Bi-An: Yu Xiangjun Piano-Hypermedia Recital
Chinese Opera at the Keyboard
「彼岸」：俞湘君超媒體鋼琴音樂會 黑白鍵上的古韻新聲
特首獻辭 Chief Executive ’ s Message
二零二六年香港藝術節隆重 舉 行，謹此致賀。
今年藝術節邁進第五十四屆，約 180 場演出涵蓋 音樂、戲曲、歌劇、戲劇、舞蹈、藝術科技及 其他表演藝術創作，精彩多元，引人矚目。
藝術節在二月二十七日以西班牙國家舞劇院著 名舞劇《美麗的奧蒂羅》揭開序幕，在舞台重 現巴黎黃金時代的歌舞昇平，別出心裁。三月 二十七日藝術節閉幕以大型舞劇《牡丹亭》為 壓軸演出，呈獻導演兼編舞黎星對經典愛情劇 目的嶄新演繹。今年的音樂節目陣容強大，匯 聚各傑出鋼琴家獻技，有年輕韓國天才鋼琴家 任奫燦，也有榮獲二零二五年范．克萊本國際 大賽金獎及觀 眾 大獎的本地鋼琴家沈靖韜，實 在不容錯過。
一如既往，藝術節包羅繽紛多彩的外展及教育 活動。今年的「加料節目」着重豐富藝術愛好 者的文化體驗，加深對世界級藝術家的認識， 對於啓發更多人參與藝術活動，以至鞏固香港 作為中外文化藝術交流中心的定位，極為重要。
感謝眾多贊助商及捐款者慷慨支持香港藝術節。
我亦感謝藝術節團隊再接再厲，為本港以至全
球各地觀 眾 呈獻異彩生輝，令人讚嘆的文化藝 術與娛樂盛會。
香港特別行政區行政長官 李家超
I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 2026 season. This year’s Festival, the 54th edition, features some 180 performances, encompassing music, Chinese and Western opera, theatre, dance, arts technology and a dazzling variety of performing arts productions.
The Festival opens on 27 February with Ballet Nacional de España’s acclaimed operatic ballet La Bella Otero , recreating the glamour of Paris’ golden era on stage. The Festival concludes on 27 March with the large-scale dance theatre production DreaminThePeonyPavilion , directed and choreographed by Li Xing, injecting fresh life into the timeless love classic. This year’s music performances present a number of brilliant pianists, including young Korean piano sensation Yunchan Lim, and Hong Kong-born Aristo Sham, the gold medallist and audience award winner at the 2025 Van Cliburn International Piano Competition.
As ever, the Festival features a diverse range of outreach and educational activities. This year’s PLUS programme focuses on a wide cultural experience for arts lovers and deeper understanding of world-class artists, contributing to promoting engagement in cultural events and consolidating Hong Kong’s positioning as the East-meets-West centre for international cultural exchange.
I am grateful to our many sponsors and donors for their generous support. My thanks also, as always, go to the Hong Kong Arts Festival for once again bringing Hong Kong, and the world, a shining season of arts and culture, entertainment and wonder.
John KC LEE Chief Executive Hong Kong Special Administrative Region
主席獻辭 Chairman ’ s Message
誠摯歡迎閣下蒞臨第 54 屆香港藝術節。作為國際 藝壇中重要的表演藝術盛事，藝術節一直秉持使 命，致力豐富香港的文化生活，並向社會各界推 廣最優質的表演藝術。今年，藝術節匯聚逾 1,100 位本地及國際的頂尖藝術家，為觀 眾 呈獻超過 45 個涵蓋不同藝術領域的多元化節目，合共逾 180 場精釆演出，並 舉 辦約 300 項「加料節目」、外 展及教育活動，為香港注入充沛的文化活力。
我由衷感謝香港特別行政區政府透過康樂及文化事 務署，提供年度恆常撥款及配對資助；感謝香港 賽馬會慈善信託基金、一眾企業贊助機構、慈善基 金會及捐助者的慷慨支持；還有感謝在藝術節舞台 上盡顯才華及創意的享譽國際藝術家，以及在所有
節目背後努力耕耘的香港藝術節團隊——你們每 一分的寶貴捐獻、每一位的投入參與和支持，讓 香港藝術節得以順利舉行，並且成為我們的龐大 動力，使我們能夠持續透過表演藝術回饋社會。
今後，香港藝術節將繼續為觀 眾 呈獻目不暇給的 演出、委約創意無限的新作品，以及致力培育才 華洋溢的本地藝術人才。最後，我要向所有前來
觀賞演出的觀 眾 致以萬分謝意。希望您享受這趟 我們為您精心策劃的藝術之旅，並從中獲得喜 悅、共鳴與啟發。
香港藝術節主席
盧景文
A warm welcome to the 54th Hong Kong Arts Festival. As a leading international performing arts event, the Festival continues to uphold its mission of enriching our city’s cultural life and promoting the best of the performing arts to different sectors of our community. This year, the Festival brings to Hong Kong more than 1,100 distinguished local and international artists from a wide range of artistic disciplines in over 180 performances of more than 45 programmes, as well as about 300 “PLUS”, outreach and education events.
I would like to express my sincere gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant. My heartfelt thanks also go out to The Hong Kong Jockey Club Charities Trust, our corporate sponsors, charitable foundations and donors for their generous support. Their invaluable contributions empower us to actively advance the community through the performing arts.
My genuine appreciation goes to all our internationally renowned and most talented artists for their creativity and outstanding performances on stage. Their dedication profoundly motivates us to continue showcasing exceptional productions, commissioning new works and nurturing local talent. I am also deeply grateful to the HKAF team for its commitment and efforts to bring this Festival to life. Finally, I extend my warmest thanks to all audience members. We truly hope you enjoy this artistic journey and discover moments of delight, resonance and inspiration throughout the programmes being presented this year.
Lo Kingman Chairman Hong Kong Arts Festival
支持機構：
Supporting Organisation:
前言 Foreword
第 54 屆香港藝術節雲集眾多大師級藝術家與傑 出團隊，帶來超過 180 場的音樂、舞蹈、戲劇、 歌劇、戲曲、藝術科技與跨界創作節目，展示藝 術家的精湛造詣。
今年的其中一個主題，是對「勇氣與和平」的探 索。當全球都因為戰亂、流離、經濟下行等苦難 感到焦躁不安，藝術家以獨特的視角與語言，在 舞台上交織出對世界的回應，提醒我們抱持堅毅 與希望。
此外，今屆藝術節部分作品採用了簡約的戲劇手 法，讓我們擺脫地域與資源的限制。我們亦繼續 擁抱藝術科技，利用混合實景技術，開拓新的表 演效果。
一如既往，藝術節今年帶來超過 300 項的外展與 教育活動。「加料節目」準備了一系列講座、大師 班、後台參觀、文化深度遊等活動。我們為大、
中、小學生設計的全方位外展及教育活動，則會 帶領數以萬計的年輕觀眾理解作品背後的故事。
衷心感謝您出席這一場演出，願您從中找到愉悅 與共鳴。
The 54th Hong Kong Arts Festival once again brings together great masters and outstanding artists, presenting more than 180 performances across music, dance, theatre, opera, Chinese opera, arts-tech and interdisciplinary creations—showcasing the exceptional craft of leading local and international talent.
One of this year’s themes is an exploration of “Courage and Peace”. At a time when the world is troubled by war, displacement, economic downturns and other hardships, artists respond from their own distinctive perspectives and in their own languages on stage, reminding us of the need to be resilient and hopeful.
Some works in this year’s Festival adopt a minimalistic theatrical approach, enabling us to transcend the constraints of geography and resources. We also continue to embrace arts-tech, using mixed-reality technologies to open up new performance possibilities.
As always, the Festival presents more than 300 outreach and education activities. Our PLUS events feature a curated series of talks, masterclasses, backstage tours and guided cultural walks. Our comprehensive education initiatives tailored for primary, secondary and tertiary students are aimed at enabling students to gain a more in-depth understanding and appreciation of the works we present.
I sincerely thank you for joining us at this performance, and we hope that you find joy and resonance in the experience.
香港藝術節行政總監 余潔儀
香港藝術節的資助來自：
The Hong Kong Arts Festival is made possible with the funding support of:
Flora Yu Executive Director Hong Kong Arts Festival
港藝術節收入目標（包括第 54 屆香港藝術節及 2026 年「無限亮」）約港幣一億五千九百萬，當中香港特 區政府的年度恆常撥款佔總收入約 12%，另外約 24% 需來自票房收入，約 44% 則需依賴來自各大企業、 熱心人士和慈善基金會的贊助和捐款。預計餘下的 約 20% 則來自其他收入，包括政府針對捐款和贊助 收入而提供的配對資助。
香港藝術節 每年呈獻眾多 國際演藝名家 精采多元的 演出，例如 *：
• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫 斯科大劇院、聖彼得堡馬林斯基劇院、三藩市歌 劇院、薩翁林納歌劇節
• 中國戲曲： 中國國家京劇院、河北梆子劇院、上 海崑劇團、上海張軍崑曲藝術中心、江蘇省蘇州 崑劇院、浙江小百花越劇團、上海越劇院
• 古典音樂：塞西莉亞．芭托莉、列卡杜 沙爾、趙 成珍、古斯塔沃・杜達美、菲力普・格拉斯、劉曉 禹、馬友友、丹尼斯．馬祖耶夫、安娜 涅翠柯、 詹安德列亞．諾斯達、小澤征爾、湯瑪士 夸斯托 夫、甘拿迪．羅傑斯特汶斯基、譚盾、湯沐海、克 里斯蒂安．泰利曼、安德拉斯．席夫爵士、班貝格 交響樂團、倫敦交響樂團、NHK 交響樂團、皇家阿 姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比 錫聖多馬合唱團、維也納愛樂樂團
• 爵士樂及世界音樂：波比．麥非年、尤蘇・ 恩多 爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
• 舞蹈：米高・巴里殊尼哥夫、蕭菲・紀蓮、艾甘． 漢、娜塔麗亞 奧斯波娃、美國芭蕾舞劇院、雲 門舞集、漢堡芭蕾舞團—約翰．紐邁亞、紐約市 芭蕾舞團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏 珀塔爾舞蹈劇場、米蘭史卡拉歌劇院芭蕾舞團
• 戲劇：彼得・ 布祿克、羅伯特．利柏殊、蜷川幸 雄、羅柏特 威爾遜、柏林劇團、中國國家話劇 院、皇家莎士比亞劇團、英國國家劇院
• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊
• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》
• 音樂劇：《日新》、《雄獅少年》、《咆哮山莊》
• 藝術科技：《超真實》裝置音樂會、《真．幻境 界》、《巴黎舞會》
, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the as well as a diverse range of “PLUS” and in February and March each year.
non-profit organisation. The total income target for FY2025/26 (including the 54th Hong Kong Arts Festival and 2026 “No Limits”) is approximately HK$159 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 24% of the Festival’s income needs to be generated from the box office, and around 44% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre, San Francisco Opera, Savonlinna Opera Festival
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe, Shanghai Yue Opera House
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Sir András Schiff, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company, National Theatre of Great Britain
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
• Musicals: Yat-sen, I Am What I Am the Musical, Wuthering Heights
• Arts-Tech: Hyperreality—An Installation Concert, Norealitynow , VR Interactive Dance—Le Bal de Paris
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas.
香港藝術節 積極與 本地演藝人才 合作，並致力為 新
進藝術家 提供展示才華的平台。藝術節至今委約及
製作逾 250 套本地全新創作，包括粵劇、戲劇、室內 歌劇、音樂和舞蹈作品，不少製作更已在香港及海 外多度重演。
香港藝術節多年來與知名國際藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節聯同香港歌德 學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹 窗人》；作為聯合委約機構之一並聯同倫敦老域劇 院、布魯克林音樂學院與尼爾街製作公司製作的「橫 貫計劃」之《暴風雨》及《李察三世》；與上海國際 藝術節聯合委約的《青蛇》；與三藩市歌劇院聯合製 作的《紅樓夢》；與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《拉娜》，以及與中央戲劇學院及 Compagnie Point Fixe 聯合製作的《海底兩萬里》等。
香港藝術節 一直大力投資 下一代的藝術教育。「青 少年之友」成立 33 年來，已為約 849,000 位本地中 學生及大專生提供藝術體驗活動。藝術節近年亦開 展多項針對大、中、小學生的藝術教育活動，包括 由國際及本地藝術家主持的示範講座及工作坊、學 生展演、演前講座、公開彩排、以及欣賞藝術節演 出。同時，通過「學生票捐助計劃」，藝術節每年提 供約 10,000 張半價學生票。
香港藝術節 每年主辦一系列多元化並深入社區的 「加料節目」，例如電影放映、示範講座、大師班、 工作坊、座談會、後台參觀、展覽、藝人談、文化 導賞團等，鼓勵觀眾與藝術家互動接觸。
香港藝術節 亦銳意將共融藝術理念拓展到社區每一 角落。由藝術節與香港賽馬會慈善信託基金聯合呈 獻的「無限亮」計劃於 2019 年正式開展，透過一系 列的演出及多元的教育及社區外展節目，「無限亮」
致力創造共融空間，讓不同能力人士均可以一同欣 賞、參與、擁抱藝術。
香港藝術節協會 2025/26 年度收入目標：
Estimated Target Income for the HKAF in FY2025/26:
港幣一億五千九百萬
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced with GoetheInstitut Hong Kong and Tanztheater Wuppertal Pina Bausch; Richard III and TheTempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution; Green Snake co-commissioned with Shanghai International Arts Festival; Dream of the Red Chamber coproduced with San Francisco Opera; Laila , a co-production with Finnish National Opera and Ballet, and 20,000LeaguesUndertheSea , co-produced with The Central Academy of Drama, China, and Compagnie Point Fixe.
The HKAF invests heavily in arts education for young people. Over the past 33 years, our “Young Friends” scheme has reached around 849,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 halfprice student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meetthe-artist sessions and guided cultural tours.
The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
政府的年度恒常撥款 Current Government annual baseline funding
HK$159 million 約 Around 44% 約 Around 12% 約 Around 20% 約 Around 24%
其他收入 Other Revenues
（包括按捐款和贊助收入 可望獲得的政府配對資助 including possible Government Matching Grant for Sponsorship and Donation income）
票房收入 Box Office
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
電郵 Email: dev@hkaf.org
直綫 Direct lines: (852) 2828 4911/12
網頁 Website: http://go.hkaf.org/give
贊助和捐款 Sponsorship & Donations
*有關香港藝術節的過往節目 Details of past HKAF programmes
支持 半價學生票 培育藝術小樹苗
Support our Student Ticket Scheme Help us provide more half-price tickets to young people
學生票捐助計劃
籌得的所有款項，均全數用作資助本地全日制學 生以半價優惠購買藝術節門票。為了讓更多青少年有機會觀賞高質 素的演出，從而培養他們對表演藝術的興趣和認識，我們需要您 的協助！
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲 一元 對 一元 的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
All donations to the Student Ticket Scheme are used for subsidising full-time local students to attend the Festival’s performances at half price. We need your support to encourage more young people to enjoy and be inspired by the Festival’s high-quality performances.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.*
Donations of any amount will make a difference, and are greatly appreciated!
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org
2828 4911/12
「彼岸」：俞湘君超媒體鋼琴音樂會——黑白鍵上的古韻新聲
Bi-An: Yu Xiangjun Piano-Hypermedia Recital—
Chinese Opera at the Keyboard
13.03.2026 / 8:00pm
東九文化中心劇場
The Theatre, East Kowloon Cultural Centre
演出長約 1 小時 40 分鐘，不設中場休息
Approximately one hour and 40 minutes with no interval 本節目有強光及閃光效果
This production contains strong lighting and strobe effects
本節目之藝術家乘坐第 54 屆香港藝術節指定航空公司國泰航空來回香港
The artists in this programme flew to and from Hong Kong on Cathay Pacific Airways, the Official Airline of the 54th Hong Kong Arts Festival
《青銅三部曲》為國家藝術基金 2025 年度小型劇（節）目和作品創作資助項目（2025-A-02-164-302） 彩票公益金資助—中國福利彩票和中國體育彩票 BronzeTrilogy is a 2025 Sponsored Project of the China National Arts Fund under the Small-scale Theatre Programme and Works Creation Grants (2025-A-02-164-302)
Lottery Public Welfare Fund Sponsorship China Welfare Lottery and China Sports Lottery
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線，影 響表演者及其他觀眾。
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don’t wish to keep this booklet, please return it to the admission point.
所有作品內容均由創作團隊獨立製作，並不代表贊助機構之立場或意見。
The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.
本節目內容及本刊物所載之藝術家 / 客席撰文者言論屬於個人觀點，並不代 表香港藝術節（「本會」）之立場或意見。
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中 場休息後遲到和在演出期間中途離場的觀眾重新入場。
Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會有權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能性 及方式。
The HKAF also reserves the right to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.
在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點 入場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任 何爭議，本會保留最終決定權。
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
© 張天明
封面照片Cover Photograph © 張天明
「彼岸」：俞湘君超媒體鋼琴音樂會——黑白鍵上的古韻新聲
Bi-An: Yu Xiangjun Piano-Hypermedia Recital
Chinese Opera at the Keyboard
項目策劃
彼岸超媒體工作室
鋼琴獨奏
俞湘君
新媒體藝術總監
達彥
音響工程總監
房大磊
作曲家
秦毅
徐志博
邵青
攝影
Project Planning
Bi-An Hypermedia Studio
Piano Soloist Yu Xiangjun
New-Media Art Director Da Yan
Audio Engineering Director Fang Dalei
Composers
Qin Yi Xu Zhibo Shao Qing
張天明 Photographer Zhang Tianming
關於「彼岸」
About Bi-An
古與今、舊與新、傳統與前衛，都是相對 的時間概念。
音樂是時間的藝術——小至一個聲音的產 生和消逝，大至一種音樂文化的興盛和消 亡——音樂作品雖以分秒計，卻濃縮了古 今人類意識與潛意識中的所有樂響，並包 含一切人文經驗與想像。任何一個樂音、 一陣脈動、一串鳴響、一段旋律，都是由
無數個體感知延伸至此刻的結果。
音樂既是作曲家個人的聲音，也是人類集 體文化與記憶的表徵。中華文明源遠流 長，每個歷史時期都有其不朽的聲音記憶： 遠古圖騰、禮樂金石、文儒詩畫、世俗戲 韻之聲——「彼岸」將這些聲音與當代藝 術家自由、反叛、感官互通、擁抱科技等
特質相融合，凝聚為一種超越時空、跨文 化、超媒體的古韻新聲。
「彼岸」是由鋼琴家俞湘君與她的團隊所發 起的一次鋼琴超媒體藝術探索。這場音樂 會以人類工業文明留存下來的最精密樂器 ——鋼琴作為出發點，再透過現場演奏衍 生出無盡可能：預製鋼琴、自動演奏、虛 擬樂器、人工智能媒體生成、動作捕捉等 新技術，將會建構一個超時空場域，並營 造出一場獨特的沉浸式體驗。
撰文：徐志博
The past and the present, the old and the new, and the traditional and the contemporary are all concepts that are relative to each other.
Music is an art of time—as miniscule as the rise and fall of a sound, as grand as the emergence and decline of an era. A composition makes its mark in a matter of minutes and seconds, yet distils the chronology of all humanistic sounds and imbues within it the entirety of human experience and imagination. Every note, melody, pulsation and resonance is the fruit of countless sensations.
Music is both a composer’s personal language and an expression of our collective cultural memory. Chinese civilisation stretches back millennia and every era has left behind its own immortal soundscapes: ancient totems, flashy artefacts, expressive creations and theatrical cacophony result from the freedom, rebellion, perceptiveness and tech-forwardness possessed by contemporary artists. This all comes together to form a transcendent voice in Bi-An that moves beyond borders of dimensions and culture, and the properties of various mediums.
Bi-An is another transmedia piano exploration created by pianist Yu Xiangjun and her team. The recital utilises the most precisely crafted machine devised by industrial human civilisation—the piano—as its starting point to generate infinite possibilities through live performances. Integrating prepared piano, automated playing, virtual instruments, AI-generated media, motion capture and other cutting-edge technologies, the piece presents an arena of surreal sublimation, creating a distinct immersive experience.
Text: Xu Zhibo
© 張天明
鋼琴家
俞湘君
俞湘君，上海音樂學院鋼琴副教授，上海 音樂學院附中教務主任，上海市表演藝術
教學指導委員會委員。她也是德國科隆音 樂學院鋼琴演奏博士，2018 年第二季度 德國唱片評論獎最佳唱片及最佳藝術家得
主，以及中國國家藝術基金 2019、2025 年 度資助藝術家。
俞湘君曾就讀上海音樂學院附小及附中， 師從楊晏如、王建中、金迪善、邵丹及吳 迎幾位教授。她於 2003 年赴德留學，師從 羅絲韋達．基迪加教授及皮埃爾 - 洛朗． 艾馬爾教授，並於 2009 年獲德國科隆音樂 學院提前授予鋼琴演奏博士學位。
俞湘君獲邀在海內外重要音樂盛事首演多 部中外作曲家作品，包括德國魯爾鋼琴 節、上海國際電子音樂周、上海之春國際 音樂節開幕式、朱踐耳作品專場音樂會以 及由丹麥皇家音樂學院 舉 辦的普薩現代音 樂節等。
Yu Xiangjun
As Associate Professor of Piano at the Shanghai Conservatory of Music as well as Head of Teaching at the Music Middle School Affiliated to the Shanghai Conservatory of Music, Yu Xiangjun is also a member of the Shanghai Performing Arts Teaching Committee. She graduated from the Cologne University of Music and Dance with a doctorate degree in Piano Performance, and was awarded the German Record Critics’ Award for Best Album as well as Best Artist in 2018. She was also a recipient artist of the China National Arts Fund in 2019 and 2025.
Yu studied at the Music Middle School Affiliated to the Shanghai Conservatory of Music, and was a student of professors Yang Yanru, Wang Jianzhong, Jin Dishan, Shao Dan and Wu Ying. Pursuing her studies in Germany in 2003, she studied under professors Roswitha Geidiga and Pierre-Laurent Aimard, and was awarded her PhD in Piano Performance early before graduation.
Yu has been invited to premiere works by composers internationally at major music events such as the Klavier-Festival Ruhr, the Shanghai International Electroacoustic Music Week, the opening ceremony of the Shanghai Spring International Music Festival, the Zhu Jian’er Masterpieces Concert and the Pulsar Festival hosted by the Royal Danish Academy of Music, to name a few.
Pianist
「彼岸」：俞湘君超媒體鋼琴音樂會—— 黑白鍵上的古韻新聲
Bi-An: Yu Xiangjun Piano-Hypermedia Recital
Chinese Opera at the Keyboard
邵青
《青銅三部曲》之一：《金烏扶桑》
王阿毛
《生旦淨末丑》
秦毅
《青銅三部曲》之二：《遠古的意識》
（鋼琴與虛擬編鐘）
陳其鋼
《京劇瞬間》
徐志博
《青銅三部曲》之三：《憶韻》
（鋼琴家與自動演奏鋼琴）
朱踐耳
鋼琴敍事詩《思凡》
邵青
《白描即景三聯》：「風」、「月」、「寺」
高為傑 《秋野》
秦毅
《META鳥歌》
（鋼琴與人工智能媒體生成）
張朝
《皮黃》
13.03.2026
Shao Qing (b. 1983)
TheBronzeTrilogy No 1: The Sunbird
Wang Amao (b. 1986)
Sheng-Dan-Jing-Mo-Chou (ThePekingOperaCharacters)
Qin Yi (b. 1981)
TheBronzeTrilogyNo 2: Ancient Consciousness (Piano and virtual chime bells)
Chen Qigang (b. 1951)
Instantsd'unOpéraDePékin
Xu Zhibo (b. 1982)
TheBronzeTrilogyNo 3: Prosodic ImpressionsofChineseOpera (Piano and Disklavier)
Zhu Jian’er (1922-2017)
Ballade YearningfortheSecularWorld
Shao Qing LandscapeSketchTriptych:Wind,Moon,Temple
Gao Weijie (b. 1938) FieldsinAutumn
Qin Yi METABirdSong (Piano and AI media generation)
Zhang Zhao (b. 1964) Pi-huang(APekingOperaMelodicStyle)
Programme Notes
邵青
《青銅三部曲》之一：《金烏扶桑》
在《山海經》中，「扶桑樹」被描述為連結 天地人的神樹，亦是古蜀人接通人神、上 下天地的天梯。居於扶桑之上的十隻三足 「金烏鳥」，則每日輪流飛於頂端枝頭，托 着十個太陽將光明帶給大地。
古代的神話與青銅文明彷彿有一種無形的 力量，喚起作曲家的神往，故作此曲。借 預製鋼琴的特殊音色，與上古神話遙遙應 之，聲聲和之。
東漢武氏祠畫像磚上的扶桑樹
The fusang tree as depicted on brick pictorial reliefs found in the Wu Family Shrine of the Eastern Han dynasty
漢代畫像石上的三足鳥，亦即金烏
The mythological tripedal crow as depicted on a Han dynasty pictorial relief
Shao Qing (b. 1983)
TheBronzeTrilogy No 1: TheSunbird
In the Shanhaijing , or TheClassicofMountainsand Seas, the fusang is a divine tree that symbolises the connection between Heaven, Earth and humanity. For people of the ancient Kingdom of Shu, it provided a portal to the gods, enabling them to traverse the realms of Heaven and Earth. Ten tripedal “golden crows” dwell upon the fusang , each carrying a sun. They take turns flying to the treetop every day, lighting up the Earth.
Inspired by this myth, composer Shao Qing uses the distinctive timbres of the prepared piano to echo and “answer” the ancient story from afar, note by note.
王阿毛
《生旦淨末丑》
在京劇表演形式中，生旦淨末丑代表五個
傳統京劇行當——男生、女旦、大花臉、 小花臉和丑角。王阿毛以《生旦淨末丑》
作為作品標題，正是出於對京劇藝術的熱 愛：一方面借助其藝術形象來創作出不同 音樂主題，另一方面也根據五個行當的不 同藝術特點構成五個樂章。
作品的音樂主題，來自京劇音樂當中被稱 為「過門」的旋律素材，並從中提取了個 性化的音程，再以拆分、疊加、擴大和壓 縮等技法來處理，構成音樂的旋律、和聲 及織體；另外，基於京劇中的敲擊樂而創 作出來的節奏極具特色，也為作品增添了 濃郁的藝術色彩。
近代京劇角色「末」已逐漸消失，京劇藝 術整體在今天亦面臨新的改變。「丑 / 尾 聲」的形象不僅僅是對丑角的簡單寫意， 更是對幾百年來波濤洶湧、絢麗多姿的京 劇藝術的忠實見證。創作這部作品，既是 追溯如「末」這樣沉澱在歷史文化中的寶 貴財富，也寄託了弘揚京劇國粹的關心和 期許。
Wang Amao (b. 1986)
Sheng-Dan-Jing-Mo-Chou (ThePekingOpera Characters)
In Peking opera, sheng, dan, jing, mo and chou represent the five role types: male roles, female roles, painted-face roles, secondary male roles and comic roles respectively. With a deep affection for the art of Peking opera, the composer has titled her work after these five roles. She has not only taken inspiration from Peking opera to create different musical themes, but has also built the five movements of the piece on the distinctive features of this genre.
The work’s musical themes are derived from the melodic materials of guomen, or transitions, in Peking opera music. From these passages, distinctive intervals are extracted and subsequently processed through techniques such as fragmentation, layering, expansion and contraction to form the required melodies, harmonies and textures. Inspired by the percussion music of Peking opera, the composer also creates an array of unique rhythms, which add rich artistic flavour to the piece.
In modern times, the mo role has largely disappeared and Peking opera as a whole faces new developmental challenges. The image of the chou, and the finale, is not simply a portrayal of the comic role, but also a faithful witness to the turbulent yet vibrant development of Peking opera over the centuries. This work is both a tribute to the invaluable treasures we have inherited from the past, and a call for the promotion and preservation of Peking opera in the future.
《生旦淨末丑》的靈感源自生、旦、淨、末、丑五個京劇傳統行當 Sheng-Dan-Jing-Mo-Chou is inspired by the five traditional character types of Peking opera
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無論捐贈數額多少，我們均衷心感謝您的支持！
The Festival is committed to promoting original works, and has commissioned and produced many critically acclaimed productions in the past. Your donation to the New Works Scheme will help us produce more innovative performances and nurture local talent.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
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ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格 For other donation methods, please refer to the Donation Form near the end of this booklet
秦毅
《青銅三部曲》之二：《遠古的意識》
這部作品的核心，是 2022 年錄製於湖北省 博物館的曾侯乙編鐘採樣聲。當這來自兩 千四百年前的青銅之聲與現代鋼琴之音 交織，便會在共同的泛音頻率上激振、
呼應，由共振形成一個新的時空，並引出 潛在的意識與生機。這並非簡單的樂器疊 加，而是兩種文明在聲音的本源處的一次 深刻的相遇。
這種體驗，恰如莊子所描述的至高境界： 「聽之不聞其聲，視之不見其形，充滿天 地，苞裹六極。」《遠古的意識》最終指向 的，正是這種超越音響與形式、瀰漫於時 空之中的生命本質，一份對於和諧、共鳴 與共同未來的藝術見證。
《遠古的意識》使用了曾侯乙編鐘的採樣聲 Ancient Consciousness includes samples of the Zeng Houyi Chime Bells
Qin Yi (b. 1981)
TheBronzeTrilogy No 2: AncientConsciousness
This work revolves around samples of the Zeng Houyi Chime Bells from the Hubei Provincial Museum, recorded in 2022. As the sounds of these 2,400-yearold bells meet the modern piano, they resonate on shared harmonic frequencies, creating a new sense of time and space that fosters awakening and invigoration. More than a mere juxtaposition of instruments, this piece represents a profound encounter between two civilisations, crossing between the centuries through the essence of sound. This experience reminds us of the highest state of life as described by Zhuangzi: “You hear it, and do not listen to its sound; you look at it, and do not perceive its form; it fills Heaven and Earth; it envelops all within the universe.” Transcending sounds and forms and pervading time and space, this essence of life is ultimately embodied by AncientConsciousness, an artistic testament to harmony, resonance and a shared future.
陳其鋼 《京劇瞬間》
《京劇瞬間》由國際梅湘鋼琴比賽委約，於 2000 年完成創作，並於 2004 年重新修訂。
陳其鋼以京劇音樂為素材創作的鋼琴作品 共有兩首，《京劇瞬間》為其中之一。作曲 家自述：「在寫作之前，我所知道的只是一 種情緒，一種遠遠的、如煙的感覺。在這 個感覺中包含了自己熟悉的京劇音樂的音 調。京劇音樂素材來自從小家庭和社會生 活的記憶。」他又表示：「合理地利用中國 傳統音樂素材，逐漸成了自我表達的基本 方式和思維源泉。」
作品的主題及反主題來自兩種京劇常見 的「過門」音樂，這些音樂段落一般用於 演員無須演唱的部分。作曲家為帶有「京 味」的主導動機，配上富色彩感的「和聲 外衣」——主要是具有五聲音階特點的五 度音程、四度音程、四度疊置和弦、加六 音三和弦、五聲音階綜合和弦等，同時結 合上、下聲部的平行進行、倒影進行。這 些手法與梅湘創作中常用的複合和聲、複 合調性手法相結合，營造激越、一氣呵成 的戲劇效果。該曲講求對音色、觸鍵、速 度、幅度的掌控及音樂感的表達，非常具 有挑戰性。
Chen Qigang (b. 1951)
Instantsd’unOpéraDePékin
Commissioned by the Olivier Messiaen International Competition, Instantsd’unOpéraDePékin was composed in 2000 and revised in 2004. This piece is one of the composer’s two piano works based on Peking opera music. He has said: “Before composing the piece, all I knew was a kind of emotion, a distant, hazy feeling. Within this feeling were those familiar tones of Peking opera music. The musical materials came from my childhood memories of my family and social life.” He further remarked: “For me, the use of traditional Chinese music materials has gradually become a fundamental way of self-expression, and a wellspring of creative thought.”
The subject and countersubject of the piece are derived from two common types of instrumental music in guomen, or transitions in Peking opera, which typically feature no singing. The composer clothes his Peking-flavoured principal motif in sustained, colourful harmonies, namely Chinese pentatonic fifth and fourth intervals, quartal chords, added-sixth chords and compound pentatonic chords on the pentatonic scale, among other techniques. These harmonies are applied alongside the parallel and retrograde motions in the upper and lower voices, especially in combination with the polyharmonic and polytonal techniques frequently employed by Messiaen, exuding an intense, uninterrupted sense of drama. The piece demands precise control of timbre, touch, tempo, dynamics and musical expression, making it highly challenging for pianists.
法籍華人作曲家陳其鋼以京劇音樂為素材創作了鋼琴曲《京劇瞬間》 Composed by Chinese-born French composer Chen Qigang, Instantsd’unOpéraDePékin is based on Peking opera music
Photo courtesy of Bi-An
徐志博
《青銅三部曲》之三：
《憶韻》
《憶韻》的創作源自對中國傳統戲曲文化 的崇仰之心，並藉由鋼琴的聲音空間，於 當下「回聽」記憶中的戲韻印象。鋼琴家
與自動演奏鋼琴互相配合，以個性化的方 式重現戲曲文武場中一個個 舉 手投足的瞬 間，將戲曲藝術中那些或典雅、或激越的 音韻、身形、律動，經由現代音樂語彙傳 遞給觀眾。
這部作品從觀念上延續中國戲曲藝術的傳 承方式。作曲家與鋼琴這件西方樂器均扮
演着歷史傳承者的角色，而真正的創作者 其實是傳統自身。
朱踐耳
鋼琴敍事詩《思凡》
鋼琴敍事詩《思凡》為朱踐耳在莫斯科音
樂學院學習期間，為同名獨幕芭蕾舞劇而 創作的舞劇音樂。作品取材自中國古典戲 曲《思凡》，講述小尼姑衝破神權和舊禮
教束縛，追求人性解放的故事。原劇自明 代流傳至今，曾是京崑大家梅蘭芳的保留 劇目。全劇一人到底，唱腔細膩，身段繁 重，姿態多變，是旦角戲中難度最高的一
部，戲曲甚至有「男怕夜奔，女怕思凡」 之說。這首敍事詩旨在表現人物內心世界 與外部的矛盾衝突，在結構上既貼合戲劇 情節，亦採用了奏鳴曲式的音樂結構。全 曲包含三個主題：引子主題象徵陰森恐怖 的神像；主部主題突顯青春與生活；副部 主題則描繪純潔的小尼姑形象。主人公心 理的細微演變、情節的曲折進展、起伏 與激化都透過這三個主題體現出來。作曲 家在創作中尋求音樂的個性化，除了進一 步發展五聲化曲調，還在和聲、調性、織 體、結構等方面取得了突破。這部作品於 1959 年由倪洪進在莫斯科首演。1962 年， 鋼琴家顧聖嬰曾在香港演出此曲。
Xu Zhibo (b. 1982)
TheBronzeTrilogy No 3: ProsodicImpressionsofChineseOpera
Out of deep reverence for traditional Chinese opera, the composer “re-listens” to his past impressions of the genre through this work, using the medium of the piano. The pianist performs in collaboration with a player piano, distinctively recreating moments of accompaniment by strings, and gongs and drums from Chinese opera performance. Elegant and intense, the phonetics and rhyme, gestures and rhythms of this traditional art form are all transposed into modern musical idioms.
This work conceptually reveals the manner in which the art of Chinese opera continues to thrive. While both the composer and the piano, a Western instrument, are inheritors of history, the true creator of the piece remains the tradition itself.
Zhu Jian’er (1922-2017)
Ballade YearningfortheSecularWorld
During his studies at The Moscow Conservatory, Zhu Jian’er composed the piano balladeYearningforthe SecularWorld as music for a single-act ballet of the same title. Based on the Chinese opera classic SiFan, this ballade tells the story of a young nun breaking free from the constraints of divine power and old feudal ethics to seek personal freedom. Passed down since the Ming dynasty, the original opera was a signature piece in the repertoire of Mei Lanfang, the legendary Peking and Kun opera performer. SiFan is a demanding female-solo monodrama that features intricate vocal lines, demanding movements and complicated postures. It’s no wonder that in Chinese opera there is a saying: “Actors dread YeBenand actresses dread Si Fan.” Illustrating the conflict between the protagonist’s mind and the outside world, the ballade does justice to the original plot in a sonata form comprising three themes. While the introductory theme unveils the eerie, frightening image of idols, the primary theme symbolises youth and life, which is then followed by a portrayal of the pure, innocent young nun in the secondary theme. These three themes illustrate the subtle psychological development of the protagonist, her growing struggles, and the twists and turns of the storyline. During the creative process, the composer experimented with pentatonic tunes, but also made impressive progress on elements such as harmony, tonality, texture and structure. This piano ballade was premiered in Moscow in 1959 by Ni Hongjin, and performed by pianist Gu Shengying in Hong Kong in 1962.
邵青
《白描即景三聯》：「風」、「月」、「寺」
白描是一種單用墨色線條勾勒形象而不施
藻飾的繪畫手法，這三首小曲借用了這種
手法，以音為筆，以樂為墨，以江南的風 景為題，以音響形態為創作方式，分別描
繪出「風」、「月」、「寺」三幅小景，以
作曲家邵青心中的中式美學，呈現月的清 朗、風的靈動、寺的莊重和威嚴。
Shao Qing
LandscapeSketchTriptych:Wind,Moon,Temple
Baimiao, or linear drawing, is a painting technique that solely uses ink lines to contour images without further decoration. Applying this method to composition, Shao Qing contours the Jiangnan landscape with varying musical expressions in these three short pieces. Applying this method to composition, the composer uses sound as brush and music as ink to sketch three Jiangnan scenes: “Moon”, “Wind” and “Temple”. With distinctive acoustic textures, the triptych reflects her sense of Chinese aesthetics—the clarity of the moon, the agility of the wind and the solemn majesty of the temple.
高為傑
《秋野》
《秋野》是高為傑於 1987 年為兒子高平參加
的中國鋼琴作品演奏比賽而作，該曲在這 次比賽中獲新作第一名。作品以作曲家自 創的「十二音場集合技法」作成，分為引 子、地、天、人、尾聲五部分。曲中既有 外在的秋風肅殺、野色斑斕，也有內心的 恬淡清雅、志存高遠，一派天地悠悠、唯 餘蒼茫之體悟，充分展現了寄情於景、天 人合一的中國傳統文人美學精神。
Gao Weijie (b. 1938)
FieldsinAutumn
FieldsinAutumn was written in 1987 for the composer’s son, Gao Ping, to participate in the Chinese Piano Works Performance Competition, and won first place in the category for original works. Created using the composer’s self-developed “12-tone set theory”, the piece comprises five parts: Introduction, Earth, Heaven, Humanity and Finale. Apart from idyllic scenes of bleak, windswept autumnal fields, the piece remains serene and simple, projecting the high aspirations of a lone soul against the vast universe. It embodies the traditional Chinese literati spirit, which values emotional resonance with nature, as well as the unity of humanity and the universe.
《秋野》一曲是高為傑於 1987 年為愛子而作，借景抒情之外更體現了天人合一的意境 Fields in Autumn, written in 1987 by composer Gao Weijie for his son, embodies the philosophical concept of harmony between heaven and humanity
Photo courtesy of Bi-An
秦毅 《META鳥歌》
作品由真實的鳥鳴及鋼琴聲領起全曲。隨
之，通過智能技術分析、合成的「人工」
鳥鳴逐漸佔滿整個聲音空間，而鋼琴家的 音樂呼吸與純機器算法生成的「鳥歌」，最
終取代了來自真實世界的鳥鳴。作曲家以 此隱喻人類對於新技術的狂熱追求及對於 自然本源的詰問。而由此形成的「自然」 之聲音幻象與同為人工智能生成的鳥類圖 像，彼此形成映射與呼應。
張朝
《皮黃》
「皮黃」一字來自於京劇術語，皮黃腔是一 種京劇唱腔，張朝創作時刻意強調西皮與 二黃的差異，並且將兩者的藝術特色融入 《皮黃》這首曲子當中，並通過西方樂器來 表達傳統的民族音樂特徵。1995 年，張朝 完成了鋼琴曲《皮黃》，但在此後數十年 間，他仍不斷修正、完善此作品，使之更 貼近當下現實生活。
鋼琴曲《皮黃》採用了京劇板式結構。此 曲以原板為中心，創造出十個不同的板式 段落，涉及導板、原板、流水、慢板、快 板等，共十種類型。
曲目介紹由彼岸超媒體工作室提供 英文翻譯：瀧澤勳
Qin Yi METABirdSong
While this work opens with genuine birdsong and real piano sounds, “artificial” bird chirps analysed and synthesised by AI tech gradually fill the entire sound space. The composition is a metaphorical depiction of humanity’s fervent exploration of new technology and questions the origins of nature, with the illusory sounds of “nature” mirroring and resonating with the AI-generated images of birds.
Zhang Zhao (b. 1964)
Pi-huang (APekingOperaMelodicStyle)
Known for its ethnic vibrancy, pi-huang is a vocal melodic style in Peking opera that combines both xipi and erhuang tunes, which give the piece its name. In this piano work, the composer emphasises the varying artistic qualities of the two tunes and highlights the traditional characteristics of ethnic Chinese music using the Western instrument. Zhang Zhao completed the piece in 1995, but continued to refine and perfect the details of the work over the following decades, enhancing its relevance to contemporary life.
This piano composition adopts the metrical framework, or banshi, of Peking opera. Stemming from yuanban (primary metre), the piece encompasses 10 different metrical sections, including daoban (leadin metre),yuanban, liushui (flowing water metre), manban (slow metre) and kuaiban (fast metre).
西皮、二黃兩腔之合流，一般認為始於乾隆年間 The convergence of xipi and erhuang tunes is believed to have taken place during the reign of the Qianlong Emperor
Programme notes supplied by Bi-An Hypermedia Studio English translation: Amadeus Cheung
彼岸超媒體工作室團隊介紹
Bi-An Hypermedia Studio Team Profiles
作曲家 秦毅
秦毅，上海音樂學院副教授和作曲家，其作品 曾在世界各地多個知名藝術節上演。她不僅致 力研究中國文化語境在當下藝術創作中的呈 現，在運用現代科技推動中國音樂文化方面亦 素有建樹。
她在創作和研究上的成就，為其贏得中國音樂 金鐘獎最佳作品獎、銀獎、銅獎、上海文藝人 才獎、上海文藝創作優品獎、成果獎和上海市 文廣局科學技術進步一等獎等多個獎項。
Composer
Qin Yi
Qin Yi is a composer and Associate Professor at the Shanghai Conservatory of Music. Widely performed internationally, Qin’s works have been featured at renowned arts festivals around the world. Not only does her research focus on Chinese cultural contexts and their impact on contemporary artistic performances, but also on applying modern technologies to developing Chinese music culture.
For her achievements in innovation and research, she has been recognised with honours such as the Golden Bell Award, the Silver and Bronze awards at the Shanghai Arts Talents Award, the Shanghai Arts Production Outstanding Award and Achievement Award , as well as the First Prize in Scientific Progress from the Shanghai Ministry of Cultural Management.
作曲家 徐志博
作曲家、上海師範大學音樂學院副教授及上海 計算機音樂協會理事。徐志博畢業於上海音樂 學院，先後師從周湘林、陳強斌和楊立青教 授。其創作涉及各種類型的音樂，並多次榮獲 國內外多個重要音樂創作獎項以及各類委約。
徐志博現從事作曲及音樂理論課程教學工作， 並致力於當代音樂、聲音藝術、新媒體藝術等 領域的理論研究。
Composer
Xu Zhibo
A composer and academic supervisor, Xu Zhibo is an Associate Professor at the College of Music of Shanghai Normal University, a Director of the Shanghai Computer Music Association and Head of its Music New Media Committee, as well as one of Shanghai Normal University’s Outstanding Young Scholars. A graduate of the Shanghai Conservatory of Music, he honed his skills under professors Zhou Xianglin, Chen Qiangbin and Yang Liqing. His compositions, versatile in genre, have earned him numerous prestigious awards and commissions.
He currently works as a composer and teacher of music theory and pours his time into researching theories of contemporary music, sound art, new media arts and more.
作曲家
邵青
邵青，作曲家及上海音樂學院青年骨幹教師。
她曾先後師從郭元、陳鋼、賈達群和安承弼教 授學習作曲及電子音樂作曲，並在攻讀博士期 間師從許舒亞教授。
她的創作涵蓋器樂獨奏、室樂、交響樂及電子 音樂作品，更屢獲各類創作獎項。其作品曾多 次在上海之春國際音樂節、香港藝術節及北京 國際電子音樂節等場合演出。邵青多次獲得國 家藝術基金項目資助，同時致力於探索植根中 國文化的當代音樂創作。
Composer
Shao Qing
Shao Qing is a composer and lecturer at the Shanghai Conservatory of Music. She learnt composing and electronic music composition as a student of Guo Yuan, Chen Gang, Jia Daqun and An Chengbi, and earned her doctorate degree under Professor Xu Shuya.
Her compositions span instrumental solos, chamber music, symphonic works, and electronic pieces, earning her numerous awards. Her music has been performed at major events such as the Shanghai Spring International Music Festival, the Hong Kong Arts Festival and the MUSICACOUSTICA-BEIJING festival. Shao Qing has received multiple grants from the China National Arts Fund and remains dedicated to creating contemporary music rooted in Chinese culture.
新媒體藝術總監
達彥
達彥為旅美新媒體藝術家，達噠超媒體工作室 創意總監，同濟大學設計創意學院客座教授。
達彥的創作涉及交互、動態圖形、電子音樂和 攝影，尤其擅於將科技與藝術整合到音畫創作 當中。他曾擔任紐約 EYEBALL 設計公司藝術 總監和北京水晶石影視傳媒的創意總監，參與 包括倫敦奧運會開幕及閉幕禮等大型活動的新 媒體創作和演出。他的作品曾入選威尼斯雙年 展、美國 Siggraph 會議和上海國際藝術節等。 達彥擁有美國羅德島設計學院數碼媒體和同濟 大學建築學與工業設計等多個碩士學位。
New-Media Art Director
Da Yan
A new media artist based in the USA, Da Yan is the Creative Director of Dada Hypermedia Studio and a Guest Professor at the College of Design and Innovation at Tongji University in Shanghai. His work spans interactive art, motion graphics, electronic music and photography, with a central focus on integrating technology and art in audio-visual creation. Once the Artistic Director of the New York design firm EYEBALL and the Creative Director of Crystal Video and Media in Beijing, he took part in the creation and performance of landmark events such as the Opening and Closing Ceremonies of the 2012 London Olympics. Da’s works have been selected for the Venice Biennale, the SIGGRAPH conference, the Shanghai International Arts Festival and many more. He is a holder of a Master’s degree in Digital Media from the Rhode Island School of Design and another in Architecture and Industrial Design from Tongji University, among his many Master’s degrees.
音響工程總監 房大磊
房大磊是上海音樂學院音樂工程系副教授，同 時身兼美國音頻工程師協會正式會員及上海國 際電子音樂周技術總監，亦曾在香港演藝學院 及柏克萊音樂學院擔任訪問學者。
房大磊在音樂科技方面極具創新意識，並在音 響系統及互動設計方面擁有豐富的實踐經驗。 他作為技術總監參與的大型演出，包括 2007 年首屆上海電子藝術節開幕式音樂會、2011 年 德國漢堡音樂戲劇大學多媒體音樂會，2015 年 《聲立方——超感官空間》展演、2019 年英國 倫敦南岸藝術節音樂會及「彼岸」：俞湘君超 媒體鋼琴音樂會等。
Audio Engineering Director Fang Dalei
Fang Dalei is an Associate Professor of Audio Engineering at the Shanghai Conservatory of Music, the Technical Director of the Shanghai International Electronic Music Week and a member of the Audio Engineering Society. He was a visiting scholar at The Hong Kong Academy for Performing Arts and the Berklee College of Music in Boston.
An innovator in the realm of music technology, Fong has a wealth of practical experience in implementing audio systems and interactive designs. He has served as the technical director of many performances, including the opening concert of the first Shanghai eARTS Festival in 2007, the 2011 Hamburg University of Music and Drama multimedia concert, the 2015 CubicSounds: Hyper-sensorySpace exhibition, the 2019 London Southbank Arts Festival Concert and Yu Xiangjun’s Bi-An hypermedia concert.
Acknowledgements
香港藝術節衷心感謝下列機構及人士的慷慨支持﹕
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香港藝術節基金會贊助人
Hong Kong Arts Festival Foundation Patrons
首席創始贊助人 Lead Founding Patrons
陳俊豪先生 Mr Thomas Chan
黃廷方慈善基金 Ng Teng Fong Charitable Foundation
電訊盈科 PCCW
九龍倉集團 The Wharf Group
主要創始贊助人 Major Founding Patrons
萬通保險國際有限公司 YF Life Insurance International Ltd
眾安銀行 ZA BANK
創始贊助人 Founding Patrons
陳煒文博士 , JP Dr Raymond Chan, JP
丹斯里拿督邱達昌 Tan Sri Dato ’ David Chiu
曹其鋒先生 Mr Silas Chou
霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok
馮氏基金有限公司 E.M. Fung Foundation Limited
何超瓊女士 , SBS, JP Ms Pansy Ho, SBS, JP
科勁國際（控股）有限公司 King ’ s Flair International (Holdings) Limited
梁婉玲博士 Dr Elina Leung
孫漢明博士 Dr Stephen Suen
包陪麗女士 , BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari
支持及協助 Support and Co-operation
1Plus1 Production
第三十七屆澳門國際音樂節 37th Macao International Music Festival
史卡拉歌劇院學院 Accademia Teatro alla Scala
Antonieta Fernandes Manhão
Art-mate 網上售票平台 Art-mate
教育局藝術教育組 Arts Education Section, Education Bureau
香港愉景灣酒店 Auberge Discovery Bay Hong Kong
Bettypaige Flamenco
英國駐香港總領事館 British Consulate-General Hong Kong
英國文化協會 British Council
British Film Institute
楊文秀 Camelia Yeung
陳定遠 Chan Ting-yuen, Timothy 中國電影資料館 China Film Archive
城市當代舞蹈團 City Contemporary Dance Company
Clara Ramona Danza Flamenca Limited
西洋會所 Club Lusitano
比利時駐港總領事館 Consulate General of Belgium in Hong Kong
加拿大駐香港及澳門總領事館 Consulate General of Canada in Hong Kong and Macao
法國駐香港及澳門總領事館 Consulate General of France in Hong Kong & Macau
愛爾蘭駐香港及澳門總領事館 Consulate General of Ireland to Hong Kong and Macao
意大利駐香港總領事館 Consulate General of Italy in Hong Kong
葡萄牙駐澳門及香港總領事館 Consulate General of Portugal in Macau and Hong Kong
西班牙駐港總領事館 Consulate General of Spain in Hong Kong
瑞士駐港總領事館 Consulate General of Switzerland in Hong Kong
捷克共和國駐香港總領事館 Consulate General of the Czech Republic in Hong Kong
Culture Ireland
愛爾蘭外交貿易部 Department of Foreign Affairs and Trade, Ireland
Diamond Digital Marketing (HK)
天主教澳門教區 Diocese De Macau
林芍彬博士 Dr Anne Lam Cheuk-bun
盧定彰博士 Dr Daniel Lo Ting Cheung
Dr Elisabeth Berry Drago
林丰博士 Dr Fung Lam
張國雄博士 Dr Stephen Cheung Kwok Hung
黃志淙博士 Dr Wong Chi-chung
東九文化中心 East Kowloon Cultural Centre
Esencia Flamenca HK
誠品書店 Eslite bookstore
楊欣諾 Felix Yeung
翻騰三周半 Fountain de Chopin
藝穗會 Fringe Club
德國駐香港總領事館 German Consulate General Hong Kong
六國酒店 Gloucester Luk Kwok Hong Kong
香港君悅酒店 Grand Hyatt Hong Kong
Habyt Bridges
Hansen Chan
香港藝術行政人員協會 Hong Kong Arts Administrators Association
香港藝術中心 Hong Kong Arts Centre
香港浸會大學 Hong Kong Baptist University
音樂學院 Academy of Music
香港中樂團 Hong Kong Chinese Orchestra
香港大會堂 Hong Kong City Hall
香港文化中心 Hong Kong Cultural Centre
香港旅遊發展局 Hong Kong Tourism Board
香港聯合國教科文組織世界地質公園 Hong Kong UNESCO Global Geopark
悅品海景酒店．觀塘 Hotel COZi Harbour View
宜必思香港中上環 ibis Hong Kong Central & Sheung Wan
入境事務處 Immigration Department
In Black
法國文化中心 Institut français
東方葡萄牙學會 Instituto Português do Oriente
益普索 IPSOS
廖健邦 James Liu
滘西村值理會 Kau Sai Village Office
林欣傑 Keith Lam
梁頌怡 Kitty Leung
駐香港韓國文化院 Korean Cultural Center in Hong Kong
高山劇場 Ko Shan Theatre
Kubrick
葵靑劇院 Kwai Tsing Theatre
光華印務公司 Kwong Wah Printing Company
勞工處 Labour Department
李淑嫻 Lee Suk Han
康樂及文化事務署 Leisure and Cultural Services Department
牧羊少年與他的浮萍 Lemna of the Alchemist
林昕楠 Lin Xinnan
盛薈 @ 莊士敦 Loplus@Johnston LORE Limited
馬志恆 Ma Chi Hang
馬哥孛羅香港酒店 Marco Polo Hongkong Hotel
Margaret Cheung
Mariko Drayton
Maxibit HK/China
MOViE MOViE
Munchkinlands Company
迷音樂 Musikholic
MYKE40 ltd
荃灣西如心酒店 Nina Hotel Tsuen Wan West
北區大會堂 North District Town Hall
香港諾富特世紀酒店 Novotel Century Hong Kong
One Bite Design Studio
Parenthèses
柏斯琴行 Parsons Music Limited
迷離科技有限公司 Practical Magic and Innovation
葉劍豪教授 Professor Ip Kim-ho
瑞士文化基金會 Pro Helvetia – Swiss Arts Council
犇華企業服務有限公司 Primasia Corporate Services Limited
舍區 Quarryside
歐永財魅力弗拉門戈藝術團 Raymond Au & His Flamenco Troupe Los Duende
麗豪酒店 Regal Riverside Hotel
黃日芝芭蕾舞學校 Regine Wong School of Ballet
皇家太平洋酒店 Royal Pacific Hotel
Saul Zaentz Company
沙田大會堂 Sha Tin Town Hall
上環文娛中心 Sheung Wan Civic Centre
Southgate Design
春天芭蕾舞學校 Springtide Ballet School 聯合新零售（香港）有限公司 SUP Retail (Hong Kong) Limited
大館 古蹟及藝術館 Tai Kwun Centre for Heritage and Arts
駐香港臺北經濟文化辦事處 Taipei Economic and Cultural Office in Hong Kong 台灣蘇富比國際房地產 Taiwan Sotheby's International Realty
唐娟 Tang Juan
藝林文具印刷有限公司 The Artland Co. Ltd.
瑞典駐香港及澳門總領事館 The Consulate General of Sweden in Hong Kong and Macau
The Corner Coffee Ltd.
香港教育大學 The Education University of Hong Kong
文化與創意藝術學系 Department of Cultural and Creative Arts
香港演藝學院 The Hong Kong Academy for Performing Arts
舞蹈學院 School of Dance
戲劇學院 School of Drama
音樂學院 School of Music
表演場地管理部 Venue Performance Unit
場地技術部 Venue Technical Unit
香港管弦樂團 The Hong Kong Philharmonic Orchestra
香港朗廷酒店 The Langham, Hong Kong
香港半島酒店 The Peninsula Hotel Limited
港靑 香港基督敎靑年會 The Salisbury – YMCA of Hong Kong
香港大學 The University of Hong Kong
比較文學系 Department of Comparative Literature
音樂系 Department of Music
荃灣大會堂 Tsuen Wan Town Hall
翠華船務（香港）有限公司 Tsui Wah Ferry Service (H.K.) Limited
屯門大會堂 Tuen Mun Town Hall
東華三院東蒲 TWGHs TungPo
美國駐港澳總領事館 U.S. Consulate General HK & Macau
郭慧芸芭蕾舞學校 Vivian Kwok School of Ballet
Vivian Suen
西九文化區管理局 West Kowloon Cultural District Authority
WINK
艾希妮控股有限公司 X Social Group Holdings Limited
高木 Yakitori Takagi
元朗劇院 Yuen Long Theatre
贊助人
李家超先生 , PATRON
GBM SBS PDSM PMSM
永遠名譽會長 邵逸夫爵士（1907-2014）
執行委員會
主席 盧景文教授
副主席 文肇偉先生 義務司庫 范高廉先生 委員 何苗春暉女士
紀文鳳女士 林健忠博士
劉鎮漢先生 李敬恩女士
馬清正先生 薛文熹先生
譚榮邦先生 閻 蘭博士 楊 光先生
節目委員會
主席 譚榮邦先生 委員 白諾信教授
黃 翔先生 羅志力先生 毛俊輝教授
約瑟 施力先生 +
姚 珏教授
財務委員會
主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生
發展委員會
主席 閻 蘭博士
副主席 梁嘉彰女士
委員 張詩樂先生 馮穎詩女士
龐心怡女士 孫林宣雅女士 文 藝女士
顧問 夏佳理先生 鮑 磊先生
查懋成先生
陳祖澤博士
陳達文博士
霍 璽先生
李業廣先生
梁紹榮夫人
李國寶博士
名譽法律顧問 甘乃迪女士 美博香港律師事務所
核數師 羅兵咸永道會計師事務所
Honorary Programme Advisor
電話 TEL （852）2824 3555
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
地址 ADDRESS
香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
The Hon. John KC Lee,
GBM SBS PDSM PMSM
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
EXECUTIVE COMMITTEE
Chairman Prof. Lo Kingman, SBS MBE JP
Vice-Chairman
Honorary Treasurer
Members
PROGRAMME COMMITTEE
Chairman
Members
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
Mr Sebastian Shiu-wai Man
Mr Colin Farrell
Ms Joanna Hotung
Ms Leonie Ki, GBS SBS JP
Sir Lam Kin Chung, KCR
Mr Anthony Lau
Ms Kristine Li
Mr Ma, Ching Cheng
Mr Hugh Simon
Mr Tam Wingpong, SBS
Dr Yan Lan
Mr Sunny Yeung
Mr Tam Wingpong, SBS
Prof. Giorgio Biancorosso
Mr Edmond Huang
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Prof. Jue Yao, SBS JP
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Nelson Leong
Dr Yan Lan
Ms Catherine Leung
Mr Carey Cheung
Ms Ophelia Fung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Mr Victor Cha
Dr John CC Chan, GBS JP
Dr Darwin Chen, SBS ISO
Mr Angus H Forsyth
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
Ms Gabriela Kennedy
Mayer Brown Hong Kong LLP
PricewaterhouseCoopers
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋、蘇國雲
副節目總監 李冠輝
高級節目經理 蘇雪凌、游慧姿 *
節目經理 鄭佩群 *、廖國穎 *、馬筠婷 * 、
黃 嵐 *
項目經理 李朗軒 *
節目統籌 陳娟瑜 *、周 翹 *、鍾曉晴 * 、
容諾行 *
節目主任 黃明儀 #
物流
物流及接待經理 金學忠 *
技術
高級製作經理 梁雅芝 * 製作經理 陳梓衡 *
出版
編輯經理 陳詠恩 *
英文編輯 Adam Wright*
副編輯 陳劭儀 *
助理編輯 干 霖 *
外展
外展經理 林嘉敏 *
外展統籌 陳沅渟 *、李幸凝 *、鄧芷蔚 * 、 黃思婷 *
外展主任 趙家琳 *、郭曉潼 *
外展助理 陳美鳳 *
市場推廣
市場總監 鄭尚榮
副市場總監 盧伯全
市場經理 鄭曉恩 *、張予心 *、黃芷賢 *
市場項目經理 譚懿諾 *
副市場項目經理 李穎軒 *
助理市場經理 朱凱潼 *
市場統籌 梁喬正 *
市場主任 王舒萱 *
票務
高級市場經理（票務） 梁彩雲
票務主任 蔡嘉熹 *
發展
發展總監 簡潤如
特別發展協理 蘇啟泰 *
發展經理 陳寶齋 *、葉巧儀 *、黃珮茵 *
助理發展經理 郭倩珩 *
發展主任 葉涴喬 *
短期發展助理 陳芍穎 *
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗 * 會計及行政主任 麥婕妤 * 人力資源及行政 人力資源及行政經理 楊美君 * 接待員 / 初級秘書 李美娟
資訊科技
資訊科技經理 陳啟明 *
無限亮
項目總監 錢 佑 *
節目及外展經理 鍾美琼 *、高 君 *、吳卓恩 *
助理節目及外展經理 潘詠汶 *
節目及外展統籌 鄭銘柔 *
市場經理 黃嘉欣 *
副市場經理 陳佩鈴 *、吳雪琼 *
助理製作經理 鄭家裕 *
高級會計主任 鍾巧明 *
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Project Manager
Programme Coordinators
Programme Officer
LOGISTICS
Logistics Manager
TECHNICAL
Senior Production Manager
Production Manager
PUBLICATIONS
Editorial Manager
English Editor
Associate Editor
Assistant Editor
OUTREACH
Outreach Manager
Outreach Coordinators
Outreach Officers
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Sophie Liao*, Katie Ma*, Neva Wong*
Li Long-hin*
Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung*
Melissa Wong#
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan*
Adam Wright*
Shao yi Chan*
Lindsey Gan*
Carman Lam*
Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong*
Raven Chiu*, Angel Kwok*
Outreach Assistant Christine Chan*
MARKETING
Marketing Director
Associate Marketing Director
Marketing Managers
Project Manager – Marketing
Katy Cheng
Eugene Lo
Vicki Cheng*, Stephanie Cheung*, Effie Wong*
Hades Tam*
Deputy Project Manager - Marketing Hill Li*
Assistant Marketing Manager
Jessica Chu*
Marketing Coordinator Isaac Leung*
Marketing Officer
TICKETING
Senior Marketing Manager (Ticketing)
Ticketing Officer
DEVELOPMENT
Development Director
Nancy Wong*
Eppie Leung
Heidi Choi*
Brenda Kan
Special Development Associate Alex So*
Development Managers
Assistant Development Manager
Development Officer
Leroy Chan*, Evelyn Ip*, Janice Wong*
Evelyn Kwok*
Jeria Yip*
Temporary Development Assistant Cherry Chan*
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Accounting & Administrative Officer
HR & ADMINISTRATION
HR and Admin Manager
Teresa Kwong
Connie To*
Charmaine Mak*
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
INFORMATION TECHNOLOGY
Information Technology Manager
NO LIMITS
Project Director
Derek Chan*
Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Manager Jasmine Poon*
Programme and Outreach Coordinator
Marketing Manager
Deputy Marketing Managers
Assistant Production Manager
Taylor Cheng*
Carly Wong*
Gina Chan*, King Ng*
Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、朱芷慧*、馮碧琪*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、羅玲* 、Lucrezia Luxardo*、胡肇婷*、楊曦*、翁蒨懃*
製作主任 魏俊瑩* 技術統籌 張詠宜*、范文恩*、馮舒凝*、李浩賢*、譚學臻*、鄧煒培*、曾以德*
Artist Coordinators Haynes Cheung*, Eleanor Chu*, Betty Fung*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Celine Luo*, Lucrezia Luxardo*, Blanche Wu*, Adrien Yeung*, Bonnie Yung*
Production Officer Rita Ngai*
Technical Coordinators Jess Cheung*, Yan Fan*, Cherry Fung*, Lawrence Lee*, Camille Tam*, Billy Tang*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2025/26由香港藝術發展局資助
# 2025/26 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2026年2月更新 Updated February 2026
請支持您的藝術節！
Become a Supporter of Your Festival!
香港藝術節是一所非牟利機構，單憑票房收入及政府基本資助，遠遠 未足以應付呈獻及推廣世界各地頂尖表演藝術的成本。藝術節之所以 能持續舉辦，捐助者的慷慨支持實在功不可沒。誠意邀請您捐助藝術 節捐助計劃，協助我們繼續帶來高質素國際及本地藝術家精采的演出， 以及舉辦多元化的外展及教育活動。
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲一元對一元的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
The Hong Kong Arts Festival is a non-profit organisation. Income from ticket sales and government baseline funding can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous support of its donors. Please support the Festival Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
is amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
1899.Childe Hassam - New England Headlands