Puccini’s most melodious opera 浦契尼最動聽的歌劇
Peter Gordon 高博德
Giacomo Puccini was in London in 1900 to oversee the opening of Tosca, when he happened upon a play called “Madam Butterfly”. Although he could hardly understand a word during the performance, he burst into tears and begged the American playwright David Belasco to let him turn the play into an opera.
1900 年，浦契尼在倫敦督導《托斯卡》的首 場演出，期間看了一齣名叫《蝴蝶夫人》的 話劇。雖然他幾乎一個字都聽不懂，但卻為 之感動落淚，還懇求美國劇作家貝拉斯科讓 他把話劇改編成歌劇。
According to Belasco, anyway.
無論如何，以上是貝拉斯科的描述。
Almost four years later, the opera of this ill-fated East-West romance opened at Milan’s Teatro alla Scala to hissing and mockery. Puccini immediately withdrew the score. After substantial revisions, he reintroduced the opera a few months later at Brescia where it triumphed. Madama Butterfly has rarely if ever left the hearts of opera-goers in the almost 120 years since.
大概四年後，這齣講述異地戀的悲劇在米蘭 斯卡拉大劇院演出，卻遭受劣評、更淪為笑 柄；浦契尼立刻收回樂譜，並進行重大修改。 數月後，浦契尼把作品重新搬到布雷西亞上 演，大獲成功，在接着的 120 年，《蝴蝶夫 人》都是觀眾熱愛的歌劇。
The opera was admittedly adventurous in several ways. Madama Butterfly is unusually set in what was, for those first audiences, the “present day”: the opera was meant to be happening as they watched. It also incorporated Asian music: Puccini borrowed some well-known Japanese tunes. Less known is that some of the music associated with Cio-Cio-san comes from a Swiss music box with Chinese tunes purchased in Shanghai, and brought back to Italy where Puccini evidently listened to it. (The music box itself, also the inspiration for Turandot, is now in a museum in New Jersey.)
該歌劇誠然在多方面都比較大膽。首先，對 當時的觀眾來說，故事發生在「當今」社會， 即與觀眾的時代相同；這與很多歌劇的做法 都不同。其次，該劇使用了亞洲音樂─浦 契尼借用了一些著名日本曲調，而較鮮為人 知的，是一些關於秋秋桑的音樂源自一個在 上海購買、載有中國曲調的瑞士音樂盒，該 音樂盒後來被帶到意大利，浦契尼顯然聽過 裡面的音樂。（該音樂盒也為《杜蘭朵》帶 來 了 靈 感， 現 在 藏 於 新 澤 西 州 的 一 所 博 物 館。）
The portrayal of Cio-Cio-san—Madama Butterfly—has been criticized as a submissive reinforcement of orientalist stereotypes. There is little doubt that the American officer Pinkerton has internalized these: he makes no secret of them. But it’s a leap to assume that Puccini himself concurred. Pinkerton comes across as almost a caricature of the expat white male in Asia while Cio-Cio-san herself remains a mystery. Is she a naive, delicate creature “off a Japanese screen”, as Pinkerton describes her, deceived and broken like the butterflies she worries Westerners stick with a pin? Or might she instead be the only one with any spine, a young woman who knowingly breaks with tradition fully aware of the possible consequences? One can watch the opera time and again and never know for certain.
蝴蝶夫人秋秋桑的形象，被視為過份強調典 型東方女性順從的特質。無疑，歌劇中美國 中尉平克頓認為東方女性該是這樣的，他亦 毫不掩飾這些想法。 但我們不可妄下結論，說浦契尼本人同意這 點。平克頓的人物設定幾乎展現了在亞洲男 性 白 人 的 醜 相， 而 秋 秋 桑 則 仍 然 是 一 個 謎 ──究竟她如平克頓描述一樣，是日本屏風 中的純真、脆弱的少女，在被騙後成為支離 破碎的西方蝴蝶標本？還是她是劇中唯一有 承擔的角色，選擇當一個違背傳統、甘願承 受結果的年輕女子？ 即使我們把歌劇再三細看，都沒法得出肯定 的答案。
Opera Hong Kong 香港歌劇院 Founded in 2003 Opera Hong Kong (OHK) is Hong Kong’s first professional opera company. Over the years, the company has gone from strength to strength under the Artistic Director Warren Mok, the internationally acclaimed Hong Kong tenor. OHK has elevated opera in the Asia’s world city, with many world-class productions covering all major works in the operatic canon and has collaborated with opera houses and festivals including Teatro dell’Opera di Roma, Taormina Opera Festival, Theater Erfurt, Opéra de Nice, National Centre for the Performing Arts and Shanghai Opera House. In 2019, OHK was selected by the Hong Kong Arts Development Council as one of the three recipients of the coveted “Eminent Arts Group Scheme”. The Scheme’s consecutive 5-year funding has become a boost to further the company’s development. OHK is committed to promoting the city’s brightest, young opera singers. In 2015, OHK launched the Jockey Club Opera Hong Kong Young Artist Development and Education Programme (the Programme), a three-year opera training programme designed to nurture ten young local artists. The success of the Programme led to its renewal by The Hong Kong Jockey Club Charities Trust for another three years from 2019 to 2022, providing intensive training to 12 local artists. OHK also places a strong emphasis on its education and community activities. Opera school tours, summer schools and master classes are held regularly to reach young audiences. The music centre in Wanchai provides a wide range of courses for early age children to adult in addition to Children Chorus classes. The OHK Chorus and the OHK Children Chorus were established in 2004 and 2008 respectively and are becoming recognised contributors on the local choral scene. The recent development of the Greater Bay Area has created an environment for OHK to initiate more collaborations and bring the art of opera to a wider audience. Producer 監製
Warren Mok 莫華倫
Conductor 指揮
Yves Abel 阿貝爾
香港歌劇院成立於 2003 年，是本地首個專業 歌劇藝團。在世界知名的香港男高音莫華倫帶 領下，歌劇藝術在這個亞洲大都會得以發揚光 大。歌劇院多年來致力製作世界級的歌劇節 目，劇目已涵蓋所有主要歌劇作品，曾合作過 的歌劇院及音樂節包括羅馬歌劇院、意大利陶 爾米納歌劇藝術節、德國艾褔特劇院、法國尼 斯歌劇院、中國國家大劇院及上海歌劇院。 2019 年，香港歌劇院榮獲香港藝術發展局甄 選為「優秀藝團計劃」中三個受資助藝團之 一，以表揚歌劇院多年在藝術推廣上的努力。 這項持續五年的資助讓香港歌劇院有更大的 發展。 香港歌劇院積極培養本地優秀年青的歌唱家。 劇院於 2015 年推出為期三年的「賽馬會香港 歌劇院青年演唱家發展及教育計劃」非常成 功，得到各界認同。香港賽馬會慈善信託基 金遂繼續全力贊助，推出新一輪由 2019 年至 2022 年的三年培訓計劃，向十二位本地青年 演唱家提供密集訓練。 香港歌劇院亦定期為年青一代舉辦各項教育 及外展活動，包括學校歌劇巡演、夏令營及大 師班。灣仔音樂中心除籌辦兒童合唱團的恆常 班外，更提供由幼兒至成人不同類型的課程， 範圍廣闊。香港歌劇院於 2004 年及 2008 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。 近年大灣區發展亦營造了發展藝術的環境，香 港歌劇院將把握機遇與內地合作，向區內推廣 歌劇藝術。
Cio-Cio-san 秋秋桑
Sae-Kyung Rim 林世庚 * Bing Bing Wang 王冰冰 ^
Suzuki 鈴木
Yayoi Toriki 鳥木弥生
B. F. Pinkerton 平克頓
Mykhailo Malafii 馬納菲 *
Director 導演
Pier Francesco Maestrini 馬埃斯特里尼
Set Designer 佈景設計
Nicolás Boni 邦尼
Costume Designer 服裝設計
Luca Dall’Alpi 達拉爾比
Lighting Designer 燈光設計
Bruno Ciulli 西烏利
Assistant Director 助理導演
Tim Ribi 列比克
Goro 五郎
Chen Yong 陳永 *
Chorus Director 合唱團總監
Alex Tam 譚天樂
Henry Ngan 顏嘉樂 ^
Prince Yamadori 山鳥王子
Sammy Chien 錢深銘
Yakuside 藥師
Lam Kwok Ho 林國浩
The Bonze 和尚
Apollo Wong 黃日珩
The Commissioner 專員
Frankie Fung 馮日曦
The Official Registrar 登記官
Charles Tsang 曾廣釗
Kate Pinkerton 凱蒂．平克頓
Michelle Lange 蘭芝
Cio-Cio-san’s mother 母親
Rachel Kwok 郭岍
The cousin 表妹
Candice Chung 鍾嘉欣
The aunt 嬸母
Gladys Ho 何朗幏
Hong Kong Philharmonic Orchestra 香港管弦樂團 Opera Hong Kong Chorus 香港歌劇院合唱團
* 6/10, 8/10, 10/10
^ 7/10, 9/10
Khachatur Badalyan 巴達列亞 ^ Sharpless 夏普勒斯
Marcin Bronikowski 邦涅考夫斯基 * Christian Federici 費達歷斯 ^
Warren Mok, BBS, MH 莫華倫 Producer and Artistic Director 監製及藝術總監
A world-renowned Chinese tenor from Hong Kong, Warren Mok has made 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 is very active in promoting western opera and music in Hong Kong, Macao 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 Bronze Bauhinia Star and the Medal of Honour by the Government of Hong Kong Special Administrative Region in 2021 and 2011 respectively, the Honorary University Fellowship by Hong Kong Baptist University in 2019, Officer of the Order of the Star of Italy by the Government of Italy in 2018, 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 a member of Beijing Committee of Chinese People’s Political Consultative Conference, fostering the bridge and development between the two cities. He was also a former member of Zhuhai Committee of Chinese People’s Political Consultative Conference.
Yves Abel 阿貝爾 Conductor 指揮
Recently appointed as Principal Conductor of the San Diego Opera, Yves Abel has been the Chief Conductor of the Nordwestdeutsche Philharmonie since 2015. He was also the Principal Guest Conductor of the Deutsche Oper Berlin from 2005 to 2011. He has worked with many leading orchestras in Berlin, Amsterdam, New York, San Francisco, Toronto, Montreal, Lyon, Dublin, Copenhagen, and many in Italy and Spain. A frequent guest of the world's greatest opera companies including Royal Opera House Covent Garden, Metropolitan Opera, Opéra de Paris, Wiener Staatsoper, La Scala and Bayerische Staatsoper, he made his debut at the Chorégies d’Orange conducting Samson et Dalila with Roberto Alagna this past summer. He was awarded Chevalier des Arts et des Lettres by the French Government.
Pier Francesco Maestrini 馬埃斯特里尼 Director 導演 Born in Florence, Pier Francesco Maestrini has staged over 100 opera productions, delighting audiences worldwide. In 2016 he opened Cagliari season with La Campana Sommersa by Respighi, a rarely staged opera, with excellent reviews including coverage by Opera magazine. In 2015, he staged La forza del destino and The Barber of Seville in Verona, through a presentation of a mix of cartoons and real characters. In 2014, his Turandot in Cagliari recorded the highest number of viewers in theatre’s history with the sets inspired on the artwork of acclaimed sculptor Pinuccio Sciola. In 2012, his vampire version of Don Giovanni impressed Chilean audience with stunning sets and costumes and concepts well matching the myths of Mozart and Dracula. It was revived in Sao Paulo in 2013. He recently staged Don Pasquale in Parma and Trapani.
莫華倫是來自中國香港、世界知名的男高 音歌唱家。他的演唱足跡遍及世界各大 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。 莫氏於 2021 年及 2011 年分別獲香港特區 政府頒授銅紫荊星章及榮譽勳章，2019 年獲香港浸會大學頒授榮譽大學院士銜， 2018 年獲意大利政府頒發「意大利之星軍 官勳章」，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」。2012 年， 莫氏與戴玉強、魏松所組成的中國三大男 高音展開世界巡迴演出，積極推動中國文 化走向世界。他自 2015 年起獲委任為北 京市政協委員，促進兩地交流發展。他也 是前珠海市政協委員。
近期獲委任為聖地牙哥歌劇院首席指揮 的阿貝爾，自 2015 年起獲邀出任西北德 愛樂樂團的首席指揮至今，並於 2005 至 2011 年期間擔任柏林德意志歌劇院的首 席客席指揮。他對交響樂曲及歌劇同樣擅 長，並曾於柏林、阿姆斯特丹、紐約、三 藩市、多倫多、蒙特利爾、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。今年夏季他首度登上奧朗日音 樂節舞台，與阿藍尼亞合作《森遜與黛麗 拉》。他曾獲法國政府頒發法國文學藝術 騎士勳章。 生於佛羅倫斯，馬埃斯特里尼已為逾百部 歌劇製作執導，演出均能帶給觀眾無限驚 喜。2016 年他執導極其冷門的列斯畢基作 曲的歌劇《淹沒的鐘聲》，為卡尼亞里樂 季拉開序幕。此製作廣獲好評之餘，更獲 《歌劇》雜誌作專題報導；2015 年他於維 羅納製作《命運的力量》及《塞維爾理髮 師》，透過視像把卡通人物與現場歌唱家 作無縫連接；2014 年他於卡尼亞里的《杜 蘭朵》佈景設計靈感啟發自著名雕塑家舒 奧拉的藝術品，讓此製作打破劇院有史以 來最高觀眾記錄；2012 年他把作曲家莫扎 特與小說人物吸血鬼德古拉作融合，配上 精湛佈景及服裝設計，讓智利觀眾對這吸 血鬼版本的《唐．喬望尼》留下深刻印象， 而此製作更於 2013 年於聖保羅復排。今 個樂季他為帕爾馬及特拉帕尼執導《唐． 帕斯夸雷》。
Sae-Kyung Rim 林世庚
Cio-Cio-san 秋秋桑 (6/10, 8/10, 10/10) Sae-Kyung Rim is an impressive, dramatic Verdian/Verismo soprano. She has won several international competitions in singing, including the Gian Battista Viotti in Vercelli. Among the most recent and future engagements of the artist are CioCio-san in Madama Butterfly at Opera Australia in Sydney, © Sae-Kyung Rim Arena di Verona, Theater Dortmund, Teatre Principal de Palma de Mallorca, Teatr Wielki in Warsaw, Savonlinna Opera Festival, and at the Greek National Opera; Abigaille in Nabucco at the Greek National Opera; the title role of Aïda at New National Theatre Tokyo, Arena di Verona and Gärtnerplatztheater Munchen; Leonora in Il Trovatore at Teatre Principal de Palma de Mallorca; Liù in Turandot at Theater Dortmund; the title role of Manon Lescaut and Tosca respectively at Hungarian National Opera in Budapest and Wiener Staatsoper with Plácido Domingo and Aleksandrs Antonenko.
Bing Bing Wang 王冰冰
Cio-Cio-san 秋秋桑 (7/10, 9/10)
Residing in Italy, Bing Bing Wang is the first Chinese to have graduated with a Master’s degree from the Giuseppe Verdi Conservatory of Music in Milan. She was awarded as one of the top ten sopranos in China by CCTV. Her roles include Nedda in Pagliacci, Micaëla in Carmen, Mimì in La Bohème, Violetta in La Traviata, Adina in L’Elisir d’Amore in opera houses of Italy, France, Australia, United States, Israel, Slovenia, Romania and Latvia. Recently she was invited by Puccini Festival in Torre del Lago and Taormina Opera Festival for the roles of Liù in Turandot and Musetta in La Bohème. She was also Cio-Cio-san in Madama Butterfly at Serbian National Opera. In 2019, Sony Classic Label signed her to produce her first Italian arias album, being the first Chinese soprano to have a CD released by Sony.
林世庚屬戲劇女高音，擅長飾演威爾第曲 目及寫實性的作品。她曾於聲樂比賽屢獲 殊榮，當中包括意大利韋爾切利舉行的喬 望尼．巴蒂斯塔．維奧蒂國際音樂比賽。 近期及來季演出包括：於澳洲歌劇院、維 羅那露天劇場、多蒙特劇院、馬略卡帕爾 馬劇院、華沙大劇院、薩翁林納歌劇節及 希臘國家歌劇院等飾演《蝴蝶夫人》的秋 秋桑；希臘國家歌劇院飾演《納布可》的 阿碧凱莉；日本新國立劇場、維羅那露天 劇場及慕尼黑蓋特納劇院飾演《阿伊達》 的同名角色；馬略卡帕爾馬劇院飾演《遊 吟詩人》的里奧露拉；多蒙特劇院飾演《杜 蘭朵》的柳兒；匈牙利國立歌劇院及維也 納國家歌劇院，分別飾演瑪儂．萊斯科及 托斯卡一角，而後者更與大師杜鳴高及安 東奈高同台演出。
旅意華人女高音王冰冰是首位華人以碩士 資歷畢業於意大利米蘭威爾第國立音樂學 院，並獲中國中央電視台頒發「中國十大 女高音」 之一。世界歌劇舞台上都閃耀 著她的身影，包括意大利、法國、澳洲、 美國、以色列、斯洛文尼亞、羅馬尼亞及 拉脫維亞等，擅長飾演《丑角》的妮達、 《卡門》的米凱拉、《波希米亞生涯》的 咪咪、《茶花女》的薇奧列達及《愛情靈 驗》的阿蒂娜等。近期她獲托瑞德拉古浦 契尼歌劇節及陶爾米納歌劇藝術節邀請， 飾演《杜蘭朵》的柳兒及《波希米亞生涯》 的慕瑟塔；及塞爾維亞歌劇院《蝴蝶夫人》 的秋秋桑。2019 年，國際著名品牌 S o n y 為她發行首張歌劇詠歎調專輯，這也是 Sony 首度為華人女高音灌錄唱片。
Yayoi Toriki 鳥木弥生弥 Suzuki 鈴木
Studied in Italy, Japanese mezzo-soprano Yayoi Toriki is the winner in various competitions in Europe including the Verdi Voices Competition. She had her debut in Spain in 2008, singing the role of Suzuki in Madama Butterfly. Her performance was highly praised by the Spanish media for © FUKAYA Yoshinobu /auraY2 her beautiful voice and her delicate and expressive acting. In recent seasons, she has appeared in New National Theatre Tokyo as Olga in Eugene Onegin and Mrs Meg Page in Falstaff conducted by Carlo Rizzi, as well as Tokyo Metropolitan Theatre as Suzuki directed by Yoshi Oïda. She was also La Frugola in Il tabarro, Zita in Gianni Schicchi, Mother Marie in Dialogues des Carmélites, the leading roles in I Capuleti e i Montecchi and Carmen and many others.
Mykhailo Malafii 馬納菲
B. F. Pinkerton 平克頓 (6/10, 8/10, 10/10) Among Mykhailo Malafii’s recent and upcoming appearances are Gabriele Adorno in Simon Boccanegra with The Israeli Opera Tel Aviv, a house debut in Oper Graz with the title role in Don Carlo, and as Prinz in Rusalka by Dvorak at Flemish © Serhiy Berezjak Opera, Duke of Mantua in Rigoletto at Opera de Lyon and return to Oper Graz for the role of Pinkerton in Madama Butterfly. Other past engagements include Pinkerton in Madama Butterfly at Opera Mannheim and Bolshoi Opera and Ballet Theater of Belarus, Riccardo in Un Ballo in Maschera, Alfredo in La Traviata for Hungarian State Opera, Budapest, Macduff in Macbeth, Alfredo in La Traviata with Slovak National Opera, Rodolfo in La Bohème with Swedish Royal Opera, Baltic State Opera, Gdansk and Tampere Opera among others. He was the First Prize winner in the Competizione dell’Opera 2017.
日本女中音鳥木弥生於意大利修讀聲樂， 並在歐洲多個比賽中如威爾第國際聲樂 比賽等榮獲獎項。她於 2008 年首度登上 西班牙歌劇舞台，飾演《蝴蝶夫人》鈴 木一角。是次演出獲當地媒體高度關注， 對她的美妙歌聲及細緻演繹讚不絕口。 近年她於日本新國立劇場飾演《尤根． 奧尼金》的奧嘉及《法斯塔夫》的梅格， 後者由利茲指揮；及東京藝術劇場由笈 田吉執導的《蝴蝶夫人》。其他擅長角 色包括《外套》的芙露戈拉、《賈尼． 斯基基》的齊塔、《斷頭台上的修女》 的瑪莉亞、《卡普里特與蒙塔古家族》 的羅密歐及《卡門》的同名角色等。
馬納菲的近期及來季有多項演出，包括 於以色列特拉維夫歌劇院飾演《西蒙． 博卡奈格拉》的阿當諾；首度於奧地利 格拉茲歌劇院及比利時安特衛普歌劇院 亮相，分別飾演《卡洛王子》的同名角 色及《露莎卡》的王子；法國里昂歌劇 院飾演《弄臣》的曼圖亞公爵；並獲邀 重回格拉茲歌劇院飾演《蝴蝶夫人》的 平克頓。過往精彩演出包括：於德國曼 海姆歌劇院及白俄羅斯歌劇及芭蕾舞劇 院《蝴蝶夫人》的平克頓、匈牙利國立 歌劇院《假面舞會》的列卡度及《茶花 女》的阿菲度、斯洛伐克國家歌劇院《麥 克白》的麥克特夫及《茶花女》的阿菲 度、瑞典皇家歌劇院、波羅的海國立歌 劇院、波蘭格但斯克歌劇院及芬蘭坦佩 雷歌劇院《波希米亞生涯》的羅多夫等。 他 曾 榮 獲 2017 年 國 際 歌 劇 大 賽 的 一 等 獎。
Khachatur Badalyan 巴達列亞 B. F. Pinkerton 平克頓 (7/10, 9/10)
Born in Vladikavkaz of North-Ossetia-Alania, tenor Khachatur Badalyan is the first prize winner in 2010 Galina Vishnevskaya International Opera Singers Competition in Moscow and the second prize winner in 2011 Marcello Giordani Vocal Competition in Italy. He was critically acclaimed for his performances as Rodolfo in La Bohème at Teatro Massimo Bellini and Teatro La Fenice, Don José in Carmen at Opera National de Paris, Foresto in Attila at Teatro Filarmonico di Verona, the Prince in Rusalka at L’Opera de Montreal, Pinkerton in Madama Butterfly at Teatro Lirico di Cagliari, Alfredo in La Traviata at Deutsche Oper Berlin and Ismaele in Nabucco at Teatr Wielki in Warsaw. He has collaborated with famous conductors including Michael Pletnev, Daniele Callegari, Antonello Allemandi, Keri-Lynn Wilson, Teodor Currentzis, Marco Boemi, Eri Klas, Philippe Jordan and many others.
Marcin Bronikowski 邦涅考夫斯基 Sharpless 夏普勒斯 (6/10, 8/10, 10/10)
Born in Warsaw, Marcin Bronikowski made his debut as Figaro in The Barber of Seville in Sofia. Over his 30 years of professional career, he has performed on prestigious stages of Royal Opera House Covent Garden, La Scala, Opera national du Rhin at Strasbourg, Nico Malan Opera House in Cape Town and Bayerische Staatsoper to name a few. He has collaborated with the greatest including Lorin Maazel, Michel Plasson, Daniel Oren, Carlo Rizzi, Dario Fo, Carlos Saura and Giancarlo Del Monaco. He appeared with José Carreras in Warsaw for 50th anniversary of UNICEF. He reprised the role of Sharpless in Madama Butterfly at Teatro Coliseo Albia, Ópera de Bilbao, Deutsche Oper Berlin, Teatro Principal de Palma de Mallorca, Württembergische Staatsoper and Scottish Opera. He is a laureate of Honorary Ace 1996 and Honorary Pearl 2010 for his artistic achievements.
Christian Federici 費達歷斯 Sharpless 夏普勒斯 (7/10, 9/10)
Born in Trieste, Christian Federici made his debut as Count Almaviva in The Marriage of Figaro at Teatro Alessandro Bonci in Cesena directed by Matelda Cappelletti and conducted by Claudio Desderi. In 2017, he returned to Teatro Alessandro Bonci singing the title role in Don Giovanni. In 2018, he won the competitions of Teatro Lirico Sperimentale di Spoleto ‘Adriano Belli’ and Toti Dal Monte di Treviso, which led him to performances as Conte d’Almaviva in Treviso, Jesi and Ferrara. Recently he made his debut in France with The Marriage of Figaro at Opéra Marseille, Marino Faliero in Bergamo and Carmen at the Ravenna Festival. His future engagements include Sharpless in Madama Butterfly at Opéra de Avignon and Angelotti in Tosca at the Royal Opera House Covent Garden.
生於北奧塞梯阿蘭共和國的弗拉季卡夫卡 茲，巴達列亞是2010年於莫斯科舉行的卡 麗娜．維許涅芙絲卡雅國際歌劇家大賽冠 軍，及2011年於意大利舉行的馬賽羅．喬 達尼聲樂比賽亞軍。他演出經驗豐富及屢 獲讚譽，包括於馬西莫貝利尼劇院及威尼 斯鳳凰劇院《波希米亞生涯》的羅多夫、 巴黎國家歌劇院《卡門》的唐荷西、維羅 納愛樂劇場《阿提拉》的科爾斯多、蒙特 利爾歌劇院《露莎卡》的王子、卡尼亞里 劇院《蝴蝶夫人》的平克頓、柏林德意志 歌劇院《茶花女》的阿菲度及華沙大劇院 《納布可》的伊斯梅耶等。他曾與眾多國 際著名指揮家同台演出，包括普雷特涅 夫、卡萊加里、亞列曼迪、威爾遜、庫倫 奇思、波米、克拉斯及約丹等。
邦涅考夫斯基生於波蘭華沙，在索菲亞初 踏台板即擔綱飾演《塞維爾理髮師》的費 加羅一角。演出經驗豐富，三十年裡穿梭 國際頂尖舞台，包括倫敦皇家歌劇院、米 蘭斯卡拉歌劇院、史特拉斯堡國立萊茵歌 劇院、南非開普敦尼科馬蘭歌劇院及慕尼 黑巴伐利亞國立歌劇院等。過往與多位享 負盛名的導演及指揮合作，包括馬捷爾、 普拉松、歐倫、利茲、達里奧．霍、索拉 及迪．莫納哥等。他也曾於華沙為聯合國 兒童基金會五十週年與卡雷拉斯同台獻 唱。他多次演唱《蝴蝶夫人》的夏普勒斯， 包括於阿爾比亞劇院、畢爾巴歌劇院、柏 林德意志歌劇院、馬略卡帕爾馬劇院、斯 圖加特州立劇院及蘇格蘭歌劇院等。他於 1996 年及 2010 年分別獲頒發一級榮譽及 珍珠榮譽，表揚他在藝術領域的貢獻。
費達歷斯生於意大利特里雅斯特，於切塞 納邦奇劇院為其演出生涯揭開序幕，飾 演由卡佩萊堤執導、德斯達里指揮的《費 加羅的婚禮》中艾馬非凡伯爵。2017年， 他獲邦奇劇院邀請，重返對他甚具意義 的舞台，演唱《唐．喬望尼》的同名角 色。2018年，他勇奪斯波萊托里里科劇 院阿祖安奴．貝利聲樂大賽及特里維素托 蒂．達爾．蒙特比賽的獎項，而這兩項殊 榮讓他以艾馬非凡伯爵身份在特里維素、 耶西及費拉拉作三地巡演。最近，他於法 國首度亮相，在馬賽歌劇院演唱《費加羅 的婚禮》，及後於貝加莫及拉溫納音樂 節，分別演唱《馬利諾．法列羅》及《卡 門》。來季演出將包括亞維儂歌劇院《蝴 蝶夫人》的夏普勒斯及倫敦皇家歌劇院《 托斯卡》的安哲洛提。
$1,080 $920 $720 $620 $420 $180 Tickets available at URBTIX outlets, on Internet, by Mobile Ticketing App and Credit Card Telephone Booking from 25 August 2021. 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 firstcome-first-served basis.
6-10.10.2021
(Wed-Sat) 7:45pm | (Sun) 3:00pm Grand Theatre, Hong Kong Cultural Centre 香港文化中心大劇院 Performed in Italian with Chinese and English Surtitles 意大利文演唱，中英文字幕 Early bird discount: 20% off | 早購優惠：八折 On or before 7 September 2021 | 2021 年 9 月 7 日或以前 * The sightline of certain seats may be restricted 部份座位視線局部受阻
門票於 2021 年 8 月 25 日起在城市售票網售票 處、網上、流動購票應用程式及信用卡電話購 票熱線發售。 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救援助受惠人 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, Friends of Opera Hong Kong and Opera Hong Kong Chorus Members (standard tickets only).
香港歌劇院會員、香港歌劇院支持者、香港歌 劇院之友及香港歌劇院合唱團成員可享受八折 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 4-10 張 可 享 9 折 優 惠； 11-20 張 可 享 85 折 優 惠；21 張 或 以 上 可 享 8 折優惠。
The programme runs approximately 3 hours with one intermission.
演出時間長約 3 小時包括一節中場休息。
For age 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。
Internet Booking 網上購票 : www.urbtix.hk
Programme Enquiries 節目查詢
Credit Card Telephone Booking 信用卡電話購票 : 2111 Ticket Enquiries 票務查詢 : 3761
5999
6661
2234 0303 www.operahongkong.org Opera Hong Kong
Hong Kong Arts Development Council supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council. 香港藝術發展局支持藝術表達自由，本計劃內容並不反映本局意見。 The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region. 節目內容並不反映香港特別行政區政府的意見。 The presenter reserves the right to change the programme and substitute artists. 主辦機構有權更改節目及更換表演者。