Opera Hong Kong x Le French May - Carmen|Leaflet

OPERA HONG KONG & LE FRENCH MAY PROUDLY PRESENT

16-20 MAY 2018

AN OPERA IN 4 ACTS 四幕歌劇

(WED - SUN) | 19:30

Libretto 編劇及作詞: Henri Meilhac and Ludovic Halévy 麥爾哈克及阿萊維

Grand Theatre, Hong Kong Cultural Centre 香港文化中心大劇院

Mok 莫華倫 Abel 阿貝爾 Director 導演: Jean-Romain Vesperini 衛斯皮烈尼 Chorus Director 合唱團總監: Alex Tam 譚天樂 Producer 監製: Warren Conductor 指揮: Yves

Performed in French with Chinese and English Surtitles 法語演出，中英文字幕

比才

卡門

Bizet’s

C A R M E N

節目主要贊助及5月20日演出之冠名贊助 Performance Major Sponsor and Title Sponsor of 20 May performance

鳴謝 Acknowledgement

康樂及文化事務署 Leisure and Cultural Services Department

香港歌劇院榮譽贊助及5月18日演出之冠名贊助 Honorary Patron of Opera Hong Kong & Title Sponsor of 18 May performance

5月19日演出之獨家贊助 Sole Sponsor of 19 May performance

全力支持 Supported by

Hong Kong Sinfonietta 香港小交響樂團 Opera Hong Kong Chorus 香港歌劇院合唱團 Opera Hong Kong Children Chorus 香港歌劇院兒童合唱團 The Song and Dance Troupe of Fujian Opera Dance and Drama Theatre 福建省歌舞劇院歌舞團

Love Awaits You

Peter Gordon

If any opera belies the notion that this art form is somehow snobby and elitist, it’s Carmen.

This now famous story of the gypsy seductress and the fatally besotted soldier Don José combines drama that is both metaphorically and literally gut-stabbing with music that is popular in the best sense of the word: hummable tunes and melodies that go round in one’s head for days afterwards.

Carmen is based on the 1845 novella of the same title by the French writer Prosper Mérimée; as is often the case with opera, the musical adaption relegated the original prose source to relative obscurity. The composer was the young Georges Bizet, of whom much was expected, but whose other compositions, notably Les Pêcheurs de Perles — The Pearl Fishers — had to date achieved only limited success. Carmen’s première at Paris’s Opéra-Comique in 1875 scandalized many, understandably perhaps given the focus on a woman — a gypsy no less! — of dubious virtue.

As inexplicable as it seems today, others were apparently bored by it.

Bizet himself was convinced it was a failure; he tragically died of a heart attack only a few months later, never to know of the tremendous global success his work became.

Carmen soon took off and remains of the most commonlyperformed operas worldwide. No mezzo-soprano can call her career complete without undertaking this most celebrated of roles.

It is ironic that some of the best-known “Spanish music” was written by a Frenchman. Bizet was not above “borrowing” music from Spanish composers: Carmen’s famous Act I “Habanera” is a crib from “El arreglito”

by Sebastián Iradier. The first Carmen, Célestine GalliMarié, insisted that Bizet write her something “in the line of gypsies”. A request to the Conservatory Library — Bizet himself never actually visited Spain — turned up the song that has become one of opera’s most famous arias.

The entr’acte to Act IV is also based on an Andalusian serenade from an 1804 operetta by Manuel García.

Bizet’s music is irresistible, so much so that it can obscure the fact that this simple story of a doomed love affair is populated who characters who are deeply ambivalent.

Micaëla, the ostensibly simple country girl, turns out to be the only person with courage and decency. She has given up on Don José, but nevertheless goes to the smugglers’ mountain camp to find him: not for herself, and not to save him, but for his dying mother.

Don José falls for Carmen in spite of himself with a passion that devours him. He is perhaps tragic, certainly proud, jealous and foolish — but men in love all too often are. In the end, however, Don José exudes only pathos: “There is still time,” he pleads in a final appeal to Carmen.

“Let me save you, and in so doing, save myself as well!”

This is met with the derision it deserves.

Carmen for her part is fiery, thoughtless, superstitious and completely irredeemable with no regard for anyone but herself, and yet... and yet she won’t be pushed around, least of all by men. When Don José returns to find her — stalks her, some might say — outside the bullring, she tells him “I was born free and free I shall die!” This is a woman who knows just who she is and who stands up for herself. And thus, although the opera is 140 years old, is also entirely modern. That, and not just the music, is surely why Carmen became, and remains, iconic: it still speaks to us and not always comfortably.

愛．期待

高博德

一般人認為歌劇是一種上流社會、精英份子的娛樂。 若有一齣歌劇可以反證這錯覺，那就是《卡門》。 《卡門》這齣舉世知名的歌劇，敘述水性楊花的吉卜 賽女子卡門和迷戀她的糊塗警衛兵唐荷西的故事。這 齣歌劇引人入勝，劇中的歌調旋律優美，繞樑三日。 大部份觀眾至少認識劇中一首歌曲 —— 第二幕起幕後 數分鐘出現的「鬥牛勇士之歌」。 《卡門》的故事取材自法國作家梅里美於 1 84 5 年出版 的同名短篇小說。這齣出色歌劇的知名度遠勝其原來 的小說。 創作這齣歌劇是年青的比才，為人期待。但其另一齣 創作《採珠者》卻不算十分成功。《卡門》於 1 875 年 在巴黎喜歌劇院首演，引起很多人不滿，最可理解的 原因是其主角為淫蕩的吉卜賽女人。另外有些人覺得 此歌劇很沉悶，這點我們現在實在難以理解。

比才因這齣歌劇的失敗而受到打擊，數個月後更因心臟 病發而英年早逝。他萬萬想不到此劇後來竟風靡全球。 現在此劇已成為每位女中音必演的劇目。 對於西班牙人來說，最廣為人熟識的西班牙音樂乃出自 法國作曲家比才的手筆，是一件頗為諷刺的事。第一幕 中由卡門唱出的著名詠嘆調《愛情是一隻反叛的小鳥》 （哈巴涅拉舞曲）取材自十多年前西班牙作曲家伊拉 第耶的歌曲《姘居》。事緣是這樣：首演卡門的女主 角嘉麗瑪維埃強烈要求比才為她寫一些具有吉卜賽味 道的歌曲。比才於是到音樂學院的圖書館尋找靈感（因 他從沒有踏足西班牙），其後竟寫成這齣歌劇最著名 的歌曲。此外，第三和第四幕之間的幕間曲，也是建 基於西班牙作曲家馬勞埃．加西亞於 1 8 04 年創作的一 齣輕歌劇中的一種安達盧西亞小夜曲。 比才這齣歌劇的音樂引人入勝，甚至使人忽略了劇中 角色性格充滿矛盾及搖擺不定。 純樸的村女米凱拉是劇中唯一一個勇敢而可敬的人物。 她雖然已對唐荷西絕望，但仍深入走私販盤據的山頭 尋找他。這並非為了自己，也並非為了拯救唐荷西， 而是為了唐荷西病危的母親。 唐荷西為卡門自甘墮落，命運雖是可悲，但他誠然自以 為是，疾妒，而且愚昧 — 但哪一個在愛中的男人並 非如此？（觀眾中的年青男子應謹記米凱拉的忠告。） 最後唐荷西仍滿懷傷感向卡門道：「我們還有時間。」， 最後更哀求她：「讓我拯救妳，這樣我也可以拯救自 己！」最終亦只能受到命運的嘲弄。 卡門這角色既瘋狂、又自私、迷信及執迷不悟。她完 全不受男人束縛。當唐荷西返回鬥牛場外找她時 ( 或指 他跟蹤卡門），她對他說：「我生性自由，死也要自 由地死！」。卡門很清楚自己的本性，並堅決我行我 素。雖然這齣歌劇創作於 140 多年前，但它今天仍感動 我們，令我們產生共鳴，縱然觀眾有時感到不安。這 就是《卡門》成為經典的原因。

Opera Hong Kong

香港歌劇院

Established in 2003, Opera Hong Kong (OHK) is committed to the mission of enhancing the appreciation of the art of opera in Hong Kong and promoting local musical talent. In addition to staging operas and concerts, education and outreach programmes are also held regularly to reach the young population. Opera Hong Kong Chorus and Opera Hong Kong Children Chorus were established in 2004 and 2008 respectively and are becoming recognised forces in the local choral scene.

香港歌劇院自 20 03 年成立以來，一直致力製作 高質素及專業的歌劇，將歌劇帶給香港的觀眾， 並培養本地具潛質的音樂家。香港歌劇院亦定期 為年青一代舉辦各項教育及外展活動，把歌劇藝 術 進 一 步 推 廣 至 社 會 各 階 層。 香 港 歌 劇 院 更 於 20 04 年及 20 0 8 年成立香港歌劇院合唱團及香 港歌劇院兒童合唱團，為本地合唱界注入新的動 力。

In 2015, OHK has launched The Jockey Club Opera Hong Kong Young Artist Development Programme (the Programme), a 3-year opera training programme funded by The Hong Kong Jockey Club Charities Trust, to nurture ten professional young local artists. The Programme is the firstever intensive professional opera training project in Hong Kong accompanied by a series of outreach activities. Mr. Gong Dongjian, a famous bass and an experienced vocal coach, is the Programme Director of the Programme.

OHK will celebrate its 15th anniversary in 2018. In addition to presenting a series of celebratory programmes including full scale productions of Carmen in May and Turandot in October, the company will also be expanding its Education & Outreach efforts with a brand-new music centre Opera Hong Kong Atelier Lyrique and scaling up the Jockey Club Opera Hong Kong Young Artist Development Programme. Alongside, a complete digital overhaul on website and a re-energised social media platform will enhance readers’ knowledge of opera and nurture a new generation of opera lovers in Hong Kong.

Warren Mok Yves Abel Director Jean-Romain Vesperini Set Designer Bruno de Lavenère Costume Designer Thibaut Welchlin

Producer Conductor

- With the special support of Vannina Vesperini for Carmen, Frasquita and Mercédès costumes.

Lighting Designer Christophe Chaupin Video Designer Etienne Guiol Assistant Director & Choreographer Daphne Chorus Director Alex Tam

Mauger

Varduhi Abrahamyan * / Marie Karall ^

Don José Jean-François Borras (16, 18 May) / Giancarlo Micaëla Li Yang * / Colette Lam ^ Escamillo Vittorio Vitelli (16, 18, 19 May) / Jean-Kristof Zuniga Apollo Wong Frasquita Joyce Wong * / Phoebe Tam ^ Mercédès Bobbie Zhang * / Samantha Chong ^ Dancairo Albert Lim * / Sammy Chien ^ Remendado Chen Chen * / Chen Yong ^ Moralès Alexander Chen * 16, 18, 20 May

^ 17, 19 May

香港歌劇院今年已邁進十五周年。本歌劇院將呈 獻一系列精彩慶祝節目，包括五月上演的足本製 作經典歌劇《卡門》和十月上演的《杜蘭朵》。 此外，香港歌劇院更致力擴大教育及外展工作， 於灣仔設立香港歌劇院樂樂坊作永久培訓空間， 以及擴展賽馬會香港歌劇院青年演唱家發展計劃 的規模。與此同時，香港歌劇院即將推出全新網 站，與社交平台內容繼續精彩同步，以豐富及具 創意的內容增進讀者對歌劇藝術的認識，孕育香 港新一代的歌劇愛好者。

監製 莫華倫 指揮 阿貝爾 導演 衛斯皮烈尼 佈景設計 納雲奈烈 服裝設計 維爾殊林

– 由 Vannina Vesperini 全力支持製作卡門，

芙拉斯基塔及梅賽黛斯的服裝。 燈光設計 卓平 視像設計 古奧爾 助理導演及編舞 毛格 合唱團總監 譚天樂

Hong Kong Sinfonietta Opera Hong Kong Chorus Opera Hong Kong Children Chorus The Song and Dance Troupe of Fujian Opera Dance and Drama Theatre Carmen

2015 年，香港歌劇院獲香港賽馬會慈善信託基金 全力贊助推出「賽馬會香港歌劇院青年演唱家發 展計劃」，為期三年，培訓十位本地專業青年演 唱家，這是香港首個配以一連串外展活動的密集 式歌劇訓練計劃。計劃總監是著名男低音龔冬健 先生，他肩負計劃發展的策劃外，更為參與計劃 的十位年青本地演歌唱家定期授課。

Monsalve (17, 19, 20 May)

Bouton (17, 20 May )

香港小交響樂團 香港歌劇院合唱團 香港歌劇院兒童合唱團 福建省歌舞劇院舞蹈團 艾巴罕婭 * / 卡拉爾 ^ 唐荷西 博華斯 (5 月 16, 18 日 ) / 蒙沙爾夫 (5 月 17, 19, 20 日 ) 米凱拉 李洋 * / 林穎穎 ^ 埃斯卡米洛 維特里 (5 月 16, 18, 19 日 ) / 保頓 (5 月 17, 20 日 ) 蘇尼加 黃日珩 芙拉斯基塔 黃華裳 * / 譚樂軒 ^ 梅賽黛斯 張倩 * / 張吟晶 ^ 丹凱羅 林俊 * / 錢深銘 ^ 雷門達多 陳晨 * / 陳永 ^ 莫拉萊斯 陳俊堯 卡門

* 5 月 16, 18, 20 日

^ 5 月 17, 19 日

Producer 監製

Warren Mok 莫華倫 World-renowned Hong Kong tenor Warren Mok makes frequent guest appearances in many leading opera houses throughout the world. His operatic repertoire exceeds 60 roles including Cavaradossi in Tosca, Calaf in Turandot, Rodolfo in La Bohème, Radamès in Aïda and many others. In recent years, Mok has been very active in promoting western opera and music in Hong Kong, Macau and the Mainland; recently, he has been the Artistic Director of Opera Hong Kong, Fujian Grand Theatre and Zhuhai Huafa Grand Theatre and was also the Artistic Director of the Macao International Music Festival.

Mok was awarded the Medal of Honour by the Hong Kong Special Administrative Region in 2011, World Outstanding Chinese Award in 2010, and both Cavaliere dell’Ordine della Stella della Solidarietà Italiana (Knight of the Star of Solidarity of Italy) by the Government of Italy and Chevalier dans I’Ordre des Arts et des Lettres (Knight of the Order of Art and Letter) by the Government of France in 2008.

In 2012, China’s Three Tenors — Warren Mok, Dai Yuqiang and Wei Song — toured the world to promote Chinese culture. In 2015 Mok was appointed as both members of Beijing and Zhuhai Committee of Chinese People’s Political Consultative Conference, bridging and fostering and development between the two cities and Hong Kong. 莫華倫是世界知名的男高音歌唱家。他的演唱行程遍及世界各大著名歌劇院。他演唱的歌劇角色超過六十個，其中包括《托斯 卡》的卡瓦拉多西、《杜蘭朵》的卡拉夫、《波希米亞生涯》的魯道夫、《阿伊達》的拉達梅斯等。莫氏在港澳及內地積極推 廣西方歌劇與音樂，近年除出任香港歌劇院、福建大劇院及珠海華發大劇院的藝術總監外，亦曾為澳門國際音樂節的藝術總監。 2011 年莫華倫榮獲香港特區政府榮譽勳章，及 2010 年榮獲世界傑出華人獎，此外莫氏於 2008 年獲意大利政府頒發「意大利團 結之星騎士勳章」及法國政府頒發「法國藝術騎士勳章」。 20 1 2 年，莫氏與戴玉強、魏松所組成的中國三大男高音一起舉行世界巡迴演出，積極推動中國文化走向世界。他自 20 1 5 年起 獲委任為北京市政協委員及珠海市政協委員，促進兩地與香港交流發展。

Conductor 指揮

Yves Abel 阿貝爾 Yves Abel was born in Toronto. Since 2015, he has been the Chief Conductor of the Nordwestdeutsche Philharmonie (Herford, Germany). He was also the Principal Guest Conductor of the Deutsche Oper Berlin from 2005 to 2011. He is comfortable in both symphony and opera, having worked with many leading orchestras in Toronto and Montreal as well as in Berlin, Amsterdam, New York, San Francisco, Lyon, Dublin, Copenhagen, and many in Italy and Spain. He is a frequent guest of the world's greatest opera companies, including the Royal Opera House in London, Metropolitan Opera, Opéra de Paris, Wiener Staatsoper, La Scala, Photo Credit: Marco Borggreve Bayerische Staatsoper, and in such festivals as Aspen, Pesaro, Glyndebourne and Spoleto. He has been awarded Chevalier des Arts et des Lettres by the Government of France. 生於多倫多，阿貝爾自 20 1 5 年起獲西北德愛樂樂團委任為首席指揮。他並於 20 0 5 至 20 1 1 年期間出任柏林德意志歌劇院首席 客席指揮。他對交響樂曲及歌劇同樣擅長，並曾於多倫多、蒙特利爾、柏林、阿姆斯特丹、紐約、三藩市、里昂、都柏林、哥 本哈根及意大利與西班牙的城市等當地樂團合作。他亦是世界頂尖歌劇院的常客，包括倫敦皇家歌劇院、紐約大都會歌劇院、 巴黎歌劇院、維也納國家歌劇院、米蘭斯卡拉歌劇院及慕尼黑巴伐利亞國立歌劇院等，並參與於阿斯本、佩薩羅、格萊德邦及 斯波萊托等地的藝術節。他曾獲法國政府頒發法國文學藝術騎士勛章。

Director 導演

Jean-Romain Vesperini 衛斯皮烈尼 As a graduate of I’Ecole du Théâtre National de Chaillot in Paris and Guildhall School of Music and Drama in London with drama and singing studies respectively, Jean-Romain Vesperini is both an acclaimed theatre and opera director. Recently he directed Faust in collaboration with conductor Michel Plasson and tenor Piotr Beczala at the Opéra National de Paris. His La traviata production for the Operas of Limoges, Reims and Rennes was a great success. From 2008 to 2012, he was the Resident Director of festival Nuits de Corte in Corsica. He also worked on operas including Don Carlo at Salzburg Festival, Aïda at La Scala and Stanislavsky Theatre in Moscow, Berg’s Lulu at the Opera National de Lyon, La Scala and Wiener Festwochen. 衛斯皮烈尼畢業於巴黎夏約宮國家劇院附屬學院及倫敦市政廳音樂及戲劇學院，分別就讀話劇及聲樂訓練。他現為優秀及著名 的劇場及歌劇導演。近期他與指揮家普拉松及男高音貝扎拉合作，為國立巴黎歌劇團執導《浮士德》。而他於法國利摩日歌劇 院、漢斯歌劇院及雷恩歌劇院的《茶花女》製作獲得空前成功。2008 至 2012 年期間，他獲邀出任法國科西嘉島跨夜藝術節的 駐團導演。作品包括薩爾斯堡藝術節的《卡洛王子》；米蘭斯卡拉歌劇院及莫斯科斯坦尼斯拉夫斯基的《阿伊達》；里昂歌劇院、 米蘭斯卡拉歌劇院及維也納藝術節中貝爾格的《露露》。

Varduhi Abrahamyan 艾巴罕婭

Marie Karall 卡拉爾

Carmen 卡門 (16, 18, 20 May)

Carmen 卡門 (17, 19 May)

As a graduate of the Conservatory of Yerevan, Varduhi Abrahamyan started her 2016/17 season as Polinesso in Ariodante in Toronto, Bradamante in Alcina at Opernhaus Zürich with Cecilia Bartoli and the title role in Carmen at Teatro Massimo di Palermo and Opéra de Paris. In the past season she sang Benvenuto Cellini at Teatro dell’Opera di Roma, Dalila in Samson et Dalila at Palau de les Arts in Valencia under the baton of both Roberto Abbado and Plácido Domingo, Carmen at Bolshoi Theatre Moscow and Hamburg Staatsoper and La donna del Lago at Rossini Opera Festival in Pesaro. Her recent engagements included Eugene Onegin and Falstaff at Opéra de Paris, Alcina at Théâtre des Champs-Elysées, Eugene Onegin in Toronto and Carmen at Opernhaus Zürich. 畢業於葉里溫學院，艾巴罕婭於多倫多以《阿里歐唐德》 的 波琳尼索一角作其 2016/17 樂季的揭幕演出，隨後於蘇黎世歌 劇院《艾爾仙娜》與巴托莉合作，飾演布拉達曼特，並於巴 勒莫馬西穆劇院及巴黎歌劇院飾演《卡門》的同名角色。其 他演出包括羅馬歌劇院的《賽利尼》；索菲亞王后藝術歌劇 院演唱《森遜與黛麗拉》的黛麗拉，與兩大指揮大師阿巴多 及杜鳴高合作；莫斯科大劇院及漢堡國家歌劇院的《卡門》 及意大利佩薩羅羅西尼歌劇節的《湖上女郎》等。今季演出 包括在巴黎歌劇院的《尤根．奧涅金》及《法斯塔夫》、巴 黎香榭麗舍劇院的《艾爾仙娜》、多倫多的《尤根．奧涅金》 及蘇黎世歌劇院的《卡門》。

Trained at the Strasbourg Conservatory and Opera Studio in Rome, Marie Karall was awarded first place at the SaintJean Cap Ferrat Competition in 2006 and 20th Clermont-Ferrand Competition.

Photo Credit: Dietmar Scholtz Praised for being ‘distinguishable for the dark colour of her highly dramatic voice tone and her strong emotional involvement’, her repertoire includes Carmen, Dalila, Charlotte in Werther, Paulina in Queen of Spades, Principessa di Bouillon in Adriana Lecouvreur, Maddalena in Rigoletto and many others. Other highlights included her appearances as Fenena in Nabucco at Avenches Opera Festival, Federica in Luisa Miller at Opera de Lausanne and Mallika in Lakmé at Montpellier National Opera, Chorégies d’Orange and Bordeaux National Opera. Her recent engagements included Carmen at Latvian National Opera in March 2018. 受訓於斯特拉斯堡學院及羅馬歌劇工作室，卡拉爾分別贏得 20 06 年法國聖讓卡弗爾拉比賽及第二十屆克勒蒙費朗比賽的 第一名。擁有一副「獨特沉厚的嗓音，極富戲劇性，完全投 入角色的感情世界」，她所擅長的角色包括卡門、黛麗拉、 《維特》的夏洛特、《黑桃皇后》的波林娜、《阿德里安娜． 萊科芙露爾》的布伊翁公主及《弄臣》的瑪達蓮娜等。其他 精彩演出包括瑞士阿旺什歌劇節《納布可》的費寧娜、洛桑 歌劇院《路易莎．米娜》的菲迪列卡及蒙彼利埃國家歌劇院、 歐杭菊國際歌劇節和波爾多國家歌劇院《拉克美》的莫莉卡 等。她並於 2018 年三月為拉脫維亞國家歌劇院演唱《卡門》。

Jean-François Borras 博華斯

Giancarlo Monsalve 蒙沙爾夫

Don José 唐荷西 (16, 18 May)

Don José 唐荷西 (17, 19, 20 May)

Jean-François Borras is considered one of the most talented tenors of his generation. He has been performing under the baton of Alain Guingal, Daniel Oren, Evelino Pido and many others on Photo Credit: Youness Taouil the most prestigious opera stages. In past seasons he was both Rodolfo in La Bohème and title role in Werther at Metropolitan Opera where he was highly praised by public and critics alike, Rainbaud in Robert le diable at Royal Opera House in London, Alfredo in La traviata in Opera de Monte Carlo and the title role of Macbeth at Théâtre des ChampsElysées. This season he appears in Werther, Thaïs and La Bohème at Metropolitan Opera, La traviata at Wiener Staatsoper and Faust at Opéra de Marseille. 博華斯被譽為現今極具才華的男高音之一。他曾踏足於世界 著名舞台，並獲邀參與多名歌劇大師執棒下的製作，與指揮 包括桂戈爾、歐倫、皮都等更是合作無間。去季他曾於紐約 大都會歌劇院飾演《波希米亞生涯》的羅多夫及《維特》的 同名角色，而此演出更獲各方一致好評；倫敦皇家歌劇院飾 演《惡魔羅伯特》的藍博；蒙地卡羅歌劇院飾演《茶花女》 的阿菲度；及巴黎香榭麗舍劇院飾演《馬克白》的同名角色 等。今個樂季，他獲大都會歌劇院邀請演唱《維特》、《泰 伊思》、《波希米亞生涯》；維也納國家歌劇院演唱《茶花女》 及馬賽歌劇院演唱《浮士德》。

Acclaimed as one of the leading lirico spinto tenors of his generation, Giancarlo Monsalve performed in mega event Celebrating Oman: the Great Journey at Royal Opera House in Muscat and Cavaradossi in Tosca at Opéra de Montréal in 2017. He performed regularly in prestigious theatres including Arena di Verona, Royal Opera House, Bayerische Staatsoper and many others. In 2016, he won praise worldwide with his first Pollione in Norma at Florida Grand Opera, the title roles of Andrea Chenier at Teatro Comuale of Sassari and Otello in Chile.

2016 also marked the inauguration of the Giancarlo Monsalve Foundation, celebrating ten years of his successful worldwide career. In 2010, he was named Cultural Ambassador with the UNESCO Medal by Valparaiso UNESCO World Heritage. 蒙沙爾夫是近年備受國際音樂界追捧的抒情戲劇男高音之 一。20 1 7 年他於馬斯喀特皇家歌劇院參與大型盛事活動「慶 祝阿曼：奇妙之旅」及蒙特利爾歌劇院飾演《托斯卡》的卡 瓦拉多西。他常獲邀於國際頂尖的劇院獻唱，包括維羅那露 天劇場、倫敦皇家歌劇院及慕尼黑巴伐利亞國立歌劇院等。 20 1 6 年他的演出屢獲觀眾及劇評讚賞，當中包括佛羅里達大 歌劇院首次演出《諾爾瑪》的波霖內、薩沙里市立歌劇院的 《安德烈謝尼埃》及智利的《奧賽羅》。同年為慶祝其優秀 的十年事業發展，他成立蒙沙爾夫基金會。20 1 0 年他獲聯合 國世界遺產瓦爾帕萊索區頒發獎章，並任命為文化大使。

Li Yang 李洋

Colette Lam 林穎穎

Micaëla 米凱拉 (16, 18, 20 May)

Micaëla 米凱拉 (17, 19 May)

Highly versatile Chinese soprano Li Yang embraces a wide range of repertoire and operatic roles. Li’s operatic credits include: Pamina in Die Zauberflöte, Angelica in Suor Angelica, Gerhilde in Die Walküre, Alison in The Wandering Scholar, Contessa in Le nozze di Figaro, Stephano in Roméo et Juliette, Jinzi in The Savage Land, Fiordiligi in Così fan tutte and the title roles of L'incoronazione di Poppea, The Cunning Little Vixen and The Merry Widow.

On the concert stage, she was featured as a soprano soloist in Mahler’s Fourth Symphony, Verdi’s Requiem, Brahms’ Liebeslieder Waltzes, Schubert's Der Hirt auf dem Felsen, Haydn’s Nelson Mass, Vivaldi's Gloria in D and Carl Orff’s Carmina Burana.

Upcoming performances in 2018 include Micaëla in Carmen and Rosalinde in Die Fledermaus. 抒情女高音李洋，活躍於不同的交響樂及室內樂舞臺上，並 在多部歌劇中擔任主要角色。其出演的歌劇角色包括《魔笛》 的柏美娜、《修女安潔莉卡》的安傑麗卡、《女武神》的格 希爾德、《漫遊的學者》的愛麗森、《費加羅的婚禮》的伯 爵夫人、《羅密歐與茱麗葉》的斯坦凡諾、《原野》的金子、 《女人皆如此》的費奧迪麗姬，並擔任《波佩娥的加冕》、《狡 猾的小狐狸》、《風流寡婦》的主要角色。 李氏曾擔任獨唱演出的曲目包括馬勒第四交響曲、威爾第《安 魂曲》、布拉姆斯《花之圓舞曲》、舒伯特《岩石上的牧羊 人》、海頓《尼爾遜彌散曲》、維瓦爾第《榮耀頌》以及奧 爾夫 《布蘭詩歌》。

Hong Kong born soprano Colette Lam has performed operatic roles in Asia and the U.K. including Adina in L’elisir d’amore, Gilda in Rigoletto, Micäela in Carmen, Mimi in La Bohéme, Violetta in La traviata and Pamina in Die Zauberflöte. She obtained her Master of Music degree in Voice at the Royal Academy of Music in London on full scholarship, and a Master of Advanced Vocal Studies degree with Distinction at the Wales International Academy of Voice in Cardiff with Dennis O’Neill. Lam has been selected to participate in master classes

by Kiri te Kanawa, He Hui, Richard Bonynge, Barbara Bonney and Nelly Miricioiu. In 2015, Lam has been awarded a prize from “Fondation Michelle” in Luxembourg. 香港女高音林穎穎在亞洲及英國多部歌劇製作中飾演主要角 色，當中包括《愛情靈藥》的愛迪娜、《弄臣》的吉爾達、《卡 門》的米凱拉、《波希米亞生涯》的咪咪、《茶花女》的薇 奧列達及《魔笛》的柏美娜。 林氏獲得獎學金於香港演藝學 院修讀音樂學士 ( 榮譽 ) 學位。林氏再獲得全數獎學金於英 國倫敦皇家音樂學院深造，完成演出與論文科考取碩士學位。 及後在英國威爾斯國際聲樂學院隨丹尼斯．奧尼爾學藝，修 讀高級聲樂 ( 歌劇 ) 碩士課程，並以卓越成績畢業。林氏亦 被邀參加著名歌唱家大師班，包括考里．特．卡娜娃、和慧、 Richard Bonygne、Barbara Bonney 及 Nelly Miricioiu。於 2015 年，林氏在盧森堡獲得 “Fondation Michelle” 獎項。

2018 年的演出包括《卡門》的米凱拉及《蝙蝠》的羅賽琳達。

Vittorio Vitelli 維特里

Jean-Kristof Bouton 保頓

Escamillo 埃斯卡米洛 (16, 18, 19 May)

Escamillo 埃斯卡米洛 (17, 20 May)

After winning Plácido Domingo’s Operalia Competition in 1996, Vittorio Vitelli began an international career at Teatro La Fenice, Comunale di Bologna, Comunale di Firenze, San Carlo di Napoli, Deutsche Oper Berlin, Staatsoper Hamburg, Opera de Nice, the Gran Teatre del Liceu in Barcelona, Teatro Real di Madrid, New National Theatre of Tokyo, Washington Opera and cities like Beijing, Seoul, Tel Aviv, Athens and many others. His repertoire is wide-ranging, specializing in verismo and also in roles of Verdi operas including the title roles in Rigoletto, Simon Boccanegra and Macbeth as well as important roles in Un ballo in maschera, Falstaff, Otello, Aïda, La forza del Destino and Il trovatore. In 2006 he was Amonasro in Aïda at La Scala, a Franco Zeffirelli production conducted by Riccardo Chailly. 自 1996 年勇奪杜鳴高世界歌劇比賽殊榮後，維特里便晉身國 際舞台，先後於威尼斯鳳凰劇院、博洛尼亞市立歌劇院、佛 羅倫斯市立歌劇院、那不勒斯聖卡洛劇院、柏林德意志歌劇 院、漢堡國家歌劇院、尼斯歌劇院、巴塞隆那利塞奧大歌劇 院、馬德里皇家劇院、日本新國立劇場、華盛頓歌劇院及北 京、首爾、特拉維夫及雅典等城市作演出。他的音域廣闊， 除擅長演繹寫實歌劇外，威爾第歌劇下的角色更讓他發揮淋 漓盡致，包括《弄臣》、《西蒙．波卡涅格拉》及《馬克白》 的同名角色，及《假面舞會》、《法斯塔夫》、《奧賽羅》、《阿 伊達》、《命運的力量》及《遊吟詩人》等角色。2006 年他 於米蘭斯卡拉歌劇院飾演《阿伊達》的阿莫納斯羅，此劇更 是由大師級導演齊費里尼執導及夏伊執棒。

A student of the famous teacher Eleonora Enăchescu at the Bucharest Music High School, Jean-Kristof Bouton sang the ttitle role of Don Giovanni at the Bucharest National Opera. In 2012/13 season, he was with Romanian National Opera, Iași for the role of Achille in The Trojan Woman, Enrico in Lucia di Lammermoor, Marcello in La Bohème, Belcore in L’elisir d’amore and Figaro in The Barber of Seville. He made his debut in France in 2015, singing Valère in Gounod’s Le Médecin malgré lui at the Saint-Etienne Opera and Marcello in La Bohème at the Opéra en Plein Air Tour. Recent engagements included Escamillo in Carmen at the Opéra di Nice and Théâtre d'Antibes, and Mercutio in Roméo et Juliette at the Toulon Opera. 保頓曾就讀羅馬尼亞布加勒斯特音樂學院，師隨著名聲樂導 師恩納切斯庫。他曾獲邀於布加勒斯特國立歌劇院飾演《唐． 喬望尼》的同名角色。2012/13 年樂季中，他參與多個羅馬尼 亞雅西國立歌劇院製作，包括《特洛伊婦女》的阿基里斯、 《拉美莫爾的露西亞》的恩列高、《波希米亞生涯》的馬賽 羅、《愛情靈藥》的貝爾高列及《塞維爾理髮師》的費加羅 等。20 1 5 年他首次亮相法國舞台，於聖艾提安歌劇院飾演古 諾《不由自主的醫生》的華納爾，及巴黎榮軍院露天歌劇巡 演中飾演《波希米亞生涯》的馬賽羅。近期演出包括在尼斯 歌劇院及昂蒂貝劇院演唱《卡門》的埃斯卡米諾及土倫歌劇 院演唱《羅密歐與茱麗葉》的梅居蒂奧。

Education & Outreach – Discover Carmen 教育及外展－探索《卡門》 香港大學美術博物館表演

Performance at University Museum and Art Gallery, The University of Hong Kong Date & Time: 20 April 2018 (Friday), 1:00PM – 1:45PM Venue: Drake Gallery, 1/F Fung Ping Shan Building,

University Museum and Art Gallery, The University of Hong Kong, 90 Bonham Road, Pokfulam Programme: Aria highlights from Carmen Artists: Jockey Club Opera Hong Kong Young Artists

日期及時間：2018 年 4 月 20 日（星期五）下午 1 時至 1 時 45 分 地點： 薄扶林般咸道九十號香港大學美術博物館

馮平山樓一樓林仰山展覽廳 節目：歌劇《卡門》的精彩選段 演唱家：賽馬會香港歌劇院青年演唱家 免費入場

Free admission

Stage 舞台

Stalls 堂座

Circle 樓座

Upper Circle 高座

A $1080

16-20 May 2018

B $880

2018 年 5 月 16-20 日（星期三至日）｜晚上 7 時 30 分

C $680 D $420

GRAND THEATRE, HONG KONG CULTURAL CENTRE 香港文化中心大劇院

E $300

Performed in French with Chinese & English Surtitles 法語演出，中英文字幕

F $150

EARLY BIRD DISCOUNT: 20%off | 早購優惠 : 八折

On or before 18th April 2018 | 2018 年 4 月 18 日或以前

Tickets NOW available at URBTIX outlets, on Internet, by Mobile Ticketing App and Credit Card Telephone Booking. 門票現於城市售票網售票處、網上、流動購票應用程式及信用卡電話 購票熱線發售。 Limited half-price tickets available for citizens aged 60 or above, people with disabilities and the minder, full-time students and Comprehensive Social Security Assistance (CSSA) recipients on a first-come-firstserved basis. 設有 60 歲或以上高齡人士、殘疾人士及看護人、全日制學生及綜合 社會保障援助計劃受惠人士半價優惠（名額有限，先到先得）。

Opera Hong Kong Member Discount 香港歌劇院會員優惠 20% discount for Opera Hong Kong Members, Opera Hong Kong Supporters, Opera Hong Kong Chorus Members and Friends of Opera Hong Kong (standard tickets only). 香港歌劇院會員、香港歌劇院支持者、香港歌劇院合唱團成員及香港 歌劇院之友可享受 8 折優惠（只限正價門票）。

Group Booking Discount 集體購票優惠 10% discount for each purchase of 4-10 standard tickets; 15% discount for each purchase of 11-20 standard tickets; 20% discount for each purchase of 21 or more standard tickets. 每次購買正價門票 4 - 1 0 張可享 9 折優惠；1 1 - 20 張可享 8 5 折優惠； 21 張或以上可享 8 折優惠。

(Wed to Sun ) | 19:30

Internet Booking 網上購票 : www.urbtix.hk Credit Card Telephone Booking 信用卡電話購票：2111 5999 Ticket Enquiries 票務查詢：3761 6661 Programme Enquiries 節目查詢 : 2234 0303 www.operahongkong.org The programme runs approximately 3 hours and 15 minutes, including one intermission. 演出時間長約 3 小時 15 分鐘包括一節中場休息。 For aged 6 or above. 招待 6 歲及以上人士。 Latecomers are not admitted until intermission or suitable break. 務必準時入場，遲到觀衆須待中場休息或節目適當時間方可進場。 The presenter reserves the right to replace artists at short notice in the event of the said performer(s) indisposition or other unforeseen circumstances. 如表演藝術家因健康問題或其他理由未能演出，主辦者保留更換人選 的權利，在此情況下將盡早預告。