Yunchan Lim 任奫燦
Minsoo Sohn 孫旻秀
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
聖馬田樂團
The Academy of St Martin in the Fields
任奫燦與聖馬田樂團
Yunchan Lim with the Academy of St Martin in the Fields
28.03.2026 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約2小時，包括一節中場休息
Approximately two hours including one interval
孫旻秀與聖馬田樂團
Minsoo Sohn with the Academy of St Martin in the Fields
29.03.2026 / 3:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約1小時55分鐘，包括一節中場休息
Approximately one hour and 55 minutes including one interval
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
One artist in this programme flew to and from Hong Kong on Cathay Pacific Airways, the Official Airline of the 54th Hong Kong Arts Festival
封面照片Cover Photographs
Minsoo Sohn & Yunchan Lim © Shin-joong Kim / MOC
The Academy of St Martin in the Fields © Estro Kim
※ 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.
© Shin-joong Kim / MOC
© Estro Kim
© James Hole
聖馬田樂團
The Academy of St Martin in the Fields
聖馬田樂團由尼威爾．馬連那爵士於 1958 年創立至今，已成為全球音樂界的重要力 量，並以重視樂手的藝術自由以及充滿活 力、鼓舞人心的演出而聞名。
在音樂總監約書亞．貝爾的帶領下，聖馬田 樂團採用「樂手主導」的方式，讓每位樂團 成員都能發揮所長，藉此與觀眾建立緊密而 火花四濺的連結，並造就了其合作無間且充 滿實驗精神的演出模式，超越傳統由指揮主 導的表演框架。
2025 / 26 樂季，聖馬田樂團將帶來十年來 規模最大的節目陣容，與世界級獨奏家及 音樂總監攜手呈獻一系列演出，包括約舒 亞．貝爾、揚．利錫奇、史蒂文．伊沙里斯 和卡蒂雅．賓尼亞堤菲莉，還有阿蕊爾．貝 克等演奏家新星。這一樂季亦是樂團在國際
舞台上的重要里程碑，包含四場美國巡演 （其中更會睽違二十年再度亮相紐約卡內基 音樂廳），以及於歐洲各地的巡演行程。
聖馬田樂團是聖馬田堂的首席樂團夥伴，並
以一連串活動為新樂季掀開序幕：其中打頭 陣的英國廣播公司第三台廣播演出，由樂團 的「英國廣播公司新世代駐團藝術家」— —朱利亞斯．阿薩爾演出。
在音樂廳之外，樂團更致力於履行社會責 任，透過音樂賦予人們力量。擁有豐厚歷史 傳承的聖馬田是全球錄音作品最豐富的樂團
之一，並作為英國的重要文化象徵，持續透 過古典音樂的感染力啟迪世界各地的觀眾。
Founded in 1958 by Sir Neville Marriner, the Academy of St Martin in the Fields (ASMF) has become a global musical force, celebrated for its commitment to the artistic freedom of its players and for delivering performances that are joyful, inspiring and full of vitality.
Under Music Director Joshua Bell, ASMF’s player-led approach empowers every orchestra member, creating a direct, electrifying connection with audiences and producing ambitious, collaborative performances beyond the traditional conductor-led model.
In the 2025/26 season, ASMF presents its most ambitious programme in a decade, collaborating with world-class soloists and directors, including Joshua Bell, Jan Lisiecki, Steven Isserlis and Khatia Buniatishvili, alongside rising stars such as Arielle Beck. The orchestra will embark on a landmark international season, with four USA tours, including a return to Carnegie Hall in New York after 20 years, and tours across Europe.
ASMF also celebrates its partnership as Principal Orchestral Partner at the Church of St Martin-in-theFields, launching the season with a BBC Radio 3 broadcast performance featuring ASMF’s BBC New Generation Associate, Julius Asal.
Beyond the concert hall, ASMF’s commitment to social responsibility drives projects that empower people through music. With a rich legacy, ASMF remains one of the world’s most-recorded orchestras, bringing the transformative power of classical music to audiences everywhere as one of Britain's most celebrated cultural exports.
© Christian Palm
指揮
吳懷世
吳懷世是一名蜚聲國際的指揮家。2025 / 26 樂季，他獲委任為倫敦愛樂樂團指揮合作 夥伴，並榮獲荷蘭廣播愛樂樂團「艾度．迪 華特助理指揮獎」。他於該樂季的其他重點 演出包括：於倫敦皇家節日音樂廳與阿姆
斯特丹皇家音樂廳首次演出；與聖馬田樂 團及鋼琴家任奫燦進行巡演；以及與法國 斯特拉斯堡愛樂樂團的首次合作演出。
吳懷世出生於香港，後赴歐洲接受音樂教 育。他曾於馬勒指揮大賽（班貝格）、蘇提 爵士國際指揮大賽（法蘭克福）以及斯維特 蘭諾夫國際指揮大賽（巴黎）中獲獎。他更
是首爾愛樂樂團歷來最年輕的副指揮，並 自 2023 年起出任韓經 arte 愛樂樂團的首席 客席指揮。
吳懷世深諳西方古典曲目，亦不忘積極弘 揚亞洲作曲家。2025 年，他創立了亞洲 現代交響樂團，致力呈現亞洲地區的佳 作，並將帶領該團展開中國及韓國首輪巡 演。另外，他又於香港創辦馬勒樂團、 推出「無界音樂家」計劃，並聯合創辦
「 aboutMusic 基金會」，為香港基層學生提 供免費音樂教育。吳懷世現為香港中文大 學（深圳）音樂學院藝術顧問委員會成員。
Conductor
Wilson Ng
Wilson Ng is an acclaimed conductor who has quickly risen to international prominence. In 2025/26 he was named Fellow Conductor of the London Philharmonic Orchestra and received the Edo de Waart Assistant Conductorship with the Netherlands Radio Philharmonic Orchestra. The season features debuts at Royal Festival Hall (London) and the Royal Concertgebouw (Amsterdam), a tour with the Academy of St Martin in the Fields featuring Yunchan Lim, and a debut with Orchestre Philharmonique de Strasbourg.
Born in Hong Kong and educated in Europe, Ng is a prize winner in the Mahler Competition (Bamberg), the Sir Georg Solti International Conductors’ Competition (Frankfurt) and the Evgeny Svetlanov International Conducting Competition (Paris). He was the youngest Associate Conductor of the Seoul Philharmonic Orchestra and has been Principal Guest Conductor of the Hankyung arte Philharmonic since 2023.
Ng’s repertoire spans the Western canon while championing Asian composers. In 2025 he founded the Asian Modern Symphony Orchestra to showcase regional masterpieces, with a tour planned of China and South Korea. He has launched initiatives such as the Gustav Mahler Orchestra in Hong Kong and Musicians without Borders, and co-founded the aboutMusic Foundation to provide free music education in Hong Kong. He serves on the Artistic Advisory Board of the School of Music at The Chinese University of Hong Kong in Shenzhen.
© Arda Aktar
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
任奫燦與聖馬田樂團
Yunchan Lim with the Academy of St Martin in the Fields
艾爾加
E小調弦樂小夜曲，作品20
I. 愉快的快板
II. 小廣板
III. 小快板
舒曼
A小調鋼琴協奏曲，作品54
I. 深情的快板
II. 間奏曲（優雅的小行板）
III. 活潑的快板
布拉姆斯
D大調第二交響曲，作品73
I. 不太快的快板
II. 不太慢的慢板
III. 優雅的小快板（接近小行板）
IV. 生氣勃勃的快板
28.03.2026
Edward Elgar (1857-1934)
Serenade for Strings in E minor, Op 20
I. Allegro piacevole
II. Larghetto
III. Allegretto
Robert Schumann (1810-56)
Piano Concerto in A minor, Op 54
I. Allegro affettuoso
II. Intermezzo (Andantino grazioso)
III. Allegro vivace
中場休息 INTERVAL
Johannes Brahms (1833-97)
Symphony No 2 in D Major, Op 73
I. Allegro non troppo
II. Adagio non troppo
III. Allegretto grazioso (Quasi andantino)
IV. Allegro con spirito
鋼琴
任奫燦
自 2022 年以十八歲之齡成為范．克萊本國
際鋼琴大賽史上最年輕金獎得主以來，任 奫燦在國際樂壇的聲譽可謂如日中天。著 名美國指揮家瑪琳．艾爾梭便曾如此評論 他：「任奫燦是一位萬中無一、兼具深邃音 樂悟性與驚人技藝的藝術家。」
於克萊本大賽奪魁後，任奫燦先後與紐 約、洛杉磯、慕尼黑、東京和首爾愛樂樂 團舉行首演，又與包括芝加哥、琉森、英 國廣播公司及波士頓交響樂團在內的多個 樂團合作。另外，他亦在紐約卡內基音樂 廳、瑞士韋爾比亞音樂節、倫敦威格摩爾 音樂廳等重要舞台舉行獨奏會。
任奫燦在 2025 / 26 樂季的重點演出包括： 與費城管弦樂團、德累斯頓國家管弦樂團 和阿姆斯特丹音樂廳樂團等頂尖樂團舉行 首演。此外，他更會再度於洛杉磯、芝加 哥、波士頓、卡內基音樂廳和威格摩爾音 樂廳等世界舞台舉行獨奏會。
任奫燦出生於韓國始興，十三歲時獲韓國 藝術英才教育院錄取，並在那裏遇到他 的老師兼伯樂——孫旻秀。2019 年，年僅 十五歲的他成為韓國尹伊桑國際音樂大賽歷 來最年輕的冠軍得主。任奫燦現於新英格 蘭音樂學院隨恩師孫旻秀深造。
© Shin-joong Kim / MOC
Piano Yunchan Lim
Since becoming the youngest person to ever win gold at the Van Cliburn International Piano Competition at the age of 18 in 2022, Yunchan Lim’s ascent to international stardom has been meteoric. Acclaimed American conductor Marin Alsop has said: “Yunchan is that rare artist who brings profound musicality and prodigious technique organically together.”
In the years following his Cliburn win, Lim made successful orchestral debuts with the New York, Los Angeles, Munich, Tokyo and Seoul philharmonic orchestras, as well as the Chicago, Lucerne, BBC and Boston symphony orchestras, among others. His recital appearances have included performances at Carnegie Hall in New York, the Verbier Festival in Switzerland and Wigmore Hall in London, among other major stages.
Lim’s upcoming 2025/26 season highlights include orchestral debuts with the Philadelphia Orchestra, Staatskapelle Dresden and the Concertgebouw in Amsterdam, among others. The season also sees recitals in Los Angeles, Chicago, Boston, Carnegie Hall in New York and Wigmore Hall in London, among other major stages.
Born in Siheung, South Korea, Lim was accepted into the Korea National Institute for the Gifted in Arts at the age of 13, where he met his teacher and mentor, Minsoo Sohn. In 2019, aged only 15, he became the youngest person to win South Korea’s IsangYun International Competition. Lim currently studies at the New England Conservatory of Music with his teacher Sohn.
曲目介紹
艾爾加出身自一個音樂氣息濃厚的家庭，
本人更是全能樂手，集作曲家、編曲、指 揮、演奏家（包括小提琴、鋼琴、巴松管 等）於一身。這首弦樂小夜曲於 1892 年面
世，只長約十二分鐘，卻奠定了艾爾加作 為重要作曲家的地位。此曲的成功之處， 不獨在於其抒情優雅和一唱三歎的旋律， 更在於其寫作手法。樂譜上寫滿了表情記 號——「保持音」、「顯著的」、「速度漸 快地」、「極弱」、「非常強」等——一絲不 苟的標示，可見作曲家對此曲之詮釋有着 極為具體和詳盡的構想。
艾爾加本人拉得一手好琴，自然深諳如何 表現弦樂的特性，例如八度的活用、在第 二樂章的旋律巧妙運用空弦，以及樂曲開 頭由中提琴帶出的「暗湧」。
觀眾不難發現艾爾加的種種用心：三個樂 章的主旋律均呈拱形線條；全曲的氣氛則 顯得克制內斂，又在終曲重現首樂章的中 提琴動機，以製造「循環曲式」的感覺—— 這些巧思都令三個樂章更臻一體。
艾爾加
E 小調弦樂小夜曲，作品 20
Edward Elgar (1857-1934)
Serenade for Strings in E minor, Op 20
Hailing from a musical family, Edward Elgar was a versatile musician who composed, arranged, conducted and played a variety of instruments including the violin, piano and bassoon. The Serenade for Strings, composed in 1892, is a short, three-movement work lasting only some 12 minutes that helped establish him as a notable composer. Its success can be attributed not only to its wellmannered lyricism and yearning melodies, but also to its scoring. The manuscripts are saturated with markings such as tenuto, marcato, stringendo, ppp, ff and so on. These meticulous markings reveal how subtle and detailed the composer expected the set to be presented.
As an accomplished violinist, Elgar knew what made strings sound the best: for instance, octave writings, clever use of open strings in the heartrendering second movement, and the opening undulating rhythmic figure on the viola.
The three movements are easily perceived as an entity—Elgar achieves that by keeping each principal melody to a similar arched contour. The mood of the entire piece is generally subdued. Moreover, the opening viola motif re-appears in the third movement for a cyclic effect.
音樂史上其中一宗最矚目的訴訟，跟一段
婚姻有關——與訟雙方分別為舒曼和費 德烈．維克，亦即舒曼未來妻子克拉娜的 父親。最後，舒曼和克拉娜有情人終成眷
屬，而兩人的事業亦在這段婚姻滋養下持續 茁長。
直至婚後一年（1841 年）為止，舒曼的作品
仍以鋼琴曲和歌曲為主；在妻子鼓勵下，他 於 1841 年開始寫作管弦樂，其著名的幻想曲 （為鋼琴和樂團而寫）遂於該年五月應運而
生。克拉娜深信舒曼會在管弦樂創作上大放 異彩，事實亦證明她獨具慧眼：舒曼後來為 這首原本只有一個樂章的作品加入間奏曲和 終曲，最終完成這首三樂章的協奏曲，並由 克拉娜親自擔任首演獨奏。
雖然此曲題獻給在首演中擔任指揮的費迪 南．希勒，但樂譜中卻滿滿是舒曼對妻子的 愛意：樂曲開頭的動機由 C–B–A–A 四個音 組成，並以優雅的雙簧管奏出——那是克 拉娜的意大利文名字（Chiara）所隱藏的四 個音——C-H-i-A-r-A（德文 H 為 B 音）。這
舒曼
A 小調鋼琴協奏曲，作品 54
Robert Schumann (1810-56)
Piano Concerto in A minor, Op 54
One of the most famous court cases in music history concerns a request for a marriage blessing. It was between Robert Schumann and Friedrich Wieck— the father of Schumann’s future wife, Clara. The relationship between Robert and Clara was more than just a family affair, but also important for the couple’s professional development.
Before 1841—a year after the couple married— most of Schumann’s works were written for the piano and voice. In 1841, encouraged by Clara, Schumann began focusing on orchestral music. He composed a one-movement Fantasy for Piano and Orchestra that May. Clara was confident that Schumann would excel in orchestral writing. She was right. With her encouragement, Schumann subsequently revised it, adding an intermezzo and a finale. In 1845, this concerto was given its world premiere with Clara as soloist.
Although dedicated to Ferdinand Hiller, who conducted the premiere, the score is filled with Schumann's love for his wife. Shortly after the piece begins, a descending motif of C–B–A–A, played affectionately by the oboe, spells out Clara’s Italian name: C-H-i-A-r-A (with H as B in German notation).
個「克拉娜」動機在第一樂章中可說是至關 重要；隨後，它又於第二樂章末段再現，首 先以小調的原貌出現，後來轉為大調，最後 引入 A 大調的宏偉終曲。
除「克拉娜」以外，作品也包括了舒曼兩位 幻想「人物」——熱情、衝動的「弗洛斯 坦」，以及沉靜、夢幻的「尤斯比烏斯」。
舉個例子，首樂章中激情的弦樂和旖旎的單 簧管，即代表舒曼兩個極化的性格。其他樂 器亦為觀眾留下難忘印象，例如第二樂章中 優美的大提琴，以及終曲中瀟灑的圓號。
有別於當時好些協奏曲，作品中的鋼琴部 分並非與樂團對立；兩者之間亦非單純「伴 奏」關係，而更似是一種細膩的融合—— 這正是舒曼標誌性的筆觸。
首演之後，克拉娜繼續大力推廣此作。這部 作品得以名列最偉大的鋼琴協奏曲之一，克 拉娜絕對功不可沒。
費迪南．希勒是A小調鋼琴協奏曲的首演指揮，亦是 此曲的題獻對象
Ferdinand Hiller (1811-85) was the conductor and dedicatee of Schumann’s Piano Concerto in A minor, Op 54
後來成為舒曼妻子的克拉娜．維克
Clara Wieck (1819-96), who was to become the wife of Schumann
This "Clara" motif is essential to the first movement. It returns at the end of the second movement—first in its original minor form, then shifting to Major—to usher in the glorious A Major finale.
In addition to the "Clara" motif, the work also incorporates Schumann's two imaginary personas— the passionate and impulsive Florestan, and the calm, dreamy Eusebius. For example, in the first movement, the agitated strings and graceful clarinet solo represent these two polarised sides of his character. Other instruments also leave a lasting impression on listeners, such as the beautiful cello melody in the second movement and the soaring horn solo in the finale.
Unlike many concertos of the time, the piano part in this work does not stand in opposition to the orchestra; nor is the relationship one of mere accompaniment. Instead, the two engage in a delicate, intimate fusion—this is the hallmark of Schumann’s style.
In the years following the premiere, Clara continued to promote this work energetically, playing a vital role in securing its place among the greatest piano concertos.
布拉姆斯的第二交響曲有時亦被稱為「田 園」交響曲。不同於貝多芬的第六交響 曲，這個別號並非布拉姆斯本人所起。那
麼這首樂曲究竟有多「田園」呢？如果一 邊聽開頭部分，一邊觀看電影《仙樂飄飄 處處聞》，你可能會覺得，音樂和大自然 的畫面簡直契合無間。
作曲家在譜寫此曲時，腦中有出現類似 的景致嗎？不得而知，但 1877 年夏天，他
正於韋爾特湖畔珀查赫度假，同時創作此 曲；布拉姆斯曾表示，這奧地利湖畔小鎮 讓他充滿靈感，幾個月後便把作品完成。
相比之下，前一年首演的第一交響曲則花 了他超過二十年時間來創作！
除創作地點外，作品的「田園」味道，可
能也來自當中的樂觀氛圍（與充滿掙扎的 第一交響曲形成鮮明對比），以及首樂章柔 和的副主題（與其著名的《搖籃曲》十分 相似）。第二樂章更是布拉姆斯最優美的 旋律之一，由大提琴演奏。終曲則十分輝 煌，節奏多變，有大量弱拍強音、二拍子 和三拍子的交錯，以及跳躍的音符。這些 特色，卻都未必能帶來鄉郊的聯想。
布拉姆斯
D
大調第二交響曲，作品 73
Johannes Brahms (1833-97)
Symphony No 2 in D Major, Op 73
Johannes Brahms’ second symphony is sometimes described as the composer’s “pastoral” symphony. Unlike the famous Beethoven’s sixth, Brahms did not give the work this title. Anyway, how pastoral is it? Listening to the beginning of its first movement while watching from the first minute of the Hollywood classic TheSoundofMusic, one does find the music quite fitting to that nature scene. Did Brahms have a similar breathtaking panorama in mind while working on this symphony? It’s difficult to say. However, in the summer of 1877, he was enjoying his stay in Pörtschach am Wörthersee while penning his second symphony. He credited the beautiful and placid Austrian lakeside town as a rich source of inspiration. It only took him a matter of months to complete this work (as opposed to his first symphony, which premiered the year before and was more than two decades in the making).
Aside from the location of composition, the “pastoral” association may also be due to the work’s general optimism (instead of the first symphony, which is full of struggles), and the serene second theme in the first movement which sounds very much like Brahms’ famous Lullaby. The second movement has one of the composer’s most expansive and expressive melodies played on the cello too. The finale is a blazing display of bravura, with a wealth of variations in rhythm—an ample supply of offbeat
我認為第三樂章反而是最具「田園」特質 的。雙簧管獨奏營造了純樸的鄉村風味； 向上跳的九度（sol–la’– sol）更恍如阿爾卑
斯長號。在這3/4拍子的悠閒樂章中，布 拉姆斯更加入了 2/4 及 3/8 的插段，有如農 民活潑輕快的舞蹈——這正是貝多芬在其
「貨真價實」的田園交響曲中使用過的寫作 手法。
若撇除作品的「田園性」，觀眾或許更能體
會布拉姆斯在第二交響曲之中處理動機的 高明手法。再看看首樂章的開頭部份， 當 中有兩個動機：D’–C#’–D’–A 和 F#’–A’–A。
布拉姆斯好像着了迷般，重複使用這兩個 動機，有時更是拉長、縮短、倒過來或重 疊，使之成為首樂章的主要原動力（註： 樂章中還有其他動機）。個人認為，「魔 幻」時刻出現在尾聲的第二部分——兩 個動機造就低音和高音弦樂之間的深情對 話；接着壓縮、蛻變，然後在跳脫而不失 祥和的氛圍下結束此樂章。
撰文：蕭樹勝
accents, hemiola (the feeling of two in a triple time and vice versa) and bouncy notes—something not closely related to the countryside.
The most “pastoral” characteristics come in the third movement. The opening oboe solo bears an idyllic simplicity. The upward leap of a ninth (“sol la’ sol”) reminds me of the sonic characteristic of the alphorn. In this gratifying movement in 3/4 time, Brahms also incorporates sections in 2/4 and 3/8 in the style of skippy peasant dance—something Beethoven did with the scherzo in his “genuine”
Pastoral Symphony.
Talk about the “pastoralness” of the work aside, Brahms’ Second Symphony is more a display of the composer’s stunning organic treatment of motifs. For example, look at the opening again. Within the first few bars, we hear a seminal threenote cell (often extended into figures like D–C#–D–A or related shapes) alongside subsidiary ideas. Brahms almost obsessively fills the first movement with these motifs, sometimes in guises like augmentation, diminution, inversion, and stacking— making them the main driving force (the movement has more motifs). The golden moment comes in the second part of the coda, where these ideas finally come into a moving dialogue between the lower and upper strings, before being further compressed and transformed into a delightful ending.
Text: Jimmy Shiu
布拉姆斯於韋爾特湖畔度假時，寫下了D大調第二交響曲 Brahms composed his Symphony No 2 in D Major during his stay by Lake Wörthersee
孫旻秀與聖馬田樂團
Minsoo Sohn with the Academy of St Martin in the Fields
貝多芬
《蕾奧諾拉》第三序曲，作品72b
貝多芬
降E大調第五鋼琴協奏曲，作品73， 「帝皇」
I. 快板
II. 稍快的慢板
III. 輪旋曲（不太快的快板）
莫扎特
29.03.2026
Ludwig van Beethoven (1770-1827)
Leonore Overture No 3, Op 72b
Ludwig van Beethoven
Piano Concerto No 5 in E-flat Major, Op 73, “Emperor”
I. Allegro
II. Adagio un poco mosso
III. Rondo (Allegro, ma non troppo)
中場休息 INTERVAL
C 大調第四十一交響曲，K551 ，「朱庇特」
I. 活潑的快板
II. 如歌的行板
III. 小步舞曲（小快板）
IV. 終曲（極快板）
藝術節加料節目
大師班 Masterclass 孫旻秀鋼琴大師班
Minsoo Sohn Piano Masterclass 28.03.2026（已舉行 Past event）
Wolfgang Amadeus Mozart (1756-91)
Symphony No 41 in C Major, K551, “Jupiter”
I. Allegro vivace
II. Andante cantabile
III. Menuetto (Allegretto)
IV. Finale (Molto allegro)
鋼琴
孫旻秀
孫旻秀是一位韓裔美籍鋼琴家，憑藉其豐 富的音樂才情和卓越琴技而聞名。《紐約時 報》將其形容為「一位真正的藝術家，其 詮釋縝密而富有詩意」。
他曾在北美、南美、歐洲及亞洲巡迴演 出，並以獨奏家身份與多個知名樂團合 作，包括克里夫蘭管弦樂團、波士頓交響樂 團和以色列愛樂樂團；又與亞尼克．聶澤賽金和彼特利．恩肯能等著名指揮家合作。
在 2025 / 26 樂季中，孫旻秀分別與斯洛文尼 亞愛樂樂團、維也納交響樂團以及聖馬田樂 團舉行了巡演。踏入 2026 / 27 樂季，他將會 專注於歐洲、北美與亞洲的獨奏會（其中一 站為卡內基音樂廳），演奏巴赫的《平均律 鋼琴曲集》。
他為赫尼茲和索尼古典唱片公司錄製的唱 片均贏得國際評論家高度讚賞。他對巴赫 《戈爾德堡變奏曲》的演繹獲《紐約時報》 評為「優美流暢」，更獲封為年度最佳唱片 之一。他為索尼古典唱片灌錄的貝多芬鋼 琴奏鳴曲全集合輯，體現了孫旻秀對貝多 芬作品的深刻理解。
孫旻秀曾在波士頓新英格蘭音樂學院師從 羅素．雪曼和卞和暻。在密西根州立大學 任教一段時間後，他選擇回到韓國並於韓 國國家藝術大學擔任教職。他目前於新英 格蘭音樂學院任教，並分別由 IMG 及 MOC 擔任全球及亞洲代理。
Piano Minsoo Sohn
Minsoo Sohn is a Korean-American pianist celebrated for his musical intelligence and virtuosity. TheNew YorkTimes describes him as “a genuine artist, with a thoughtfully conceived and poetic interpretation”.
Sohn has toured extensively in North and South America, Europe and Asia. He has performed as a soloist with prestigious orchestras, including the Cleveland Orchestra, the Boston Symphony and the Israel Philharmonic, collaborating with renowned conductors including Yannick Nézet-Séguin and Pietari Inkinen.
The 2025/26 season saw Sohn perform on tour alongside the Slovenian Philharmonic Orchestra, the Wiener Symphoniker and the Academy of St Martin in the Fields. In the 2026/27 season, Sohn will focus on recital appearances across Europe, North America and Asia performing Bach’sWell-TemperedClavier, including major stages such as Carnegie Hall.
His recordings for Honens and Sony Classical have garnered international acclaim. TheNewYork Times praised his interpretation of Bach’sGoldberg Variations as “beautifully articulated” and named it a top recording of the year. His Sony Classical box set of Beethoven’sCompletePianoSonatas reflects a deep engagement with the composer’s work.
Sohn studied at the New England Conservatory in Boston under Russell Sherman and Wha Kyung Byun. After teaching at Michigan State University, he returned to South Korea, joining the faculty of the Korea National University of Arts. He currently teaches at the New England Conservatory and is represented by IMG Artists globally and MOC Production in Asia.
© Sofia Lambrou
曲目介紹 Programme Notes
貝多芬
《蕾奧諾拉》第三序曲，作品 72b
後人或有聽說貝多芬喜歡反覆修改作品的 習慣，《費黛里奧》正是一個絕佳例子。
由 1805 年面世至 1814 年第三度演出，這部 歌劇經歷了數次大幅修改。最明顯是劇名 由《蕾奧諾拉》改為《費黛里奧》。兩個名 字其實是同一人；弗洛斯坦被陷害，他的 妻子蕾奧諾拉遂化名為費黛里奧，女扮男 裝到獄中救夫。改劇名，亦代表英雌變成 了英雄。作品亦從三幕壓縮為兩幕。
序曲又如何呢？在《費黛里奧》序曲面世 前，還出現過三首《蕾奧諾拉》序曲——
這令人聯想起羅西尼：他曾在不同歌劇中 起用同一序曲，又曾在首演當日才寫好序 曲，與貝多芬可謂相映成趣。
對貝多芬而言，幾首《蕾奧諾拉》序曲都 不是為《費黛里奧》揭幕的最佳選擇。以 最著名的《蕾奧諾拉》第三序曲為例，無 論是複雜性還是宏偉程度，都遠超「歌劇 序曲」，而更像是一個結構龐大的奏鳴曲 式；其規模直逼一首大型交響曲的第一樂 章，難怪會成為音樂會的熱門曲目。
事實上，這首「音樂會序曲」始終緊貼《費 黛里奧》的故事、情感和意念。緩慢的引 子勾勒出弗洛斯坦身處的地牢；帶有切分 音的主題，象徵勇氣；舞台下響起的小號 則宣告正義來臨。最後璀璨的末段結合澎 拜的銅管號曲，表達出歌劇以及貝多芬所 擁抱的信念：自由必勝！
Ludwig van Beethoven (1770-1827)
Leonore Overture No 3, Op 72b
Beethoven is famed for his painstaking revision process and Fidelio offers an extreme example of this.
From its premiere in 1805 to its third version in 1814, much of the opera underwent substantial alterations. Most notably, its original title, Leonore, was changed, shifting the focus to the heroine—disguised as a man to rescue her imprisoned husband, Florestan— and re-defining her as the opera’s central character. The structure was also streamlined, with three acts reduced to two.
What about the overture? On top of the Fidelio Overture, three earlier versions, each titled Leonore, have survived. This contrast invites comparison with Rossini, who was known for re-using overtures across different operas, and even for composing one on the day of a premiere. The juxtaposition brings into focus two contrasting approaches to operatic composition.
For Beethoven, none of the Leonore overtures proved suitable as an opening to Fidelio. The most famous of them, Leonore Overture No 3, is widely considered too complex and monumental to serve as a curtainraiser. Cast in a grand sonata form, its scale rivals that of a symphony’s opening movement. It is therefore unsurprising that the work has become a popular concert piece in its own right.
However, this so-called “concert overture” remains closely connected to the opera’s narrative, emotions and ideals. A slow introduction evokes the darkness of the dungeon where the weakened Florestan lies. Syncopated themes suggest courage. An offstage trumpet shows signs of justice. The triumphant conclusion, crowned by resounding brass fanfares, proclaims the victory of liberty—a principle central to both the opera and Beethoven himself.
貝多芬為歌劇《費黛里奧》的序曲費煞思量， 圖為法國畫家安傑-路易．賈納以此為題所製之版畫 An engraving by the French painter Ange-Louis Janet, themed on Beethoven’s Fidelio
音樂會接下來兩首作品有好些共通點。首 先，它們分別是作曲家在該曲種（鋼琴協奏 曲和交響曲）中，篇幅最長、結構最複雜的 創作。第二，兩個充滿氣勢的別名——「帝 皇」（地上的至尊）和「朱庇特」（天上的神 祇），都是由別人所添加的。第三，兩首作 品都在異常艱辛的狀況下完成。
1809 年，貝多芬在寫給出版商的信中如是 說：「這裏充滿了鼓聲、大砲聲和各種人類 苦難」——所指的是拿破崙圍攻維也納的
軍事行動。當時，貝多芬被迫躲在弟弟家的 地牢裏，並以枕頭保護雙耳。第五鋼琴協奏 曲正是在如斯惡劣的環境下完成的。由於聽 力惡化，貝多芬甚至無法如以往一樣，親自 以獨奏家身份首演自己的鋼琴協奏曲。
然而，樂曲本身卻絲毫不帶痛苦的感覺。
首樂章充滿活力，而次樂章包含了一段恬 靜、如聖詩般的旋律；終曲則散發着光芒 和喜悅。
這絕對稱得上是鋼琴協奏曲的「里程碑」。
首先，從規模、表現力以及對技巧的要求來 看，此曲可說是超越了很多先前有名的鋼琴 協奏曲。第二，作品對音樂素材的有機處理 十分高超而「交響化」。第三，是顛覆性的 編排：第四協奏曲由鋼琴獨奏展開序幕，改
貝多芬
降 E 大調第五鋼琴協奏曲，作品 73，「帝皇」
Ludwig van Beethoven
Piano Concerto No 5 in E-flat Major, Op 73, “Emperor”
The two works that follow in this programme share several affinities. First, each is the composer’s longest and most elaborate output in its respective genre—the piano concerto and the symphony. Second, the two “super” nicknames—“Emperor” (royalty on earth) and “Jupiter” (deity of the sky) were added by someone else. Thirdly, both works were written during difficult times.
In 1809, Beethoven wrote to his publisher: “Nothing but drums, cannon, human misery of every sort.”
More than that, Napoleon’s siege of Vienna forced him to hide in his brother’s cellar, where he had to use a pillow to protect his ears. His fifth concerto was produced under such challenging circumstances. In fact, because of his progressive hearing loss, Beethoven did not manage to premiere the work as soloist, as he did with his earlier piano concertos.
Yet, one senses not a hint of such afflictions in the piece. The first movement is full of verve, the second movement has a tranquil hymn-like melody and the finale radiates with joy.
To describe the work as epoch-making is an understatement — it also made significant advancement to the art of piano concerto-writing. Firstly, in terms of scale, expressive range and demands for virtuosity, the piece surpassed all notable piano concertos that came before it.
Secondly, it is symphonic and the composer’s organic treatment of motifs is superb. Thirdly, with his fourth concerto, Beethoven had the piano come in first,
變了由樂團帶來序奏的傳統。「帝皇」則更 進一步，由獨奏家和整個樂團一起帶來三個 雄渾的和弦，並在中間加插奪目的鋼琴華彩 樂段；而在一般插入華彩樂段的地方，鋼琴 卻只有約三十秒獨奏。不單如此，古典時期 的獨奏家常在華彩樂段中加入即興演奏，
但貝多芬卻將上述樂段的每個音都寫在樂譜 上，沒有留下即興演奏的空間。
若說此曲令人想起英雄氣概的話，就不得不 歸功於此中的降 E 大調；貝多芬之前曾用同 一個調譜寫「英雄交響曲」。圓號本身就帶 點「英雄感」，首樂章中一段高貴莊嚴的二 重奏，正是由圓號吹奏出來。
此曲還有更多有趣的作曲技巧——讓我們看 看終曲。第四鋼琴協奏曲的第二和第三樂章
之間不作停頓。在「帝皇」中，鋼琴在第二 樂章結尾輕輕「預告」了終曲的主旋律，之 後便爆發出這個豪邁且帶點彈跳感的主題。
這個彈跳感部分源自鋼琴家在第一小節中兩 手的錯落節奏：右手是 3/4 拍，左手卻是 6/8 拍。在第二小節，貝多芬又製造出一個弱拍 強音，有效「擾亂」了觀眾的節奏感！
樂曲結尾部分由鋼琴和定音鼓來了個輕柔的 二重奏，妙趣橫生。貝多芬就是這樣創意無 窮，驚喜不絕。
instead of complying to the tradition of beginning the piece with an orchestral introduction. “Emperor” pushes even further to let the solo and tutti launch the piece together. It begins with three big chords, interspersed with decorative piano cadenzas. Conversely, at the spot where the usual cadenza is expected, there’s a short 30-second passage. Besides, all notes in the cadenzas mentioned above were written out, leaving no space for the soloist to improvise—a practice common in the Classical period.
If the piece reminds one of heroism, credit must be given to the E-flat key, the same key Beethoven adopted for his “Eroica” symphony. The horn is somewhat a “heroic” instrument; and fittingly, in the first movement, there is a noble passage played imposingly by a pair of horns.
There are even more intriguing composition techniques in the piece. Let’s look at the last movement. In the fourth piano concerto, the second and third movements are played without a pause. With “Emperor”, at the end of the second movement, the piano softly “pre-announces” the main theme of the finale, before bursting into a full declamation of that bold and slightly jerky theme. That jerky feeling is created partly by the simultaneous appearance (in the first bar) of 3/4 time in the pianist’s right hand, and 6/8 in their left hand. In the second bar, Beethoven introduces a strong offbeat accent, effectively “disrupting” the listener’s sense of rhythm.
Towards the end of the piece, a soft and witty duet for the timpani and piano is heard. Beethoven never ran out of creativity and surprise!
「帝皇」協奏曲寫於1809年，當時正值拿破崙對維也納發起的軍事行動。圖為其中關鍵的瓦格拉姆之戰 The “Emperor” Concerto was composed in 1809, during Napoleon’s military campaign against Vienna. The image depicts the pivotal Battle of Wagram
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莫扎特第四十一交響曲予人歡欣雀躍之感， 然而對作曲家而言，1788 年的夏季，卻不 是一個值得慶祝的時節。
當時，莫扎特受歡迎的程度已大不如前；妻 子常常生病，而他們半歲的女兒德莉撒剛病 逝。失業和窮困迫使他向一位紡織商朋友告
貸。另一幫補生計的方法，是為韓德爾的 《阿西斯與加拉蒂亞》編曲。在種種不利條 件下，莫扎特最後一首交響曲終於誕生。
那個夏天，莫扎特在八星期內完成了三首交 響曲（第三十九至四十一）。背後卻有不少 謎團：他為何寫這些作品？是自娛，還是為 了錢？這些作品在他生前是否曾上演？可以 肯定的是，這是他交響曲作品集中的「天鵝 之歌」——自那之後，他再沒有執筆寫下 新的交響曲。為何不寫？或許，在餘下的三 年裏，莫扎特決意把精力投放在聲樂作品 上，包括歌劇《女人心》、《狄托的仁慈》、 《魔笛》以及充滿傳奇色彩的安魂曲。我更 傾向相信，莫扎特是希望讓這「三部曲」， 為他的交響樂創作拉下帷幕。
這首第四十一交響曲有兩大特色。
第一是
對比。此曲完美概括了十八世紀的狂飆突 進運動；如全曲的首句像擂鼓般威嚴十
莫扎特 C 大調第四十一交響曲，K551，「朱庇特」
Wolfgang Amadeus Mozart (1756-91) Symphony No 41 in C Major, K551, “Jupiter”
Mozart’s Symphony No 41 exudes jubilation. For the composer, however, that summer in 1788 had little worth celebrating.
His popularity had faded by then. His wife was often sick. Their six-month-old daughter, Theresia, had just died. Unemployed and running out of funds, Mozart begged for money from a textile merchant friend. Another means to earn some income was to provide an arrangement of Handel’s AcisandGalatea. It was under these adverse conditions that Mozart’s final symphony came to life.
It is the last of the final trilogy of symphonies (No 39-41) he wrote within eight weeks. It is still a mystery why Mozart wrote these works—was it for his own pleasure or for some quick cash? Were these works performed during his lifetime? One thing is for sure: this was his “symphonic swansong”. He stopped writing symphonies at that point. Why?
Perhaps his remaining three years were dominated by works featuring the voice like operas—Cosìfan tutte, LaClemenzadiTito, DieZauberflöte—and the legendary Requiem. I also like to believe that Mozart wanted to let this trilogy have the final words in his symphony output.
Two elements are prominent in the “ultimate” symphony. First is contrast. It perfectly sums up the 18th-century SturmundDrang (“storm and stress”) movement. For instance, the opening movement
足，但緊接下來卻是被音樂學家唐納德． 托威形容如「溫柔地懇求」的樂句。帶附 點節奏的號曲與抒情的樂段互相穿插之
後，又出現一個輕巧而具喜劇風格的小 詠嘆調式旋律，出自莫扎特較早前所寫 的〈手上一吻〉。
接下去還有更多在強弱、發音、音色、織體 和節奏上的對比。例如在「如歌的行板」樂 章，加了弱音器的弦樂「唱」出優美悠長的 調子，卻不時被樂團突如其來的巨響打斷。
〈小步舞曲〉是唯一以非奏鳴曲式寫成的樂 章。開始時，小提琴溫柔地帶來半音下行的 樂句，與緊接的樂團強奏形成鮮明對比。
作品的第二個特色是對位。樂曲氣勢磅礴， 因而獲得「朱庇特」（羅馬天神）的別號； 對位法（簡單而言，是在同一時間，出現多 條旋律線）的運用，正好彰顯其輝煌。
作品大量使用對位，當中最亮眼的當屬終 曲；而樂曲的最後一分鐘更可見莫扎特的精 湛技巧：五個主題 / 動機完美融合，既具有 巴羅克賦格曲的壯麗，同時亦不失古典時期 音樂的輕盈優雅。
來到這裏，彷彿莫扎特在對我們說：「交 響曲……差不多了，我得繼續發掘其他樂
趣！」
撰文：蕭樹勝
begins with a majestic drumroll-style phrase, but is immediately followed by a “gentle pleading” as described by musicologist Donald Tovey. Then comes a fanfare in dotted rhythm, juxtaposing lyrical sections before the appearance of a light-hearted and comical tune. This is the melody of an arietta, “Un bacio di mano” (“a kiss on the hand”), Mozart wrote earlier.
More contrasts in dynamics, articulation, timbre, texture and rhythm follow. For example, with the Andante cantabile (“in a walking pace, and in singing style”) movement, while muted strings sing a beautifully flowing melody, the serenity is often interrupted by unexpected “orchestral hits”.
The Menuetto is the only movement in the work not to be in sonata form. It opens with a gentle descending chromatic passage on violins, contrasting with bravura orchestral tuttis.
Second is counterpoint. The grandeur of the piece might have brought about the name “Jupiter” after the Roman God of the sky. Counterpoint (in short: two or more melodic lines coming together) is a perfect way to highlight that splendour.
Counterpoint writing appears everywhere in the symphony, but most prominently in the finale. Mozart’s mastery of the art reaches a climax at the final minute—when all five themes/motifs of the movement are skilfully put together in the style of a monumental Baroque fugue, yet in the lightness and elegance of the Classical period.
At this point, it was as if Mozart were saying: “That’s all for symphonies. I shall move on with something else!”
Text: Jimmy Shiu
The Austro-Turkish War, which began in 1788, might have contributed to Mozart’s financial crisis
聖馬田樂團
The Academy of St Martin in the Fields
第一小提琴 First Violin
Zsolt-Tihamér Visontay
Miranda Playfair
Fiona Brett
Amanda Smith
Sijie Chen
Richard Milone
Antonia Kesel
Barbara Dziewiecka-Data
Miranda Dale
Winona Fifield
第二小提琴 Second Violin
Catherine Morgan
Rebecca Scott
Clare Hayes
Jessica Coleman
Ruth Funnell
Jenny Sacha
Tanya Sweiry
Nemanja Ljubinkovic
中提琴 Viola
Fiona Bonds
Ian Rathbone
Nicholas Barr
Alexandros Koustas
Matthew Maguire
Rachel Robson
大提琴 Cello
Richard Harwood
Will Schofield
Rebecca Knight
Christopher Allan
Roberto Sorrentino
James Douglas
低音大提琴 Bass
Chris West
Jason Henery
Marianne Schofield
David Johnson
長笛 Flute
Michael Cox
Mary Owen
雙簧管 Oboe
James Hulme
Hannah Condliffe
單簧管 Clarinet
Benjamin Mellefont
Thomas Lessels
巴松管 Bassoon
Emily Hultmark
Claire Webster
圓號 Horn
Stephen Stirling
Joanna Hensel
Jo Withers
Alexia Cammish
小號 Trumpet
Paul Beniston
William O’Sullivan
Robert Smith
長號 Trombone
Rebecca Smith
Andrew Cole
Joseph Arnold
大號 Tuba
James Tavares *
定音鼓 Timpani
Louise Goodwin
* 只限 Only on 28.03.2026
音樂會及巡演主管 Head of Concerts & Tours
Hannah Bache
觀眾及社區事務主管 Head of Audiences & Community
Charlotte Cosgrove
行政總監（演出及策劃）Executive Director, Performance & Planning
Tim Davy
音樂會及巡演經理 Concerts & Tours Manager
Anna Galloway
社區公益事務主管 Head of Social Purpose
Callum Given
發展經理（美國之友）Development Manager (American Friends)
Georgina Hamilton
樂譜管理 Librarian
Helen Harris
舞台經理 Stage Manager
Hal Hutchison
財務經理 Finance Manager
Philip Knight
高級發展及市場統籌 Senior Development & Marketing Coordinator
William Lloyd
行政總裁 Chief Executive Officer
Annie Lydford
發展及對外事務總監 Director of Development & External Affairs
Chris Martin
發展主管（英國）Head of UK Development
Amy Scott
演出及項目助理 Performance & Projects Assistant
Esme Sullivan
樂團人事經理 Orchestra Personnel Manager
Charlotte Templeman
項目經理 Project Manager
Alex Tighe
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
鑽石捐款者 DIAMOND DONOR
HK$70,000 - HK$139,999
孫漢明博士 Dr. Stephen Suen
翡翠捐款者 JADE DONORS
HK$30,000 - HK$69,999
無名氏 Anonymous
Chan Yiu Wah Eva
鄒艾狄
洪祖杭 HUNG CHAO HONG
Leung Wai Yee Candice
Wendy Nam
陳智文 Stephen Tan
黃金捐款者 GOLD DONORS
HK$12,000 - HK$29,999
無名氏 Anonymous
Jeffrey and Helen Chan
陳求德醫生 Dr. KT CHAN
周一嶽醫生 Dr. York Chow
何子健先生及廖文軍女士 Mr. Ho Che Kin & Ms. Liu Man Kwan
Huang Xiang Edmond
Kenneth Lau & Anna Ang
Dr. Sabrina TSAO
Dr. & Mrs. TSAO Yen Chow
Mr. & Mrs. YS Wong
通利琴行 Tom Lee Music
純銀捐款者 SILVER DONORS
HK$6,000 - HK$11,999
無名氏 Anonymous
仇少碧 Chow Siu Pik Maria
Ho Man Fung Edith
Joan Leung
Franklin Lee
練紹良先生夫人 Mr. & Mrs. David S L Lin
Dr. Michael Mak
José Manuel Sevilla and Julie Bisaillon
Linda Wang
Wong Yick Kam
姚曼儀女士 Ms. Enoch Yiu
姚昱 Isabel Yiu
青銅捐款者 BRONZE DONORS
HK$3,000 - HK$5,999
無名氏 Anonymous
Mr. Arblaster
Veryan Bradshaw
Cecilia
Jo Chen
Cheung Shuk Mei Cora
Dr. David Fang
Tim Freshwater
何超賢 Angela Ho
孔德朗 Adrian Hung
Dr. Alfred Lau
Lau Pui Wah Gloria
Wendy Leung Wing Shan
Jennie Mak
Barbara and Anthony Rogers
石應瀚
文娛慈善基金 The Elementary Charitable Foundation
朱玉迎 Zhu Yuying
鉑金捐款者 PLATINUM DONORS
HK$140,000 或以上 OR ABOVE
無名氏 Anonymous
馬振玉慈善基金會有限公司 CYMA Charity Fund Limited
The Lanson Foundation
鑽石捐款者 DIAMOND DONORS
HK$70,000 - HK$139,999
Mrs. Purviz R. Shroff, MH and Late Mr. Rusy M. Shroff, BBS, MBE
Dr. and Prof. Anna & Helmut Sohmen
田家炳基金會 Tin Ka Ping Foundation
芝蘭基金會 Zhilan Foundation
翡翠捐款者 JADE DONORS
HK$30,000 - HK$69,999
無名氏 Anonymous
Ophelia Fung
Catherine KC Leung
Li Kristine Keng Yan
Mr. and Mrs. Roger Lui
孫漢明博士 Dr. Stephen Suen
黃金捐款者 GOLD DONORS
HK$12,000 - HK$29,999
無名氏 Anonymous
陳求德醫生 Dr. KT CHAN
周一嶽醫生 Dr. York Chow
徐伯鳴先生與黃碧如女士 Mr. Norman Chui Pak Ming and Ms. Cleresa Wong Pie Yue
CHUNG See Yuen
LY Consultant Limited
C H Mak
Pong Sum-yee Samanta
Teresa Pong
Mr. & Mrs. Kenneth Quinn
孫永輝 施熙德 Stephen Sun and Edith Shih
陳智文 Stephen Tan
新作捐助計劃 New Works Scheme
黃金捐款者 GOLD DONORS
HK$12,000 - HK$29,999
無名氏 Anonymous
Prof. Gillian Choa
劉仰澤 Lau Yeung Chak
凌霄志醫生 Dr Tony Ling
純銀捐款者 SILVER DONORS
HK$6,000 - HK$11,999
無名氏 Anonymous
陳頴儀與黃乃正
純銀捐款者 SILVER DONORS
HK$6,000 - HK$11,999
無名氏 (3) Anonymous (3)
Mr and Mrs Herbert Au-Yeung
Iain Bruce
Cheung Kit Fung
Grace Chiang
Margaret Hamilton
S Hon
劉青薇 Lau Ching Mei Josephine
Franklin Lee
Joan Leung
Dr. Xina Lo
麥禮和醫生 Dr. Mak Lai Wo
Karen and Vernon Moore
Caroline Pang
Dr. Tam Oi Wo Joyce
Christine Tong
Dr. & Mrs. TSAO Yen Chow
青銅捐款者 BRONZE DONORS
HK$3,000 - HK$5,999
無名氏 (5) Anonymous (5)
區燊耀 Au Son Yiu
Susan Basquin
Biz Office Limited
Carthy Limited
Mr. & Mrs. D. Chang
蔣國誠 Chiang Kwok Shing Alan
Community Partner Foundation Limited
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
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