Gulbenkian Choir - 54th Hong Kong Arts Festival

Tech Cantata: Osdiasmaislongoseosmaiscurtos

(TheLongestDaysandtheShortestDays)

科技清唱劇《那些最長亦最短的日子》

Choral Treasures from Portugal 葡萄牙合唱瑰寶

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

古本江合唱團 Gulbenkian Choir

科技清唱劇

《那些最長亦最短的日子》

Tech Cantata:Osdiasmaislongoseos maiscurtos (TheLongestDaysandthe ShortestDays)

04.03.2026 / 8:00pm

葵青劇院演藝廳

Auditorium, Kwai Tsing Theatre

演出長約1小時5分鐘，不設中場休息

Approximately one hour and five minutes with no interval 葡語演出，附中、英文字幕

Performed in Portuguese with Chinese and English surtitles

古本江合唱團部分巡演費用獲香港浸會大學研究新星資助金支持

The Gulbenkian Choir’s visit is supported, in part, by the Rising Star Research Grant of Hong Kong Baptist University

藝術節加料節目

文化導賞團 Guided Cultural Tour

探索西洋會所的中葡歷史與文化

Discover Hong Kong’s Sino-Portuguese heritage at Club Lusitano

21.02.2026（已舉行 Past event）

演後藝人談 Post-Performance Meet-the-Artist Session

04-05.03.2026

文化導賞團 Guided Cultural Tour

澳門的一天：中葡文化、宗教、美食及音樂之旅

One Day in Macau: A Taste of Sino-Portuguese Culture, Religion, Culinary Delights and Music

06.03.2026 (9:30am-11:00pm)

澳門特別行政區

Macau Special Administrative Region

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※ 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”).

葡萄牙合唱瑰寶

Choral Treasures from Portugal

05.03.2026 / 8:00pm

香港大會堂音樂廳

Concert Hall, Hong Kong City Hall

演出長約1小時10分鐘，不設中場休息

Approximately one hour and 10 minutes with no interval

封面照片Cover Photographs © Gulbenkian Foundation (upper) © Jorge Carmona (lower)

大師班 Masterclass

馬天娜．巴迪朱合唱指揮大師班 Choral Conducting Masterclass by Martina Batič

07.03.2026 ( 2:30pm-4:30pm)

香港文化中心音樂廳排演室 CR1

Concert Hall Rehearsal Room CR1, Hong Kong Cultural Centre

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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.

古本江合唱團 Gulbenkian Choir

古本江合唱團創立於1964年，是由約一百 名團員組成的大型管弦樂團合唱團，他們 會以小型聲樂組合形式演出，亦會與古本 江管弦樂團等交響樂團合作。其曲目橫跨

古典、浪漫時期及當代的合唱管弦樂作 品，當中包括眾多二十世紀作品的首演。

該團經常與頂尖國際樂團合作，其中有柏 林愛樂樂團、倫敦愛樂樂團、三藩巿交響

樂團和巴黎樂團，並曾與多位知名指揮家 合作演出，例如歌迪奧．阿巴度、哥連． 戴維斯爵士、埃薩-貝卡．沙羅倫、李安 納．斯拉特金等。該團亦在多個國際音樂 節上獻唱。

古本江合唱團錄音繁多，曲目廣泛，合作 的唱片公司包括德意志留聲機、Erato和 飛利浦，涵蓋文藝復興複音合唱作品以至 希臘當代作曲家塞納基斯的作品。當中數 張專輯更獲得白遼士獎和奧菲歐金獎等重 要殊榮。米歇爾．哥布斯自1969至2019 年擔任合唱團首席指揮。現任首席指揮為 馬天娜．巴迪朱，副指揮為伊里斯．達華 利斯．洛佩斯，藝術顧問則由荷希．瑪達 出任。

Founded in 1964, the Gulbenkian Choir is a full symphonic ensemble of around 100 singers, capable of performing as a smaller vocal group or in collaboration with the Gulbenkian Orchestra and other orchestras. Its repertoire spans classical, Romantic and contemporary choral-symphonic works, including numerous 20th-century premieres. The choir has frequently collaborated with major international orchestras such as the Berliner Philharmoniker, the London Philharmonic, the San Francisco Symphony and Orchestre de Paris, working with renowned conductors including Claudio Abbado, Sir Colin Davis, Esa-Pekka Salonen and Leonard Slatkin. It has also participated in international festivals worldwide.

The Gulbenkian Choir has recorded extensively for labels including Deutsche Grammophon, Erato and Philips, covering repertoire from Renaissance polyphony to Greek composer Xenakis. Several recordings have received prestigious awards such as the Berlioz Prize and the Orphée d’Or. Michel Corboz served as Principal Conductor from 1969 to 2019. Currently, Martina Batič is the Principal Conductor, with Inês Tavares Lopes as Associate Conductor and Jorge Matta as Artistic Consultant.

科技清唱劇

《那些最長亦最短的日子》

Tech Cantata: Osdiasmaislongoseosmaiscurtos (TheLongestDaysandtheShortestDays) 04.03.2026

貝臻雅

《那些最長亦最短的日子》 亞洲首演

I. （輕柔縹緲地）

II. （寧靜而稍為活躍地）

III. （閃亮發光）

劇場構作、導演（舞台與影片）及英文翻譯

白諾信

文本

迪祖米莉亞．普雷拉．德．艾爾美達

指揮

荷希．瑪達

助理指揮

伊里斯．達華利斯．洛佩斯

女高音

卡米拉．曼迪魯

假聲男高音

大衛．克斯頓

鋼琴

Eugene Birman (b. 1987)

Osdiasmaislongoseosmaiscurtos (TheLongestDaysandtheShortestDays)

Asia Premiere

I. (Etereo)

II. (Serenissimo e piu mosso)

III. (Luminescente)

Dramaturge, Director (Stage & Video) & English Translation Giorgio Biancorosso

Text Djaimilia Pereira de Almeida

Conductor Jorge Matta

Assistant Conductor Inês Tavares Lopes

Soprano

Camila Mandillo

Countertenor

David Hackston

張緯晴 Piano Rachel Cheung

合唱團（現場及虛擬）

古本江合唱團

技術總監

朱昂．賀爾

古本江音樂部副總監

安東尼奧．L．貢薩爾維斯

合唱團監製

伊里斯．羅薩里奧

中文翻譯

洪飛鳴

字幕操作

陳皓琬

由古本江基金會委約創作

Choir (live and virtual) Gulbenkian Choir

Technical Director João Hora

Deputy Director of Gulbenkian Music António L. Gonçalves

Choir Producer Inês Rosário

Chinese Translation Fei Hung

Surtitle Operator Dominique Chan

創作人專訪：

如幻似真

不在現場的合唱團 Interview With the Creatives: The Choir That May Not Be There

「過去五十年間，古典音樂面臨着巨大的 革新壓力。一般而言，如非必要，古典音 樂不會輕易求變。」作曲家兼香港浸會大 學音樂學院副總監（國際化）及副教授貝 臻雅如此說，他嘗試運用科技，為觀眾創 作出不一樣的合唱演出。

他指出，技術創新曾是推動西方古典音樂 發展的原動力。以小提琴為例，這類精良 樂器在三百多年前已達至完美定型，但自 此以後，其改良進程就變得相對細微。

“In the past 50 years, there’s been immense pressure on classical music to revolutionise itself. Classical music generally doesn’t move unless it has to,” says composer Professor Eugene Birman, Associate Director (Internationalisation) and Associate Professor at Hong Kong Baptist University’s Academy of Music. And Birman is doing his part to help push the music forward with a concept that will come as a surprise to many Festivalgoers.

He argues that while Western classical music was once propelled by rapid technological breakthroughs, notably the perfection of the violin over three centuries ago, subsequent developments in acoustic instrumentation have been largely incremental.

© Jorge Carmona-Gulbenkian Música

位於葡萄牙首都里斯本的古本江基金會卻 為貝臻雅的古典音樂革新帶來完美契機。

基金會素來致力推動藝術、慈善、科學和

教育事業，但疫情期間，大多數文化活動 均告暫停，基金會旗下的古本江管弦樂團 及合唱團以及古本江音樂廳亦被逼關閉。

2021年，基金會為慶祝可以重新 舉 行音 樂演出，於是邀請貝臻雅創作一部紀念作 品，並委託葡萄牙著名作家迪祖米莉亞． 普雷拉．德．艾爾美達創作詩作《那些最 長亦最短的日子》。在香港大學文學院音 樂教授白諾信執導及戲劇構作下，這部作 品呈現出革命性的面貌：舞台上，半數的 古本江合唱團成員以投影形式出場，即是 他們根本不在現場。

作品被稱為「科技清唱劇」，貝臻雅解釋： 「疫情期間，管弦樂團和合唱團在空盪盪 的音樂廳演出，透過直播為不在場的觀眾 表演。我們當時想：疫情結束後又會怎樣 呢？這部作品所呈現的，正是當時情景的 相反，讓現場觀眾看虛擬合唱團表演。」

However, the Gulbenkian Foundation, located in the capital of Portugal, Lisbon, provided Birman with the perfect opportunity to innovate. The foundation has long been committed to promoting the arts, philanthropy, science and education, but saw its Gulbenkian Orchestra and Choir, and Gulbenkian Auditorium, shut down during the pandemic—as was most cultural life.

In 2021, to mark the return of its concert activities, the Foundation asked Birman to conceive a commemorative piece, and then commissioned acclaimed Portuguese writer Djaimilia Pereira de Almeida to create the poem Osdiasmaislongose osmais (TheLongestDaysandtheShortestDays).

With Giorgio Biancorosso, Professor of Music in the Faculty of Arts at the University of Hong Kong, acting as director and dramaturge, the work turned into something revolutionary: half of the Gulbenkian Choir members on stage are projected, and not really there at all.

They describe this work as a “tech cantata”, with Birman explaining: “Orchestras and choirs were performing in empty concert halls and streamed to a virtual audience during Covid. We thought: what about when the pandemic is over? That’s what this work represents—a reversal of the pandemic scenario, using a virtual choir playing to a live audience.”

白諾信表示，古本江合唱團最初於里斯本 錄影，在綠幕前現場演唱貝臻雅這首樂 曲。然後，影像會以高解析度進行數碼重

組，呈現出一隊栩栩如生的虛擬合唱團。

演出時，團隊將虛擬合唱團投影在現場 四十位真實的合唱團成員身後，效果令人

驚歎。「我們想知道能做到何種程度……

怎料觀眾完全沒發現眼前所見的並非真 實，這是音樂廳裏前所未有的嘗試。」白 諾信說。

但當幻象破滅，觀眾發現自己被騙了，會 有何反應？「許多人都鼓掌，因為他們太 驚訝了，他們以為自己看到的是真實的合 唱團。當中讓人們深信不疑的關鍵因素是 聲音，錄音和影像相輔相成，營造出這場 幻象。」

古本江基金會副音樂總監米高．蘇布拉 爾．斯德一直留意貝臻雅所創作的聲樂、 歌劇與聲樂科技作品，更認為若要將艾爾 美達的詩作改編為大型合唱作品，貝臻雅 是最佳人選。蘇布拉爾．斯德解釋，這詩 作和合唱作品皆在封城期間創作，「由於 當時正值疫情，貝臻雅便想到不如在存在 與缺失、真實與虛幻之間游走。」

Biancorosso says the Gulbenkian Choir was first filmed in Lisbon singing Birman’s score live against green screens, and the images were then digitally recomposed in a high resolution to create a plausible virtual choir.

During Osdias, the virtual choir is projected behind 40 live Gulbenkian singers and the results are remarkable. “We wanted to see how far we could go … The audience didn’t realise that what they were seeing wasn’t real . This had never been done in a concert hall before,” Biancorosso says.

But what happens when the illusion is broken and audience members realise they’ve been tricked?

“Many people applauded because they were so surprised—they thought they were seeing a real choir. One key component in making them believe is sound—the audio and video reinforce one another in this illusion.”

Miguel Sobral Cid, Deputy Director of Music at the Gulbenkian Foundation, had been following Birman’s vocal, operatic and vocal/tech compositions, and he knew he was the perfect composer to transform Almeida’s poem into a work for large choir. Sobral Cid explains that the poem and the large choral work were created during the lockdown, stating: “As it coincided with the pandemic, [Birman] had the idea of playing with presence/absence, and the real/unreal.”

虛擬合唱團在現場表演中時而顯現、時而 消失，模糊了現實與數碼影像之間的界 線，這部清唱劇反思了時間的流逝，還有 黑暗日子裏藝術的韌性。

「這首詩聚焦於疫情期間所有人也曾感受 過的疏離感，它影響了表演藝術家、音樂

家和藝術家的生活……但它的意義遠超疫 情本身，而是深刻反思了參與文化活動的 意義。」貝臻雅說。

貝臻雅和白諾信都希望將來能在演出形式 與技術層面上進一步提升這部清唱劇。

「無論從哲學還是技術層面來看，這項作 品仍有極大的潛力，可以變得更真實，也 更深刻。」白諾信說。

在香港藝術節上，古本江合唱團亦會演出 另一場清唱音樂會，演繹巴赫和布拉姆斯 的聖樂作品，以及葡萄牙當代作曲家的作 品。蘇布拉爾．斯德表示：「那場音樂會 將展現合唱團的另一面貌。總括而言，相 關曲目完整展現了合唱團的個性，以及其 輕易駕馭不同類型曲目的能力。」

撰文：Adam Wright

中文翻譯：鄧穎瑶

原文刊載於2026年1月香港藝術節之線上雜誌

《News & Features》

As the virtual choir is projected in and out of the live performance, blurring the lines between reality and digital representation, Osdiasoffers a reflection on the passage of time and the resilience of the arts amid dark days.

“The poem focuses on the disconnect we all experienced during the pandemic as it affected the lives of performing artists—musicians and actors,” says Birman. “But it really transcends the question of the pandemic, because it’s a commentary about what it means to be involved in culture in general.”

Both Birman and Biancorosso hope to take the work—both its performance aspect and technology—further in the future. “There’s a lot of potential to make it more real and more profound, philosophically and technologically,” says Biancorosso.

At the 2026 HKAF, the Gulbenkian Choir will give an a capella concert featuring sacred works by Bach and Brahms, as well as pieces by Portuguese composers. Sobral Cid says: “The other concert represents a different dimension of the choir. Overall, the programmes put all characteristics of the choir on display and show its enormous flexibility.”

Text: Adam Wright Chinese translation: Elma Tang

This article was originally published on the HKAF’s News & Features website in January 2026

作曲

貝臻雅

貝臻雅是一位屢獲殊榮的作曲家及跨界藝術創作 人。與他合作和委約單位不止音樂廳，還包括眾多 國際機構，如歐盟、香港特別行政區政府、美國國 務院等。其創作包括關注社會議題的舞台作品，當 中將高超的音樂造詣與先進科技融合。他亦會在古 典音樂演出中，使用大型的全息投影、沉浸式歌 劇和互動數碼媒體等。有評論形容他的作品「極具 戲劇張力」、「壯觀而扣人心弦」。他曾獲美國福布 萊德獎（2010至11年）、皇家愛樂樂團協會作曲獎 （2017年）和古根漢獎（2018年）。

Composer

Eugene Birman

Eugene Birman is the composer and creator of numerous highly awarded international multidisciplinary productions, with commissioners and partners extending far beyond the concert hall to major international bodies such as the European Union, the Hong Kong SAR, the United States Department of State and others. His creative output, encompassing ambitious, socially relevant works for the stage, synthesises virtuosic musical content with cutting-edge technology. He has pioneered the use of large-scale holography, immersive opera environments and interactive digital media in classical music. Birman’s works have been described as “high drama” (BBC), “magnificent and compelling” (OPERA magazine) and “stunning and divisive” (Business Times) and “as if the future had already arrived” (SCMP). A Guggenheim (2018) and Fulbright (2010-11) fellow, he was awarded the 2017 Royal Philharmonic Society Composition Prize, with projects prominently featured on major news and media outlets worldwide, including CNN, BBC World TV, Bloomberg, National Geographic and others.

劇場構作及導演（舞台與影片） 白諾信

白諾信藉作品探索劇場、電影與數碼媒體中音樂與 聲音的極限。他現時是香港大學音樂系教授，也是 一位戲劇構作和舞台導演。他為舞台劇《末日回憶 錄》擔任導演，此劇改編自新加坡導演楊修華的電 影，由貝臻雅創作現場配樂，並在2025年4月在 安特衛普DeSingel首演。白諾信的著作包括《情 境細聽：在經典電影中聆聽聲音》（牛津大學出版 社，2016年）和《混音王家衛：音樂、拼貼與遺 忘美學》（杜克大學出版社，2024年）。他亦擔任 《SSS（聲音、舞台、熒幕）》期刊的聯合創辦人暨 編輯，以及擔任《意大利電影配樂：合作的模式》 （勞特利奇出版，2025年）的聯合編輯。

Dramaturge & Director (Stage & Video) Giorgio Biancorosso

Giorgio Biancorosso’s work investigates the boundaries of music and sound in the theatre, cinema and digital media. Currently a Professor of Music at The University of Hong Kong, Biancorosso is active as a dramaturge and stage director. His staging of The Once and the Future, a film by Yeo Siew Hua with a live score by Eugene Birman, premiered at De Singel (Antwerp) in April 2025. He is the author of SituatedListening:The SoundofAbsorptioninClassicalCinema (Oxford University Press, 2016) and RemixingWong Kar-wai:Music,Bricolage,andtheAesthetics of Oblivion (Duke University Press, 2024).

Biancorosso is the co-founder and editor of the journal SSS (Sound-Stage-Screen) and the co-editor of ScoringItalianCinema: Patterns of Collaboration (Routledge, 2025).

文本

迪祖米莉亞．普雷拉．德．艾爾美達

著名作家迪祖米莉亞．普雷拉．德．艾爾美達出生 於安哥拉的魯安達，在葡萄牙長大，曾在紐約大學 擔任教授。她的著作包括《那頭髮》、《魯安達、里 斯本、天堂》、《三個遺忘的故事》、《渡輪》，以及

榮獲葡萄牙作家協會和圖書、檔案與圖書館總局主 辦2024年小說大獎的《每一道傷口都是一種美》。 她曾為《紐約時報》、《格蘭塔》、《共和報》、《聖 保羅頁報》等刊物撰稿。此外，她亦獲得多個獎 項，包括2025年維吉爾．費雷拉獎和2019年埃 薩．德．蓋羅斯基金會文學獎。她更擔任人權顧 問，並於2023年被委任為貝倫文化中心基金會的 董事會成員。

Text

Djaimilia Pereira de Almeida

Djaimilia Pereira de Almeida, born in Luanda, Angola, and raised in Portugal, is a celebrated writer and former professor at New York University. Her works include Esse Cabelo, Luanda, Lisboa,Paraíso, TrêsHistóriasdeEsquecimento, Ferry and Toda a ferida é uma beleza, which won the APE/DGLAB 2024 Grand Prize for Novels. She has contributed to publications such as The New York Times, Granta, LaRepubblica, Folha de S. Paulo and others. Her numerous awards include the Vergílio Ferreira Prize (2025) and the Eça de Queiroz Foundation Literary Prize (2019). Pereira de Almeida also serves as a human rights consultant and in 2023 was appointed to the board of the Centro Cultural de Belém Foundation.

指揮 荷希．瑪達

荷希．瑪達是古本江合唱團的藝術顧問，雙方自 1976年起已開始合作。瑪達於里斯本新大學取得 音樂學博士學位，並曾於該校音樂科學部門任教。 他是研究員、出版人，也是一位表演者，曾負責為 三百部失傳已久的葡萄牙作曲家聲樂及器樂作品 舉 行現代首演，並為多部新作品 舉 行世界首演。他多 次參與葡萄牙及海外的大型音樂節，亦曾指揮古本 江管弦樂團等葡萄牙管弦樂團，帶領布魯日室樂 團、巴伐利亞廣播電台合唱團、波士頓藝術學院合 唱團。他曾與古本江合唱團、固定旋律合奏團和里 斯本室樂團等多個樂團一同灌錄錄音出版。他亦曾 擔任葡萄牙國家歌劇院和巴西聖卡洛斯國家劇院的 總監。

Conductor

Jorge Matta

Jorge Matta is the Artistic Consultant of the Gulbenkian Choir, with which he has collaborated since 1976. He holds a PhD in Musicology from the Universidade Nova de Lisboa, where he taught in the Department of Musical Sciences. An investigator, publisher and performer, he has been responsible for 300 modern premieres of vocal and instrumental long-lost works by Portuguese composers and has given world premieres of new works. He participated in major music festivals in Portugal and abroad, and has conducted the Gulbenkian Orchestra and other Portuguese orchestras, along with Collegium Instrumentale de Bruges, the Bavarian Radio Choir and the Boston Arts Academy Chorus. His discography includes recordings with the Gulbenkian Choir, as well as with the ensemble Cantus Firmus and the Orquestra de Câmara de Lisboa. He also served as director of the Portuguese national opera theatre, and the Teatro Nacional de São Carlos.

助理指揮

伊里斯．達華利斯．洛佩斯

伊里斯．達華利斯．洛佩斯於里斯本音樂大學獲合 唱指揮碩士學位，先後於葡萄牙音樂學院、都會 專業學校及國家高等管弦樂團學院任教。2015至 2017年間，她擔任里斯本音樂大學的管理人員，教 授合唱、合唱指揮、聲樂技巧、聲樂、器樂合奏。

她亦是跑調合唱團的創團指揮及Tenso歐洲室樂合 唱團成員。從2013年至2019年，她加入古本江合 唱團並指揮排練。2020年，她成為光環合唱團的藝 術總監，這是一個專門為女聲合唱而設的計劃。她 在2021年9月就任古本江合唱團的助理指揮。

Assistant Conductor

Inês Tavares Lopes

Inês Tavares Lopes has a Master’s degree in Choral Conducting from the Escola Superior de Música de Lisboa. She taught at the Conservatório de Música and at the Escola Profissional da Metropolitana, as well as the Academia Nacional Superior de Orquestra. From 2015-17, she held the position of supervisor at the Escola Superior de Música de Lisboa, where she taught choir, choral conducting, vocal technique, vocal and instrumental ensemble. She was a founding conductor of the Ensemble Vocal Desafinados and a member of the Tenso Europe Chamber Choir. From 2013-19, she was a member of the Gulbenkian Choir, where she also conducted rehearsals. In 2020, she became Artistic Director of the Ensemble Vocal Aura, a project exclusively dedicated to female voices. In September 2021, she took up the position of Assistant Conductor of the Gulbenkian Choir.

女高音

卡米拉．曼迪魯

女高音卡米拉．曼迪魯是比利時伊利莎伯女王音樂 廳的駐場音樂家，師從蘇菲．科克及史蒂芬．德 古。她的學業成績優異，並以古本江基金會學者身 份，畢業於柏林漢斯．艾斯拿音樂學院。

曼迪魯在歌劇、藝術歌曲及現代曲目三大領域皆獲 高度評價。她曾參與莎賓．黛薇兒和托馬斯．漢普 森等聲樂巨匠的大師班，精進專業技藝。她亦長期 與古本江樂團等頂尖藝團合作。

繼獲布魯塞爾藝術中心及波爾圖音樂廳等提名後， 她獲選為歐洲音樂廳協會（ECHO）2026 / 27樂季 的「明日之星」，因獲安排獨奏會巡演，她得以踏 遍歐洲的殿堂級音樂廳，鞏固了她作為當代傑出女 高音的地位。

Soprano

Camila Mandillo

Soprano Camila Mandillo is an artist-in-residence at the Queen Elisabeth Music Chapel in Belgium, studying under Sophie Koch and Stéphane Degout. She graduated with distinction from the Hochschule für Musik Hanns Eisler Berlin as a Calouste Gulbenkian Foundation scholar.

Recognised for her versatility across opera, Lied and contemporary repertoire, Mandillo has refined her craft in masterclasses with legends such as Sabine Devieilhe and Thomas Hampson. She frequently collaborates with premier ensembles, including the Gulbenkian Orchestra.

Following nominations from BOZAR and Casa da Música, she was named an ECHO Rising Star for the 2026/27 season. This prestigious selection includes a solo tour of Europe’s most renowned concert halls, cementing her status as a prominent voice of her generation.

假聲男高音

大衛．克斯頓

芬蘭藉英國裔假聲男高音大衛．克斯頓於赫爾辛基都 會大學修讀聲樂，並於葡萄牙波多音樂及表演藝術大 學取得早期音樂碩士學位。他定期聯同赫爾辛基室樂 合唱團及波多的Arte Minima樂團合作演出，同時是 聲樂六重奏「維辛天奴歌唱家」的創團成員。

克斯頓熱衷參與當代音樂演出。他近來的重要演出 包括：為凱雅．莎莉雅荷的格林美獎錄音作品《迴 響！》擔任假聲男高音，以及與古本江合唱團合作 演出貝臻雅作品《那些最長亦最短的日子》世界首 演。此外，克斯頓曾多次演繹彼得．麥士維-戴維士 的代表曲目《給瘋狂國王的八首歌》。於2021年， 他為何子揚以廣東話創作的歌劇《minn[i]e》，創 作了名為「讀者一」的角色。

Countertenor

David Hackston

British-Finnish countertenor David Hackston undertook vocal studies at Helsinki’s Metropolia University and received his Master’s degree in Early Music from the Escola Superior de Música e Artes do Espectáculo in Porto, Portugal. He regularly appears with the Helsinki Chamber Choir and Arte Minima (Porto), and is a founding member of the vocal sextet the Vicentino Singers. Hackston is an avid performer of contemporary music. His notable recent engagements include the countertenor role on the Grammy-winning recording of Kaija Saariaho’s Écho! and the world premiere of Eugene Birman’s Osdiasmaislongoseosmaiscurtos with the Gulbenkian Choir. Over the years Hackston has given numerous performances of Peter Maxwell Davies’ iconic EightSongsforaMadKing. In 2021 he created the role of Reader One (written in Cantonese) in the opera minn[i]e by Tze Yeung-ho.

鋼琴 張緯晴

香港鋼琴家張緯晴是亞洲樂壇備受矚目的演奏家之 一，獲譽為「詩人兼戲劇家」。她成為范．克萊本 國際鋼琴大賽決賽選手，憑網絡票選獲得「觀眾大 獎」，贏得樂評與聽眾的一致讚譽。作為施坦威藝 術家，她以優雅的舞台風範與細膩演繹馳名三大洲。

張緯晴早年師從黃懿倫，於香港演藝學院以一級榮譽 畢業，後赴耶魯大學音樂學院隨彼得．弗蘭克爾深 造。2019年，她獲香港藝術發展局頒發藝術家年 獎（音樂）。2025年，她在香港創立張緯晴音樂學 院，致力構建充滿活力的音樂社群，啟迪新一代音 樂人。她的首張國際發行專輯《Reflections》收 錄蕭邦前奏曲，由環球音樂出版。

Piano

Rachel Cheung

Hong Kong-born pianist Rachel Cheung has been hailed as “a poet, but also a dramatist”. A prize winner at the Van Cliburn, Leeds and Geneva piano competitions, she is also a Steinway Artist and continues to build a reputation with her elegant stage presence, giving sensitive and refined performances across three continents.

Cheung graduated with first-class honours from The Hong Kong Academy for Performing Arts under the tutelage of Eleanor Wong and later studied with Peter Frankl at the Yale School of Music. In 2019, Cheung was named Artist of the Year (Music) by the Hong Kong Arts Development Council. In 2025, she founded the Rachel Cheung Music Academy in Hong Kong, aiming to create a vibrant musical community and inspire the next generation of musicians. Her first international debut album, Reflections, featuring the Chopin Preludes, was released by Universal Music.

Choral Treasures from Portugal

巴赫

《向主頌唱新歌》，BWV225

I. ／

II. 合唱 ／（詠嘆調）

III. ／

約翰四世

《虔誠十架》

布拉姆斯

《何以讓困苦的人看見亮光》，作品74，

第一首

路易斯．德．法里特斯．布蘭歌

〈美好回憶〉，來自《賈梅士牧歌》

費蘭度．洛佩斯-格拉薩

《賈梅士的三首卡斯提亞語抒情詩》

I. 炯炯眼晴，你傷我至深

II. 你的雙眼，熠熠生輝

III. 幸運之神你在何方？

尤利歌．卡拉帕多素 《庇山耶的小詩集》

I. 銘文

II. 聖加百列

III. 奧比杜斯城堡

IV. 垂死的水

Johann Sebastian Bach (1685-1750)

SingetdemHerrneinneuesLied , BWV225

I. /

II. Chorale/(Aria)

III. /

Dom João IV of Portugal (1604-56)

Crux Fidelis

Johannes Brahms (1833-97)

WarumistdasLichtgegebendemMühseligen , Op 74, No 1

Luís de Freitas Branco (1890-1955)

“Doces Lembranças” from Madrigais Camonianos

Fernando Lopes-Graça (1906-94)

Três Líricas Castelhanas de Camões

I. Ojos, herido me habéis

II. De vuestros ojos centellas

III. Dó la mi ventura?

Eurico Carrapatoso (b. 1962)

PequenoPoemáriodePessanha

I. Inscrição

II. San Gabriel

III. Castelo de Óbidos

IV. Água Morrente

魯伊．保羅．提塞拉 《使命》致人文詩人的哲學歌賦

I. 《不連貫詩集》阿爾伯特．卡伊羅 紀念生命開始—α

II. 《使命》費南多．佩索亞 銘文—讚美主

III. 《英文詩集》查理斯．羅伯特．亞農 萬物開初的剖白

IV. 《香煙店》阿爾瓦羅．德．坎普斯 反思—論空虛

V. 《使命》費南多．佩索亞 勿忘我們從神裏來

VI. 《香煙店》阿爾瓦羅． 德． 坎普斯 反思—論不存在

VII. 《使命》費南多．佩索亞 勿忘我們在耶穌裏死去

VIII. 《香煙店》阿爾瓦羅．德．坎普斯 反思—論存在

IX. 《使命》費南多．佩索亞 勿忘我們將獲聖靈救贖

X. 《香煙店》阿爾瓦羅．德．坎普斯 反思—論豐足

XI. 費南多．佩索亞—絕筆 萬物終結的剖白

XII. 《使命》費南多．佩索亞 反銘文—致人類的上訴

XIII. 《不連貫詩集》阿爾伯特．卡伊羅 紀念生命終結—ω

Rui Paulo Teixeira (b. 1973)

Mensagens—Ode Filosófica para um Poeta da Humanidade

I. Alberto Caeiro em PoemasInconjuntos in memoriam α

II. Fernando Pessoa em Mensagem Epígrafe—Louvor a Deus

III. Charles Robert Anon em PoesiaInglesa Confissão do Princípio

IV. Álvaro de Campos em Tabacaria Reflexão—no Vazio

V. Fernando Pessoa em Mensagem momento Ex Deo nascimur

VI. Álvaro de Campos em Tabacaria Reflexão—no Não-Ser

VII. Fernando Pessoa em Mensagem momento In Jesu morimur

VIII. Álvaro de Campos em Tabacaria Reflexão—no Ser

IX. Fernando Pessoa em Mensagem momento Per Spiritum Sanctum reviviscimus

X. Álvaro de Campos em Tabacaria Reflexão—na Plenitude

XI. Fernando Pessoa—últimas palavras escritas Confissão do Fim

XII. Fernando Pessoa em Mensagem Contra-epígrafe—Apelo à Humanidade

XIII. Alberto Caeiro em PoemasInconjuntos in memoriam—ω

指揮

馬天娜．巴迪朱

合唱團

古本江合唱團

古本江音樂部副總監

安東尼奧．L．貢薩爾維斯

合唱團監製

伊里斯．羅薩里奧

Conductor

Martina Batič

Choir Gulbenkian Choir

Deputy Director of Gulbenkian Music

António L. Gonçalves

Choir Producer Inês Rosário

曲目介紹 Programme Notes

古本江合唱團今晚的節目，音樂上兼收並 蓄又豐富多變，可以說是神聖與世俗之 間、宗教與詩詞靈感之間的交匯。上半部 分以傳統無伴奏經文歌為主，演唱葡萄牙

國王約翰四世、巴羅克大師巴赫和浪漫派 名家布拉姆斯的作品。下半部分曲目則出 自二十至二十一世紀四位葡萄牙作曲家之

手，歌詞為葡萄牙偉大詩人賈梅士、庇山 耶和費南多．佩索亞的作品。

巴赫

Johann Sebastian Bach (1685–1750)

巴赫一生曾出任多個專業職位，每個職位 的工作要求也不盡相同，因此他的創作 生涯也根據工作崗位及地點分為五個時 期。他先後在阿恩斯塔特（1703-07）、米 爾豪森（1707-08）、威瑪（1708-17）和科 滕（1717-23）四個城市工作，最後獲聘出 任要職——萊比錫聖多馬大教堂暨學校樂 長，兼任萊比錫市音樂總監（1723-50）。

「萊比錫時期」是巴赫宗教聲樂作品創作 成果最豐富的歲月。不過，雖說他身為樂 長，職責之一就是寫作清唱劇，這段日子

也因此有大量清唱劇問世，但今晚的經文 歌卻是為特定場合而寫。當中經文歌《向 主頌唱新歌》，其中一個說法是，它用於

The concert by the Gulbenkian Choir offers an eclectic and diverse programme. It may also be seen as an encounter between the sacred and the secular, between religious and poetic inspiration. The first half centres on the tradition of the a cappella motet, bringing together King John IV of Portugal with two giants of the Baroque and Romantic eras, Bach and Brahms. In the second half, texts by the great Portuguese poets—Camões, Pessanha and Fernando Pessoa—are set to music by a quartet of important Portuguese composers whose works span the 20th and 21st centuries.

The professional positions that Johann Sebastian Bach held throughout his life define five creative periods corresponding to the requirements of the jobs he held. After Arnstadt (1703-07), Mühlhausen (1707-08), Weimar (1708-17) and Köthen (1717-23), Bach entered his final period when he was appointed Cantor of St Thomas Church and School in Leipzig and Music Director of the city (1723–50), a position of considerable importance. Leipzig was Bach’s most fruitful period when it came to religious vocal music, but unlike the many cantatas, the composition of which was part of his duties as Cantor, the motets were written for specific occasions. One of these, Singet dem Herrn ein neues Lied (“Sing to the Lord a New Song”), among the various theories, one suggests that it was performed for the festivities held on 12 May 1727 to celebrate Augustus II (1670-1733), King of Poland and Elector of Saxony. The first movement sets verses 1-3 of Psalm 149. The second movement alternates a chorus “Wie sich ein Vater erbarmet” with the aria “Gott, nimm dich ferner unser an”. The third movement, using Verses 2 and 6 of Psalm 150, concludes with a fugue.

D. João IV (John IV) was the 21st king of Portugal. He reigned for 16 years, from 1640 until his death in 1656. The Restoration of Independence ended 60 years of Spanish rule over Portugal

1727年5月12日為波蘭國王及薩克森選帝 侯奧古斯丁二世（1670-1733）慶祝節日。

第一樂章根據《詩篇》第149篇的第一至第

三節譜寫；在第二樂章裏，合唱曲〈如同 慈父憐憫〉與詠嘆調〈神啊！求祢接納我 們〉則交替出現。第三樂章歌詞選自《詩 篇》第150篇的第二至第六節，最後以賦 格曲作結。

約翰四世是葡萄牙第二十一任國王，在位 十六年，由1640年至1656年逝世為止。葡

萄牙被西班牙統治六十年後，在1640年恢

復獨立，布拉甘薩公爵登基，成為葡萄牙國 王約翰四世，也是布拉甘薩王朝首位君主。

約翰四世很有文化修養，致力保存各種藝

術；他同時是音樂家，其蒐集的音樂書籍及 樂譜數量在當時屬世上數一數二。可是《虔 誠十架》也跟其他作品一樣，其實不肯定是 否約翰四世所作，因為至今仍未發現十七世 紀的《虔誠十架》手稿。樂曲神聖莊嚴，內 容歌頌十字架，認為十字架是基督信仰的核 心象徵；歌詞則稱十字架為「高貴之樹」， 承受着基督「甜美的重擔」，說的是耶穌為 拯救世人而犧牲。

and led to the Duke of Bragança becoming King John IV of Portugal. He was the first king of the Bragança dynasty. A cultured man and protector of the arts, he was also a musician and amassed one of the largest musical libraries of the time. However, as with other compositions, the attribution of the motet Crux Fidelis (“Faithful Cross”) to King John IV is doubtful, as there is no original manuscript from the 17th century. A deeply spiritual work, it exalts the cross as the central symbol of the Christian faith. The text celebrates the cross as the “noble tree” that supports the “sweet weight” of Christ, referring to Jesus’ sacrifice for the redemption of humanity.

Johannes Brahms was one of the leading composers of the Romantic era. In addition to his celebrated instrumental and symphonic music, he was also an outstanding composer of vocal works, with a vast output of art songs (Lieder). Throughout his artistic career, the German composer refined the Romantic language, which led to the creation of sublime masterpieces, extending to works with choir and orchestra, and a cappella. The motet Warum ist das Licht gegebendemMühseligen (“Wherefore is Light Given to Him That is in Misery”), from 1878, focuses on part of a text from the Book of Job (Old Testament) about human suffering. It begins sombrely and painfully, with an elaborate melody and complex harmony, and ends with a four-part Lutheran chorale in which peace and serenity are rediscovered.

A leading figure in Portuguese music in the first half of the 20th century, Luís de Freitas Branco left an important musical legacy. His work is a milestone in the introduction of modernism in Portugal, in keeping with the various aesthetic trends of the time, identifying himself initially with his ultra-romantic, impressionist and expressionist contemporaries and, later with the Neo-Classical movement. His intellectual and cultural education was valued from an early age, both in music and literature, especially under the influence of his uncle, João de Freitas Branco (18551910). He travelled to Berlin in 1910 to take lessons with Engelbert Humperdinck and in 1911 he went to

布拉姆斯

Johannes Brahms (1833–97)

布拉姆斯是浪漫時期首屈一指的作曲家。

除了器樂及交響樂名作，他的聲樂曲也十 分出色，包括大量藝術歌曲。他在整個藝 術生涯中不斷潤飾浪漫派的音樂語言，造 就多首卓越的傑作，包括合唱管弦作品以 及清唱曲。經文歌《何以讓困苦的人看見 亮光》寫於1878年，根據《約伯記》（《舊 約聖經》）的一部分寫成，內容探討人類苦 難。樂曲開始時憂鬱痛苦，旋律精美，和 聲錯綜複雜，結尾則是四聲部的基督教路 德會式合唱，重拾平安與靜謐。

路易斯．德．法里特斯．布蘭歌是二十世 紀上半葉葡萄牙樂壇的重要人物，留下了 重要的音樂遺產。他的作品是葡萄牙現代

主義音樂的里程碑，同時又緊貼當時各種 美學趨勢。布蘭歌早年自認屬於極端浪漫 派、印象派和表現派，後來轉投新古典運 動。他自小受的學術與文化教育獲重視，

學習音樂和文學，這方面，他叔伯祖維． 德．佛利塔斯．布蘭歌（1855-1910）的影 響尤其重要。路易斯．布蘭歌於1910年前

往柏林，隨洪伯定克學習；1911年到巴黎 後認識了德布西，又隨格羅夫勒茲學習。

他身在歐洲這些藝術重鎮的時候，正是藝 術史上其中一段最令人振奮的時期，這些

經歷更引領了他日後創作出弦樂四重奏 （1911）、交響詩《人造天堂》和《維廷克》 （1913）等多首精采作品。

Paris where he made contact with Claude Debussy and studied with Gabriel Grovlez. His stays in the great centres of Europe during one of the most effervescent periods in the history of the arts would lead to remarkable works such as the string quartet (1911) or the symphonic poems Paraísos Artificiais and Vathek (1913).

The MadrigaisCamonianos (“Camonian Madrigals”) comprise three cycles based on sonnets and roundels by Luís de Camões: the first for a cappella mixed choir, the second for male voices and the third for female voices. These Renaissance-inspired works allowed the composer to explore a modal harmonic and contrapuntal language enriched by inventive chromatic movement. The madrigal “Doces Lembranças” (“Sweet Memories”) was probably composed towards the end of 1930.

An outstanding figure in 20th-century Portuguese music and culture, Fernando LopesGraça was a composer, pianist, conductor, essayist, pedagogue and musicologist whose output spans many genres, with choral music occupying a central place. He was a researcher and scholar of traditional Portuguese music, which he developed by harmonising folk melodies and incorporating its characteristic 路易斯．德．法里特斯．布蘭歌 Luís de Freitas Branco (1890–1955)

《賈梅士牧歌》由三套聯篇歌曲組成，全部

根據詩人賈梅士的十四行詩和迴旋詩譜寫： 第一套為混聲無伴奏合唱團而寫，第二、 三套則分別為男聲、女聲而寫。樂曲的創 作靈感來自文藝復興時期，作曲家藉此探 索調式和聲與對位法的音樂語言，並糅合 了別出心裁的半音變化。牧歌〈美好回憶〉 約寫於1930年底。

費蘭度．洛佩斯 - 格拉薩 Fernando Lopes-Graça (1906–94)

費蘭度．洛佩斯-格拉薩是二十世紀葡萄 牙音樂與文化界大人物，集作曲家、鋼琴 家、指揮家、散文家、教育家及音樂學學 者於一身，他遺世的重要作品涵蓋多個樂 種，其中以合唱音樂最為突出；學術研究 方面則專攻傳統葡萄牙音樂，並據此加以 發展，當中包括為傳統旋律配上和聲，或 者融合節奏與和聲等種種特色。《賈梅士 的三首卡斯提亞語抒情詩》寫於1954至 1955年，既向偉大的葡萄牙詩人賈梅士 （c.1524-1580）致敬，也跟洛佩斯-格拉 薩其他合唱曲一樣，受古老的葡萄牙和伊 伯利亞半島音樂影響。樂曲的和聲十分大 膽，有時甚至極不諧協。

rhythms and harmonies into his own language. Três líricas castelhanas de Camões (“Three Castilian Lyrics by Camões”), composed between 1954 and 1955, honours Portugal’s great poet Luís Vaz de Camões (c.1524-1580). These choral pieces are influenced by early Portuguese and Iberian music, with short, rhetorically charged phrases and ornate cadences. The harmony is bold and at times highly dissonant.

尤利歌．卡拉帕多素 Eurico Carrapatoso (b. 1962)

Eurico Carrapatoso is one of Portugal’s most prestigious and eclectic living composers. His music has been performed and broadcast regularly since 1987, not only in Europe but around the world, and he has received numerous awards both at home and abroad. Pequeno Poemário de Pessanha (“Pessanha’s Small Collection of Poems”) was commissioned by the Calouste Gulbenkian Foundation to celebrate the 50th anniversary of the Gulbenkian Choir. Carrapatoso chose the classic a cappella format, harnessing the purity of the four-part choral writing in response to texts by the Portuguese symbolist poet Camilo Pessanha (1867-1926). Each movement captures a different facet of Pessanha’s delicate, introspective verse. In the words of the composer: “The music I found seems to live in the poems themselves.”

尤利歌．卡拉帕多素是葡萄牙聲望最高、 風格最多元的在世作曲家之一。自1987 年起，他的音樂作品一直獲定期在歐洲以 及世界各地演出和廣播，並贏得多個國內 外獎項。《庇山耶的小詩集》由古本江基 金會委約創作，藉以慶祝古本江合唱團成

立五十周年。卡拉帕多素選用典型無伴奏

方式，將四部合唱的純淨感與葡萄牙象徵 派詩人庇山耶（1867-1926）的詩句共冶 一爐。正如作曲家所言：「我所找到的音 樂，彷彿原本就活在這些詩句中。」

葡萄牙作曲家魯伊．保羅．提塞拉為了向 詩人佩索亞（1888-1935）致敬，創作了 《使命》，副題為「致人文詩人的哲學歌 賦 」。佩索亞曾以不同姓名寫作，提塞拉 便運用這些文本入詞，寫出情感強烈和精 緻優美的合唱曲。在這首樂曲的縮短聖樂 版本首演時，作曲家自言：「我最初傾盡 全力，只為歌頌一個對象，最後卻發現原 來這個對象就是全人類！」

撰文：米蓋爾 ．馬丁斯 ．利貝魯 中文翻譯：鄭曉彤

As a tribute to the poet Fernando Pessoa (1888-1935), the Portuguese composer Rui Paulo Teixeira wrote Mensagens (“Messages”), subtitled “Philosophical Ode to a Poet of Humanity”. The work draws on texts by Pessoa and his heteronyms, shaped into intense, finely wrought choral writing. As the composer said at the premiere of the sacred, shorter version of the piece: “With all the strength of my being, my main intention was to honour the subject who, in the end, turned out to be the whole of humanity!”

Text: Miguel Martins Ribeiro Chinese translation: Eos Cheng

指揮

馬天娜．巴迪朱

馬天娜．巴迪朱是古本江合唱團的首席指 揮，更是著名的艾力．艾力遜比賽2006年 得獎者，因能夠駕馭多樣的曲目而備受矚 目。自2023 / 24樂季起，她同時兼任哥本 哈根的丹麥國家合唱團總指揮。

來自斯洛文尼亞的她，是一位炙手可熱的 客席指揮，曾為多個樂團指揮，包括RIAS 室內合唱團、柏林廣播電台合唱團、巴伐 利亞廣播電台合唱團、位於萊比錫的中德 廣播電台合唱團、史圖加特西南廣播電台 合唱團、德國魯爾合唱團、瑞典廣播電台 合唱團、荷蘭室內合唱團和佛蘭米殊廣播 電台合唱團等。

她亦曾在多個音樂節指揮無伴奏音樂會， 例如斯德哥爾摩波羅的海音樂節、奧斯陸 Ultima藝術節和法國奧朗日歌劇節。巴迪 朱在2019年榮獲斯洛文尼亞國家普列舍仁 基金會大獎，以表揚她在合唱指揮方面的 成就。

Conductor

Martina Batič

Martina Batič is Principal Conductor of the Gulbenkian Choir. Winner of the prestigious Eric Ericson Award in 2006, she is celebrated for her versatility across a broad repertoire. Since the start of the 2023/24 season, she has also served as Chief Conductor of the Danish National Vocal Ensemble in Copenhagen.

The Slovenian is a sought-after guest conductor and has been on the podium of the RIAS Kammerchor and the Rundfunkchor in Berlin, the Chor des Bayerischen Rundfunks, the MDR Rundfunkchor in Leipzig, the SWR Vokalensemble in Stuttgart, Germany’s Chorwerk Ruhr, the Swedish Radio Choir, the Nederlands Kamerkoor, the Flemish Radio Choir and others.

She has conducted a cappella concerts at festivals such as the Baltic Sea Festival in Stockholm, Ultima in Oslo and Choregies d’Orange in France. In 2019 Batič received Slovenia’s national Prešeren Fund Award in recognition of her achievements in choral conducting.

葡萄牙合唱瑰寶歌詞

Lyrics for Choral Treasures from Portugal

Johann Sebastian Bach SingtotheLordaNewSong , BWV225

I.

Sing to the Lord a new song, the assembly of saints shall praise him Let Israel rejoice in him who made her Let the children of Zion be glad in their king, they shall praise his name in the dance; with timbrel and with harps they shall play for him

II. Chorale/(Aria)

Just as a father has compassion (God, accept us furthermore) for his young, little children so does the Lord treat us, the poor, so we fear him purely, like children He recognises poor humanity, God knows we are but dust, (for without you there is nothing done toward any of our concerns)

Just like grass from a rake, a blossom or a fallen leaf

The wind simply blows it about and it is there no more (Thus be our shield and light, and lest our hopes deceive us, you will continue to do so)

So too the human passes away, his ending is nigh

(Blessed be the one, who fast and firm surrenders himself to you and your grace)

III.

Praise the Lord for his acts, praise him in his great splendour! Let all that has breath praise the Lord Hallelujah!

Dom João IV of Portugal

Faithful Cross

Faithful cross, above all other, one and only noble Tree: None in foliage, none in blossom, none in fruit Thy peer may be Sweet wood, sweet nails, sweet weight is hung on Thee!

Johann Sebastian Bach SingetdemHerrneinneuesLied, BWV225

I.

Singet dem Herrn ein neues Lied, die Gemeine der Heiligen sollen ihn loben Israel freue sich des, der ihn gemacht hat Die Kinder Zion sei’ n fröhlich über ihrem Könige, sie sollen loben seinen Namen im Reihen, mit Pauken und Harfen sollen sie ihm spielen

II. Chorale/(Aria)

Wie sich ein Vater erbarmet

(Gott, nimm dich ferner unser an,) über seine junge Kinderlein, so tut der Herr uns allen, so wir ihn kindlich fürchten rein Er kennt das arm Gemächte, Gott weiß, wir sind nur Staub, (denn ohne dich ist nichts getan mit allen unsern Sachen)

Gleich wie das Gras vom Rechen, ein Blum und fallend Laub

Der Wind nur drüber wehet, so ist es nicht mehr da, (drum sei du unser Schirm und Licht, und trügt uns unsre Hoffnung nicht, so wirst du’s ferner machen)

Also der Mensch vergehet, sein End das ist ihm nah

(Wohl dem, der sich nur steif und fest auf dich und deine Huld verlässt)

III.

Lobet den Herrn in seinen Taten, lobet ihn in seiner großen Herrlichkeit Alles, was Odem hat, lobe den Herrn, Halleluja!

Dom João IV of Portugal CruxFidelis

Crux fidelis, inter omnes arbor una nobilis: Nulla silva talem profert, fronde, flore, germine Dulce lignum, dulces clavos, dulce pondus sustinet!

巴赫 《向主頌唱新歌》， BWV225

I.

向主頌唱新歌， 聖賢齊集，同敬拜主 願以色列為她的創造者歡呼 願錫安的兒女為君王歡欣， 願他們作歌起舞，讚美祂的聖 名； 用鈴鼓豎琴為祂獻奏美樂

II. 合唱 ／（詠嘆調） 如同慈父憐憫

（神啊，求祢接受我們） 他摯愛的兒女

主也如此憐憫我等貧苦眾生， 我們如稚孩般，心存敬畏， 人性軟弱無能，祂早洞悉， 生命渺小如塵，祂都知曉， （神啊，如果沒有祢 世間煩惱何從解決） 如耙上的草、

一朵花或一塊落葉 哪怕只是微風吹拂 都消失得無影無蹤 （就求祢作我們的盾和光， 即使我們的希望落空， 求祢依然保守） 最後人之將死， 結局終須歸零 （堅定虔誠的人有福了 快交託自己給主和主的恩典）

III.

讚美主的慈愛恩賜， 讚美祂的偉大榮耀！ 只要一息尚存，應當讚美主 哈利路亞！

約翰四世 《虔誠十架》

虔誠十架，傲然矗立， 是獨一無二的高貴之樹： 世上沒有任何樹林 能長出如此枝葉、花卉與果實， 甜美的木頭、甜美的鐵釘、 甜美的重擔全交託祢庇佑！

Johannes Brahms WhereforeisLightGiventoHimThatisin Misery , Op 74, No 1

Wherefore?

Wherefore is light given to him that is in misery, and life unto the bitter in soul?

Which long for death, but it cometh not; and dig for it more than for hid treasures; Which rejoice exceedingly, and are glad, when they can find the grave?

Why is light given to a man whose way is hid, and whom God hath hedged in?

Let us lift up our heart with our hands unto God in the heavens

Behold, we count them happy which endure

Ye have heard of the patience of Job, and have seen the end of the Lord; that the Lord is very pitiful, and of tender mercy

With peace and joy I travel to that place, according to God’s will, my heart and soul are comforted, gently and quietly

As God has promised me, death has become sleep to me

Luís de Freitas Branco “Sweet Memories” from Camonian Madrigals

Sweet memories of past glory

That took my fleeting fortune, Let me rest in peace for an hour, For you will gain little with me

I have a vast history imprinted on my soul

Of this good past that never was; Or was and shall not pass: but anyway

There can’t be any more to me than memory

I live in memories, I die in forgetfulness

That should always be remembered; If one can remember, such a happy state

Oh! If only I could have been born knowing!

Knowing how to enjoy the past

Had I known, I would have understood the evil that is present

Johannes Brahms

WarumistdasLichtgegebendem Mühseligen, Op 74, No 1

Warum?

Warum ist das Licht gegeben dem Mühseligen, und das Leben den betrübten Herzen? Warum?

Die des Todes warten und kommt nicht, und grüben ihn wohl aus dem Verborgenen; die sich fast freuen und sind fröhlich, daß sie das Grab bekommen Warum?

Und dem Manne, deß Weg verborgen ist, und Gott vor ihm denselben bedecket? Warum?

Lasset uns unser Herz samt den Händen aufheben zu Gott im Himmel

Siehe, wir preisen selig, die erduldet haben

Die Geduld Hiob habt ihr gehöret, und das Ende des Herrn habt ihr gesehen; denn der Herr ist barmherzig, und ein Erbarmer

Mit Fried und Freud ich fahr dahin, in Gottes Willen, getrost ist mir mein Herz und Sinn, sanft und stille

Wie Gott mir verheißen hat: der Tod ist mir Schlaf worden

Luís de Freitas Branco “Doces Lembranças” from Madrigais Camonianos

Doces lembranças de passada glória

Que me tirou fortuna roubadora, Deixai-me descansar em paz um hora, Que comigo ganhais pouca vitória

Impressa tenho na alma larga história

Deste passado bem, que nunca fôra; Ou fôra e não passará: mas já agora

Em mim não pode haver mais que a memória

Vivo em lembranças, morro de esquecido

De que sempre devêra ser lembrado; Se lhe lembrará, estado tão contente

Oh! Quem tornar pudera ser nascido!

Soubera-me lograr do bem passado

Se conhecer soubera o mal presente

布拉姆斯

《何以讓困苦的人看見亮光》， 作品74，第一首

為何？

何以讓困苦的人看見亮光， 為何讓憂傷的心靈得到生命？ 愈盼望死亡的人，卻不得死； 寧自挖墳墓，也不願尋寶； 當找到墳墓，這些人 何竟歡天喜地，心怡神悅？ 為何讓迷途的人看見光明， 主卻將他重重圍困？

讓我們拿出誠心 舉起雙手 向天上的父禱告

看啊，能承忍苦難的人 都是有福的

你們都聽說約伯的忍耐， 都見證神終賜他美好結局； 當知道主憐憫世人， 充滿恩慈

我平靜歡欣地前往彼岸， 遵循神的旨意， 我的心靈終得撫慰， 多麼溫柔安靜 神的應許果然成真， 死亡於我只是一覺安睡

路易斯．德．法里特斯．布蘭歌 〈美好回憶〉，來自《賈梅士牧 歌》

光榮往事的美好回憶 不枉孤注一擲，

請讓我安息片刻， 只因你奈我不何

我有段刻骨銘心的經歷

那段美好從未存在； 又或曾經存在卻終將消逝： 無論如何往事都已成回憶

我活在回憶裏，我死於被遺忘 這本該被好好記住； 有回憶的人，是多麼幸福 啊！初生的我竟懵然不知！

要懂得享受過去 如我早知，就明白活在當下的 險惡

Fernando Lopes-Graça

ThreeCastilianLyricPoemsbyCamões

I. Eyes, you have wounded me Eyes, you have wounded me, Just finish me off; But once I am dead, take another look at me, So that you may resurrect me

For you gave me such a wound Eager to end my life, Dying is a sweet fortune to me, For by dying, you give me life

Eyes, why do you hesitate? Just finish me off; But once I am dead, take another look at me, So that you may resurrect me

The wound is certainly mine now, Although, eyes, you may not want it; But if you give me death, Dying brings me joy

I beg of you to finish, Oh eyes, finish me off; But once I am dead, take another look at me, So that you may resurrect me

II. From your eyes, sparks

From your eyes, sparks, That ignite bosoms of ice, They rise through the air into heaven And upon arrival become stars

False praises are given to you, For these sparks, so rare, Are not brighter in heaven Than in the eyes where they dwell

For when I a gaze upon them

And see how they illuminate the earth, I do not know what they may be in heaven, But I know that here they are stars

Nor can one presume That they rise to heaven, my Lady; For the light that dwells within you, Has nowhere else to go but up

Yet he thought they were quarrelling With God in the eighth heaven, Because here on earth

There are two such beautiful stars

Fernando

Lopes-Graça Três Líricas Castelhanas de Camões

I. Ojos, herido me habéis

Ojos, herido me habéis, Acabad ja de matarme; Mas, muerto, volved á mirarme, Por que me resucitéis

Pues me disteis tal herida Con gana de darme muerte, El morir me es dulce suerte, Pues con morir me dais vida

Ojos, qué os detenéis?

Acabad ja de matarme; Mas, muerto, volved á mirarme, Por que me resucitéis

La llaga cierto ya es mía, Aunque, ojos, vos no querrais; Mas si la muerte me dais, El morir me es alegría

Ja si sigo que acabéis, O ojos, ja de matarme; Mas, muerto, volved á mirarme, Por que me resucitéis

II. De vuestros ojos centellas

De vuestros ojos centellas, Que encienden pechos de hielo, Suben por el aire al cielo

Y en llegando son estrellas

Falsos lores os dan, Que esas centellas tan raras

Non son nel cielo más claras

Que en los ojos donde están

Porque cuando miro en ellas

Lo cómo alumbran al suelo, No sé que serán nel cielo, Mas sé que acá son estrellas

Ni se puede presumir

Que al cielo suban, Señora; Que la lumbre que en vos mora, No tiene más que subir

Mas pensó que dan querellas

A Dios nel octavo cielo, Porque son acá en el suelo

Dos tan hermosas estrellas

I. 炯炯眼晴，你傷我至深 炯炯眼晴，你傷我至深， 快把我了結；

在我死後，再多看我一眼， 好讓我死而復生

你給我的無比傷痛 我恨不得了結此生， 就此死去，是我的甜蜜宿命， 透過死亡，感受為你而活的滋味 炯炯眼晴，你猶豫甚麼？ 快把我了結； 在我死後，再多看我一眼， 好讓我死而復生

這傷痛我定必隻身承受， 炯炯眼晴，也許你不願看見； 但如你賜我一死， 死亡將為我帶來喜悅 我求你狠心下手， 炯炯眼晴啊，快把我了結； 在我死後，再多看我一眼， 好讓我死而復生

II. 你的雙眼，熠熠生輝 你的雙眼，熠熠生輝， 燃亮如冰雪的胸脯， 穿越空氣高飛天際 幻化成閃爍星辰

聽盡虛言浮辭， 只因璀璨火花如斯罕見， 就連天上萬丈光芒 都不及你耀眼明眸

當我凝視你的雙眼 看那光輝照亮大地， 不知天上光芒何以媲美， 只肯定這是人間星辰

旁人不必假設 明眸會變成天上星辰， 我的夫人； 只因你內心光明，

天堂之外無處可容

旁人見他們爭論不休 八重天上有天神見證， 只因地上人間 竟有兩顆耀眼星辰

III. Where is my fortune?

Where is my fortune?

For I see none

Let those who suffer know

That in the grave Fortune lies hidden

For those who deserve it

Allah seems to me

That he desires fortune

That I may find some Born poor, Pain was my cradle, Sadness was my nurse, Care was my godfather

Destiny dressed itself

In black garments, Fortune fled, No torment could be found

That was not there; Oh! what a birth, from the cradle on misfortune has dogged me!

This happiness of mine, Which I always sought, While seeking, I found

That I would never find it; For whoever is born on a day Of such a harsh star, Will never find fortune

My star did not give me More fortune within me; So lives, in the end

One who is born without it

I do not complain about it; I complain that it endures Such a dark life

Eurico Carrapatoso

Pessanha’sSmallCollectionofPoems

I. Inscription

I saw the light in a lost country

My soul is languid and inert

Oh! Who could slither without a sound!

To vanish in the ground, like a worm...

II. San Gabriel

Useless! Calm, they’ve already furled

The sails. The flags have gone quiet, Which fluttered so high up above, — Seagulls that collapsed in flight

III. ¿Dó la mi ventura?

¿Dó la mi ventura? Que no veo alguna

Sepa quien padece

Que en la sepultura

Se esconde ventura

De quien la merece

Alá me parece

Que quiere fortuna

Que yo halle alguna Naciendo mesquino, Dolor fue mi cama, Tristeza fue el ama, Cuidado el padrino

Vestióse el destino

Negra vestidura, Huyó la ventura, No se halló tormento

Que alli no se hallase; Oh! que nacimiento, Que luego en la cuna

Me siguió fortuna!

Esta dicha mía, Que siempre busqué, Buscandola, hallé

Que no la hallaría; Que quién nace en día

D’estrella tan dura, Nunca halla ventura

Non puso mi estrella

Mas ventura en min; Así vive en fin

Quién nace sin ella

No me quejo della; Quéjome que atura

Vida tan escura

Eurico Carrapatoso

PequenoPoemáriodePessanha

I. Inscrição

Eu vi a luz em um país perdido

A minha alma é lânguida e inerme

Ó! Quem pudesse deslizar sem ruído! No chão sumir-se, como faz um verme…

II. San Gabriel

Inútil! Calmaria Já colheram

As velas. As bandeiras sossegaram, Que tão altas nos topes tremularam, — Gaivotas que a voar desfaleceram

III. 幸運之神你在何方？ 幸運之神你在何方？ 我總與好運絕緣 讓苦命的人都知道 即使在墳墓裏 幸運之神都會躲避 值得眷顧的人 連阿拉真神 都渴望幸運眷顧 哪怕我只找到半點運氣 我出身寒微， 痛苦是我的搖籃， 憂愁是我的保姆， 謹慎是我的教父

殘酷命運披着 一襲黑色衣裳， 把好運都趕走， 卻無半點痛苦 從不存在的痛苦； 啊！看這初生嬰兒， 在搖籃酣睡

厄運自此緊隨我身！ 這股喜悅感覺， 是我夢寐以求， 當我使勁追尋， 卻永遠求不得；

因為適逢此日誕生 都是天煞孤星， 終生與幸福無緣

我的星象格局

沒給我半點幸運； 也只好隨遇而安

安份地做個苦命人 我無怨無悔； 只恨此生 充滿黑暗

尤利歌．卡拉帕多素 《庇山耶的小詩集》

I. 銘文

在迷失國度我看見曙光 我心力交瘁

啊！誰無聲地蜿蜒滑行！ 如蠕蟲從地上消失

II. 聖加百列

毫無用處！他們早已返轡收帆 本來高處飄揚的旗幟， 此刻都寂靜下來， —看海鷗從天空墜下

They stopped rowing! They’ve fallen silent! (Old rhythms that the waves cradled) What a trap the winds have set for us! Why have they brought us so far?

San Gabriel, tutelary archangel, Come again and bless the sea, Come guide us over the blue plain

Lead us to the final conquest, Of light, of Good, sweet unreal flash of light Look! It looks like the Southern Cross!

III. Óbidos Castle

When the battlements raise, Again, from the castle in ruins, And will there be shouts and flags In the cold morning breeze?

Will you hear the beat

Carry over the abandoned plain?

And will we fight

With armour, helmet and long sword?

When will we go, sad and serious, In long-winded and vain disputes, Swearing and cursing, Amongst the emblems and titles?

And we shall return The old and pure warriors, How many feats and dangers! Almost dead and winners?

And when, oh Sweet Royal Princess, Will you smile at us from the belvedere? Thin stained-glass figure, For whom did we went into battle?

IV. Dying Water

My eyes washed out, Watch the water drip

From the edges of the roofs, Falling, always falling

From the edges of the roofs, Falling, almost dying

My eyes washed out, And tired of seeing

My eyes, drown

In vain ambient sadness

Fall and spill

Like dying water

Pararam de remar! Emudeceram! (Velhos ritmos que as ondas embalaram) Que cilada que os ventos nos armaram! A que foi que tão longe nos trouxeram?

San Gabriel, arcanjo tutelar, Vem outra vez abençoar o mar, Vem-nos guiar sobre a planície azul

Vem-nos levar à conquista final, Da luz, do Bem, doce clarão irreal Olhai! Parece o Cruzeiro do Sul!

III. Castelo de Óbidos

Quando se erguerão as seteiras, Outra vez, do castelo em ruína, E haverá gritos e bandeiras

Na fria aragem matutina?

Se ouvirá tocar a rebate

Sobre a planície abandonada?

E sairemos ao combate De cota e elmo e a longa espada?

Quando iremos, tristes e sérios, Nas prolixas e vãs contendas, Soltando juras, impropérios, Pelas divisas e legendas?

E voltaremos, os antigos

E puríssimos lidadores, Quantos trabalhos e perigos! Quase mortos e vencedores?

E quando, ó Doce Infanta Real, Nos sorrirás do belveder? Magra figura de vitral, Por quem nós fomos combater?

IV. Água Morrente

Meus olhos apagados, Vede a água cair

Das beiras dos telhados, Cair, sempre cair

Das beiras dos telhados, Cair, quase morrer

Meus olhos apagados, E cansados de ver

Meus olhos, afogai-vos

Na vã tristeza ambiente

Caí e derramai-vos

Como a água morrente

他們停止划槳！他們都不敢作 聲！

（海浪隨熟悉節奏在搖曳） 看強風為我們設下的陷阱！ 為何帶我們偏離航道？

聖加百列，我們的守護天使， 求你前來安撫怒海，

引領我們在一片湛藍中前進

帶領我們完成最後征途， 叫我們看見偉大、美好、夢幻 的光明

看啊！那不就是南十字星！

III. 奧比杜斯城堡 幻想戰火再次紛飛， 探視已成廢墟的堡壘， 在這冷風陣陣的清晨 會否重現搖旗吶喊的場景？

你會否聽見隆隆戰鼓 響徹荒廢的平原？ 我們又會否 穿起盔甲，交鋒接劍？

我們何時出征，哀傷嚴肅， 滔滔不絕地爭吵起來， 在雙方徽章和軍銜之間， 放聲咒詛謾罵？

而我們又將何時歸家 年老的驍勇戰士， 經歷多少戰役和險境！ 有多少差點喪命的勝者？

親愛高貴的公主，要待何時， 才能見你在皇宮向我們微笑？ 這彩繪玻璃窗後的身影， 正是我們征戰守衛的對象？

IV. 垂死的水 我的雙眼缺了堤， 看淚水湧出 從屋簷邊緣， 落下，不住地落下 從屋簷邊緣， 落下，感覺瀕臨死亡 我的雙眼缺了堤， 恨不得再看不見

我的雙眼， 沉溺於無盡哀傷 淚水不住地湧出流下 像垂死的水

Rui Paulo Teixeira

Messages Philosophical Ode to a Poet of Humanity

I. Alberto Caeiro in PoemasInconjuntos

In memoriam α

If I die young, listen to this: I was never anything but a child who played I was gentile like the sun and the water, Of a universal religion that only men don’t have

II. Fernando Pessoa in Mensagem

Epigraph Praise to God

Blessed be God our Lord

For giving us the sign

III. Charles Robert Anon in PoesiaInglesa

Confession of the Beginning

Could I say what I think, could I express My every hidden and too silent thought

IV. Álvaro de Campos in Tabacaria

Reflection on Emptiness

I am nothing

I’ll never be anything I can’t want to be anything

Apart from that, I have in me all the dreams in the world

V. Fernando Pessoa in Mensagem Moment We are born of God

I—GOD WILLS IT—War without war He put his hands on my shoulders and blessed me

The fore with his gaze; And this fever of Beyond that consumes me, And this desire for greatness is his name Vibrating inside me

VI. Álvaro de Campos in Tabacaria

Reflection on Not Being

What do I know about what I will be, I who don’t know what I am?

Be whatever I think? But I think of being so much!

VII. Fernando Pessoa in Mensagem

Moment We die in Jesus

II—A MAN DREAMS—Possession of the sea

And the Cross on high says what’s in my soul

And it makes me feverish to sail

You will only find God in the eternal calm

The port ever waiting to be found

Rui Paulo Teixeira

Mensagens Ode Filosófica para um Poeta da Humanidade

I. Alberto Caeiro em PoemasInconjuntos in memoriam α

Se eu morrer novo, oiçam isto: Nunca fui senão uma criança que brincava Fui gentio como o sol e a água, De uma religião universal que só os homens não têm

II. Fernando Pessoa em Mensagem Epígrafe Louvor a Deus Benedictus Dominus Deus noster qui dedit nobis Signum

III. Charles Robert Anon em PoesiaInglesa

Confissão do Princípio

Could I say what I think, could I express My every hidden and too silent thought

IV. Álvaro de Campos em Tabacaria

Reflexão no Vazio Não sou nada

Nunca serei nada Não posso querer ser nada À parte isso, tenho em mim todos os sonhos do mundo

V. Fernando Pessoa em Mensagem momento Ex Deo nascimur

I—DEUS QUER—Bellum sine bello Pôs-me as mãos sobre os ombros e doirou-me

A fronte com o olhar;

E esta febre de Além, que me consome, E este querer grandeza são seu nome Dentro em mim a vibrar

VI. Álvaro de Campos em Tabacaria

Reflexão no Não-Ser

Que sei eu do que serei, eu que não sei o que sou?

Ser o que penso? Mas penso ser tanta coisa!

VII. Fernando Pessoa em Mensagem momento In Jesu morimur

II—O HOMEM SONHA—Possessio maris

E a Cruz ao alto diz que o que me há na alma

E faz a febre em mim de navegar

Só encontrará de Deus na eterna calma

O porto sempre por achar

魯伊．保羅．提塞拉 《使命》致人文詩人的哲學歌賦

I. 《不連貫詩集》阿爾伯特． 卡伊羅 紀念生命開始—α

若我英年早逝，請聽我說： 我只是個愛玩的小孩，從未長大 我曾像陽光和大海般溫柔平靜， 信奉人世沒有的普世宗教

II. 《使命》費南多 佩索亞 銘文—讚美主 讚美全能上帝 給世人警示將來

III. 《英文詩集》查理斯．羅伯 特 亞農 萬物開初的剖白 我可否直白心中所想， 應否表述不為人知、默默無聲 的思緒

IV. 《香煙店》阿爾瓦羅．德． 坎普斯 反思—論空虛 我一無是處 也不會有所成就 我從不敢要任何成就 此外，我對世界抱滿夢想

V. 《使命》費南多 佩索亞 勿忘我們從神裏來 一、神的旨意—沒戰火的戰爭 他把手放到我肩上，祝福我 他凝視我的前額； 對未來的熱情把我佔據， 滿心期盼偉大的聖名 我心感動得瑟瑟發抖

VI. 《香煙店》阿爾瓦羅．德． 坎普斯 反思—論不存在 既然我不知自己是誰，又怎知道 我將會是誰？ 想到甚麼就變成怎樣的人？但 我想太多了！

VII. 《使命》費南多 佩索亞 勿忘我們在耶穌裏死去 二、人類的夢想—征服海洋 十架至高無上，啟發我的靈性 航海教我癡迷

在無盡平靜方可與神同行 在無垠汪洋尋找靠岸港口

VIII. Álvaro de Campos in Tabacaria

Reflection on Being I’ll always be the one who waited for someone to open the door next to a wall without a door, And sang the song of the infinite in a chicken coop,

And heard the voice of God in a covered well

IX. Fernando Pessoa in Mensagem

Moment We will be revived by the Holy Spirit III—THE WORK IS BORN—Peace in the highest And I go, and the light of the raised gladius hits

My calm face

Filled with God, I don’t fear what will come, For whatever comes, it will never be Bigger than my soul

X. Álvaro de Campos in Tabacaria

Reflection on Plenitude

At this hour when I can’t see you’re looking at me,

Look at me in silence and in secret and ask yourself

—You who know me— who I am

XI. Fernando Pessoa last written words Confession of the End

I know not what tomorrow will bring

XII. Fernando Pessoa in Mensagem Counter-epigraph Appeal to Humanity It’s Time!

Be well, Brothers

XIII. Alberto Caeiro in PoemasInconjuntos In memoriam ω

One day I felt as tired as a child I closed my eyes and slept

English translation: Linguamundi © FCG

VIII. Álvaro de Campos em Tabacaria

Reflexão no Ser Serei sempre o que esperou que lhe abrissem a porta ao pé de uma parede sem porta, E cantou a cantiga do Infinito numa capoeira, E ouviu a voz de Deus num poço tapado

IX. Fernando Pessoa em Mensagem momento Per Spiritum Sanctum reviviscimus

III—A OBRA NASCE—Pax in excelsis

E eu vou, e a luz do gládio erguido dá Em minha face calma

Cheio de Deus, não temo o que virá, Pois, venha o que vier, nunca será

Maior do que a minha alma

X. Álvaro de Campos em Tabacaria

Reflexão na Plenitude

A esta hora em que eu não posso ver que tu me olhas, Olha-me em silêncio e em segredo e pergunta a ti própria —Tu que me conheces— quem eu sou…

XI. Fernando Pessoa últimas palavras escritas

Confissão do Fim

I know not what tomorrow will bring

XII. Fernando Pessoa em Mensagem Contra-epígrafe Apelo à Humanidade É a Hora!

Valete, Fratres

XIII. Alberto Caeiro em PoemasInconjuntos in memoriam ω

Um dia deu-me o sono como a uma criança

Fechei os olhos e dormi

VIII. 《香煙店》阿爾瓦羅．德． 坎普斯 反思—論存在 我這種人總是等待別人 在沒門的牆前為我開門， 在雞舍高唱無限之歌， 在已封之井聽見神的聲音

IX. 《使命》費南多 佩索亞 勿忘我們將獲聖靈救贖 三、作品面世—平安榮耀歸至 高的神

我去矣，羅馬短劍的光影 刺向我平靜的臉

獲聖靈充滿，我不恐懼死亡將至 因為不論如何

將不比我的靈魂強大

X. 《香煙店》阿爾瓦羅．德． 坎普斯 反思—論豐足

這時候當我看不見你對我的注視 請你不動聲色地偷看我， 並撫心自問 —最了解我的你— 你可知我是誰

XI. 費南多 佩索亞—絕筆 萬物終結的剖白 而我不知明天會怎樣

XII. 《使命》費南多．佩索亞 反銘文—致人類的上訴 是時候了！ 要珍重，我的弟兄

XIII. 《不連貫詩集》阿爾伯 特．卡伊羅 紀念生命終結—ω

有一天，我像小孩般感到筋疲 力盡 於是我閉上眼睛就此睡去

Chinese translation: Fei Hung 中文翻譯：洪飛鳴

古本江合唱團

Gulbenkian Choir

女高音 Soprano

Ana Raquel Sousa

Ariana Russo

Claire Rocha Santos

Filipa Passos

Isabel Cruz Fernandes

Mariana Moldão

Sara Afonso

Sofia David

Teresa Duarte

Verónica Silva

女低音 Alto

Beatriz Cebola

Carmo Pereira Coutinho

Estrela Martinho

Joana Esteves

Joana Nascimento

Laura Lopes

Lucinda Gerhardt

Manon Marques

Marta Queirós

Rita Tavares

男高音 Tenor

Aníbal Coutinho

Bruno Sales

Francisco Cortes

Gustavo Paixão

João Barros

João Pedro Afonso

Miguel Carvalho

Pedro Miguel

Pedro Rodrigues

Rui Aleixo

男低音 Bass

Afonso Moreira

Filipe Leal

Henrique Coelho

João Costa

José Bruto da Costa

Miguel Jesus

Nuno Rodrigues

Pedro Casanova

Rui Bôrras

Rui Gonçalo

Acknowledgements

香港藝術節衷心感謝下列機構及人士的慷慨支持﹕

The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron's Club Members

鉑金會員 Platinum Member

嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member

怡和集團 Jardine Matheson Limited

純銀會員 Silver Member

太古地產 Swire Properties

青銅會員 Bronze Members

諾業基金有限公司 Nathaniel Foundation

胡興正醫生慈善基金有限公司 Dr. Wayne Hu Charitable Foundation Ltd 鳴謝

實物支持機構 In-Kind Supporters

半島酒店 The Peninsula Hotel Limited

藝術節捐助計劃 Festival Donation Scheme

鉑金捐款者 PLATINUM DONOR

HK$140,000 或以上 OR ABOVE

文肇偉 Sebastian Man

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Wendy Nam

陳智文 Stephen Tan

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Jeffrey and Helen Chan

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周一嶽醫生 Dr. York Chow

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Huang Xiang Edmond

Kenneth Lau & Anna Ang

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Mr. & Mrs. YS Wong

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Joannes Ming Wai Lee

Savita Leung

Dr. Eddy Li

李芷珊 JANICE RITCHIE

Alan and Penny Smith

Ms. Tai Diana Po Kam

Michelle Tang Yuen Sheung

文娛慈善基金 The Elementary Charitable Foundation

邱偉程 Yau Wai Ching, Jimmy

殷和順先生及劉善萍女仕

Yim Chui Chu

青銅捐款者 BRONZE DONORS

HK$3,000 - HK$5,999

Lexandra Chan

MDB&Star B CHAN

Grace Chiang

Chiu Shui Man Tabitha

Victor Lai

李芸輝博士 Dr. LEE Wan Fai Walter

網上藝術教育捐助計劃 Digital Arts Education Scheme

黃金捐款者 GOLD DONOR

HK$12,000 - HK$29,999

無名氏 Anonymous

青銅捐款者 BRONZE DONOR

HK$3,000 - HK$5,999

HK CT Alumni Association

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

Special Development Associate

Development Managers

Assistant Development Manager

Development Officer

Nancy Wong*

Eppie Leung

Heidi Choi*

Brenda Kan

Alex So*

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 Taylor Cheng*

Marketing Manager Carly Wong*

Deputy Marketing Managers

Gina Chan*, King Ng*

Assistant Production Manager 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