亞才一直保持着 聯繫。

1613 年，威尼斯聖馬可大教堂樂長 一職空缺，蒙特威爾第申請出任，立 刻獲一致贊成受聘擔任這個當時音樂 界舉足輕重的職位。蒙特威爾第重整 合唱團，聘請新的技藝精湛歌手（包 括弗朗西卡瓦利），又購入新樂譜， 重新要求合唱團於平日及假日進行吟 誦彌撒。蒙特威爾第除了為聖馬可大 教堂的馬西昂納合唱團寫了無數聖樂 外，亦寫下很多戲劇性的音樂和世俗

音樂，於1614 至1638 年間出版了第 六、第七及第八卷牧歌。他在威尼斯 獲得很高的評價；由於當地是集中出 版音樂的樞紐，蒙特威爾第的名聲亦 因而傳到海外。

1637年，威尼斯第一所公眾歌劇院開

幕，促使蒙特威爾第於1641年寫下歌 劇《尤利西斯返鄉記》。同年，他又 親自監督其聖樂精選集《道德與精神 之林》的出版。75 歲那年，他寫下最 後一部歌劇《波佩亞的加冕》，同年 （1642年）於聖喬凡尼劇場演出。

heir apparent in Mantua. It was premiered on 24 February, and repeated a week later on account of the great success it had enjoyed. After initially refusing to return to Mantua after his wife’s death, Monteverdi finally composed a further opera there in 1608, L’Arianna , of which unfortunately only the Lamento has survived. In 1610 he composed his most significant religious work, the Vespro della Beata Vergine , which has remained unparalleled in the entire history of sacred music right down to the present day. After the death of Duke Vincenzo in the year 1612, Claudio and his brother Giulio Cesare were dismissed by Vincenzo’s successor Francesco Gonzaga as an economic measure, an event which can probably be seen as the happiest in Monteverdi’s career. The Gonzagas later regretted this decision and went back on it, with the result that Monteverdi remained in communication with Mantua during the years which followed.

In 1613 Monteverdi applied for the vacant post of maestro di cappella at St Mark’s Basilica in Venice, one of the most important musical functions at that time, and was immediately appointed by unanimous decision. He revitalised the choir, engaged new virtuoso singers (including Francesco Cavalli), bought new scores, reintroduced the practice of singing masses on weekdays and ferial days. Alongside the numerous sacred compositions he wrote for the Cappella Marciana, Monteverdi pursued an intensive interest in dramatic and secular works, publishing his sixth, seventh, and eighth books of madrigals between 1614 and 1638. He was highly thought of in Venice, and since the city was the centre of 歌迪奧．

1643年，蒙特威爾第在造訪克雷莫納

和曼圖亞後，於維尼斯逝世。人們為

他舉行了一個莊嚴的喪禮；他的墓地 位於威尼斯聖方濟榮耀聖母教堂。

學術成就

蒙特威爾第最令人津津樂道的，是他

多采多姿的作曲手法，並能很有技 巧地使用在其作品中。今次表演的目 的，正是表現作曲家各種各樣的世

俗音樂。他的作品呈現現代感，即使 在二十一世紀亦讓人有永垂不朽的感 覺，從他運用頑固低音的手法即可見

一斑：人們或許以為行進低音是二十 世紀四十年代爵士樂手「發明」的， 其實早在蒙特威爾第的作品裏我們已

找到與十七世紀標準截然不同、現代 感極重的頑固低音。

蒙特威爾第於 1607 年的歌劇《奧菲

歐》中首次使用頑固低音（正當奧菲

歐脫離地下社會之時），他在二重奏

《金髮》* 中使用了幾乎完全相同的低 音。

《風神》是音樂史上第一首使用康夏

式低音的二重唱，是不少後人的模仿 對象。但由於作品中字詞重音的運用 非常富有感情，後來者一直無法超越 此一佳作。

《寧芙女神的悲歌》是部很值得注意 的作品。這部作品亦創下了音樂史上

的另一個第一，成為第一部運用了帕 薩卡利亞式低音的悲歌；也是因為這

部樂曲，讓帕薩卡利亞後來成為悲歌

的標準。蒙特威爾第在標題上註明女

高音要以彈性速度演唱；即使在下一

music printing, his fame spread abroad.

Prompted by the opening of the first public opera house in Venice in the year 1637, Monteverdi wrote his opera Il ritorno d’Ulisse in patria in 1641. In the same year he oversaw the publication of his selected sacred music in the collection Selva morale e spirituale. At the age of seventy-five he composed his last opera L’incoronazione di Poppea, given at the Teatro Santi Giovanni in 1642.

After a final journey to Cremona and Mantua, Monteverdi died in 1643 in Venice, where he was granted a solemn funeral. His tomb is in the church of Santa Maria Gloriosa dei Frari in Venice.

Scholarly Pursuits

Monteverdi’s most admirable trait is the enormous diversity of compositional techniques that he masters and interweaves with supreme skill. Our aim in this performance is to bring out the varietà of his secular compositions. The modernity that runs like a constant thread through his pieces and makes his music seem timeless even in the twenty-first century is selfevident if one considers, for example, his use of ostinato basses. Jazz musicians are supposed to have "invented" the walking bass in the 1940s, but already in Monteverdi we find ostinato basses which diverge from the standard ostinatos of the seventeenth century, that are unique and sound extremely modern.

Monteverdi first used an ostinato bass in 1607, in L’Orfeo (and at the precise moment when Orpheus walks out of the Underworld). He underlays the duet Chiome d’oro* with

拍之前已把不協調和聲解決，他也會 把節奏清晰地標示在樂譜中，這種做 法在作曲家很多其他作品都出現過。

但在《寧芙女神的悲歌》裏，作曲 家卻指出只在高音聲部才使用彈性速 度，其他低音聲部節奏要保持嚴格。

《甜蜜的折磨》* 的和聲很值得注意。

作品雖然是詠嘆調（以反復村歌的慣 例寫成），但其和聲技巧卻遵照了 「第二常規」的作曲手法。旋律有一 半時間都只有一個單音，而低音卻一 步步向下走；這種和聲是當時不容許 的（也是史無前例的），效果和現代 的爵士樂和弦有點相似。

《如此甜美》是一部很重要的作品， 讓我們了解如何利用低音樂器，讓歌 曲字詞的音色變得更精采。蒙特威爾 第把這種音樂形式稱為協奏曲，用上 三種不同內容的樂器組別，突出歌詞 的字詞和章節，這種編排其實就是以 渾厚的低音製造強烈的空間感。作曲 家有時在歌手唱着一個長音的時候要 求音色變化，以突顯人聲部份的「漸 強漸弱唱法」。這部作品是獨一無二 的，但對沒有預先制定數字低音的音 樂，於配器法的運用上有一定的啟 發。

令人詫異的是，雖然蒙特威爾第常常 在作品中要求當時的各種樂器演奏難 度極高的段落，他卻從來沒有出版過 為樂器而寫的曲集。因此，我們還選 了一些序曲與舞曲來演出，還有《奧 菲歐》及《聖母晚禱》的引子 一部 宏亮的觸技曲，音樂標誌着龔薩加家 族的慶節活動，常常在活動前演奏。

almost the same bass.

Zefiro torna is the first vocal duet over a ciaccona bass in musical history. It was to be followed by many imitators, but still remains unsurpassed for its expressive accentuation of words.

The Lamento della Ninfa is of particular interest. Here too was a first in musical history, the first time a passacaglia bass had been utilised in the form of a lamento –indeed, thanks to this piece the passacaglia later became, quite simply, standard form for the lamento. Monteverdi wrote in the title that the soprano voice was to sing in tempo rubato – a rhythmic subtlety that he precisely notated in the scores of many other pieces (with the resolution of the dissonances just before the following beat). In the Lamento della Ninfa , however, he only gives the instruction that the top part should be sung in free rhythm, while the lower voices must remain in strict time.

The special interest of Si dolce è’l tormento* lies in its harmonies. This is an aria (in the tradition of the strophic villanella), but in its harmonic language it conforms to the compositional technique of the seconda prattica. For half the piece he leaves the melody on a single note while the bass descends stepwise: this produces harmonies that were forbidden (and unprecedented) at the time, which are not unlike modern jazz chords.

Con che soavità is of the greatest importance for our understanding of instrumental colouring of the words through the use of continuo instruments. Monteverdi labels its musical form concerto. Three differently constituted instrumental

這些作品，都會令我們的節目變得更 多姿多采。

《唉﹗我要墮落了﹗》* 的行進低音， 與《金髮》* 的很相似。為了帶出低音

中那調皮的現代感，我們把樂曲演得 有點詼諧。如果聽眾感到這演出太前 衛，可以批評我們「太現代」，但我

很希望各聽眾和讀者明白，像蒙特威 爾第曾經說：我不會貿然作決定的。

groups underline the individual words and sections of the text, a layout which is to be understood as implying an especially rich continuo team with marked spatial separation. It is particularly interesting that he sometimes inserts a change of colour in the course of a single long-held note in the vocal line in order to underscore a messa di voce in the voice. The piece is sui generis, but it can be regarded as the inspiration for an instrumentation in which the continuo is not fixed in advance.

克里斯蒂娜．普盧哈 2008年於巴黎

中譯：張婉麗

* 歌曲或器樂選段為是次音樂會曲目

It is very surprising that Monteverdi never published a collection of instrumental pieces, given that he repeatedly intersperses his works with highly virtuosic episodes for all the instruments that were current in his day. We have therefore chosen to enrich our programme by plucking from their context a number of sinfonias and balli, as well as the fanfare-like Toccata he used as introductory music to both L’Orfeo and the Vespro della Beata Vergine, and which was the "signature tune" of the Gonzagas that preceded all their festivities.

The bass line of Ohimè ch’io cado * is a walking bass laid out in a similar fashion to that of Chiome d’oro*. Here we have allowed ourselves a little scherzo musicale in order to bring out the cheeky modernity of this bass. Anyone to whom this smacks too much of the avant-garde is welcome to criticise our version as "too modern", but I should like most humbly to assure my worthy readers and listeners after all these many lines ch’io non faccio le mie cose à caso...

Christina Pluhar, Paris 2008

*Songs or instrumental excerpts of this performance

神聖的歌迪奧 The Divine Claudio

著名意大利作曲家和詩人貝勒羅芬特．卡斯塔爾蒂藉着以下詩歌，向蒙特威爾第致敬。

Renowned Italian composer and poet Bellerofonte Castaldi pays tribute to the single most important musician of the 17th century.

在青翠山脈*的甜蜜庇蔭下， 他愉悅快慰； 高貴的歌迪奧啊，

因您，心中鬱結也一一驅走了。

如果我要在這世界活一千年，

我只會為您而長生，

甘願永遠侍奉您；

因您讓我感受到全新音樂力量， 承載着如此璀璨多姿，

不僅人世和天堂，連地獄也被它牽引； 所有人都只尊敬您一人， 為了您的音樂，只愛您一人，

從此只傾慕、尊敬和崇拜您一人。

被讚頌了一千次，

連筆墨都沾光，

它們昭示了您的智慧果實， 您成為時代奇才，

讓賣弄學問的人班門弄斧， 卻在聽到您的名字時惱羞成怒， 因為他們都已才思枯竭。

我聽說過羅馬不甚和諧， 自吹自擂，不可一世； 那些歌者，固然是舉世無雙， 因為他們是數以百萬計， 唱歌時舉手投足份外優雅； 然而若作曲家不夠優秀， 歌手的風格又總是千篇一律， 他們就隨即變為蠢才，歌聲刺耳。

毫無變化和扎實的技巧， 毫無痛快感、優雅姿態和卓越表現， 如同無法融入您的風格，令我傾慕讚賞。

Happy is he who takes refuge in the sweet shade, Noble Claudio, of your Green Mount [Monteverde], For it chases all melancholy from the heart.

If I were to pass a thousand years in this world, I would live eternally for you alone, And be condemned always to serve you; For in you I perceive a new music Of such diversity that it captivates Not only earth and heaven, but even hell; Which is the reason all men honour you alone For your works of music, and love you alone, Admire, esteem, and adore you alone.

Then be blest a thousand times, And blest the paper and the ink That reveals the fruits of your intellect, Which makes you unique in our age, And let the pedants say what they will, And bite and bark on hearing your name, For the style of them all is constipated.

I have heard the disharmony of Rome, Which glorifies and boasts of itself above all others; The singers, to be sure, are peerless, For the place produces them in millions, And they sing with special grace; But if the composers are not good, Since their style is always such As grates on one’s ears, they are dunces. There is no varied and solid technique, No piquancy, no grace, no excellence As in your style that I admire and praise.

3.2.2012

拿波里音樂風格 Alla

Napoletana

示範音樂會：從拿波里王國細說巴羅克音樂

A demonstration concert: Baroque music from the Kingdom of Naples

歌手 ︳Singers

演唱

露西亞．加利亞齊

Voice Lucilla Galeazzi

高男高音

榮森佐．卡柏索圖

Contralto Vincenzo Capezzuto

樂手 ︳Instrumentalists

雙頸低音大琵琶 / 巴羅克豎琴 / 總監 克里斯蒂娜．普盧哈

Théorbo, Baroque Harp & Director Christina Pluhar

巴羅克結他

Baroque Guitar

短號

Cornet

薩泰里琴

Psaltery

敲擊樂

Percussion

古大提琴

Viola da Gamba

風琴* / 古鍵琴

Organ* / Harpsichord

國際巡演 ︱ International Tour Management

International Classical Artists Ltd

高級項目及巡演經理

馬塞洛．維塔里

Marcello Vitale

多倫．沙溫

Doron Sherwin

卡門．吉姬

Carmen Gaggl

戴維．梅奧奴

David Mayoral

羅德尼．普拉達

Rodney Prada

北御門はる

Haru Kitamika

陸．德美

Senior Manager, Projects and Tours Tuck May Loke

副項目及巡演經理

蘇珊．多伊爾

Associate Manager, Projects and Tours Suzanne Doyle

* 風琴由香港演藝學院提供

* Chamber Organ is provided by The Hong Kong Academy For Performing Arts

是晚演出曲目或次序或有更改

Songs and their order of performance are subject to change

傳統民歌 Traditonal

拿波里民歌 Canzona napoletana

Neopolitan Song

即興 Improvisation

意大利舞 (器樂) Danza Italiana Italian Dance (instrumental)

傳統民歌 Traditional

塔朗特舞曲之加格諾 Tarantella del Gargano

My Fine Lady

傳統民歌 Traditional

塔朗特舞曲之一（器樂） Tarantella prima

Tarantella prima (instrumental)

解說 explanations

無名氏 Anonym

世事萬物 Stu criatu

Stu criatu

傳統民歌 Traditional

夢吧，我的小花 Dormi, fiori miu Dream, My Flower

傳統民歌 Traditonal

塔朗特舞曲之二（器樂） Tarantella seconda

Tarantella seconda (instrumental)

傳統民歌 Traditional

塔朗特舞曲之花莖甘藍 Tarantella Calabrese

Tarantella Calabrese

解說 explanations

傳統民歌 Traditional

小魚兒 * Lo Guarracino* The Little Fish

即興 Improvisation

摩斯舞曲（器樂） Moresca

Moorish Dance (instrumental)

即興 Improvisation

無言歌（器樂） Canzona senza parole The Wordless Song (instrumental)

傳統民歌 Traditional

鳥兒飛入了穀倉 Lu Passariellu

A Bird is in the Grain

傳統民歌 Traditional

病榻中的小安東尼 ‘Ntonuccio malado

Little Anthony is Ailing

即興 Improvisation

特解藥（器樂） Antidotum

Antidotum (instrumental)

* 這首曲目在本刊內未有提供歌詞 * No lyrics are provided for this song

Canzona napoletana

Ti piacevano le salsicce, Mo non le mangi più.

Ti piacevano le ciliegie, Mo non le mangi più.

Ti piaceva fare l'amore, A tutte quante l'ore.

Ah! Vita bella, perché non torni più?

Ti piaceva il pane caldo, Ti piaceva pasta e fagioli, Ti piaceva la tua famiglia, Ti piacevano i tuoi figliol,.

Ti piaceva la festa e il ballo,

Ti piaceva andare a cavallo, Ah! Vita bella, perché non torni più?

Ti piaceva il profumo dei fiori, Mo non lo senti più.

Ti piaceva la campagna, Mo' non lo vedi più.

Ti piaceva stare a guardare il sole Qando si tuffa in mare, Ah, vita bella! Perché non torni più?

Tarantella del Gargano

Sta donni

Comme dee fari pi ama sta donni

Di rose ‘nde a fari nu bellu ciardini

Nu bello ciandini

Di rose ‘nde a fari nu bello ciardini

Di prete, preziose et ori fini

Miezo dela cava na brava funtani

Neopolitan Song

You used to like sausages, but now you don't eat them. You used to like cherries, but now you don't eat them. You used to like making love, at any time of the day.

Ah! The good life! Why don't you return?

You used to like warm bread, You used to like pasta and beans. You used to love your family, You used to love your children, You used to like fun and dance, You used to like riding on a horseback.

Ah! The good life! Why don't you return?

You used to like the scent of flowers, now you don't even sniff them... You used to like the countryside, now you don't even notice it... You used to like watching the sun, as it set over the sea...

Ah! The good life! Why don't you return?

拿波里歌

昔日你愛吃香腸，

今天卻一口不嚐。

昔日你愛吃櫻桃， 今天卻推推讓讓。

昔日你雲雨無厭，

分分秒秒春心癢。

啊，美好生活﹗何不再臨？

你往日愛吃熱麵包，

豆和麵條都覺香。

你往日深愛着家人，

兒女幸福總惦量。

你往日愛跳舞玩樂，

騎在馬背便心歡暢。

啊，美好生活﹗何不再臨？

你總是愛花芬芳，

現在聞一聞也不想。

你總愛留連郊野，

現在城外風光不放心上。

你總愛看日落倒影，

在海波上蕩漾。

啊﹗美好生活﹗何不再臨？

Na brava funtani

Miezo de la cava na brava funtani

E ja fa corre l’acqua sorgentivi

L’acqua sorgentivi

E ja fa corre l’acqua sorgentivi ‘ncoppa ce le mette n’auciello a cantari

My Fine Lady

This woman, How can I make this woman love me? I would need a garden of fine roses

A garden of fine roses, I need a fine garden With precious stones and fine gold, With a beautiful fountain in the centre

A beautiful fountain, In the centre a beautiful fountain,

With spring water flowing out of it

Spring water, With spring water running out of it, And above a singing bird

n’auciello a cantari

‘ncoppo ce le mette n’auciello a cantari

Cantava e reposava e bello dicevi

Reposava e bella dicevi

Cantava e repasova e bella diceva

Pe voi so addivintato n’auciello

Pi fare no sonno accanto o vuje

Bella madonna

Me na fatto ‘nnammura

La cammenoture e cu parlare

Si bella tu non ive, ‘nnammura non me facive

Me na fatto ‘nnammora la cammenatura

E lo parla

Pure la cammenatura e lo parle

Ma na fatto ‘nnammura la cammenatura

E lo parla

Si bella tu nun ive ‘nnammora

Non me facive

A pinciue sta ncagnata che vu dame

E mammeta lo sape e lo vo

Dice pure a te.

塔朗特舞曲之加格諾

這樣的女子，

如何讓她對我傾心？

我需要滿園漂亮玫瑰。

滿園漂亮玫瑰，

我需要一個精緻花園，

內有珍貴寶石和上等黃金，

美麗噴泉坐落中央。

美麗噴泉啊，

坐落中央的美麗噴泉，

泉水傾瀉出來，

泉水啊，

泉水傾瀉出來，

鳴雀在半空飛翔。

Stu criatu

O' saccio, o' saccio io sulamente

Chelle c'aggio passate quando ll'angelo e' vulate

Chelle c'aggio passato quando ll'angelo e' vulate

Quando ll'angelo e' vulate c'aggio passate.

Na voce 'na voce mmo rripete

Nun perdere chiu tiempe circa r'essere felice

Nun perdere chiu tiempe circa r'essere felice

Cerca d'essere felice, nun ci sta tiempe

A singing bird,

Above it a singing bird,

A bird which sings, lands and calls you “bella mia”,

Which lands

And says sweet things, I have become a bird for you,

So as to sleep beside you, My fine lady.

You have made me fall in love with you

By your gait and your voice.

If you had not been so beautiful, you wouldn’t have made me fall in love with you.

You have made me fall in love with you by your gait and your voice.

By your gait and your voice, You have made me fall in love with you,

If you had not been so beautiful, You wouldn’t have made me fall in love with you.

My dear, stay furious, there’s nothing you can do.

Your mother knows and I want To tell you too.

鳴雀啊，

鳴雀在半空飛翔，

鳴雀在歡唱了，着陸了，喚你為 「我的美人」，

着陸在地上，

說着甜言蜜語， 我為你變作鳴雀， 只為在你身邊棲息， 我的清秀佳人。

你讓我愛得入神，

因着你的玉步綿言。

你若非如此美麗， 也不會讓我對你 愛得入神。

你讓我愛得入神， 因着你的玉步綿言。

你的玉步綿言， 讓我愛得入神。

你若非如此美麗， 也不會讓我對你 愛得入神。

親愛的，繼續盛怒吧， 除此你別無選擇。

你母親已明瞭， 而我也要讓你知曉。

World Creation

I know, I’m the only one I know When I lived when the angel was flying

When I lived when the angel was flying When the angel flew when I lived.

A voice repeated to me

Don’t lose time to be happy

Don’t lose time to be happy

Try to be happy, there’s no time.

世事萬物

我知道，我獨一無二我知道， 當我活着時， 天使在飛翔， 當我活着時， 天使在飛翔， 當天使飛翔，我正活着。

耳邊重複聽到一把聲音， 要抓緊時間盡歡， 要抓緊時間盡歡。

時日無多了，請盡情歡樂吧。

English lyrics provided by FESTA NAPOLETANA, translated by Peter Hicks.

E cantene e cantene l'aucielle

E cantane sultante quando e' sante nu pensiere

E cantane sultante quando e' sante nu pensiere

Quando e' sante nu pensiere

canta l'aucielle

'A notte a' notte tene 'e stelle

'E stelle hanno brillate fino a quanne l''e guardate

'E stelle hanno brillate fino a quanne l''e guardate

Fino a quanne l''e guardate hanno brillate

'A pace , 'a pace e' comme 'a pece

E' 'a mette 'ncopp 'o ffuoche chille ca nun e' capace

Chille ca nun e' capace mette 'o ffuoche sotto a pace

Mette o' ffuoche sotto 'a pace chi nn'e' capace

'A vocca , a' vocca e' comme 'e rrose

Quanne parla d'ammore tene e spine 'nde 'e pparole

Quanne parla d'ammore tene e spine 'nde 'e pparole

Tene e spine 'nde 'e pparole si rice ammore

'A vita, 'a vita e' comme 'a morte

Stanne vicine 'e casa nun se ponne appicceca'

Stanne vicine 'e case nun se ponno appicceca'

Nun se ponno appicceca' songh'una cosa

'E tu , e tu figlie 'e maria

Tu nun si mmanghe nate gia' si state cundannate

Tu nun si mmanche nate gia' si state cundannate

Gia' si tate cundannate appena nate

'E figlie, 'e figlie songhe e die

E nun se tocca niente chelle ch'e' stare criate

Chelle ch'e' stare criate, nun ce l'amme mai 'mparate

Nun ce l'amme mai 'mparate chistu criate

And sing, and sing the birds

And sing only when the thought is of saints

And sing only when the thought is of saints

When the thought is only of saints.

Oh night, oh night with the stars

The stars shined until I saw them

The stars shined until I saw them

Until i saw them they shined.

The peace, the peace is like the pitch

And put on the fire what it is not able to do

She is not able to put the fire under the peace.

Put the fire under the peace.

The mouth, the mouth is like a rose

When she speaks of love and has the thorns in words

When she speaks of love and has the thorns in words

Has the thorns in words of a telling love.

The life is like the death

They are neighbours and they cannot connect They are neighbours and they cannot connect They cannot connect they are one thing. And you, and you Maria’s son

You are not yet born and you've already been condemned

You are not yet born and you've aleady been condemned Already condemned at birth.

The sons, the sons are of god

And it is not possible to touch what is created

What was created, never do they learn

Never do they learn what was created.

歡唱，鳥兒在歡唱，

因想到聖賢而歡唱，

只因想到聖賢而歡唱，

只因想到聖賢。

夜晚，滿天繁星的夜晚，

群星閃爍，

直至我驚鴻一瞥。

群星閃爍，

直至我驚鴻一瞥。

直至我驚鴻一瞥，

群星依然閃爍。

和平、和平如樹脂，

無力將火燃點。

她無力在和平氣氛下將火燃起。

在和平氣氛下將火燃起。

朱唇，朱唇如玫瑰，

她談情時話中帶刺，

她談情時話中帶刺，

談情時，她話中帶刺。

Dormi, fiori miu

Sogna fiore mio, sogna e riposa

Chiude sta vocca che pare na rosa

Sogna e chiude gli occhi tunne tunne

Ca quanne sogni tu sogna gliu munne

Chiude gli occhi e nun parlare

Sogna gliu funne di gliu mare

Chiude gli occhi e nun avè paura

Sogna nu munne fatta a sunature.

Dream, My Flower

Dream, my flower, dream and rest,

Close your rosy lips.

Dream and close your wide, wide eyes

For when you dream, the world dreams.

Close your eyes and say no more, Dream of the deep, deep sea.

Close your eyes and have no fear,

Dream of a world full of musicians.

Sogna lu ventu e sogna la tempesta

Sogna gliu mare e sogna la foresta

Ca la musica de st’organetto

Te riempe ‘ncore e te scaveta

‘mpette

E raziulella mia nun parlare

Nun’`è cchiù tempe ‘de rifiatare

Oggi hai finite de disperare

Dopedimani jamma a faticare.

Ch gl’amma da fare nu gran castelle

Piene de tante cose belle

Gl’ammma da fare d’ore e d’argente

c’hanna abitare tutta la gente

E ogni jorne sarà allegria

生命如同死亡，

他們是觸不到的鄰居，

他們是觸不到的鄰居。

他們觸不到，卻渾然一體。

你，瑪利亞之子，

還未降生時，

你已被定罪；

還未降生時，

你已被定罪； 一降生時已被定罪。

E ci sarà pure mamma mia

E la fatia nun sarà cchi`ù amara

Pecchè saremo allora tutti quanti uguale.

Sogna fiore mio sogna e riposa

St’occhi toi so` comme li rose

Sogna tutti sti cose belle

Gliu cielo…gliu mare e tutte li stelle

E sogna sogna e nun tardare

E falla subito reposare

E scegne sogne e se non vo`venire

Co chesta musica falla addormire.

Dream of the wind and dream of the storm,

Dream of the sea and dream of the forest.

The music of this barrel organ Fills your heart and moves your breast, And, my pretty one, speak not, This is not the time for sighing.

Today your despair is over, After tomorrow we’re going to work.

We’ll build a great castle

Full of fine things.

We’ll make it of gold and silver, With room for everyone, And everyday will be full of gaiety, And my mother will be there too, And our fatigue will no longer be bitter

For we shall all be equal.

Dream, my flower, dream and rest, Your eyes are like roses,

Dream of all those pleasant things: The sky… the sea and all the stars.

Dream and go on dreaming now. And now let her take her rest, Sleep descends, and if it will not come,

Let this music lull her to sleep…

夢吧，我的小花

夢吧，我的小花， 入夢鄉歇息吧， 合上玫瑰紅唇。 閉上一雙明眸， 入夢吧﹗ 世界與你同步入夢。

閉上眼，別再講話， 夢進深邃大海， 閉上眼，別驚慌， 處處有樂師伴奏入夢。

夢見風吹， 又見雨打， 夢見汪洋， 又見森林。

手搖風琴的樂韻， 注入肺腑，感動你心， 我的美人，請安靜， 此刻不是哀嘆時。

今天你不再絕望， 明天過後， 我們仍需幹活。

我們將建宏偉城堡， 放滿美好的東西。

我們以金銀打造城堡， 每人各有天地， 天天歡愉連綿， 母親亦與我同在， 我們的疲憊不再苦澀， 因我們將會被平等對待。 夢吧，我的小花， 入夢鄉歇息吧， 你雙眼猶如玫瑰倩影， 快樂佈滿着每個夢境： 蒼穹、碧海與繁星。 夢吧，繼續做夢。

現在就讓她歇息， 沉睡吧，若無法入夢， 讓這樂韻伴她入眠……

子孫，神的子孫，

不可能觸碰

受造的萬物，

受造的萬物，

從未學懂，

從未學懂

受造的萬物。

Tarantella Calabrese

E beatu sia lu Santu Sacramentu ! Evviva di lu Carminu Maria. Santu tu Pascalu bellu Baylonne tu si’ lu prutetturi de li donne

E mannammillu bonu nu marito che sia jiancu, russo o culuritu, Na-na-na-neddra, quattu sordi di caciucaveddra

E nu caveciu a la gunnedra u vantesinu pi ll’aria va’

E la figlia di Bellavia, chi natichi tunni, chi minni ci avia,

Puru la mamma ci lu dicia : « Chi natichi tunni mia figlia Lucia ! » O nicchiu nicchiu nicchiu chi vai ndurniannu, Gaddrini nun ce stanno ntra sti cuntorni;

E ce ne st auna sula e va cantannu lu pâtre ha dittu ca l’è picculina.

Abballati, abballati fimmini schetti e maritati, R si nun abballati bonu nun vi cabtu en un vi sonu Si non abballati pulitu e ci lu dico a le vostru zitu.

O Sciroccu, o Punenti, o Tramuntana dammi la forza ca trovo la via Cu soni e canti’ ‘mParaviso acchiana la Grazia di lu Carminu Maria.

Tarantella Calabrese

Blessed the Holy Sacrament! Long live to our Lady of Carmel! Pascal Baylon, patron saint of women, Send me a husband, pale or ruddy or with a rosy complexion. He must be like you, St Pascal!

If you want chick peas, away with you! If you want carobs, there are none; Women with small breasts cannot find a husband.

Nannella, Nannella, four penny worth of mozzarella, A kick to the skirt, and off flies the apron… Bellavia’s daughter: what a nice bottom, what lovely breasts!

Her mother boasts about it too: ‘My daughter Lucia, what a nice bottom!’

Crafty one, off snooping, there are no chicks around here: There’s only one who goes off singing, but her father says she’s too young yet, Dance, women, single and married, and you’d better dance well, or I’ll neither sing nor play and you’d better dance neatly, or I’ll tell your sweetheart… Dance, Mrs Nannella, and you, comrade, with the tambourine…

塔朗特舞曲之花莖甘藍

求主賜福聖餐！

嘉謨聖母萬歲！

帕斯卡．巴比倫， 女子的守護神，

賜我一個丈夫吧，

臉色蒼白或紅潤，

或是有玫瑰色肌膚。

他必須像你一樣，聖帕斯卡！

若你想要鷹嘴豆， 你應有盡有！

若你想要角豆樹， 卻無法擁有； 胸脯細小的女人 嫁杏無期。

娜奈拉，娜奈拉， 值四塊錢的 意大利白芝士，

踢起裙襬，圍裙輕柔飛揚……

貝拉維亞的女兒： 多漂亮的美臀， 多可愛的胸脯啊！

她媽媽也為之自豪： 「我女兒露西亞，多漂亮的 美臀！」

狡猾的人，四出窺探，

沒有少女的蹤影：

只有一個邊走邊唱，

可是她父親認為她太過年輕， 起舞吧，女士們，

單身的、已婚的，

你們務必跳得好看，

否則我會不彈不唱。

你們務必跳得靈巧，

否則我會讓你知啊，甜心……

起舞吧，娜奈拉夫人，

還有你，

我的盟友，

隨着手鼓起舞吧……

Lu Passariellu

O re, re, lu passariello ‘nta ll’avena, E si nun lu va’ a parà Tutta ll’avena se magnarrà ‘O riavulo, stanotte

E mugliereme è caduta da lu liette; ‘O riavulo stanotte

La jatta s’è magnata li cunfiette.

E si prima eremo a tre a ballà la tarantella, Mo’ simmo rimaste a dduje

E mugliereme quant’è bella. Santo Michele sarva ogne Christiane moniche, monicelle e artigiane.

O re, re, lu passariello ‘nta ll’avena,

E si nun lu va’ a parà Tutta ll’avena se magnarrà.

‘Ntonuccio malado

E lu povero ‘Ntonuccio j’è malatu, e j’era de core la soi malatia

e j’era de core la soi malatia.

E quando lo seppu la so’ nnemorata:

e sciamme de mamma mia, sciamm’ a bederlo.

e sciamme de mamma mia, sciamm’ a bederlo.

E quando aribau dentro già cumata, e quando aribau a lo primo scaluno, e quando aribau a lo primo scaluno.

E maldito lo ‘Ntonuccio ch’è malatu, e areto areto la mammà soi cara, e areto areto la mammà soi cara

E lo jorno ca m’è sciut’ a sepoltura, e areto areto la mammà soi cara e areto areto la mammà soi cara.

E l’ultima pompa mia, la sepoltura, e areto areto la mammà soi cara, e areto areto la mammà soi cara.

A Bird is in the Grain

King, King, a bird is in the grain.

And if you do nothing, then he will eat the whole grain.

To hell, to hell, tonight my wife fell off the bed.

To hell, to hell, this night has become the cat, feasted on candy.

And if we advance to third danced the tarantella, we are now left with a friend.

Oh, how beautiful my wife!

Oh, holy Michael, save every Christian, Nuns, novices and artisans. King, King, a bird is in the grain.

And if you do nothing, then he will eat the whole grain.

Little Anthony is Ailing

Little Anthony, poor thing, is ailing,

And his sickness is love sickness. When his sweetheart found out:

Come, mother, let’s go and see him.

And when she got there, she was a widow,

As soon as she put her foot on the first step.

Cursed be Little Anthony, who is ailing!

And near him his dear mother. Today will be my burial…

And near him his dear mother. The last great ceremony, my burial…

And near him his dear mother.

鳥兒飛入了穀倉

主啊，主，

一隻鳥兒飛入了穀倉。

若然您袖手旁觀， 牠就會將穀物吃清光。

落地獄，落地獄去吧， 今夜我妻子從床上摔下來。

落地獄，落地獄去吧， 今夜已變為貓兒， 飽嘗糖果。

若然我們繼而 跳第三隻旋轉舞， 現在剩下我們和一位朋友。

噢，我的妻子多麼漂亮﹗ 噢，聖米迦勒， 救救基督徒吧， 修女、學徒及工匠們。

主啊，主，一隻鳥兒飛入穀倉。

若然您袖手旁觀， 牠就會 將穀物吃清光。

病榻中的小安東尼

可憐的小安東尼， 被病魔煎熬，

他患上了相思病。

他的愛人知道了：

「快來，母親，快去看他吧﹗」

當她趕到時， 已頓成寡婦，

當她踏上首級石階。

不幸的小安東尼， 被病魔煎熬﹗

他的慈母與他相伴。 今天將會是我的葬禮……

他的慈母與他相伴。

我的葬禮是最後一場盛大儀式……

他的慈母在他身旁。

賦予古樂創新風格

Innovate the Ancient Music with New Inspiration

所有音樂家都會面對相同的問題：我

們應該進取還是保守？詮釋還是創 作？在創新時，我們可以走多遠？應

該走多遠？界線在哪裏？什麼時候我

們可以超越界線？什麼時候我們必須

超越界線？更重要的是，如何超越？

一種新風格出現，往往是因為舊風格 已經完成了；新風格總是由舊概念萌 生而來的。

無論是中世紀末精緻藝術的複雜節 奏、文藝復興時期末54 個聲部的複音 音樂、巴洛克時期初的哀歌和第二常

規，巴洛克盛期那複雜的裝飾音，還 是浪漫時期末對調性系統的探索，以

至十二音序列的產生，人類一直在尋

找界線，並希望超越它們。

然而，二十世紀各種風格並存的現

象，是音樂史中獨有的。音樂分為 「輕音樂」、「嚴肅音樂」、古樂、 古典音樂和當代音樂。所謂「輕音 樂」的發展迅速，極具創意，也是史 無前例的：由傳統爵士樂到自由爵士 樂、打擊樂和流行樂到搖滾樂、爵士 搖滾、硬搖滾、重搖滾、電子音樂、 饒舌，還有混合音樂。今時今日的聽 眾，很多都喜歡當代的「輕音樂」， 「嚴肅」的當代音樂變得越來越不合 聽眾口味。

All musicians find themselves faced with the same questions. Should we elaborate or preserve, interpret or create? How far can or must we go in terms of innovation? Where are the limits? And when — and above all how — can or must we overstep those limits?

The emergence of a new style is always the result of the consummation of a previous style; new ideas always have roots that delve deeply into earlier conceptions.

Whether in the rhythmic complexity of the ars subtilior of the late Middle Ages, the fifty-four-part polyphony of the end of the Renaissance, the monody and the seconda prattica of early Baroque, the complex ornamentation of high Baroque, the exploration of our tonal system during the late Romantic period and the explosion thereof in dodecaphony, man has always sought out the limits with the aim of overstepping them.

But unique in musical history is the twentiethcentury juxtaposition of all those styles, the breakdown into “light” and “serious” music and the division into ancient, classical and contemporary music. Unique too is the rapid creative development of so-called “light” music, from traditional jazz to free jazz, from beat and pop to rock, jazz-rock

其實，「古典音樂」曲目沒有變化， 詮釋規則嚴格，難以創新，才應該 被稱為「古樂」；而現在的所謂「古 樂」卻能為我們提供很多新靈感，帶 我們重新發掘不同的和聲，使我們認 識當時的樂器那多采多姿的音色，各 式各樣的風格美輪美奐，還有最重要 的，就是讓能掌握一定技術的樂手享 有詮釋和即興創作的自由。一代又一 代的音樂家致力發掘和了解這些失傳 了的傳統規則，又努力熟習這些荒廢 了的樂器和音樂。他們的熱情打開了 音樂發展的新一頁，讓音樂產生更多 的可能性。

到了廿一世紀，時間和空間彷彿匯合 起來，把各種不同模式的表達方式連 繫上。在幾百年來探索過調性系統所 有和聲與節奏上的可能性後，我們現 在渴求的，是超越地理疆界的和聲語 言，以表達音樂的精髓，讓樂手演繹 得自由一點，以感動聽眾。所謂界線 已不再存在，不同背景的音樂家相互 交流，令不同的音樂語言聯合起來， 產生千變萬化的形象。

在結合兩種音樂風格的時候，即興創 作自然會引起一些問題。我們有沒有 權這權做？我們有權做什麼？產生的 風格該稱為什麼？

and hard rock, heavy metal, techno, rap and crossover. This contemporary “light” music appeals to much of today’s music-loving public, while “serious” contemporary music gradually becomes more and more remote from the listener’s tastes.

Moreover, it is “classical” music, with its unchanging repertoire and its strictly defined interpretative rules, leaving no room for innovation, that should really be described as “ancient”. And it is so-called “ancient” music that is in fact the provider of new ideas, leading us to rediscover harmony, the vast range of colours provided by its instruments, the ineffable beauty of its various styles and, above all, the interpretative and improvisational freedom that is available to its musicians, once they have grasped the necessary rules. For several generations now, musicians have set themselves the task of rediscovering and assimilating the rules of a culture that disappeared long ago, of mastering, with all the necessary virtuosity, the instruments and the music of a long-ceased tradition. Their passion and devotion have opened up a whole new province of musical possibilities. In the twenty-first century, we appear to have reached a point at which space and time merge, creating a bridge between various

然而，最有趣的問題卻是：我們之間

有什麼共通點？即興創作的基本意義

是什麼？我們彼此之間能互相學習到

什麼？

對於一個音樂家來說，無論其背景如 何，即興創作能最直接地跟聽眾溝 通。在過往的所有年代和文化裏，即

興創作都比其他音樂形式出現得要 早。即興創作將我們內心的聲音真誠 地表現出來，也是我們所接受的音樂 訓練的寫照。今日，我們可以自由選 擇，而我們所選擇的路反映了我們心 底裏的聲音；用以表達情感的音樂就

像鏡子一樣，把我們的靈魂映照出 來。

文：克里斯蒂娜．普盧哈

中譯：張婉麗

modes of expression. After exploring all the harmonic and rythmic possibilities of our tonal system for hundreds of years, we now aspire to a universal harmonic language that is capable of conveying the essence of music, allowing the musician a certain freedom, and touching the listener. The limits disappear, while the combination of different musical idioms forms kaleidoscopic images as musicians from different backgrounds get together.

Improvising, while trying to bridge the gap between two styles of music, naturally raises a number of questions. Have we the right to do this? What exactly are we allowed to do? What is the name of the resulting style?

But the most interesting questions are these: What do we have in common? What is the basic pith of improvisation? What can we learn from one another?

For a musician, whatever his background, improvisation is the most direct form of communication with the listener. In every age and culture, improvisation came before all other forms of music. It exposes our true, inner voice, which has been affected by our musical training. Today we are free to choose, and our chosen path is an expression of our innermost being. The music we use to express our emotions is the mirror of our soul.

普盧哈在家鄉奧地利格拉茨研習結他，

復在海牙音樂學院師隨佐藤豐彥演奏 琵琶。及後，她進入瑞士巴塞爾音樂

學院隨霍普金森．史密夫學習，獲頒

深造文憑，後來在米蘭公立學校師隨

著名豎琴演奏家馬拉．格拉西。

普盧哈自 1992 年定居巴黎，經常在不

同音樂節作獨

奏和數字低音 伴奏，合作的

樂團包括羅浮

宮音樂家合奏

團、威尼斯鳳

凰樂團、索亞

衛合奏團和科

隆合奏團；經

常合作演出的

樂手包括：雷 內．雅各布斯、

艾弗．波頓和

亞歷山德羅．迪馬奇。

1992 年，她與鳳凰樂團一起榮獲瑞典

馬模國際早期音樂大賽冠軍。2000 年 她創辦了琶音古樂團，樂團至今已推 出多張唱片。

普盧哈於 1993 年起在格拉茨大學主持 大師班，1999 年開始在海牙皇家音樂 學院教授巴羅克豎琴。她演奏的曲目 包括十六至十八世紀的魯特琴、巴羅 克結他、大魯特琴、雙頸低音大琵琶 和巴羅克豎琴的獨奏及數字低音作品。

After studying guitar in her home city of Graz, Pluhar graduated as a lutenist after studying with Toyohiko Sato at The Hague Conservatory. She was awarded the Diplôme Supérieur de Perfectionnement at the Schola Cantorum Basiliensis where she studied with Hopkinson Smith. Pluhar completed her studies with Mara Galassi at the Scuola Civica di Milano.

Christina Pluhar

Written by Christina Pluhar

English Translation by Mary

Pardoe

Since 1992 Pluhar has lived in Paris, where she performs regularly as a soloist and continuo player at prestigious festivals and with ensembles such as Les Musiciens du Louvre, La Fenice, Concerto Soave and Concerto Köln. She has collaborated frequently with René Jacobs, Ivor Bolton and Alessandro di Marchi.

In 1992 she won 1st Prize in the International Early Music Competition of Malmö with the ensemble La Fenice. She founded L’Arpeggiata in 2000 and since then the group has released several widely acclaimed CDs, particularly notable successes are their recent releases on Virgin Classics.

Since 1993 Pluhar has given masterclasses at Graz University, as well as teaching the baroque harp at the Royal Conservatory of The Hague where she has worked since 1999. Her repertoire includes solo and continuo works from the 16th to 18th centuries for Renaissance lute, Baroque guitar, archlute, théorbo and Baroque harp.

Baroque Harp

Théorbo

© Marco Borggreve

卡柏索圖是國際舞蹈家，也是歌唱家。

他曾與意大利音樂家吉多．莫里尼、「諧 和」樂團、意大利歌唱家馬可．比斯 利合作，兼任舞蹈員和演唱者；並曾

在莫扎特劇院出演奧地利薩爾斯堡音 樂節的表演節目《惡魔的誘惑》。他與 克里斯蒂娜．普盧哈帶領的琶音古樂

團合作，參與 樂團最新作品 《十字之路》的 錄製。他還為 著名歌曲《我 愛你，縱使我 不知道你是誰》 獻聲，一同參 與錄製的皆為 意大利最有聲 望的歌手，如 弗朗科．巴迪 亞托、魯齊奧． 達拉、馬西莫． 拉尼艾利、吉安尼．莫朗地及羅伯托． 費里等。2010 年 11 月，他受克里斯 蒂娜．普盧哈指揮的歐洲巴羅克管弦 樂團之邀，出任舞蹈員和演唱者，在 全歐巡迴演出傳統和巴羅克歌曲。

卡柏索圖與意大利導演克洛地奧．波 吉安尼一起創立了「意大利藝術共同 體」，這是一個囊括樂團、舞蹈公司及 戲劇公司的多元化平台藝術計劃。

除此之外，他亦曾經與「意大利藝術 共同體」一起於意大利阿拉鎮的巴羅 克音樂節及著名的威尼斯藝術雙年展 演出。

中譯：葛欣

榮森佐．卡柏索圖 Vincenzo Capezzuto

次男高音 Contralto

Besides being an international dancer, Vincenzo Capezzuto is also a singer. He worked both as a dancer and a singer with Guido Morini and the Accordone Ensemble and with Marco Beasley in the show The Temptation of the Evil at the Mozarteum Theatre in the Salzburg Music Festival. He also performs with L’ Arpeggiata, and features on the ensemble’s most recent recording Via Crucis . He also participated on the famous recording Ti amo anche se non so chi sei together with the most prestigious Italian singers such as Franco Battiato, Lucio Dalla, Massimo Ranieri, Gianni Morandi, Roberto Ferri. In November 2010, he was invited as singer and dancer by the European Baroque Orchestra directed by Christina Pluhar, touring all across Europe, singing traditional and baroque songs.

Capezzuto created along with the Italian stage director Claudio Borgianni Soqquadro Italiano, a multi-platform arts project that stretches from being a music ensemble, a dance company to a theatre company.

With Soqquadro Italiano he performed at the Baroque Festival in Ala and in Venice for the prestigious Biennale di Venezia.

© Reiner Pfisterer

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贊助人 PATRON

曾蔭權先生

The Honourable Donald Tsang Yam-kuen

永遠名譽會長

HONORARY LIFE PRESIDENT

邵逸夫爵士 Sir Run Run Shaw

執行委員會 EXECUTIVE COMMITTEE

主席 Chairman

李業廣先生 Mr Charles Y K Lee, GBM GBS JP

副主席 Vice Chairman

許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP

義務司庫 H onorary Treasurer

李思權先生 Mr Billy Li

委員 Members

夏佳理先生 The Hon Ronald Arculli, GBS JP

紀大衛教授 Professor David Gwilt, MBE

查懋成先生 Mr Victor Cha

周永健先生 Mr Anthony Chow SBS JP

黃敏華女士 Ms Nikki Ng

李　義法官 The Hon Mr Justice Ribeiro

詹偉理先生 Mr James Riley

黃鳳嫺女士 Ms Gilly Wong

任志剛先生 Mr Joseph Yam, GBM JP

節目委員會 PROGRAMME COMMITTEE

主席 Chairman

許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP

副主席 Vice Chairman

紀大衛教授 Professor David Gwilt, MBE

委員 Members

盧景文教授 Professor Lo King-man, MBE JP

毛俊輝先生 Mr Fredric Mao, BBS

譚榮邦先生 Mr Tam Wing-pong, SBS JP

姚　 珏 女士 Ms Jue Yao

伍日照先生 Mr Daniel Ng

羅志力先生 Mr Peter C L Lo

白諾信先生 Mr Giorgio Biancorosso

榮譽節目顧問 Honorary Programme Advisors

高德禮先生 Mr Douglas Gautier

Dr Peter Hagmann

約瑟．施力先生 Mr Joseph Seelig

財務及管理委員會 FINANCE AND MANAGEMENT COMMITTEE

主席 Chairman

李思權先生 Mr Billy Li

委員 Member

梁國輝先生 Mr Nelson Leong

發展委員會 DEVELOPMENT COMMITTEE

主席 Chairman

查懋成先生 Mr Victor Cha

副主席 Vice Chairman

梁靳羽珊女士 Mrs Leong Yu-san

委員 Members

杜安娜女士 Mrs Igna Dedeu

白碧儀女士 Ms Deborah Biber

廖碧欣女士 Ms Peggy Liao

黃慧玲女士 Ms Whang Hwee Leng

顧問 ADVISORS

鮑　磊先生 Mr Martin Barrow, GBS CBE JP

郭炳江先生 Mr Thomas Kwok, SBS JP

李國寶博士 Dr The Hon David K P Li, GBM GBS JP

梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP

名譽法律顧問

HONORARY SOLICITOR

史蒂文生黃律師事務所 Stevenson, Wang & Co

核數師 AUDITOR

羅兵咸永道會計師樓 PricewaterhouseCoopers

香港藝術節基金會

HONG KONG ARTS FESTIVAL TRUST

主席 Chairman

霍　璽先生 Mr Angus H Forsyth

管理人 Trustees

陳達文先生 Mr Darwin Chen, SBS ISO

梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP

陳祖澤博士 Dr John C C Chan, GBS JP

www.hk.artsfestival.org

網上追蹤香港藝術節 Follow the HKArtsFestival on

職員 Staff

行政總監 Executive Director

何嘉坤 Tisa Ho

節目 Programme

節目總監 Programme Director

梁掌瑋 Grace Lang

副節目總監 Associate Programme Director

蘇國雲 So Kwok-wan

節目經理 Programme Manager

葉健鈴 Linda Yip

外展經理 Outreach Manager

梁偉然 Ian Leung

助理節目經理 Assistant Programme Manager

汪文鈺 Joy Wang

助理製作經理 Assistant Production Manager

蘇雪凌 Shirley So

節目主任 Programme Officer

李家穎 Becky Lee

市場推廣 Marketing

市場總監 Marketing Director

鄭尚榮 Katy Cheng

市場經理 Marketing Managers

周　怡 Alexia Chow

梁頌怡 Kitty Leung

鍾穎茵 Wendy Chung

助理市場經理（票務）

Assistant Marketing Manager (Ticketing)

梁彩雲 Eppie Leung

發展 Development

發展總監 Development Director

余潔儀 Flora Yu

發展經理 Development Manager

嚴翠芳 Josephine Yim

助理發展經理 Assistant Development Manager

陳艷馨 Eunice Chan

會計 Accounts

會計經理 Accounting Manager

陳綺敏 Katharine Chan

助理會計經理 Assistant Accounting Manager

曾愛明 Ming Jung

會計文員 Accounts Clerk

黃國愛 Bonia Wong

行政 Administration

行政秘書 Executive Secretary

陳詠詩 Heidi Chan

地址 Address: 香港灣仔港灣道2號12樓1205室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

電話Tel: 2824 3555 傳真Fax: 2824 3798, 2824 3722 電子郵箱Email: afgen@hkaf.org

節目查詢(辦公時間內) Programme Enquiries (during office hours): 2824 2430

接待員 / 初級秘書 Receptionist / Junior Secretary

李美娟 Virginia Li

辦公室助理 Office Assistant

鄭誠金 Tony Cheng

職員 Staff (合約 contract)

節目 Programme

物流及接待經理 Logistics Manager

金學忠 Elvis King

製作經理 Production Manager

廖卓良 Liu Cheuk-leung

節目經理 Programme Manager

何玉凝 Amy Ho

助理節目經理 Assistant Programme Manager

陳采琦 Kathy Chan

項目經理 Project Manager

林慧茵 Jess Lam

藝術家統籌及項目經理

Artist Coordination and Project Manager

陳韻妍 Vanessa Chan

外展統籌 Outreach Coordinator

陳韻婷 Alyson Chan

外展主任 Outreach Officer

蔡樂庭 Vanessa Tsoi

外展助理 Outreach Assistant

陳慧晶 Ainslee Chan

節目及出版主任 Programme & Publications Officer

曾逸林 Zeng Yilin

技術統籌 Technical Coordinators

黎春成 Anthony Lai

陳寶瑜 Bobo Chan

鄭潔儀 Catherine Cheng

陳詠杰 Chan Wing-kit

陳佩儀 Claudia Chan

何美蓮 Meilin Ho

出版 Publication

編輯 Editor

鄺潔冰 Cabbie Kwong

英文編輯 English Editor

魏卓華 Mikel Echevarría

助理編輯 Assistant Editor

陳楚珊 Sharon Chan

市場推廣 Marketing

助理市場經理 Assistant Marketing Manager

陳燕 Lilian Chan

市場主任 Marketing Officer

梁愷樺 Anthea Leung

票務主任 Ticketing Officer

關穎思 Catherine Kwan

客戶服務主任 Customer Services Officers

劉寶軒 Xanthe Lau

楊蘊楹 Flora Yeung

姜嘉敏 Joyce Keung

發展 Development

發展經理 Development Manager

譚穎敏 Myra Tam

Concert Hall, HK Cultural Centre

Grand Theatre, HK Cultural Centre

Studio Theatre, HK Cultural Centre

Concert Hall, HK City Hall

漢堡芭蕾舞團 《馬勒第三交響曲》

The Hamburg BalletThird Symphony of Gustav Mahler

Theatre, HK City Hall 香港演藝學院戲劇院 Drama Theatre, HKAPA

Star Hall, KITEC

Auditorium, Kwai Tsing Theatre

《藝裳奇幻世界》 World of WearableArt

琶音古樂團 L'Arpeggiata / Christina Pluhar

漢堡芭蕾舞團 《 慾望號街車》

The Hamburg BalletA Streetcar Named Desire

奈吉爾．甘迺迪演奏會 Nigel Kennedy Plays Bach

白建宇 - 拉威爾鋼琴獨奏

全集音樂會

Kun Woo Paik Plays Ravel

鄭明勳與皇家阿姆斯特丹

音樂廳樂團

Myung-whun Chung and the Royal Concertgebouw Orchestra

卡麗塔．馬蒂娜女高音獨唱會

Karita Mattila in Recital

約翰博士與Lower 911樂隊

Dr John & The Lower 911

里昂歌劇院芭蕾舞團 Lyon Opera Ballet

《六月戀人》

June Lovers

《愛之初體驗》 Journey to Home

香港藝術節委約及製作 Commissioned and produced by the HKAF

徹卡奧維《手塚》

Sidi Larbi Cherkaoui TeZukA

十六合唱團及古樂團 — 基斯杜化士

The SixteenHarry Christophers

巴伐利亞國立歌劇院 《女人心》

Bavarian State Opera Così Fan Tutte

蒙地卡羅芭蕾舞團 《仲夏夜之夢》

Monte-Carlo BalletLe Songe

沙漠搖滾塔里溫 Tinariwen

巴伐利亞電台交響樂團

Bavarian Radio Symphony Orchestra

Black Box Theatre, Kwai Tsing Theatre

Auditorium, Yuen Long Theatre

The Hong Kong

《野豬》 The Wild Boar

《藝裳奇幻世界》 World of WearableArt

香港藝術節委約及製作 Commissioned and produced by the HKAF

《野豬》 The Wild Boar

京士頓玫瑰劇院 《不可兒戲》 Rose TheatreThe Importance of Being Earnest

琶音古樂團 L'Arpeggiata Christina Pluhar

京劇—馬連良紀念系列 Beijing OperaA Tribute to Laosheng Master Ma Lianliang

香港藝術節委約及製作 Commissioned and produced by the HKAF

《示範單位》

《蜂》 The Bee

粵劇《搜書院》 Cantonese OperaSearching the Academy

Show Flat

香港藝術節委約及製作 Commissioned and produced by the HKAF

粵劇 — 折子戲精選 Cantonese OperaExcerpts of selected repertoires

香港賽馬會當代舞蹈平台系列 Hong Kong Jockey Club Contemporary Dance Series

節目1 Programme 1

香港藝術節委約及製作 Commissioned and produced by the HKAF

香港小交響樂團

《如夢逝水年華》 Hong Kong SinfoniettaLa Valse Remembered

《示範單位》

Show Flat

《機器人幻想曲》 Sans Objet by Aurelien Bory

《野豬》 The Wild Boar

藝子與舞子 The Geisha of Gion

新民謠．中國風 China Folk Rock

瑞信新晉藝術家系列 CREDIT SUISSE EMERGING ARTISTS SERIES

《4.48精神崩潰》 TR Warszawa Theatre 4.48 Psychosis

《山海經傳》 Of Mountains and Seas

香港藝術節委約及製作 Commissioned and produced by the HKAF

馬丁．史岱費爾德 鋼琴獨奏會 Martin Stadtfeld Piano Recital

巴維．哈斯四重奏 Pavel Haas Quartet

石坂團十郎大提琴獨奏會 Danjulo Ishizaka Cello Recital

埃克森美孚新視野 EXXONMOBILE VISION

周樂娉與周樂婷鋼琴二重奏音樂會 Chau Lok-ping and Chau Lok-ting Piano Duo Recital

Symposium 大師班 Masterclasses 17/2 卡麗塔．馬蒂娜歌唱大師班 Karita Mattila Voice Masterclass 23/2 巴維．哈斯四重奏大師班 Pavel Haas Quartet Masterclass 25/2 《彌賽亞》工作坊 Messiah — Workshop 2/3 多米拿堤合唱團大師班 Dominante Choral Coaching Masterclass

蒙地卡羅芭蕾舞團 《仲夏夜之夢》

Monte-Carlo BalletLe Songe

香港賽馬會當代舞蹈平台系列 Hong Kong Jockey Club Contemporary Dance Series

節目2 Programme 2

香港藝術節委約及製作 Commissioned and produced by the HKAF

香港中樂團「樂旅中國VI」 Hong Kong Chinese OrchestraMusic About China VI

《布利斯托爾》

老域劇團

Bristol Old Vic Faith Healer

亞太舞蹈平台 Asia Pacific Dance Platform

多米拿堤合唱團 Chamber Choir Dominante 周樂娉與周樂婷鋼琴二重奏音樂會 Chau

法國北方布夫劇場彼得．布祿克的《魔笛》 Theatre des Bouffes du Nord - A Magic Flute

and Chau Lok-ting Piano Duo Recital

《布利斯托爾》

老域劇團

Bristol Old Vic Faith Healer

《香港式離婚》（重演） The Truth About Lying (Re-run)

邵俊傑與友人敲擊音樂會 Louis Siu and Friends Percussion Recital

多米拿堤合唱團 Dominante

《泰特斯》(2012) Titus Andronicus (2012)

香港藝術節委約 Commissioned by the Hong Kong Arts Festival