National Theatre Brno_Chamber Concert and Requiem - 54th HKAF

National Theatre Brno

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

捷克室樂薈

A Gala Celebration of Czech Music

20.03.2026 / 7:45pm

香港大會堂音樂廳

Concert Hall, Hong Kong City Hall

演出長約 2 小時 20 分鐘，包括一節中場休息

Approximately two hours and 20 minutes including one interval

捷克布爾諾國家歌劇院—— 德伏扎克安魂曲

National Theatre Brno— Dvořák’s Requiem

22.03.2026 / 4:00pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

演出長約 1 小時 35 分鐘，不設中場休息

Approximately one hour and 35 minutes with no interval

封面照片 Cover Photograph

of Ivo Kahánek: © Dusan Martincek

※ 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.

布爾諾國家歌劇院楊納傑克歌劇團

The Janáček Opera of the National Theatre Brno

布爾諾國家歌劇院楊納傑克歌劇團是中歐 頂尖的歌劇團之一，其歷史可以追溯到 十九世紀。多年來，歌劇團推出了許多重

要的作品，包括楊納傑克、貝爾格、馬替 奴和蕭斯達高維契等作曲家作品的世界首 演或捷克首演。楊納傑克歌劇團亦與眾多 海外的著名劇院（如倫敦皇家歌劇院、哥

德堡歌劇院、卡昂大劇院、凡爾賽宮皇家 歌劇院、威爾斯國家歌劇院、馬德里皇家 劇院、柏林林登大道歌劇院）、導演及指揮 （包括大衛．普尼、羅伯特．卡森、大衛． 拉多克、托馬斯．哈努斯、雅各．胡薩）， 還有傑出的藝術家合作。

歌劇團曾演出大量十八世紀和十九世紀的 歌劇曲目，以及二十世紀和二十一世紀的 作品。歌劇團轄下的管弦樂團及合唱團更 走出捷克，到歐洲和中東（阿曼馬斯喀特 皇家歌劇院、杜拜）演出，並於香港藝術 節和中國上海國際藝術節亮相。

楊納傑克歌劇團還籌辦了楊納傑克布爾諾 國際音樂節。該音樂節於 2018 年獲頒國際 歌劇大獎「年度最佳歌劇節」，並於 2024 年再度獲得該獎，成為捷克共和國首個獲 此殊榮的音樂節。

The Janáček Opera of the National Theatre Brno is one of the leading opera houses in Central Europe, with a tradition dating back to the 19th century. Over the years the opera ensemble has introduced numerous significant productions, including world or Czech premieres of works by, among others, Leoš Janáček, Alban Berg, Bohuslav Martinů and Dmitri Shostakovich. The Janáček Opera also co-operates with distinguished theatres abroad (such as the Royal Opera House in London, the Göteborgsoperan, the Théâtre de Caen, the Royal Opéra at the Château de Versailles Spectacles, the Welsh National Opera, Teatro Real Madrid and the Staatsoper Unter den Linden in Berlin), directors and conductors (including David Pountney, Robert Carsen, David Radok, Tomáš Hanus and Jakub Hrůša) as well as outstanding artists.

It presents a wide repertoire of 18th- and 19th-century operas, as well as productions from the 20th and 21st centuries. Not confined by the boundaries of the Czech Republic, the opera ensemble’s activities span Europe and the Middle East (Royal Opera House Muscat, Dubai), the Hong Kong Arts Festival and the China Shanghai International Arts Festival.

The Janáček Opera also organises the international Janáček Brno Festival. The Janáček Brno was the first festival in the Czech Republic to win the prestigious International Opera Awards prize for Best Festival in 2018 and again in 2024.

指揮

羅伯特．克魯奇克

羅伯特．克魯奇克於 2015 / 16 樂季加入捷克 布爾諾國家歌劇院，並自 2025 / 26 樂季起 擔任捷克布爾諾國家歌劇院楊納傑克歌劇 樂團的首席指揮。他於 2021 / 22 樂季成為茲 林愛樂樂團的首席指揮，並自 2018 / 19 樂季 起擔任布爾諾愛樂樂團的常任客席指揮。

克魯奇克曾獲吉里．貝洛拉維克和查爾 斯．麥克拉斯爵士獎。他曾為多個演出指 揮，並與捷克及國際樂團合作，包括捷克 愛樂樂團、布拉格愛樂樂團、布拉格交響 樂團、華沙室樂團和中德萊比錫廣播電台 交響樂團等，亦曾與柳愛莎、約瑟夫．史 巴塞克、拉斐爾．沃費施和曹秀美等著名 獨奏家合作。

Conductor

Robert Kružík

Robert Kružík has been a member of the Brno ensemble since 2015/16 and a Chief Conductor of the Janáček Opera since the 2025/26 season. He became Chief Conductor of the Zlín Philharmonic in the 2021/22 season, and has been a regular guest conductor with the Brno Philharmonic since the 2018/19 season.

Kružík has received the Jiří Bělohlávek and the Sir Charles Mackerras prizes. As a conductor, he has participated in a number of productions. He also works with multiple Czech and international orchestras such as the Czech Philharmonic, the Prague Philharmonia, the Prague Symphony Orchestra, Sinfonia Varsovia and the MDR Leipzig Radio Symphony Orchestra, and leading soloists such as Esther Yoo, Josef Špaček, Raphael Wallfisch and Sumi Jo.

捷克室樂薈

A Gala Celebration of Czech Music

斯美塔那

《來自故鄉》，作品 128

I. 中板

II. 小行板

德伏扎克

為小提琴和鋼琴而作的《浪漫小品》， 作品 75 ， B150

I. 中庸的快板

II. 莊嚴的快板

III. 熱情的快板

IV. 小廣板

德伏扎克

為小提琴和鋼琴而作的 E 小調馬祖卡

舞曲，作品 49 ， B89

楊納傑克

小提琴與鋼琴奏鳴曲

I. 速度稍快

II. 敍事曲

III. 小快板

IV. 慢板

鋼琴

伊沃．卡哈內克

小提琴 揚．姆拉切克

20.03.2026

Bedřich Smetana (1824–84)

FromtheHomeland , Op 128

I. Moderato

II. Andantino

Antonín Dvořák (1841-1904)

RomanticPiecesfor Violin and Piano, Op 75, B150

I. Allegro moderato

II. Allegro maestoso

III. Allegro appassionato

IV. Larghetto

Antonín Dvořák

Mazurka for Violin and Piano in E minor, Op 49, B89

Leoš Janáček (1854-1928)

Sonata for Violin and Piano

I. Con moto

II. Ballade

III. Allegretto

IV. Adagio

Piano

Ivo Kahánek

Violin

Jan Mráček

中場休息 INTERVAL

楊納傑克

左手鋼琴與室樂團合奏隨想曲

I. 快板

II. 慢板

III. 小快板

IV. 行板

指揮

羅伯特．克魯奇克

鋼琴

伊沃．卡哈內克

捷克布爾諾國家歌劇院楊納傑克歌劇團樂團室樂成員

Leoš Janáček

Capriccio for Piano Left-Hand and Chamber Ensemble

I. Allegro

II. Adagio

III. Allegretto

IV. Andante

Conductor

Robert Kružík

Piano

Ivo Kahánek

Chamber ensemble from the Orchestra of the Janáček Opera of National Theatre Brno

短笛 Piccolo

Iveta Krulová

小號 Trumpet

Jozef Zimka

Miroslav Holub

長號 Trombone

Zbyněk Pavluš

Vladislav Prokopec

Šimon Pavlík

次中音低音號 Tenor Tuba

Jan Pospíšil

藝術節加料節目

大師班 Masterclass 揚．姆拉切克小提琴大師班

Jan Mráček Violin Masterclass 19.03.2026 （已舉行 past event）

演前講座 Pre-Performance Talk 捷克室樂薈——演前講座

A Gala Celebration of Czech Music—Pre-Concert Talk 20.03.2026 （已舉行 past event）

大師班 Masterclass 伊沃．卡哈內克鋼琴大師班

Ivo Kahánek Piano Masterclass 21.03.2026 / 12:00pm-13:30pm

香港文化中心音樂廳排演室 CR2

Concert Hall Rehearsal Room CR2, Hong Kong Cultural Centre

登記參與 （僅限旁聽）

Scan to join (observers only)

楊納傑克

《失蹤者的日記》， JW V/12

I. 〈某日邂逅吉卜賽女郎〉

II. 〈皮膚黝黑的吉卜賽女郎〉

III. 〈暮光之中〉

IV. 〈簷上燕子聲啾啾〉

V. 〈翻土之勞苦〉

VI. 〈嘿，我的黃牛〉

VII. 〈犁為何壞掉了？〉

VIII. 〈牛啊，別傷心〉

IX. 〈我的俏郎君〉

X. 〈全能的神、永遠的神〉

XI. 〈滿穗的粟米田中〉

XII. 〈參天茂木〉

XIII. 鋼琴獨奏

XIV. 〈陽光灑落田野〉

XV. 〈我的黃牛〉

XVI. 〈我怎麼了？〉

XVII. 〈誰能逃過宿命？〉

XVIII. 〈一切皆無足掛齒〉

XIX. 〈看那鬼祟的喜鵲〉

XX. 〈她懷了我的孩子〉

XXI. 〈父親，你大錯特錯〉

XXII. 〈永別了，故鄉〉

男高音

阿列什．布里賽因

女低音

域卡拉娃．卡雷伊契．豪斯高娃

鋼琴

伊沃．卡哈內克

捷克布爾諾國家歌劇院楊納傑克歌劇團合唱團成員

Leoš Janáček

TheDiaryofOnewhoDisappeared , JW V/12

I. “One day I met a Gypsy girl”

II. “That black Gypsy”

III. “Through the twilight”

IV. “Already swallows are twittering overhead”

V. “Ploughing is weary work”

VI. “Hey there, my tawny oxen”

VII. “Why has my plough broken?”

VIII. “Don't look, my oxen”

IX. “Welcome, my handsome one”

X. “God all-powerful, God eternal”

XI. “From the ripening cornfield”

XII. “Forest's shady heights”

XIII. Piano solo

XIV. “Sunlight on the meadow”

XV. “Now my tawny oxen”

XVI. “What has come over me?”

XVII. “Who can escape his fate”

XVIII. “Nothing matters now until”

XIX. “See that thieving magpie”

XX. “Now she bears my child”

XXI. “Father, how wrong you were”

XXII. “Then farewell, dearest land”

Tenor

Aleš Briscein

Alto

Václava Krejčí Housková

Piano

Ivo Kahánek

Members of the Choir of the Janáček Opera of National Theatre Brno 哈娜．科皮沃娃．蘇皮科娃

多羅塔．麗斯科娃

拉達．諾瓦塔娜

Hana Kopřivová Šumpíková

Dorota Lišková

Lada Novotná

Programme Notes

斯美塔那（1824–84）、德伏扎克（1841–1904）和楊納傑克（1854–1928）是捷克音

樂的三大巨頭，各自對捷克及海外音樂文 化遺產都有獨特的貢獻。斯美塔那經常獲 譽為「捷克音樂之父」，為捷克音樂塑造

了民族身份；德伏扎克深深植根於家鄉的 旋律，將捷克音樂帶到世界各地，無論交 響曲還是歌劇（例如《水仙子》）都大受歡 迎；楊納傑克則不斷創新，捕捉日常語言 的節奏以及人類情感的力量，譜寫出高度 寫實又飽含情感的歌劇。三人共同鑄造出 一套流傳後世的音樂文化，將民歌傳統與 普世藝術共冶一爐——音樂關乎家鄉、關 乎人性，聲音的不朽之美跨越國界，不受 地域所限。今晚音樂會所演出的曲目，都 不是他們的大型作品，而是室內樂。後者 雖然規模較小，但情感與藝術價值卻與大 型作品不相伯仲。

斯美塔那

斯美塔那晚年的日子並不好過。1870 年 後，他的健康狀況愈來愈差，漸漸完全失 聰，甚至不得不放棄布拉格國家劇院的指

Bedřich Smetana (1824–84), Antonín Dvořák (1841–1904), and Leoš Janáček (1854–1928) are the great triumvirate of Czech music, each contributing uniquely to both national and international musical heritage. Smetana, often called the father of Czech music, gave the Czech nation its musical identity. Dvořák, deeply rooted in the melodies of his homeland, brought Czech music to the world with universally appealing symphonies and operas such as Rusalka. And Janáček, ever the innovator, captured the rhythms of everyday speech and the raw power of human emotion, creating operas of striking realism and intensity. Together, they forged a legacy where folk traditions meet universal artistry—music that speaks of home, humanity and the enduring beauty of sound that knows no borders. Tonight’s concert presents their work not through large opuses, but through chamber works, which— although smaller—carry just as much emotional and artistic value.

The end of Smetana’s life was difficult. After 1870, his health problems began to worsen, leading to complete deafness. Smetana had to give up his position as conductor at the National Theatre in Prague, but he did not give up composing until the end of his life. On the contrary, it was during this time that he composed the cycle Mávlast (“My Country”), which he completed in 1879. He continued to write operas, but also turned his attention to chamber music, which led to the creation of the extraordinary String Quartet in E minor, FromMyLife. A year after completing Mávlast, Smetana composed two duets for violin and piano with the poetic title FromtheHomeland, Op 128 , allegedly at the instigation of Prince Alexander Thurn-Taxis. These are programmatic miniatures for violin and piano, which are rare in the global context. The composition is characterised by a warm lyrical tone, which is replaced in the second part by cheerful and energetic music with an impressive optimistic ending. They were first performed in 1881.

揮席位，然而他始終沒有放棄創作。相 反，他一直堅持寫作，直至生命終結，其 聯篇詩歌《我的祖國》正是於 1879 年寫 成；他還繼續創作歌劇與室內樂，創作了 傑作 E 小調弦樂四重奏《我的一生》。完成 《我的祖國》一年後，在亞歷山大．圖恩德西斯親王的提議下，斯美塔那還完成了

兩首標題甚具詩意的小提琴與鋼琴二重奏 《來自故鄉》，作品 128 。《來自故鄉》屬於 標題小品，不過這樣寫作小提琴和鋼琴的 標題小品，即使放眼全球也實屬罕見。樂

曲格調溫暖抒情，第二部分興高采烈、活 力充沛，結尾樂觀開朗，給人留下深刻印 象。作品的首演在 1881 年舉行。

德伏扎克

Antonín Dvořák (1841–1904)

德伏扎克的 為小提琴和鋼琴而作的《浪漫 小品》，作品 75 ， B150 ，同樣寫於 1880 年 代。樂曲的寫作緣起充分說明，即使是音 樂大師，也喜歡在沒有公開演出的壓力下 與其他音樂家合奏。事實上，多虧德伏扎 克在布拉格省立劇院樂團的舊同僚揚．佩 利坎，德伏扎克才會創作這套浪漫小品： 佩利坎與德伏扎克曾是室友，而且他會在 家中教授小提琴，其中一位學生名叫約瑟 夫．克魯爾斯。德伏扎克很喜歡跟他們合 奏，於是寫作了 C 大調三重奏，準備一起

演奏，娛人娛己。可是樂曲的技術要求對 學生克魯爾斯來說太高，作曲家於是修改

The following chamber works by Antonín Dvořák also date from the 1880s. RomanticPieces for Violin and Piano, Op 75, B150 , are a beautiful example of how even great masters can appreciate a moment of music-making with colleagues without the pressure of public performances. We can thank Dvořák’s former colleague from Prague’s Provisional Theatre Orchestra, Jan Pelikán, for the creation of Romantic Pieces. He lived in the same house as Dvořák and a student named Josef Kruis came to him for violin lessons. Dvořák enjoyed playing with them and composed the Terzetto in C Major for their moments together. When it turned out that the technical demands were too high for the student, he revised the composition into the form known today as Drobnosti (“Miniatures”), and then reworked it into a version for violin and piano, which Simrock published in 1887 under the title RomanticPieces

The formal arrangement of the piece is simple: a sequence of four short contrasting movements. Each movement is built on a single theme and has a consistent mood which is also expressed in the original subtitles: Cavatina, Capriccio, Romanza and Elegia. The essence of the work is probably best captured by Dvořák himself in a letter to his publisher Simrock: “I am writing some short Bagatelles at the moment, just think, for two violins and viola. My work brings me as much pleasure as if I were writing a major symphony—what do you say to that? They are, of course, aimed at amateur musicians, but didn’t Beethoven and Schumann also once write little pieces, and look what they came up with!”

The Mazurka for Violin and Piano in E minor, Op 49, B89 was commissioned by Dvořák’s publisher Simrock who, following the great success of the SlavonicDances, asked the composer for a short piece for violin in a similar style. Dvořák granted his wish and completed the piece in February 1879, immediately followed by an orchestral version. The simple form is constructed from two contrasting themes, one highly rhythmical, and the other lyrical. Simrock published the Mazurka the year it was written and it was dedicated to Spanish violinist Pablo de Sarasate.

樂譜，而且將標題改為「 Drobnosti 」（迷 你小品），後來又改編成小提琴與鋼琴合 奏。後一版本於 1887 年交由西姆羅克出版 社出版，並再易名為《浪漫小品》。

樂曲的曲式鋪排十分簡單：全曲由四個對 比鮮明的短樂章組成。每樂章都根據單一

主題展開，情緒一致，而且原定的樂章標 題也清楚表達出作曲家的用意——四個樂 章分別是：〈抒情短歌〉、〈隨想曲〉、〈浪 漫曲〉和〈哀歌〉。德伏扎克曾給西姆羅克 出版社寫信道：「我正在寫作一組短篇小 品曲，想像一下，用兩把小提琴和一把中 提琴。寫作這些曲子時我可高興了，簡直 跟寫作大型交響曲不相上下——你覺得如

何？當然，這些曲子適用於業餘樂手，但 貝多芬和舒曼不也寫過這類小品嗎？ 看看 最後他們寫出的曲子又是何等出色！」可 謂貼切地道出了這部作品的精粹。

為小提琴和鋼琴而作的 E 小調馬祖卡舞 曲，作品 49 ， B89 由德伏扎克的出版商西 姆羅克委約創作。西姆羅克眼見《斯拉夫 舞曲》大受歡迎，於是要求作曲家寫作一 首風格接近的小提琴短曲。德伏扎克答應 了，並於 1879 年 2 月完成作曲後，又馬上 創作了管弦樂版本。樂曲曲式十分簡單， 由兩個對比鮮明的主題組成：一個節奏強 勁，另一個則溫柔抒情。曲譜同年由西姆 羅克出版。德伏扎克將樂曲題獻給西班牙

小提琴家帕布羅．德．薩拉沙泰。

今晚演出的兩首楊納傑克作品都與第一次 世界大戰的艱苦歲月有關。其中一首寫於 戰爭期間，另一首則反映了戰爭為藝術家 帶來的可怕且揮之不去的陰影。 小提琴與 鋼琴奏鳴曲 寫於 1914 至 1915 年，也就是戰 爭初期。當時德國正好向俄羅斯宣戰，楊 納傑克回憶，「我們等着俄軍來到摩拉維 亞（位於捷克東部）」。他當時對於前線的 深刻印象也影響了創作。

現在的第二樂章〈敍事曲〉的寫作年份其 實更早，而且顯然原是一首獨立的樂曲。

當時楊納傑克正在創作歌劇《布魯柴克先 生的月球之旅》，也許正好解釋了為何〈敍 事曲〉與前者在音樂上會有相似之處。其

他樂章則是作曲家後來加上的。第一樂章

Both of Janáček’s works are associated with the bleak period of World War One. One through the time of its creation, and the other as an echo of the horrors that the war brought into the lives of artists and lingered for many years afterward. Sonata for Violin and Piano was composed in 1914–15, at the beginning of the war. The composition was written under the impression of the situation at the front at the time when Germany declared war on Russia and when, according to Janáček, “we were waiting for the Russians to come to Moravia.”

Today’s second part, Ballade, was composed first and apparently originally as a separate composition— perhaps that is why it is musically related to the opera MrBrouček'sExcursiontotheMoon, which Janáček was composing at the time. Only later did he add other movements, and it is precisely in the first movement, con moto, that we can hear the Russian atmosphere familiar to us from later works such as KatyaKabanova. Although Janáček attempted to perform his new work in Prague as early as October 1915, it had to wait more than six years for its premiere. In the meantime, the composer revised his Sonata again and prepared it for publication in print. The first performance of the composition took place in Brno on 24 April 1922, performed by violinist František Kudláček and pianist Jaroslav Kvapil at an

「速度稍快」極富俄國風情，楊納傑克日後 的作品，如《卡塔．卡芭諾娃》，同樣有 似曾相識的濃厚俄國氣息。雖然楊納傑克

早在 1915 年 10 月已試着在布拉格演出小提 琴與鋼琴奏鳴曲，但此作六年多之後才迎 來正式首演，這時作曲家也已經將樂曲修 訂好並準備出版。 1922 年 4 月 24 日，樂曲

在布爾諾正式首演，由小提琴家弗蘭蒂謝 克．古拉切克和鋼琴家雅羅斯拉夫．卡法 佩共同演出。這場音樂會由摩拉維亞青年 作曲家協會主辦，專門演出摩拉維亞的新 銳音樂作品。

第一次世界大戰時，許多藝術家的事業乃 至命運都被深刻影響，楊納傑克的 左手鋼 琴與室樂團合奏隨想曲 便是為其中一位 戰爭受害者歐塔卡．賀曼（1894–1967）而 作。賀曼戰前學習小提琴，原本前途無 限，可惜戰爭期間卻因傷導致右手永久 傷殘。他沒有放棄音樂，戰後開始學習 鋼琴，當上「單手」鋼琴家。然而當時的 「單手」鋼琴曲都不過是改編自原本用雙

手彈奏的鋼琴曲，賀曼也不太滿意，於是 請求作曲家為左手演奏創作原創作品。他 曾聯繫過楊納傑克，但起初對方反應卻十 分尖刻：「幼稚！只用一隻手你還想怎樣 彈琴？只用一條腿跳舞就已經夠難了。」 但在他聽過賀曼演奏後，事情卻出現了轉 機。1926 年秋季，楊納傑克完成了為左 手鋼琴及管樂而作的隨想曲，並於 11 月 11 日給賀曼寫信道：「我寫了首隨想曲。你 知道的，只為一隻手寫作看來很幼稚很任 性。但這總有原因，外在的、內在的原 因。所有因素結合在一起時，樂曲就誕生 了。」樂曲選用鋼琴、短笛、兩支小號、 三支長號和一支次中音低音號，全曲共由 四樂章組成。隨想曲在 1928 年 3 月 2 日由賀 曼與捷克愛樂樂團成員在布拉格首演。時 至今日，要數在世界各地演出機會最多的 楊納傑克作品，隨想曲當屬其一。

聯篇歌曲《失蹤者的日記》，JW V/12 由 男高音、女低音、三把女聲及鋼琴構成， 寫於 1917 年 8 月至 1919 年 11 月，1920 年 12 月 作最後修訂。楊納傑克是《人民報》的 長期讀者，更會定期供稿。《失蹤者的 日記》的歌詞便來自 1916 年 5 月 14 及 21 日 於該報刊登的佚名詩作。直到 1997 年，

evening of Moravian musical novelties organised by the Club of Young Moravian Composers.

The origins of Janáček’s Capriccio for Piano LeftHand and Chamber Ensemble are to the fate of artists whose careers were affected by World War One, in this case Otakar Hollmann (1894–1967).

Hollmann, a promising musician who studied violin before the war, was left permanently disabled as a result of a war injury to his right hand. However, he did not give up and after the war began studying piano as a one-handed player. Dissatisfied with mere adaptations of two-handed works, he appealed to composers to write original pieces for the left hand.

He approached Janáček as well, who at first reacted sharply: “Childish—what do you expect to play with one hand? It is hard enough to dance on one leg.” But after hearing Hollmann perform, he reconsidered. In autumn 1926 he completed the Capriccio for piano left hand and wind ensemble, writing to Hollmann on 11 November: “I have written a Capriccio. You know, to write for one hand alone seemed childish wilfulness. There had to be other reasons, external and internal. When all of them came together, the work was born.”

Scored for piano with piccolo, two trumpets, three trombones and tenor tuba, the four-movement work was premiered by Hollmann with members of the Czech Philharmonic Orchestra on 2 March 1928 in Prague. Today it is one of Janáček’s most frequently performed compositions worldwide.

TheDiaryofOnewhoDisappeared, JW V/12 , for tenor, alto, three female voices and piano, was written between August 1917 and November 1919, with final revisions through December 1920. Janáček found the text in Lidovénoviny, a newspaper he regularly read and contributed to. The anonymous poem appeared on 14 and 21 May 1916, and after extensive investigation, authorship was attributed to Ozef Kalda in 1997.

The cycle premiered in Brno on 18 April 1921 at the Reduta Theatre, with a Prague debut on 18 October 1921 at the Mozart Hall, featuring the same performers—Karel Zavřel (tenor), Ludmila KvapilováKudláčková (alto) and Břetislav Bakala at the piano— and Janáček attended both performances. Kalda died in 1921, likely unaware of the cycle’s existence.

人們才考證出原詩作者是奧謝夫．卡爾達。

《失蹤者的日記》於 1921 年 4 月 18 日在布爾

諾利杜特劇院首演，同年 10 月 18 日首次在 布拉格莫扎特音樂廳演出。兩次演出均由 卡雷．札夫利爾擔任男高音、盧德米拉． 卡娃比洛娃 - 庫德拉科娃擔任女低音，以

及布雷提斯拉夫．巴卡拉彈奏鋼琴，楊納 傑克亦親身出席了兩場音樂會。然而卡爾 達於 1921 年與世長辭，故大概也不知道有 這樣一套作品。

《失蹤者的日記》主題關乎逃離與深情，令 私生活正處於動盪時期的楊納傑克產生共 鳴：當時，其歌劇《耶奴法》於布拉格首 演後，他陷入婚姻危機，不但妻子澤丹卡 企圖自殺，他與情人加比奧拉．賀娃托娃 亦關係緊張，妻子其後更起草離婚協議。

在盧哈喬維采創作《失蹤者的日記》的初 期，楊納傑克開始與卡米拉．史托斯露華 交往。在他生命的最後十一年裏，史托斯 露華就是他的靈感泉源。

這套由二十二首歌曲組成的聯篇歌曲在歐 洲音樂會聲樂作品中地位非凡，與亨德密 特、荀伯格以及其他 1920 年代先鋒人物 的作品並駕齊驅。《失蹤者的日記》充分 體現了楊納傑克獨立發展出的創作模式 ——由寫實主義到印象主義，再過渡至表 現主義、新客觀主義。該作品旋律展現出 自然音階的變化，織體帶有強烈蒙太奇和 「 sčasovka 」色彩（「 sčasovka 」是楊納 傑克自創的術語，意指語音節奏的時間單 位）、聲樂線條由口頭語言轉化而來，還有 以和弦配置為主的和聲。如今，《失蹤者 的日記》已獲譽為二十世紀重要聲樂作品 之一。

撰文：帕翠絲．卡斯高娃（楊納傑克歌劇團戲劇 　　　構作）

米洛斯．史德朗（《失蹤者的日記》介紹）

中文翻譯：鄭曉彤

TheDiary’s themes of escape and deep affection resonated with Janáček during a turbulent period: a marriage crisis followed the Prague premiere of Jenůfa, a tense relationship with Gabriela Horvátová and a suicide attempt by his wife, Zdenka, leading to divorce proceedings. In Luhačovice, at the time of the beginning of the composition, Janáček began a relationship with Kamila Stösslová, who would be his muse for the remaining 11 years of his life.

The 22-song cycle stands as a centrepiece of European concert vocal music, paralleling works by Hindemith, Schoenberg and other 1920s avant-garde figures. TheDiaryofOnewhoDisappeared reflects all of Janáček’s conventions, which he independently arrived at from verismo, impressionism to expressionism and new matter-of-factness. The melody is dominated by diatonic flexion, the texture is very strongly marked by montage and “sčasovka” (rhythmic unity), the speech notes are stylised into vocal speech and the harmony is replaced by chording. Today, TheDiaryofOnewhoDisappeared ranks among the defining works of 20th-century vocal music.

Text: Patricie Částková, dramaturge of the Janáček Opera Miloš Štědroň (for TheDiaryofOnewhoDisappeared)

Chinese translation: Eos Cheng

Leoš Janáček

TheDiaryofOnewhoDisappeared, JW V/12

I: “One day I met a Gypsy girl”

One day I met a Gypsy girl, lithe as a deer was she, black hair lay on her shoulders, her eyes were deep as the sea. With searching eyes she looked at me, then swift as a bird she flew, but left me yearning after her for all that day through.

II: “That black Gypsy”

That black Gypsy has haunted me all the day. Why does she not leave me, leave me and go her way? If she would let me be, she would end this worry. Then with my prayers to the church I would hurry.

III: “Through the twilight” At twilight, fireflies dance across the meadow, and she wanders by amongst the shadows.

Do not wait, I will not yield to this temptation— that would bring mother’s heart endless tribulation.

In the thick darkness, the moon above is setting by the corner of the stable somebody is waiting.

Two bright eyes glitter there at me. Oh, my Saviour, hear my prayer and come to save me!

IV: “Already swallows are twittering overhead”

Already swallows are twittering overhead, but I’ve lain all night sleepless upon my bed.

Now in the sky there’s a light; it’s the flush of dawn.

And I’ve lain all the night as on a bed of thorns.

V: “Ploughing is weary work” Ploughing is weary work, without sleep to ease me, for when I fell asleep, still in my dreams she’d tease me!

Leoš Janáček Zápisníkzmizelého , JW V/12

[I: Potkal sem mladou cigánku]

Potkal sem mladou cigánku, nesla se jako laň, přes prsa černé lelíky a oči bez dna zhlaň. Pohledla po mně zhluboka, pak vznesla sa přes peň, a tak mi v hlavě ostala přes celučký, celučký deň.

[II: Ta černá cigánka]

Ta černá cigánka kolem sa posmětá. Proč sa tady drží, proč nejde do světa?

Byl bych snad veselší, gdyby odjít chtěla; šel bych sa pomodlit hnedkaj do kostela.

[III: Svatojanské mušky tančija po hrázi]

Svatojanské mušky tančija po hrázi, gdosi sa v podvečer podle ní prochází.

Nečekaj, nevyjdu, nedám já sa zlákat, mosela by po téj má maměnka plakat.

Měsíček zachodí, už nic vidět není, stojí gdosi stojí v našem záhumení. Dvoje světélka zářija do noci. Pane Bože, nedaj! Stoj mi ku pomoci!

楊納傑克 《失蹤者的日記》，JW V/12

一、〈某日邂逅吉卜賽女郎〉 某日邂逅吉卜賽女郎， 姿態婀娜如鹿， 烏髮垂肩上， 雙眸深似海。

渴求眼色深長， 突如靈鳥遠飛， 留我朝思暮想 盼待佳人。

二、〈皮膚黝黑的吉卜賽女郎〉 皮膚黝黑的吉卜賽女郎 日夜叩我心扉。

她何不離我而去， 離我而去，浪跡天地？ 若她成全， 將免我煩憂。

我將速到教堂 禱告祈求。

三、〈暮光之中〉

暮光之中，流螢於田野飛舞， 她在暗處徘徊漫步。

離去吧，我勢不向誘惑低頭， 不讓母親的心苦痛難休。

夜如墨濃，月沉雲後， 馬廄一角，有人守候。

雙眸藏星辰，明滅遞溫柔。 救主啊！ 求祢垂聽，將我拯救。

[IV: Už mladé vlaštúvky ve hnízdě vrnoží]

Už mladé vlaštúvky ve hnízdě vrnoží, ležal sem celú noc jako na trnoži. Už sa aj svítání na nebi patrní, ležal sem celú noc jako nahý v trní.

四、〈簷上燕子聲啾啾〉 簷上燕子聲啾啾， 我卻徹夜不眠不休。

此際晨光初露，破曉天邊， 而我徹夜如坐針氈。

[V: Těžko sa mi oře]

Těžko sa mi oře, vyspal sem sa malo, a gdyž sem odespal, o ní sa mi zdálo!

五、〈翻土之勞苦〉 翻土之勞苦， 因無眠而更甚， 因一旦墮入夢鄉， 她也會逗弄我心！

VI: “Hey there, my tawny oxen” Hey there, my tawny oxen, careful how you pull the plough. Don’t look towards the alders; follow the furrow now!

Where the ground is hard, the plough springs back and lurches. Still I can see that bright kerchief through the branches.

Who’s there waiting for me?

Oh that she would turn to stone!

My poor head is throbbing, and if a fire has grown.

Who’s there waiting for me?

Oh that she would turn to stone!

VII: “Why has my plough broken?” Why has my plough broken?

I think the wooden shaft’s gone. Now oxen wait for me, wait. I’ll make another one.

Over there, I’ll cut one from that fine alder tree.

Who can escape his fate?

For what must be, must be.

VIII: “Don’t look, my oxen” Don’t look, my oxen, so sad at my change of heart. No need to fear that because of this we must part. Black-haired Zeffka’s waiting by the alder tree, where, like glowing coals, her black eyes are watching me. If I should go near her, think not that she’d harm me. I’ll show you, I’ll be safe. Her eyes will not charm me.

IX: “Welcome, my handsome one” Welcome, my handsome one, I am here to greet you. What stroke of fortune has let me meet you here?

Once more welcome, Jan! Won’t you then come near me? Standing there pale and still, is it that you fear me?

I’ve no cause to fear you, why should I be afraid? I’ve come here so as to get a new shaft made.

Leave it, my handsome Jan. Do not be so head-strong. Leave your work and listen; I’ll sing a Gypsy song.

[VI: Hajsi, vy siví volci] Hajsi, vy siví volci, bedlivo orajte, nic vy sa k olšině nic neohledajte! Ode tvrdéj země pluh mi odskakuje, strakatej fěrtúšek listím pobleskuje. Gdo tam na mne čeká, nech rači zkamení, moja chorá hlava v jednom je plameni. Gdo tam na mne čeká, nech rači zkamení.

[VII: Ztratil sem kolícek] Ztratil sem kolícek, ztratil sem od nápravy, postojte volečci, postojte, nový to vyspraví. Půjdu si pro něho rovnú ja do seče. Co komu súzeno, tomu neuteče.

[VIII: Nehled’te, volečci] Nehled'te, volečci, tesklivo k úvratím, nebojte sa o mne, šak sa vám neztratím! Stojí černá Zefka v olšině na kraju, temné její oči jiskrú ligotajú. Nebojte sa o mne, aj gdyž k ni přikročím, dokážu zdorovat uhrančlivým očím.

[IX: Vítaj, Janíčku] Vítaj, Janíčku, vítaj tady v lese!

Jaksá šťastná trefa ťa sem cestú nese? Vítaj, Janíčku! Co tak tady stojíš, bez krve, bez hnutí, či snad sa mne bojíš?

Nemám já sa věru, nemám sa koho bát, přišel sem si enom nákolníček ut’at!

Neřež můj Janíčku, neřež nákolníčku!

Rači si poslechni cigánskú pěsničku!

六、〈嘿，我的黃牛〉 嘿，我的黃牛， 拉犁不要馬虎將就。

別看着赤楊木林， 沿着漕溝快快走！ 翻到硬土處， 犁刃跌後，驚魂未定。

枝椏間 仍見艷色頭紗飄迎。

誰在那兒守候？ 讓她變成石頭！ 我腦袋滾燙作痛， 如點起烈火燒透。

誰在那兒守候？ 讓她變成石頭！

七、〈犁為何壞掉了？〉 犁為何壞掉了？ 我猜是丟失了犁轅。

牛啊，等我，等等我， 我會去再造一根。

那棵赤楊木挺拔剛勁 好讓我取木造新。

誰能逃過宿命？ 命數注定不由人。

八、〈牛啊，別傷心〉 牛啊，別傷心， 我雖改變心意， 別怕我們會因此 背道而馳。

烏髮的澤芙嘉 在赤楊木樹下守候， 一雙黑眼睛， 如炭火烙在我頸後。 若我靠近， 別擔心她會灼傷我。

看我將毫髮無損， 她的美眸不會迷惑我。

九、〈我的俏郎君〉 我的俏郎君， 我在這恭候你良久。 是托誰的洪福 讓我倆得以邂逅？ 揚，再次歡迎你！ 你不來親近我嗎？ 臉色蒼白，在此呆站， 你害怕我嗎？ 我無害怕的理由， 我何以要畏懼？ 我來只是為了 造新的犁具。

俊俏的揚，放棄吧。 別再執迷，快點開竅。

拋下工作，張開耳朵； 讓我唱一首吉卜賽歌謠。

Folding then her hands, she softly sang so sad a strain that the mournful song filled his heart with pain.

X: “God all-powerful, God eternal” God all-powerful, God eternal, why create the Gypsy race? Endless wandering, never resting, hunted on from place to place. Why are you silent, Jan? Is it the lark you hear? Come and sit beside me; surely you have no fear.

And her mournful song filled his heart with pain.

Why are you so silent?

Won’t you then come near me?

Being so close to me seems to make you fear me. Come and sit beside me; do not think I tease you.

Maybe it’s my colour? Does my skin displease you?

Don’t think all my body is so brown and sunburnt, come and look more closely, here my skin is snow-white.

Then did she slowly open her white bodice, and showed to him her white breasts, and all his hot young blood rushed to his face and burned.

XI: “From the ripening cornfield” From the ripening cornfield, oh what sweet odours creep?

Will you let me show you how Gypsy people sleep?

She brushed some twigs away, and threw some pebbles after. “Behold my bed” she said, then she shook with laughter.

Earth is my pillow, and heaven my covering. I warm my fingers in my lap, when they’re shivering.

In her tattered skirt, there on the ground she lies, and for my virtue’s sake tears spring to my sad eyes.

Ruky sepjala, smutno zpívala, truchlá pěsnička srdcem hýbala.

[X: Bože dálný, nesmrtelný] Bože dálný, nesmrtelný, proč's cigánu život dal? By bez cíle blúdil světem, štván byl jenom dál a dál?

Rozmilý Janíčku, čuješ-li skřivánky?

Přisedni si přeca podlevá cigánky!

她緊握雙手， 輕吟輕唱，曲聲悲切； 哀歌使他 心扉痛徹。

十、〈全能的神、永遠的神〉 全能的神、永遠的神， 何生吉卜賽一族？ 無盡流浪，不得安寢， 天涯海角，為尋歸宿。 揚，你為何沉默？ 可聽得見雲雀之曲？ 來，與我同坐，毋用畏縮。

Smutná pešnička srdcem hýbala. 哀歌使他痛徹心扉。

Pořád tady enom jak solný slp stojíš, všecko mi připadá, že sa ty mne bojíš. Přisedni si blížej, ne tak zpovzdaleka, či t'a moja barva preca enom laká? Nejsu já tak černá jak sa ti uzdává, gde nemože slnce, jinší je postava!

你為何一聲不發？ 你不來親近我嗎？ 肌膚之親讓你害怕我吧？ 來，與我同坐； 我不會逗弄你。

是我膚色之過嗎？ 我的皮膚惹怒你嗎？ 別以為我渾身黝黑， 來，看清楚，這兒玉肌勝雪。

Košulku na prsoch krapečku shrnula, jemu sa všecka krev do hlavy vhrnula.

[XI: Tahne vůňa k lesu z rozkvetlé pohanky]

Tahne vůňa k lesu z rozkvetlé pohanky.

Chceš-li Janku vidět, jak spija cigánky?

Halúzku zlomila, kámeň odhodila; Tož už mám ustlané, v smíchu prohodila.

Zem je mi za polštář, nebem sa přikrývám, a rosú schladlé ruce v klíně si zahřívám.

V jedné sukénce na zemi ležala a moja poctivost' pláčem usedala.

她慢慢鬆開束衣， 露出白皙胸脯。

方剛少年頓時滾血上湧 面色紅如火爐。

十一、〈滿穗的粟米田中〉 滿穗的粟米田中， 是哪種馥香在流連？

讓我告訴你 吉卜賽人如何入眠。

她掃走斷枝落葉， 丟開碎石到旁邊， 說：「床在此。」 即笑得花枝亂顫。

以地為席， 天為被。 十指抖顫時， 以胯下暖之。

她席地而睡， 破裙飽歷風霜。 惻隱之心 使我淚盈感傷。

XII: “Forest’s shady heights” The forest’s shady heights, water cold and bright, eyes as black as night, bare thighs snowy white. These four things, till death relieve me, will, I swear it, never leave me.

[XIII: Piano solo]

XIV: “Sunlight on the meadow” Sunlight on the meadow. Dawn has come then. Oh, who can give all I’ve lost back to me again?

XV: “Now my tawny oxen” Now my tawny oxen, why do you stare at me? If you should betray me, your fate will be bound with mine. Give my secrets up, and I will punish you. Dare to betray me and my beating will finish you. But now before me the worst ordeal lies: How can I go back home and face my mother’s eyes?

XVI: “What has come over me?”

What has come over me?

What is it I have done?

Must I now learn to love Gypsies who call me son?

Call a Gypsy “dad” and another Gypsy “mum”?

Better that a finger from my own hand were sawn. There’s a lark above me, offering me gladness, but my heart is heavy. Who can ease my sadness?

XVII: “Who can escape his fate” Who can escape his fate, for what must be, must be. Every night I hurry to that same alder tree. Ask me where I’m going! Gathering strawberries, plucking off their leaves and tasting their mysteries.

XVIII: “Nothing matters now until” Nothing matters now, until evening shadows fall.

Soon I’ll be with Zeffka, I will hear her call.

[XII: Tmavá olšinka] Tmavá olšinka, chladná studénka, černá cigánka, bílé kolénka: nato štvero, co živ budu, nikdy já už nezabudu.

[XIV: Slnéčko sa zdvihá] Slnéčko sa zdvihá, stín sa krátí. Oh! Čeho sem pozbyl, gdo mi to navrátí?

[XV: Moji siví volci] Moji siví volci, co na mne hledíte?

Esli vy to na mne, esli vy povíte!

Nebudu já biča na vás šanovat, budete to potem, budete banovat!

Nejhorší však bude, vrát'a sa k polednu, jak já jen maměnce do očí pohlednu!

[XVI: Co sem to udělal?]

Co sem to udělal?

Jaká to vzpomněnka!

Gdyž bych já měl pravit cigánce maměnka

Cigánce maměnka, cigánu tatíček, rači bych si ut'al od ruky malíček! Vyletěl skřivánek, vyletěl z ořeší, moje truchlé srdce nigdo nepotěší.

[XVII: Co komu súzeno]

Co komu súzeno, tomu neuteče.

Spěchám já včil často na večer do seče. Co tam chodím dělat? Sbírám tam jahody. Lísteček odhrňa, užiješ lahody.

[XVIII: Nedbám já včil o nic]

Nedbám já včil o nic, než aby večer byl, abych si já s Zefkú celú noc pobyl.

十二、〈參天茂木〉 參天茂木、 澄明冷水、 烏目如夜、 玉腿勝雪。 四大珍寶， 一息尚存， 矢志鍾愛至永遠。

（十三、鋼琴獨奏）

十四、〈陽光灑落田野〉 陽光灑落田野， 清晨來臨。

誰能將我所失的 統統歸還？

十五、〈我的黃牛〉 我的黃牛， 為何凝望着我？ 休戚與共， 你若背叛我，後果自負。 洩密半句， 懲罰會令你叫苦。 膽敢背叛我， 你便一命嗚呼。 但如今一場大難 橫亙在前： 我歸家拜見高堂之日 何來顏面？

十六、〈我怎麼了？〉 我怎麼了？

犯了甚麼錯？ 得試着孝敬喚我為兒的 吉卜賽人麼？ 認吉卜賽人作父、 喚吉卜賽人作母？ 寧可自斷一指， 也不欲錯認雙親。

雲雀在飛， 予我歡樂之喜； 心卻如鉛墜地。

誰能為我驅走傷悲？

十七、〈誰能逃過宿命？〉 誰能逃過宿命？ 命數注定不由人。

連夜披星戴月 來訪赤楊木林。

問我有何要事？ 果實嬌嫩豐美， 除去繁枝贅葉 摘來一嚐箇中奧秘。

十八、〈一切皆無足掛齒〉 一切皆無足掛齒， 除了夜幕漸近， 我與澤芙嘉快要相逢。 她的呼喚撩動心神，

Gladly I’d wring the neck of every cock that crows; then there’d be no one to tell us it’s time we rose. Oh, that night were endless without a sunny dawn, then from each other’s arms we never would be torn.

XIX: “See that thieving magpie” See that thieving magpie suddenly fly away! Did it steal the skirt my sister washed today? If she should ever know it was no magpie’s beak, then she would disown me— no more to me she’d speak. Oh, my Lord God, what a change has come over me. In my desperation, what strange fancies stir me. And prayers confuse my mind; these thoughts I can’t unravel. All is like a stream that’s sluggish and clogged with gravel.

XX: “Now she bears my child” Now she bears my child, see how bright her eyes are! As her skirt flies up, see how white her thighs are!

XXI: “Father, how wrong you were” Father, how wrong you were! not to respect my pride, I will not marry the girl you chose to be my bride. He who has sinned must be punished, so life has taught me. So too must I accept what my fate has brought me.

XXII: “Then farewell, dearest land”

Then farewell, dearest land, then farewell from my heart. All that’s left for me now is to say that we must part. So goodbye, beloved father, and to you, mother dear, and goodbye, sister sweet, you with your eyes so clear. See my hands raised to you, please forgive everything. There can be no return from the life I’m beginning. No escape can there be; fate’s bidding must be done. Zeffka waits for me there, in her arms, my own son.

Chinese translation: James Liu

Po všeckým kohútom hlavy bych zutínal, to aby žádný z nich svítání nevolal. Gdyby chtěla noc na věky trvati, abych já na věky mohl milovati.

[XIX: Letí straka letí]

Letí straka letí, křídlama chlopotá, ztratila sa sestře košulenka z plota. Gdo jí ju ukradl, aj, gdyby věděla, věckrát by se mnú řečňovat nechtěla. Oh, Bože, rozbože, jak sem sa proměnil, jak jsem své myšlenky ve svém srdci změnil. Co sem sa modlíval, už sa hlava zbyla, jak gdyby sa pískem zhlybeň zařútila!

[XX: Mám já panenku]

Mám já panenku, ale po kolenka už sa jí zdvíhá režná košulenka.

[XXI: Můj drahý tatíčku]

Můj drahý tatíčku, jak vy sa mýlíte, že sa já ožením, kterú mi zvolíte.

Každý, kdo pochybil, nech trpí za vinu; svojemu osudu rovněž nevyminu!

[XXII: S Bohem, rodný kraju]

S Bohem, rodný kraju, s Bohem, má dědino! Navždy sa rozlúčit, zbývá mi jedino.

S Bohem můj tatíčku, aj i vy maměnko.

S Bohem, má sestřičko, mých očí pomněnko!

Ruce Vám obtúlám, žádám odpuštění, už pro mne návratu žádnou cestou není!

Chci všecko podniknút, co osud poručí!

Zefka na mne čeká, se synem v náručí!

我樂得把公雞折頸， 讓啼聲無人得聞。 再無人能道破 已屆夢醒時分。

那夜長無盡 天無半刻晨， 我倆依偎相伴，永遠不分。

十九、〈看那鬼祟的喜鵲〉 看那鬼祟的喜鵲 突然飛走！ 難道牠把我妹妹 剛洗好的裙子偷走？ 若她得知 喜鵲不是罪魁禍首， 她會跟我一刀兩斷， 以後對我三緘其口。 上主啊，天主啊， 我遭逢巨變。 情到濃時， 被不思議的愛慕搓揉。 禱告更令我心猿意馬； 思緒萬千，無法解透。 一切如像江河堵塞 徘徊滯留。

二十、〈她懷了我的孩子〉 她懷了我的孩子， 看她雙眼明艷照人！ 清風撩裙， 看她肌膚勝雪出塵！

二十一、〈父親，你大錯特錯〉 父親，你大錯特錯！ 將我的狂喜視如微塵。 我絕不迎娶 你欽點為妻的女人。 帶罪之人，必遭懲罰， 此乃生命之寶訓。 故我必須順天意， 領受命運。

二十二、〈永別了，故鄉〉 永別了，故鄉， 我由衷向你告辭。

最後一件事 便是交代我們緣分至此。 再見了，摯愛的父親； 還有你，親愛的母親。 再見了，可愛的妹妹， 你雙眼能看穿迷霧。

看我揮手作別， 請將我的過錯盡掃。

我將展開新生 此後再無歸途， 亦無退路。

命運的佈局必須達到。

澤芙嘉抱着我兒， 正在等我上路。

鋼琴

伊沃．卡哈內克

伊沃．卡哈內克是當代最傑出的捷克鋼琴家之一。他 對許多曲目都能信手拈來，演奏時情感深沉、技藝精 湛，尤其擅長浪漫主義和捷克音樂。他於2004年布拉 格之春國際音樂節奪冠，曾與柏林愛樂樂團、英國廣 播公司交響樂團和班貝格交響樂團等頂尖樂團合作演 出，並與西蒙．歷圖爵士、謝苗．拜茲可夫和雅各． 胡薩等指揮家合作。他為蘇普拉風唱片公司灌錄了專 輯，收錄德伏扎克、馬替奴和楊納傑克的作品，專輯 榮獲英國廣播公司音樂雜誌大獎和捷克安德爾獎。

卡哈內克畢業於布拉格表演藝術學院和倫敦市政廳音 樂學院，目前在前者擔任助理教授，並定期舉辦國際 大師班。

Piano

Ivo Kahánek

Ivo Kahánek is one of the most distinguished Czech pianists of his generation, acclaimed for his emotional depth and mastery across a wide repertoire, with a special affinity for Romantic and Czech music. As the winner of the 2004 Prague Spring International Music Competition, he has appeared with leading orchestras including the Berliner Philharmoniker, the BBC Symphony Orchestra and the Bamberg Symphony under conductors such as Sir Simon Rattle, Semyon Bychkov and Jakub Hrůša. His acclaimed recordings for Supraphon—featuring works by Dvořák, Martinů and Janáček—have earned the BBC Music Magazine Award and the Czech Anděl Award.

A graduate of the Academy of Performing Arts in Prague and the Guildhall School in London, he serves as Associate Professor at the Academy and regularly leads international masterclasses.

小提琴 揚．姆拉切克

揚．姆拉切克是國際知名的小提琴演奏家，現任捷克 愛樂樂團首席，被譽為當代最傑出的捷克小提琴家之 一。他應法蘭斯．威薩 - 莫斯特之邀，於 2024 / 25樂 季擔任克里夫蘭管弦樂團的客座首席。姆拉切克是 2010年布拉格之春國際音樂比賽最年輕的獲獎者，且 於2014年榮獲維也納克萊斯勒國際小提琴比賽冠軍。 他曾與捷克愛樂樂團、東京愛樂樂團、班貝格交響樂 團和柏林愛樂樂團等許多頂尖樂團合作演出，亦曾與 威薩 - 莫斯特、雅各．胡薩、約翰．艾略特．加德納 爵士和韋恩．馬歇爾等著名指揮家搭檔。

Violin

Jan Mráček

Jan Mráček, an internationally acclaimed violin virtuoso and concertmaster of the Czech Philharmonic, serves as guest concertmaster of The Cleveland Orchestra in the 2024/2025 season at the invitation of Franz Welser-Möst. Winner of the prestigious Fritz Kreisler International Violin Competition in Vienna (2014) and the youngest laureate of the Prague Spring International Music Competition (2010), he has appeared as a soloist with leading orchestras including the Czech Philharmonic, the Tokyo Philharmonic, Bamberg Symphony, and the Berliner Philharmoniker. He has collaborated with renowned conductors such as Franz WelserMöst, Jakub Hrůša, Sir John Eliot Gardiner and Wayne Marshall, and is regarded as one of the most prominent Czech violinists of his generation.

男高音

阿列什．布里賽因

捷克男高音阿列什．布里賽因在詮釋斯拉夫歌劇作 品上享有盛譽。他飾演過的重要角色包括：在日內 瓦飾演鮑里斯（《卡塔．卡芭諾娃》）和庫拉金（《戰 爭與和平》，由卡歷圖．彼耶多執導）、在巴伐利亞 國立歌劇院（實驗工作室）飾演費兒卡（《死屋手 記》）和在柏林喜歌劇院演出連斯基（《尤金．奧尼 金》）等。他也曾在蒂羅爾埃爾音樂節、芬蘭薩翁林 納歌劇節、英國廣播公司逍遙音樂會和德累斯頓森 培歌劇院亮相。他的音樂會曲目包括貝多芬第九交 響曲、《莊嚴彌撒曲》和馬勒第八交響曲。

Tenor

Aleš Briscein

Czech tenor Aleš Briscein is one of the most soughtafter interpreters of Slavic opera literature. Important milestones in his career include roles such as Boris (KáťaKabanová) and Kuragin (War andPeace, directed by Calixto Bieito) in Geneva, Dalibor (conducted by Stefan Soltesz) at Oper Frankfurt, Filka (FromtheHouseoftheDead) at the Bayerische Staatsoper and Lensky (EugeneOnegin) at the Komische Oper Berlin. Guest appearances have taken him to the Tiroler Festspiele Erl, the Salzburger Festspiele, the Savonlinna Opera Festival, the BBC Proms and Semperoper Dresden. His concert repertoire includes Beethoven’s Symphony No 9 and Missasolemnis and Mahler’s Symphony No 8.

女低音

域卡拉娃．卡雷伊契．豪斯高娃

域卡拉娃．卡雷伊契．豪斯高娃是捷克布爾諾國家歌 劇院楊納傑克歌劇樂團的獨唱家。她於 2022 年在維 也納劇院首次登台，在《耶奴法》中飾演市長夫人。 她曾飾演朵拉貝拉（《女人心》）、凱蒂（《凱蒂與魔 鬼》）、卡門、女巫（《水仙子》）、奧爾加（《尤金． 奧尼金》）、奧他維文（《玫瑰騎士》）、狐狸（《狡猾 的小狐狸》等角色。她與尼基．史賓斯和朱利亞斯． 德雷克共同灌錄了由海柏利昂公司發行的《失蹤者的 日記》。這張唱片榮獲 2020 年英國廣播公司音樂雜誌 獎和留聲機古典音樂獎。

Alto

Václava Krejčí Housková

Václava Krejčí Housková is a soloist at the Janáček Opera of the National Theatre Brno. Housková made her debut at the Theater an der Wien as the Mayor’s wife in Jenůfa(2022). Her repertoire includes roles such as Dorabella (Cosìfantutte), Kate (TheDeviland Kate), Carmen, Witch (Rusalka), Olga (EugeneOnegin), Fenena (Nabucco), Octavian (DerRosenkavalier) and Fox (TheCunningLittleVixen). Václava participated in the recording of TheDiaryofOneWhoDisappeared for Hyperion along with Nicky Spence and Julius Drake. The CD won the BBC Music Magazine Award and the Gramophone Classical Music Award in 2020.

捷克布爾諾國家歌劇院——德伏扎克安魂曲

22.03.2026

德伏扎克

安魂曲，作品 89 ， B165

I. 〈永恆安息〉

II. 〈升階詠〉

III. 〈震怒之日〉

IV. 〈號角之聲〉

V. 〈罪人將有何陳訴〉

VI. 〈慈悲的耶穌，求祢垂念〉

VII. 〈罪人受罰〉

VIII. 〈流淚之日〉

IX. 〈奉獻詠〉

X. 〈獻祭〉

XI. 〈聖哉經〉

XII. 〈耶穌基督〉

XIII. 〈羔羊頌〉

指揮

羅伯特．克魯奇克

女高音

艾斯特．皮利巴

女低音

雅娜．赫羅喬娃

男高音

彼得．伯傑

男低音

揚．舒瓦

合唱指導

巴維．康納克

捷克布爾諾國家歌劇院楊納傑克歌劇團合唱團 及樂團

Antonín Dvořák (1841-1904)

Requiem, Op 89, B165

I. “Requiem aeternam”

II. “Graduale”

III. “Dies irae”

IV. “Tuba mirum”

V. “Quid sum miser”

VI. “Recordare, Jesu pie”

VII. “Confutatis maledictis”

VIII. “Lacrimosa”

IX. “Offertorium”

X. “Hostias”

XI. “Sanctus”

XII. “Pie Jesu”

XIII. “Agnus Dei”

Conductor

Robert Kružík

Soprano

Aistė Piliba

Alto

Jana Hrochová

Tenor

Peter Berger

Bass

Jan Šťáva

Chorus Master Pavel Koňárek

Choir and Orchestra of the Janáček Opera of National Theatre Brno

Programme Notes

安魂曲是德伏扎克筆下最意蘊深遠的作品 之一。樂曲不事雕飾，毫不矯揉造作，在 哀傷中蘊存勇氣，而非陰鬱悲觀。作曲家 心懷感恩，以講述生命的美好為先、探討 死後世界為次。對死亡的思索所引發的並 非恐懼，而是對摯愛之人、對自然、以及 對他所珍視深愛的音樂不得不道別的深沉 哀惜。

英國向來是世界重要的音樂中心，吸引無 數國際音樂人才。德伏扎克的音樂自 1880 年代開始於英國獲得青睞，他亦從 1884 年起，多次赴英指揮音樂會，演出大獲好 評。他獲當時的英國樂迷稱為「捷克的布 拉姆斯」、「本樂季的音樂雄獅」，更獲倫 敦愛樂協會頒發榮譽會員頭銜。倫敦以及 宏偉的皇家艾伯特音樂廳給德伏扎克留下 了深刻印象，他於此指揮《聖母悼歌》，獲 得觀眾熱烈歡迎。

從韓德爾的時代起，神曲及清唱劇等聖樂 合唱作品即成為英國音樂傳統不可或缺的 部分。而當眼光挑剔的倫敦觀眾聽過《聖 母悼歌》後，他們對德伏扎克的愛戴註定 有增無減。德伏扎克陸續獲得英國各大音 樂機構和藝術節的多項委約，並獲邀到倫 敦首演新作，這些作品包括為倫敦而作的 第七交響曲、由利兹音樂節委約創作的 神曲《聖路德米拉》，以及清唱劇《鬼新 娘》。

1887 年，他獲伯明翰的傳統音樂節 委約，為若望．亨利．紐曼樞機的詩作 《傑若提斯之夢》創作神曲。德伏扎克對題 材不感興趣，因而婉拒。後來，可能是應 出版商的建議，他決定譜寫安魂曲。

德伏扎克於 1890 年 1 月動筆創作安魂曲， 期間仍頻繁出國演出，包括應好友柴可夫 斯基邀請赴俄國，以及再次造訪英國。即 使在旅途中，他仍全心投入創作：在第 八樂章〈流淚之日〉的頁首，他特別寫下 「在前往倫敦途中於科隆完成」。他於春天 回到波希米亞中部維索卡的夏季寓所繼續

The Requiem is one of Dvořák’s most intellectually profound works. It is devoid of any form of superficial ostentation, pathos or melancholy. It is marked by a sense of courageous sorrow, but without bleak and tragic undertones. The composer does not place life after death above his existence upon Earth; he is grateful for all the gifts he has received. Contemplation on death evokes not dread, but more sorrow at having to say farewell to those closest to him, to nature and to his beloved music.

In the 1880s Dvořák’s music found its way to a country traditionally open to all manner of musical geniuses and one of the most important music centres—Great Britain. From 1884 onwards, Dvořák travelled to Great Britain several times to give highly successful concert performances there. He was called the “Czech Brahms” and praised as “the lion of this year’s musical season”. The London Philharmonic Society even named him an honorary member. Dvořák was deeply impressed by London and the grandeur of the Royal Albert Hall, where he conducted his StabatMater before an enthusiastic audience.

From the time of Händel, Great Britain had cultivated a strong tradition in the performance of oratorios and cantatas and, once discerning London audiences had been introduced to Dvořák’s StabatMater, the die was cast. The Czech composer was invited to London, a visit which proved crucial for Dvořák’s subsequent career. Interest in his music continued to grow, English music institutions and festivals began to commission specific works, and hence the majority of the composer’s journeys across the Channel involved the premiere performance of a new work such as Symphony No 7, written for London, the oratorio SaintLudmila, commissioned for the festival in Leeds, and the cantata TheSpectre’sBride In 1887, he received a commission from Birmingham to write an oratorio for a traditional music festival. The committee suggested that he set Cardinal John

譜曲，同年 7 月完成安魂曲的初稿，並在秋 季於布拉格清稿。翌年，安魂曲（作品 89） 由倫敦諾韋洛出版社出版。首演於 1891 年 10 月 9 日在伯明翰的音樂節舉行，由德伏扎 克親自指揮，演出取得空前成功。

德伏扎克在為拉丁文版本的安魂曲彌撒譜 曲時，既追隨前人傳統，又延續了自身的 聖樂作品的風格，與《聖母悼歌》、《聖路 德米拉》及 D 大調彌撒曲一脈相承。他將 禮文分為兩大部分：第一部分共八段，以 末日審判的意象為主，氣氛凝重；第二部 分則由五段組成，帶來安慰，使人釋懷。

與《聖母悼歌》不同，安魂曲採用通篇創 作，絕大部分不設獨立的合唱或獨唱樂

章，而由管弦樂、合唱與獨唱交錯發展主 題。德伏扎克熟悉英國合唱傳統，因此合 唱團在本作中的角色極為重要：全曲十三 樂章之中只有一個不含合唱——四重唱 〈慈悲的耶穌，求祢垂念〉是僅有的獨唱篇 章，彷彿整部作品中央的一座恬靜小島， 探討了人性這一主題。

正如德伏扎克的傳記作家奧塔卡．索雷克 所寫：「作曲家思索未來，表達他對人生 終極問題與來世議題的想法及態度。死亡 的念頭並未喚起他對懲罰審判的恐懼；然 而，他的靈魂卻因將要離開世界、所愛之 人、大自然之美及迷人的音樂藝術，而承 受着真摯而深沉的哀傷。」

Henry Newman’s text TheDreamofGerontius to music, but Dvořák did not like the theme and refused. It was his publisher who probably came up with the idea of setting the text of Requiem to music.

Dvořák began working on his Requiem in January 1890. At the same time, he undertook several concert tours—at the invitation of his friend P. I. Tchaikovsky to Russia and also again to England. But even while traveling, he worked intensively on his new work: the heading of the eighth movement (“Lacrimosa”) reads: “Written in Cologne on the way to London.” In the spring, he continued composing at his summer residence in Vysoká in central Bohemia. By July 1890, he had completed a rough draft of the Requiem, but it was not until the fall that he finished the fair copy of his Op 89 in Prague. The work was published the next year by Novello in London. The premiere took place on 9 October 1891, at a festival in Birmingham with Dvořák himself conducting. It was a tremendous success.

In composing a work to the text of the Latin Requiem Mass, Dvořák was following a number of his predecessors and also picking up the threads of his previous sacred works—StabatMater, SaintLudmila and the Mass in D Major. Dvořák divided the liturgical text into two main sections. The first, an image of the Last Judgment, has eight parts of a prevailing sombre tone. The second comprises five parts which

《達利博爾》雜誌在 1892 年布拉格首演後 報道：

「安魂曲超越了我們所有的期望，我們只 能致以最崇高的讚美。凡曾在劇場裏、哪 怕只是於管弦樂彩排時，親歷此作氣氛的 人；凡曾傾聽〈震怒之日〉這使人敬仰並

歎為觀止之作、感受到表演者如火熱情的 人，都無法抵擋那股魔力。這部『祈禱的 化身』、充滿幽深神秘色彩的史詩作品， 徹底攻陷聽者靈魂。唯有那些曾被音樂允

許窺見人心最深處曲折的人、在直覺或無 意識引導下創造出美麗珍寶的人，方能以 如此堅定的力量，說出音樂的語言。」

撰文：帕翠絲．卡斯高娃（楊納傑克歌劇團

戲劇構作）

中文翻譯：劉卓熙

bring an atmosphere of solace and conciliation. Unlike the composer’s StabatMater, each part of the Requiem is conceived as a through-composed stream of music, without enclosed choral or solo pieces. The development of the thematic material is shared equally by the orchestra, choir and soloists. Dvořák was very familiar with the British choral tradition, and so in his Requiem he wrote a work that assigns an extraordinary role to the choir: with one exception, all 13 parts feature choral parts. There is only one solo movement: the song quartet “Recordare, Jesu pie”, which deals with humanity and acts as an idyllic island in the middle of the entire work.

As Dvořák’s biographer Otakar Šourek writes: “The composer wanted to come to terms with the future and show his attitude towards thoughts about the last things of man and the problem of the afterlife. The thought of death does not instil in him a fear of punitive justice, but nevertheless, his soul is weighed down by a sincere sadness at leaving the world, his loved ones, the beauty of nature, and the enchanting atmosphere of musical art.”

Dalibor magazine after the Prague premiere in 1892 reported:

“The Requiem exceeded even our most audacious expectations. We can only use superlatives to describe a product of this calibre. He who witnessed the atmosphere this work generated even during the orchestral rehearsals at the theatre, he who sensed the fervour among the performers themselves during the awe-inspiring, breath-taking ‘Dies irae’, could not resist the magic through which this prayer incarnate, this epic of sombre mysticism, besieges the soul. Only he whom music has permitted to glimpse the innermost meanders of the human heart, he who, instinctively or unconsciously, is guided by his inspiration to create something beautiful and precious—only he can speak the language of music with such conviction.”

Text: Patricie Částková, dramaturge of the Janáček Opera Chinese translation: Sanders Lau

Antonín Dvořák

Requiem, Op 89, B165

I. “Requiem aeternam”

Grant them eternal rest, O Lord, and let perpetual light shine upon them. A hymn becomes you, O God, in Zion, and to you shall a vow be repaid in Jerusalem.

Hear my prayer, to you shall all flesh come. Lord have mercy. Christ have mercy.

II. “Graduale”

Eternal rest grant unto them, O Lord and let perpetual light shine upon them. He shall be justified in everlasting memory, and shall not fear evil reports.

III. “Dies irae”

The day of wrath, that day will dissolve the world in ashes. As foretold by David and the Sibyl! How many tremors there will be, when the judge will come, investigating everything strictly!

IV. “Tuba mirum”

The trumpet, scattering a wondrous sound through the sepulchres of the regions, will summon all before the throne. Death and nature will marvel, when the creature arises, to respond to the judge. The written book will be brought forth, in which all is contained, from which the world shall be judged. When therefore the judge will sit, whatever hides will appear: nothing will remain unpunished. The day of wrath, that day will dissolve the world in ashes. As foretold by David and the Sibyl! How many tremors there will be, when the judge will come, investigating everything strictly! The trumpet, scattering a wondrous sound through the sepulchres of the regions, will summon all before the throne.

Antonín Dvořák

Requiem, Op 89, B165

[I. Requiem aeternam]

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et Tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad Te omnis caro veniet. Kyrie, eleison. Christe, eleison.

[II. Graduale]

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. In memoria aeterna erit justus, ab auditione mala non timebit.

[III. Dies irae]

Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla! Quantus tremor est futurus, quando Judex est venturus cuncta stricte discussurus!

[IV. Tuba mirum]

Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum. Mors stupebit, et natura, cum resurget creatura, judicanti responura.

Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur. Judex ergo cum sedebit, quidquid latet, apparebit, nil inultum remanebit.

Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, quando Judex est venturus cuncta stricte discusurus!

Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum.

德伏扎克 安魂曲，作品89，B165

一、〈永恆安息〉

上主，求祢賜他們永恆的安息， 並讓永遠的光常久地照亮他們。 天主！熙雍的人都要稱揚祢， 所許的願也要在耶路撒冷向祢 償還。

聽我的禱告， 凡有血肉的都要接近祢。 上主，求祢憐憫。 基督，求祢憐憫。

二、〈升階詠〉 上主，求祢賜他們永恆的安息， 並讓永遠的光常久地照亮他們。 義人必永被銘記， 他必不懼怕惡人的聲音。

三、〈震怒之日〉 震怒之日！哭泣聲高！ 天地都在灰裏焚燒。 應驗往昔先知警告！ 胸中何等恐懼驚惶， 萬人靜候祂來刑賞。 裁判親從天庭臨降！

四、〈號角之聲〉 號角之聲，四下普傳， 響徹世上千萬墓間， 召集萬民到主座前。

死亡發抖，自然震駭， 受造萬有正在醒來， 同向裁判傾吐心懷。

看哪！案卷措詞精密， 一切詳情，都經登記， 將來審判，必然本此。 審判大主，寶座榮登， 隱蔽行為，都經審問： 再無冤抑，不蒙伸明。

忿怒之日！哭泣聲高！ 天地都在灰裏焚燒。

應驗往昔先知警告！ 胸中何等恐懼驚惶， 萬人靜候祂來刑賞， 裁判親從天庭臨降！ 號角吹聲，四下普傳 響徹世上千萬墓間， 召集萬民到主座前。

V. “Quid sum miser”

What am I, miserable, then to say? Which patron to ask, when even the just may only hardly be sure?

King of tremendous majesty, who freely savest those that have to be saved, save me, source of mercy.

VI. “Recordare, Jesu pie”

Remember, merciful Jesus, that I am the cause of thy way, lest thou lose me in that day. Seeking me, thou sat tired, thou redeemed me having suffered the Cross, let not so much hardship be lost. Just judge of revenge, give the gift of remission before the day of reckoning. I sigh, like the guilty one, my face reddens in guilt. Spare the supplicating one, God. Thou who absolved Mary, and heardest the robber, gavest hope to me, too. My prayers are not worthy, however, thou, good Lord, do good, lest I am burned up by eternal fire. Grant me a place among the sheep, and take me out from among the goats, setting me on the right side.

VII. “Confutatis maledictis”

Once the cursed have been rebuked, sentenced to acrid flames, call thou me with the blessed. I meekly and humbly pray, my heart is as crushed as the ashes. Perform the healing of mine end.

VIII. “Lacrimosa”

Tearful will be that day, on which from the ashes arises, the guilty man who is to be judged. Spare him therefore, God.

Merciful Lord Jesus, grant them eternal rest. Amen.

[V. Quid sum miser]

Quid sum miser, tunc dicturus? quem patronum rogaturus? cum vix justus sit securus? Rex tremendae majestatis, qui salvandos salvas gratis, salva me, fons pietatis.

[VI. Recordare, Jesu pie]

Recordare, Jesu pie, quod sum causa tuae viae, ne me perdas illa die. Quaerens me, sedisti lassus, redemisti crucem passus; tantus labor non sit cassus. Juste judex ultionis, donum fac remissionis, ante diem rationis. Ingemisco, tamquam reus, culpa rubet vultus meus; supplicanti parce Deus. Qui Mariam absolvisti et latronem exaudisti, mihi quoque spem dedisti. Preces meae non sunt dignae, sed tu bonus fac benigne, ne perenni cremer igne. Inter oves locum praestra, et ab haedis me sequestra, statuens in parte dextra.

[VII. Confutatis maledictis]

Confutatis maledictis, flammis acribus addictis, voca me cum benedictis. Oro supplex et acclinis, cor contritum quasi cinis; gere curam mei finis.

[VIII. Lacrimosa]

Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce, Deus, Pie Jesu, Jesu Domine, dona eis requiem sempiternam. Amen.

五、〈罪人將有何陳訴〉 軟弱似我，何從置辯？ 誰為中保，代我居間， 倘然裁判審究殊嚴？ 威嚴君王，代我求情！ 凡蒙救者由祢恩賞， 仁慈之源請拯救我。

六、〈慈悲的耶穌，求祢垂念〉 慈愛耶穌，求祢垂念， 主為救我，曾降世間， 莫在那日，容我殄滅。

主來尋我，僕僕途間， 苦架捨身，將我贖還， 這般恩典，豈是徒然？ 公義裁判！因罪深沾， 懇賜主的寬恕恩典 早在大日尚未臨前。

我今痛悔，悲淚傾流， 自認罪過，心有深憂。 求主施恩，代我懇求。

犯罪婦人，主曾拯救； 垂死強人，主曾矜宥； 我亦蒙恩，希望仍有。

我的哀呼，不足深多， 但求恩主，慈悲允可， 救我脫離炎炎永火。

將我放入蒙愛羊群， 莫放我入被棄羊群， 求伸恩手，舉我上升。

七、〈罪人受罰〉 到時惡人驚惶悲切， 災難火中，慘遭毀滅， 求使我與聖徒為列。 我敬低頭，心中認罪， 懇鑒悔心，若視塵灰。 助我到底翻然能改。

八、〈流淚之日〉 到時流淚之日來臨， 人從塵土中間回醒， 必須準備受主質審。 天主，懇求寬宥哀矜！ 多福耶穌慈悲主， 懇賜他們永安寧。 阿們。

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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.

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ONLINE DONATION http://go.hkaf.org/give

其他捐款方法，請參閱刊於本 冊子尾部之捐款表格

For other donation methods, please refer to the Donation Form near the end of this booklet

查詢 Enquiries: dev@hkaf.org

2828 4911/12

IX. “Offertorium”

Lord Jesus Christ, King of glory, free the souls of all the faithful departed from infernal punishment and the deep pit.

Free them from the mouth of the lion, do not let Tartarus swallow them, nor let them fall into darkness. But may the standard-bearer Saint Michael lead them into the holy light, which you once promised to Abraham and his seed.

X. “Hostias”

Lord Jesus Christ, King of glory, O Lord, we offer You sacrifices and prayers of praise. Accept them on behalf of those souls whom we remember today.

Let them, O Lord, pass over from death to life, as you once promised to Abraham and his seed.

XI. “Sanctus”

Holy, Holy, Holy, Lord God of Hosts!

Heaven and earth are full of your glory.

Hosanna in the highest.

Blessed is he who comes in the name of the Lord.

XII. “Pie Jesu”

Merciful Lord Jesus, grant them eternal rest.

XIII. “Agnus Dei”

Lamb of God, you who take away the sins of the world, grant them eternal rest.

May everlasting light shine upon them, O Lord, with your Saints forever, for you are kind.

Grant them eternal rest, O Lord, and may everlasting light shine upon them.

Chinese translation: Sanders Lau

[IX. Offertorium]

Domine Jesu Christe, Rex gloriae.

Libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu.

Libera eas de ore leonis, Domine Jesu Christe, ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam. Quam olim Abrahae promisisti et semini eius.

[X. Hostias]

Domine Jesu Christe, Rex gloriae.

Hostias et preces tibi laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam faciemus.

Libera eas.

Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini eius.

[XI. Sanctus]

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Hosanna in excelsis! Benedictus, qui venit in nomine Domini.

[XII. Pie Jesu]

Pie Jesu, dona eis requiem sempiternam.

[XIII. Agnus Dei]

Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam. Lux aeterna luceat eis, Domine, cum Sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

九、〈奉獻詠〉 主耶穌基督， 榮耀的君王， 求祢拯救已亡信眾的靈魂 脫離陰間的痛苦、 走出深暗的幽谷， 從獅子口中拯救他們， 別讓他們陷入深淵、 不叫他們跌進黑暗。 但請天使長聖米迦勒 領他們到神聖的光明中： 正如祢昔日應許予亞巴郎 和他的後裔。

十、〈獻祭〉 主耶穌基督， 榮耀的君王， 上主！我們向祢奉獻： 頌讚、犧牲和祈禱。

求祢悅納 我們今天紀念的亡靈。 上主！ 求祢使他們超越死亡，進入生命， 正如祢昔日應許予亞巴郎 和他的後裔。

十一、〈聖哉經〉 聖、聖、聖， 上主，萬軍的天主！ 祢的光榮充滿天地， 賀三納於至高之天！ 奉主名而來的， 是應當稱頌的。

十二、〈耶穌基督〉 慈愛耶穌， 賜他們永遠的安息。

十三、〈羔羊頌〉

天主羔羊，除去世人罪的主， 賜他們安息。

上主，求祢讓永遠的光常久地照 亮他們， 使他們永遠偕同祢的眾聖徒， 因為祢善良慈悲。

上主，賜他們永恆的安息， 並讓永遠的光常久地照亮他們。

女高音 艾斯特．皮利巴

立陶宛女高音艾斯特．皮利巴於 2016 年獲得年度歌 劇希望獎，並憑藉飾演《凱普萊特與蒙太古》中的 茱莉艾塔和《依多梅尼》中的伊利亞而獲得 2018 年 立陶宛歌劇獎年度最佳歌劇獨唱獎。她近期飾演過 米凱拉（《卡門》）、咪咪（《波希米亞人》）、茱莉 艾塔（《凱普萊特與蒙太古》）、伊利亞（《依多梅 尼》）和蘇珊娜（《費加羅的婚禮》）。

2024 年，皮利巴在芬蘭國家歌劇院以《尤金．奧尼 金》中的塔提雅娜一角完成了她的國際歌劇首秀。

除了歌劇之外，她還經常在立陶宛各地舉辦獨唱音樂 會，或與鋼琴家、器樂合奏團和一流樂團合作演出。

Soprano

Aistė Piliba

Lithuanian soprano Aistė Piliba received the Opera Hope of the Year award in 2016. She was honoured with the Lithuanian Opera Award for Best Opera Soloist of the Year in 2018 for her portrayals of Giulietta in ICapuletieiMontecchi and Ilia in Idomeneo. Her recent roles include Micaëla (Carmen), Mimì (Labohème), Giulietta (ICapuletiei Montecchi), Ilia (Idomeneo) and Susanna (Lenozze diFigaro).

In 2024, Piliba made her international opera debut as Tatyana (EugeneOnegin) at the Finnish National Opera. Beyond opera, she also regularly performs across Lithuania in recitals and concerts with pianists, instrumental ensembles and leading orchestras.

女低音 雅娜．赫羅喬娃

雅娜．赫羅喬娃自 2000 年起成為捷克布爾諾國家 歌劇院楊納傑克歌劇團的獨唱家。她曾飾演卡門、 鈴木（《蝴蝶夫人》）、狐狸（《狡猾的小狐狸》）、 瓦爾瓦拉（《卡塔．卡芭諾娃》）、菲妮娜（《拿布 果》）、郭坦妮卡（《耶奴法》）、凱蒂（《凱蒂與魔 鬼》）、瑪賽蓮娜（《費加羅的婚禮》）、歐羅夫斯 基王子（《蝙蝠》）等角色。她與雅各．胡薩、里奧 斯．斯瓦羅夫斯基、托馬斯．哈努斯等指揮家亦有 合作。

Alto Jana Hrochová

Jana Hrochová has been a soloist with the National Theatre Brno’s Janáček Opera since 2000. Her repertoire includes roles such as Carmen, Suzuki (MadameButterfly), Fox (TheCunningLittleVixen), Varvara (KatyaKabanova), Fenena (Nabucco), Kostelnička (Jenůfa), Kate (TheDevilandKate), Marcellina (LenozzediFigaro) and Prince Orlowski (DieFledermaus) and others. She works with conductors such as Jakub Hrůša, Leoš Svárovský, Tomáš Hanus and others.

男高音 彼得．伯傑

彼得．伯傑曾飾演的角色包括阿菲度（《茶花女》）、 邁克特夫（《馬克白》）、浮士德（《浮士德》）、耶 尼克（《被出賣的新娘》）、王子（《水仙子》）和 維特等。他曾在格蘭特堡歌劇節和智利聖地牙哥市 立劇院飾演王子（《水仙子》）；在韋克斯福德歌 劇節飾演盧卡什（《吻》）；在丹麥奧胡斯飾演路卡 （《耶奴法》），並於馬西莫劇院演出巴賓斯基（《風 笛手施萬達》）。伯傑也是一位成果豐碩的音樂會 藝術家，曾與捷克愛樂樂團、斯洛伐克愛樂樂團、 布拉格愛樂樂團和布爾諾愛樂樂團合作。

Tenor

Peter Berger

Peter Berger’s repertoire comprises Alfredo (Latraviata), Macduff (Macbeth), Faust (Faust), Jeník (TheBarteredBride), the Prince (Rusalka) and Werther. He appeared as Prince (Rusalka) at the Glyndebourne Festival and Teatro Municipal de Santiago, Chile; Lukáš (TheKiss) at the Opera Festival in Wexford; Janáček’s Boris and Laca (Jenůfa) in Aarhus, Denmark; Babinsky (Schwanda theBagpiper) at the Teatro Massimo in Palermo. Berger is also a prolific concert artist and has sung with the Czech and Slovak philharmonic orchestras as well as the Prague Philharmonia and Brno Philharmonic.

男低音

揚．舒瓦

揚．舒瓦自 2010 年已是楊納傑克歌劇樂團的獨唱 家。他經常在捷克及各大海外歌劇院作客席演出 （如巴黎歌劇院、蒙彼利埃歌劇院、昂熱南特歌劇 院和土倫歌劇院）。他曾飾演的角色包括雷波列諾 （《唐．喬望尼》）、艾方索（《女人心》）、費加羅 和巴托羅（《費加羅的婚禮》）、法老王（《阿依 達》）、梅菲斯特（《浮士德》）和水精靈（《水仙 子》）。

Bass

Jan Šťáva

Jan Šťáva has been a soloist at the Janáček Opera since 2010. He has made regular guest appearances in major Czech opera houses and abroad (Opéra de Paris, the opera houses at Montpellier, Angers-Nantes Opéra and at the Opéra de Toulon).His repertoire includes Leporello (Don Giovanni), Don Alfonso (Così fan tutte), Figaro and Bartolo (LenozzediFigaro), the King (Aida), Méphistophélès (Faust) and Waterman (Rusalka).

捷克布爾諾國家歌劇院楊納傑克歌劇團樂團

Orchestra of the Janáček Opera of National Theatre Brno

第一小提琴 First Violin

Lenka Kuželová

Lukáš Mik

Dennis Schneiderka

Karel Mitáš

Miloslav Prudil

Halina Seklecka Małgorzata

Terezie Kéryová

Alena Miřácká

Kristýna Jungová

Renata Staňková

第二小提琴 Second Violin

Matěj Koupa

Barbora Damborská

Klara Zbytovska

Jindřich Machálek

Jana Šíchová

Jana Šebestová

Miroslava Vážanská

Eva Kalová

中提琴 Viola

Miloslav Vávra

Stanislav Vacek

Ľuboš Melničák

Eliška Bařáková

Marcela Schlemmerová

Ariana Suleiman Shakh

大提琴 Cello

Josef Klíč

Karolína Zívalíková

Petr Chudoba

Štěpán Filípek

Diana Kadysheva

Keishiro Mikawa

低音大提琴 Double Bass

Michal Pokorný

Jozef Smutný

Jiří Šícha

Petr Keller

David Herman

Emilia Elżbieta Waleska

長笛 Flute

Michal Vojáček

Iveta Hejlková

短笛 Piccolo

Iveta Krulová

雙簧管 Oboe

Barbora Šteflová

Klára Kučerová

英國管 Cor Anglais

Jan Ondruš

單簧管 Clarinet

Tomáš Kraus

Dominik Sedlák

低音單簧管 Bass Clarinet

Filip Pokorný

巴松管 Bassoon

Pavel Horák

Miroslav Černohlávek

低音巴松管 Contrabassoon

Tomáš Vorálek

圓號 French Horn

Martin Novák

Tomáš Kopecký

Lada Hojačová

Pavla Tichá

小號 Trumpet

Lukáš Soldán

Vít Štěpánek

Jozef Zimka

Miroslav Holub

長號 Trombone

Zbyněk Pavluš

Vladislav Prokopec

Šimon Pavlík

低音號 Tuba

David Křížek

定音鼓 Timpani

David Paša

敲擊樂 Percussion

Jan Řihák

豎琴 Harp

Pavla Kopecká

管風琴 Organ

Petr Kolař

捷克布爾諾國家歌劇院楊納傑克歌劇團合唱團

Choir of the Janáček Opera of National Theatre Brno

第一女高音 First Soprano

Petra Čechová

Eva Daňhelová

Maria Teresa Kulisiewicz

Tereza Macáková

Martina Mádlová

Olha Nesvat

Marcela Polášková

Alena Sobolová

Hana Solanská

Yuliya Yefimchuk

Barbora Žišková

第二女高音 Second Soprano

Jana Demo

Markéta Drábková Lamačová

Denisa Miková

Eva Nikolov

Adriana Sedláčková

Tereza Valjašková

Veronika Vlková

第一女低音 First Alto

Marcela Arnoštová

Zuzana Kantorová

Hana Kopřipvová Šumpíková

Leona Kyzlinková

Veronika Potůčková

Hana Procházková

Veronika Slavíčková

第二女低音 Second Alto

Yvona Hofmann

Tereza Krejčí

Dorota Lišková

Hana Mikulková

Lada Novotná

Veronika Tlachová

Stanislava Votápková

第一男高音 First Tenor

Daňek Vratislav

Radek Krul

Zdeněk Nečas

Milan Řihák

Theophilus Štourač

Pavel Valenta

Martin Vlach Pavlíček

第二男高音 Second Tenor

Tadeáš Janošek

Michal Kuča

Ivo Musil

Josef Nyilas

Ladislav Simon

Vladimír Trhal

Jan Valušek

第一男低音 First Bass

Vladimír Brázda

Sergej Derda

Petr Karas

Martin Kotulan

Tomáš Maliniak

Robert Musialek

Jiří Žouželka

第二男低音 Second Bass

Kristián Guttek

Oleksandr Kyryliuk

Kornél Mikecz

Martin Novotný

Libor Skokan

Ivo Šiler

Jan Šmatera

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