National Theatre Brno—Tchaikovsky’s Eugene Onegin - 54th Hong Kong Arts Festival

National Theatre Brno

Tchaikovsky’s Eugene Onegin

捷克布爾諾國家歌劇院

柴可夫斯基 《尤金．奧尼金》

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

香港賽馬會主席 廖長江先生 GBM GBS JP

The Hon Martin Liao , GBM GBS JP

香港賽馬會主席廖長江先生獻辭

Message

by The Hon Martin Liao Chairman of The Hong Kong Jockey Club

自 1973 年香港藝術節創辦初期，香港賽馬會與旗下的慈善信託基金便一 直支持這項文化盛事。

藝術文化是馬會慈善工作的重點策略範疇之一。我們透過支持香港故宮 博物院、大館，還有世界級的展覽、活動和表演等等，致力豐富市民生 活，並將香港打造成為文化交流中心。

今年的香港藝術節精采紛呈。「香港賽馬會藝粹系列」今年載譽歸來， 呈獻世界級的精采演出，包括西班牙國家舞劇院為本屆藝術節揭幕的 《美麗的奧蒂羅》、由約翰．艾略特．加德納爵士聯同星宿合唱團及管弦

樂團演繹的合唱鉅作，以及捷克布爾諾國家歌劇院帶來的柴可夫斯基歌 劇《尤金．奧尼金》。

一如既往，我們將透過「賽馬會創藝科媒系列」，推動藝術與科技的跨 界融合。今屆的焦點節目為坂本龍一與「鐵皮鼓」共同創作的鋼琴獨奏 會《鏡：KAGAMI 》，以混合實境形式，讓觀眾穿梭於實體與數碼實境交織 的藝術空間。

此外，「賽馬會藝貫中西系列」將獻上亞里斯多芬筆下《利西翠妲》的中 文改編版演出，彰顯香港作為中外文化藝術交流中心的優勢，促進來自 海外、中國內地和香港的藝術家之間的跨文化協作。

「香港賽馬會學生專享節目」亦將為超過 3,000 名來自不同背景的年輕 人提供免費門票，讓其欣賞七指雜技團上演的《決鬥》。作品以競技運 動場為背景，糅合令人歎為觀止的編舞與雜技，重新演繹《羅密歐與茱 麗葉》的經典故事。

馬會能夠捐助不同的慈善與社區項目，包括對香港藝術節的長期支持， 有賴我們的獨特綜合營運模式。本會藉此提供世界級賽馬運動和有節 制體育博彩，帶來稅款、慈善捐款及就業機會，建設更美好的社會。

本人謹向香港藝術節協會致以誠摯祝賀，並祝各位表演者演出成功， 觀眾滿載而歸。

The Hong Kong Jockey Club and its Charities Trust are proud to have supported the Hong Kong Arts Festival since its inception in 1973.

Arts and culture is a key charity strategic focus of the Club. Through our support for the Hong Kong Palace Museum, for Tai Kwun, as well as for world-class exhibitions, events and performances, we seek to enrich quality of life and to promote Hong Kong as a hub for cultural exchange.

This year’s Hong Kong Arts Festival is no exception. The Hong Kong Jockey Club Series will once again be a major highlight, featuring La Bella Otero by the Ballet Nacional de España; choral masterpieces from The Constellation Choir and Orchestra led by Sir John Eliot Gardiner; and Tchaikovsky’s Eugene Onegin by the National Theatre Brno.

We will continue to support the fusion of arts and technology through the Jockey Club InnoArts Series. Taking centre stage will be piano recital KAGAMI by Ryuichi Sakamoto & Tin Drum, which blends physical and digital reality.

There will also be a Chinese-language adaptation of Aristophanes’ Lysistrata under the Jockey Club East-meets-West Series, which seeks to leverage Hong Kong’s strengths as a melting pot of Chinese and Western cultures to promote collaboration between artists from overseas, the Chinese Mainland and Hong Kong.

The Hong Kong Jockey Club Student Matinée Programme will present Duel Reality by The 7 Fingers, reimagining Romeo and Juliet in a sports arena featuring high-energy choreography and acrobatics. To enable young people from varied backgrounds to enjoy this unique production, we will also provide over 3,000 free tickets.

Like all our donations, the Club’s support for the Hong Kong Arts Festival is made possible by its unique integrated business model, through which it provides racing and sports entertainment and channels wagering demand into tax contributions, charity donations and employment opportunities.

With my warmest congratulations to the Hong Kong Arts Festival Society, and my very best wishes to performers and audiences for yet another memorable celebration of the arts.

捷克布爾諾國家歌劇院——柴可夫斯基《尤金．奧尼金》

National Theatre Brno—Tchaikovsky’s EugeneOnegin

19.03.2026 / 7:30 pm

21.03.2026 / 2:30 pm

香港文化中心大劇院

Grand Theatre, Hong Kong Cultural Centre

演出長約 2 小時 40 分鐘，包括一節中場休息

Approximately two hours and 40 minutes including one interval

俄語演出，附中、英文字幕

Performed in Russian with Chinese and English surtitles

本節目有巨大聲響及煙霧效果

This production contains loud sound and smoke effects

封面照片Cover Photograph

© Patrik Borecký

※ 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.

香港賽馬會慈善信託基金、香港賽馬會、其各自關聯公司或任何參與彙編 此載內容或與彙編此載內容有關的第三方（統稱「馬會各方」）皆無就內容 是否準確、適時或完整或使用內容所得之結果作任何明示或隱含的保證或聲 明。任何情況下，馬會各方皆不會對任何人或法律實體因此載內容而作出或 沒有作出的任何行為負上任何法律責任。

None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.

藝術節加料節目

後台參觀 Backstage Tour

19.03.2026（已舉行 Past event）

21.03.2026 / 12:00pm-12:30pm（ 額滿 Full）

演前講座 Pre-Performance Talk

19.03.2026（已舉行 Past event）

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，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。

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.

捷克布爾諾國家歌劇院——柴可夫斯基《尤金．奧尼金》 National Theatre Brno—Tchaikovsky’s EugeneOnegin

原著

亞歷山大．普希金

作曲

柴可夫斯基

文本

柴可夫斯基

康斯坦丁．斯洛夫斯基

指揮

羅伯特．克魯奇克

劇場導演

馬丁．格瑟

戲劇構作

帕翠絲．卡斯高娃

佈景設計

巴維．博拉克

服裝設計

瑪琪塔．史拉迪高娃

燈光設計

馬丁．史比力

編舞

馬丁．帕西克

合唱指導

巴維．康納克

演員及角色

斯瓦托普魯克．瑟姆（3月19日）

羅曼．荷沙（3月21日）

（男中音）

飾　尤金．奧尼金

蓮達．巴洛娃（3月19日）

艾斯特．皮利巴（3月21日）

（女高音）

飾　塔提雅娜

彼得．伯傑（3月19日）

阿列什．布里賽因（3月21日）

（男高音）

飾　連斯基

Author Alexander Pushkin

Composer

Pyotr Ilyich Tchaikovsky

Librettists

Pyotr Ilyich Tchaikovsky

Konstantin Shilovsky

Conductor Robert Kružík

Stage Director Martin Glaser

Dramaturge Patricie Částková

Set Designer Pavel Borák

Costume Designer Markéta Sládečková

Lighting Designer Martin Špetlík

Choreographer Martin Pacek

Chorus Master Pavel Koňárek

Cast and Characters

Svatopluk Sem (19 March)

Roman Hoza (21 March) (Baritone) as Eugene Onegin

Linda Ballová (19 March)

Aistė Piliba (21 March) (Soprano) as Tatyana

Peter Berger (19 March) Aleš Briscein (21 March) (Tenor) as Lensky

域卡拉娃．卡雷伊契．豪斯高娃（3月19日）

雅娜．赫羅喬娃（3月21日）

（女低音）

飾　奧爾加

雅娜．赫羅喬娃（3月19日）

丹妮拉．史特拉高娃（3月21日）

（女中音）

飾　拉維娜

伊特卡．扎爾豪奧娃 （女中音）

飾　菲利皮耶娜

揚．舒瓦（3月19日）

大衛．森迪赫（3月21日）

（男低音）

飾　格雷明親王

維特．諾塞克

（男高音）

飾　特林格特

科內爾．米卡茲

（男低音）

飾　沙里斯基

馬丁．諾福尼

（男低音）

飾　長官

帕維．維倫塔

飾　合唱團歌手

兒童演員

葉萃藍

管弦樂團

捷克布爾諾國家歌劇院 楊納傑克歌劇團管弦樂團

合唱團

捷克布爾諾國家歌劇院 楊納傑克歌劇團合唱團

中文字幕

徐宜

字幕操作

陳皓琬

Václava Krejčí Housková (19 March)

Jana Hrochová (21 March) (Contralto) as Olga

Jana Hrochová (19 March)

Daniela Straková (21 March) (Mezzo-soprano) as Larina

Jitka Zerhauová (Mezzo-soprano) as Filippyevna

Jan Šťáva (19 March)

David Szendiuch (21 March) (Bass) as Prince Gremin

Vít Nosek (Tenor) as Triquet

Kornél Mikecz (Bass) as Zaretsky

Martin Novotný (Bass) as Captain

Pavel Valenta as Choir Foresinger

Child Actor Lars Wing Monson

Orchestra

Orchestra of the Janáček Opera of National Theatre Brno

Chorus

Choir of the Janáček Opera of National Theatre Brno

Chinese Surtitles Xu Yi

Surtitles Operator Dominique Chan

原著

亞歷山大．普希金

普希金被譽為俄羅斯文學之父和浪漫主義 運動的關鍵人物。他出生於莫斯科的一個 貴族家庭，從小便展現出驚人的才華， 十五歲時就出版了自己的第一首詩。他的 作品充滿了抒情之美和深刻的洞察，探討 了愛情、命運和俄羅斯社會的複雜性等主 題。

普希金的名著《尤金．奧尼金》是一部詩 體小說，將主角的人生和更宏大的俄羅斯 生活圖景巧妙地交織在一起，展示了他創 新性的敍事風格。他還創作了戲劇《沙皇 鮑里斯》和童話敍事詩《沙皇薩坦的故事》 等知名作品，反映了他對俄羅斯民間傳說 和歷史的深沉熱愛。

不幸的是，普希金在1837年死於一場決 鬥，這也是他動盪的私生活和當時社會壓 力的寫照。儘管他的生命很短暫，他卻激 勵了無數的作家和藝術家，對俄羅斯文學 和語言產生了不可估量的影響。如今，普 希金仍然因其對文學空前的影響而備受讚 譽，他的作品持續在俄羅斯的文化意識中 引起深刻的共鳴。

Author Alexander Pushkin (1799–1837)

Alexander Pushkin is renowned as the father of Russian literature and a pivotal figure in the Romantic movement. Born into a noble family in Moscow, Pushkin displayed prodigious talent from a young age, publishing his first poem at the age of 15. His works, infused with lyrical beauty and profound insight, explored themes of love, fate and the intricacies of Russian society.

Pushkin’s masterpiece, EugeneOnegin, is a novel in verse that intricately weaves the life of its titular character with the broader tapestry of Russian life, showcasing his innovative narrative style. His other notable works include the dramatic play Boris Godunov and the fairytale The Tale of Tsar Saltan, which reflect his deep love of Russian folklore and history.

Tragically, Pushkin’s life was cut short in a duel in 1837, a reflection of his turbulent personal life and the societal pressures of his time. Despite his brief existence, his influence on Russian literature and language is immeasurable, inspiring countless writers and artists. Today, Pushkin remains celebrated for his unparalleled contributions to literature, and his works continue to resonate deeply within the Russian cultural consciousness.

作曲及文本

柴可夫斯基

柴可夫斯基被譽為浪漫主義時期最具影響 力的作曲家之一，其作品情感深厚，管弦 樂極富新意。他出生於俄羅斯沃特金斯 克，年幼時即展現出音樂才華，後來就讀 於聖彼得堡音樂學院。他擅長將俄羅斯民 間旋律與西方古典傳統融合，創造豐富而 獨特的聲音。

柴可夫斯基的作品涵蓋各種體裁，著名作 品如芭蕾舞劇《天鵝湖》、《胡桃夾子》和

《睡美人》等徹底革新了芭蕾舞劇目。他的 交響曲作品，尤其是情感澎湃的第六交響 曲（「悲愴」），展示了他對管弦樂色彩和 戲劇表達的高超駕馭能力。

儘管飽受抑鬱症的折磨和性取向帶來的社 會壓力，柴可夫斯基的音樂仍然散發着普 世吸引力。他傳達深刻情感的能力使他成 為古典音樂界備受喜愛的人物。就在他的 最後一部交響曲首演後不久，柴可夫斯基 疑因感染霍亂，於1893年溘然長逝。他 的作品，包括《尤金．奧尼金》在內，繼 續吸引着觀眾，激勵着一代又一代的音樂 家，他本人也仍被視為音樂藝術才華和真 實情感的象徵。

Composer & Librettist

Pyotr Ilyich Tchaikovsky (1840–93)

Pyotr Ilyich Tchaikovsky is celebrated as one of the most influential composers of the Romantic era, renowned for his emotional depth and innovative orchestration. Born in Votkinsk, Russia, Tchaikovsky exhibited musical talent early, later studying at the Saint Petersburg Conservatory. His unique ability to blend Russian folk melodies with Western classical traditions resulted in a rich and distinctive sound.

Tchaikovsky’s compositions span various genres, with notable works including the ballets Swan Lake, The Nutcracker and TheSleepingBeauty, which revolutionised the ballet repertoire. His symphonies, particularly the emotionally charged Symphony No 6 (“Pathétique”), showcase his mastery of orchestral colour and dramatic expression.

Despite facing personal struggles, including battles with depression and societal pressures regarding his sexuality, Tchaikovsky’s music exudes a universal appeal. His ability to convey deep emotions has made him a beloved figure in classical music. Tchaikovsky’s life ended abruptly in 1893, most likely from cholera, shortly after the premiere of his final symphony. His works such as EugeneOnegin continue to captivate audiences and inspire generations of musicians, and he remains regarded as a symbol of artistic brilliance and emotional authenticity in music.

文本

康斯坦丁．斯洛夫斯基

康斯 坦 丁．斯洛夫斯基是一位傑出的俄羅 斯歌劇作家和編劇，對歌劇界貢獻重大。

斯洛夫斯基出生於特維爾省，他的職業生 涯始於文學創作，創作的作品彌合了詩歌 和戲劇之間的溝壑。

《尤金．奧尼金》基於亞歷山大．普希金的 詩體小說改編，由斯洛夫斯基與作曲家柴 可夫斯基合作完成。斯洛夫斯基巧妙地捕 捉了原文的情感深度，使柴可夫斯基能夠

用凄美的故事編織他的音樂。這是他最知 名的合作項目，該作品至今仍是歌劇劇目 的基石。除了《尤金．奧尼金》，斯洛夫斯 基還為其他歌劇創作劇本，展示了他將抒 情表達和歌劇結構融合的能力。他的作品 反映了他對角色和情感的準確把握，為音 樂的詮釋提供了引人入勝的框架。

儘管於四十三歲英年早逝，斯洛夫斯基對 於俄羅斯歌劇的影響無容置疑。他能夠以 詩歌表達複雜的敍事，對後世影響深遠， 而他與多位頂尖作曲家的合作，亦有助塑 造俄羅斯音樂劇的未來。如今，人們記得 的不僅有斯洛夫斯基的文學才華，更有他 在俄羅斯歌劇藝術發展史上的重要地位。

Librettist

Konstantin Shilovsky (1849–93)

Konstantin Shilovsky was a distinguished Russian librettist and playwright, known for his significant contributions to the world of opera. Born in the Tver province, Shilovsky began his career in literature, crafting works that bridged the gap between poetry and drama.

He is best known for collaborating with composer Tchaikovsky on the opera EugeneOnegin, based on Alexander Pushkin’s verse novel. Shilovsky’s adaptation skilfully captured the emotional depth of the original text, allowing Tchaikovsky to weave his music with poignant storytelling. This partnership produced a work that remains a cornerstone of the operatic repertoire. In addition to Onegin, Shilovsky wrote librettos for other operas, showcasing his ability to blend lyrical expression with dramatic structure. His works reflect a keen understanding of character and emotion, making them compelling frameworks for musical interpretation.

Despite his untimely death at 43, Shilovsky’s influence on Russian opera is undeniable. His ability to convey complex narratives through verse has left a lasting impact, and his collaborations with leading composers helped shape the future of Russian musical theatre. Today, Shilovsky is remembered not only for his literary talent but also for his role in elevating the art of opera in Russia.

故事大綱

Synopsis

人生若沒有浪漫的遐想將會如何？人能否 只活在幻想之中？當這些幻想化作虛無， 我們又該如何面對空空如也的記憶？

第一幕

暑熱漸褪。花園裏，莊園女主人拉維娜夫 人和奶娘菲利皮耶娜正在製作果醬。拉維

娜夫人的兩位女兒——塔提雅娜和奧爾加 正唱着歌，歌聲喚起拉維娜夫人和奶娘的 青蔥回憶，而那些浪漫稚氣早已被日常生 活的瑣碎事取代。遠處傳來村民的歌聲， 他們正在把今年的收成運來莊園。黃昏的 恬靜被打破，詩人連斯基帶同他剛搬到附 近的好友奧尼金到來。連斯基早已與奧爾 加墜入愛河，而憧憬着浪漫愛情的塔提雅 娜對俊俏的奧尼金一見傾情，即使他們只 淺淺寒暄數句，她已覺得奧尼金與她身邊 的男人截然不同。

傍晚，塔提雅娜向奶娘坦白自己已經愛上 奧尼金，並花了整晚時間寫下她對奧尼金 的告白。隔天早上，塔提雅娜懇求菲利皮 耶娜把信送給奧尼金。奧尼金讀畢信後拜 訪塔提雅娜，卻冷冷坦言自己永遠不會愛 上她，這深深地羞辱了塔提雅娜。

What would life be without romantic illusions? Is it possible to only live inside them? And what do we do when these illusions turn into nothing than a store of empty memories?

Act I

Summer is slowly coming to an end. In the garden, Madame Larina, the lady of the manor, and Filippyevna, a nanny, are making jam. The songs of Madame Larina’s daughters, Tatyana and Olga, bring back memories of their youth and its romantic foolishness, which has been replaced by routines. A song from approaching villagers bringing this year’s harvest to the manor sounds in the distance. The early evening idyll is interrupted by the arrival of poet Lensky, who is in love with Olga. Lensky brings his friend Onegin, who has recently moved to the neighbourhood. Tatyana, filled with illusions of romantic love, falls head over heels in love with the handsome Onegin, so different from the other men around her, even though they have only exchanged a few polite words.

In the evening, Tatyana confides in the nanny that she is in love and spends the night writing her confession of love to Onegin. In the morning, she begs Filippyevna to have the letter delivered to Onegin. After he reads it, he goes to see Tatyana, but his cold confession that he would never love her humiliates her deeply.

第二幕

拉維娜夫人的莊園裏正在舉辦塔提雅娜的 命名日慶典，連斯基和奧尼金均位列賓客 席。當奧尼金與塔提雅娜共舞時，他聽到 了其他賓客對他議論紛紛。老羞成怒的他 決定追求奧爾加，以報復帶他來舞會的連 斯基。他邀請奧爾加跳了一支又一支舞， 單純的奧爾加並未察覺事有蹊蹺，但連斯 基心生嫉妒，與奧尼金激烈爭吵，並向他

提出決鬥。

一清早，連斯基和他的助手沙里斯基等待 着奧尼金。他的腦海中全是奧爾加以及與

她共度的青春時光。奧尼金終於現身。儘 管這兩名昔日友人曾有短暫遲疑，但仍然 舉起了手鎗。連斯基中彈身亡。

第三幕

奧尼金在國外漂泊數年後重返聖彼得堡。

下船後，他直奔舞會。他驚訝地發現舞會

上受眾人傾慕的年輕女子正是塔提雅娜， 但她已嫁給格雷明親王。親王向奧尼金激 動地吐露自己的喜悅以及他對塔提雅娜的 愛意。奧尼金方發覺自己當年拒絕她時， 究竟錯失了甚麼。

跟塔提雅娜當年的舉動如出一轍，奧尼金 寄出了一封熾熱的表白信。二人見面時， 塔提雅娜拒絕了他。奧尼金深情的哀求再 也無法打動她；命運已契定，而她將忠於 她的丈夫。最後，塔提雅娜承認她依然愛 着奧尼金，但曾經伸手可及的幸福現已遠 去。塔提雅娜離去。

Act II

It’s Tatyana’s Name Day celebration at the Larinas’ manor, and Lensky and Onegin are among the guests. While dancing with Tatyana, Onegin overhears other guests gossiping about him. He decides to exact his revenge on Lensky, who brought him to the ball, and starts courting his Olga. He dances with her, one dance after another. The careless girl doesn’t see anything wrong with it, but Lensky, growing jealous, starts a row and challenges Onegin to a duel.

Early in the morning, Lensky and Zaretsky, his second, are waiting for Onegin. His thoughts are with Olga and the happy youth he spent in her company. Onegin appears and, although both friends hesitate briefly, they reach for their guns. Lensky is shot dead.

Act III

After several years abroad, Onegin returns to Saint Petersburg. He comes to a ball straight from the ship. Astonished, he sees that the charming young lady admired by all is Tatyana, only to find out she is married to Prince Gremin. He tells Onegin emotionally about his happiness and love for Tatyana. Onegin realises what he lost when he rejected her years ago.

Just like Tatyana back then, Onegin sends a letter with an ardent confession of love. When they meet, Tatyana rejects him. Not even his passionate pleas win her over; her fate is decided and she will remain faithful to her husband. At the end, she admits she still loves Onegin. But the happiness that was once so close is now out of reach. Tatyana leaves.

© Patrik Borecký

劇目介紹 Programme Notes

幸福曾近在咫尺

「悔恨當初、憧憬未來，卻從不滿足於當下

我就這樣度過一生。」

柴可夫斯基

柴可夫斯基是俄羅斯浪漫主義的代表人物，

也屬於第一代在世時已享譽國際的俄國作曲 家。他的家人最初期望他從事安穩的文職， 儘管他自幼展露音樂天賦、學習鋼琴，父母

仍安排他接受公務員訓練，不過他對藝術的 追求熱情始終不減。

1862 年，柴可夫斯基毅然辭去公務員職務， 入讀聖彼得堡音樂學院，在安東．魯賓斯坦 的指導下學習作曲，這深刻影響了他的職業 生涯。四年後，安東將二十六歲的柴可夫斯 基推薦給他的弟弟──鋼琴家尼古拉．魯賓

斯坦（1835–81）。尼古拉原本修讀法律與醫 學，後轉向音樂，於 1866 年參與創立莫斯 科音樂學院，擔任院長及鋼琴教授。他聘請 柴可夫斯基擔任樂理教授，支持他並積極宣 傳他的創作，又親自指揮其作品的首演。儘 管教學工作繁重，柴可夫斯基仍持續創作， 他的早期作品包括第一交響曲（1866）、《總

督》（1868）、歌劇《近衛軍》（1872）和《鐵 匠瓦古拉》（1874）。

Happiness Was So Close

“To regret the past, to hope in the future, and never to be satisfied with the present: that is what I spent my whole life doing”—Tchaikovsky

Pyotr Ilyich Tchaikovsky was a leading figure of Russian Romanticism and among the first Russian composers to gain international fame during his life. Yet his family initially hoped for a different career path. From a young age, he showed musical talent and took piano lessons, but his parents steered him towards a clerical occupation. His artistic drive, however, was strong.

In 1862, he left the civil service to enrol at the Saint Petersburg Conservatory, where Anton Rubinstein taught composition and helped shape his career. After four years, Rubinstein recommended the 26-year-old composer to his younger brother, Nikolai Rubinstein (1835–81), a pianist who had originally studied law and medicine but chose music. In 1866, Nikolai helped found the Moscow Conservatory, becoming its director and a piano professor. He hired Tchaikovsky as a music theory professor, supported him, promoted his work and conducted his premieres. Teaching proved arduous for Tchaikovsky, but it allowed him to compose. His

1875 年末的歐洲之旅影響了柴可夫斯基的創 作風格，使他傾向西歐傳統。他在巴黎欣 賞了比才的《卡門》，深受感動；對華格納

於 1876 年首演的全套《指環》則不太受落。

同年十一月，《鐵匠瓦古拉》的首演反應平 平，但柴可夫斯基依然沒有氣餒；《鐵匠瓦

古拉》的評價教他失望，在維也納和巴黎的 發展亦喜憂參半，他便嘗試另闢蹊徑。

為了尋找新的歌劇題材，他向弗拉迪米爾．

史達索夫（1824–1906）求教。史達索夫力

勸他擺脫西方影響，但柴可夫斯基很快便 有了一個更合適的主意：1877 年 5 月中旬， 他拜訪女低音葉莉莎維塔．拉夫羅夫斯卡

婭（1845–1919），晚餐後，她建議柴可夫斯 基改編普希金的《尤金．奧尼金》。柴可夫 斯基初時舉棋不定，但深入研究了普希金這

部詩體小說後，便着手創作歌劇劇本，他以

《尤金．奧尼金》中富含的詩意與人文情懷 為核心，全情投入創作。

《尤金．奧尼金》於 1825 至 1832 年間出版， 是俄羅斯文學的基石。柴可夫斯基擔心自己 無法完美展現普希金的作品，冥思苦想怎樣

用舞台呈現故事，亦忐忑不安地揣測觀眾的 反應。《尤金．奧尼金》的故事發生在簡樸 的鄉村莊園，少了奢華的場面，反而突顯作

Symphony No 1 (1866) followed by TheVoyevoda (1868), and later the operas TheOprichnik (1872) and VakulatheSmith (1874) marked his early output.

European travels at the end of 1875 influenced his music, steering him toward Western European traditions. In Paris he witnessed Bizet’s Carmen, which impressed him, while Wagner’s RingCycle left him unmoved in 1876. The premiere of Vakula the Smith in November 1876 drew little enthusiasm, yet Tchaikovsky remained committed to his craft. While disappointed by Vakula’s reception and his mixed successes in Vienna and Paris, he pursued other projects.

Seeking a theme for a new opera, he consulted Vladimir Stasov (1824–1906). Stasov urged a departure from Western influences, but Tchaikovsky soon found a fitting idea. In mid-May 1877 he visited contralto Yelizaveta Lavrovskaya (1845–1919). Over dinner, she suggested using EugeneOnegin. Although initially sceptical, Tchaikovsky later explored Pushkin’s verse novel, drafting an early opera script and committing to a project anchored in Onegin’s poetry and humanity.

Tchaikovsky admired Pushkin, whose Eugene Onegin, published from 1825–32, was a cornerstone of Russian literature. Tchaikovsky was plagued by the feeling that his music could not achieve the poet’s perfection. And he was also wracked

品的人文主題。故事圍繞三位主角以及他們 如何面對虛偽與冷酷展開：塔提雅娜純潔天 真、詩人連斯基熱情洋溢，而奧尼金則築起

冷漠壁壘。作品主題中的孤獨、失落和壯志 難酬，深深觸動了柴可夫斯基。

在劇本的寫作上，柴可夫斯基並非單打獨

鬥，友人康斯坦丁．斯洛夫斯基也參與其 中；柴可夫斯基經常造訪斯洛夫斯基在格 列博沃的鄉間別墅，並在那裏完成了《天鵝

湖》及《尤金．奧尼金》的大部分創作。他

倆盡可能保留普希金的原作詩句，歌劇第

一幕幾乎全部忠於原稿，只有塔提雅娜與 奧爾加的二重唱是取材自普希金另一首詩； 合唱和農民舞曲則借鑒了一首民歌，可能 來自拉欽斯卡婭所整理的曲集。開場的連 斯基詠嘆調和塔提雅娜的「寫信場景」，皆

逐字引用普希金原文。第二幕較少直接引 用，尤其是連斯基的詠嘆調和決鬥場景中 的奧尼金的二重唱。

音樂學院學期結束後有三個月的假期，柴 可夫斯基正好得以專心創作。1877 年 5 月 29 日，他到達格列博沃，開始勾勒歌劇場景。

即使有些人並不看好這個計劃，他也沒有放 棄。在 1877 年 6 月 15 日寫給弟弟莫傑斯特的 信中，他談到創作的進展與喜悅。這部作品

by doubts about staging the opera and about the audience’s response. Onegin’s country setting— in a rural home that lacked opulent spectacle—emphasised the story’s human themes. The narrative centres on individuals confronting insincerity and inhumanity: the pure, naïve Tatyana; Lensky, the ardent poet; and Onegin, who constructs a cynical barrier around himself. Its themes of loneliness, frustration and thwarted ambitions resonated with the composer personally.

Tchaikovsky did not write the libretto alone. He asked his friend Konstantin Shilovsky for help; Tchaikovsky was a frequent guest at his country home, where he wrote Swan Lake and much of EugeneOnegin. Tchaikovsky and Shilovsky sought to preserve most of Pushkin’s verses. Virtually the entire first opera scene uses Pushkin’s lines, though the Tatyana–Olga duet is taken from another Pushkin poem. For the chorus and serfs’ dance, he drew on a folk song—likely from S. N. Rachinskaya’s collection. The opening Lensky aria and Tatyana’s Letter Scene are word for word from Pushkin. The second act features fewer direct quotations, especially in Lensky’s aria and the duel scene’s Onegin duet.

As the Conservatory year ended, three months of holidays lay ahead for composing. He arrived in

漫長而充滿激情的寫作歷程由此展開，亦與 他曲折的人生緊密交織。在此期間，他曾與 年輕的小提琴家約瑟夫．柯泰克有一段戀 情，另外亦與贊助他長達十四年的娜傑達． 馮．梅克夫人建立了深厚聯繫。

有賴馮．梅克夫人的友誼及支持，柴可夫斯 基獲得了更大的創作自由，但他內心的掙扎 並未因此止息。1876 年，受身份認同危機的 困擾，他寫信給弟弟說：「我決定結婚了。」 次年春天，他收到了相識於 1873 年的音樂學 院舊生安東尼娜．米留柯娃（1848–1917）的 幾封情書。1877 年，他應約與米留柯娃見 面，在第二次相會時正式向她求婚，但僅承 諾給予「如兄弟般的愛」，而她亦接受了這 個條件。

在米留柯娃的書信告白後不久，柴可夫斯基 萌生了創作歌劇《尤金．奧尼金》的構想。

柴可夫斯基可能將自己比作奧尼金、米留柯 娃比作塔提雅娜。在寫給馮．梅克夫人的信 中，他提到自己對普希金作品的執着，對劇 中女主角深感同情，並希望自己不會像奧尼 金對待塔提雅娜那樣殘酷地對待米留柯娃。

1877 年 7 月 5 日，他告知莫傑斯特他即將結 婚；婚禮於翌日（7 月 6 日）舉行，這對新婚 夫婦離開聖彼得堡前往位於鄉間的住所。之

後，柴可夫斯基在卡緬卡埋首創作第四交響 曲和《尤金．奧尼金》。

Glebovo on 29 May 1877 and began outlining scenes. Although not everyone shared his enthusiasm, he perservered. In a letter to his brother Modest (15 June 1877), he reported progress and his pleasure in composing. Thus began a long, passionate project, intertwined with his complex personal life, including his love for young violinist Josef Kotek and his profound relationship with Nadezhda von Meck, which funded and sustained his work for 14 years.

Thanks to von Meck’s friendship and support, Tchaikovsky enjoyed greater creative freedom, though his inner demons persisted. In 1876, during a crisis, he wrote to his brother: “I have decided to get married.” The following spring, he received several love letters from Antonina Miliukova (1848–1917), a former Conservatory student whom he had met in 1873. He agreed to meet Miliukova in 1877 and at their second meeting he formally proposed, but offered only “brotherly love”, which she accepted.

Not long after Antonina’s love confession through the letter, the dinner at Lavrovska’s took place and the idea to use Pushkin’s Onegin as the opera theme was voiced. Tchaikovsky might have seen himself as Onegin and Miliukova as Tatyana. In letters to von Meck, he cited his preoccupation with Pushkin, sympathy for the heroine and a wish not to treat Antonina cruelly as Onegin did with Tatyana. On 5 July 1877 he informed Modest that he would be married; the wedding occurred

這段婚姻很快就瀕臨崩潰，到了九月，柴可 夫斯基甚至想到自殺。回到莫斯科後，他與 米留柯娃在情感上決裂，並於 10 月 3 日與另 一位弟弟阿納托利前往柏林。他隨後在日內 瓦湖畔的克拉倫斯村麗榭留山莊安頓下來， 過着簡樸的生活。得益於馮．梅克夫人每年

六千盧布的資助，他在經濟上無需再仰仗他 人。在這段人生動盪的時期，他仍繼續創作 《尤金．奧尼金》。1877 年 11 月中旬，他完成

第二幕第一場的配器，把這份作品送往莫斯 科音樂學院首演，而非交予帝國劇院。

與柴可夫斯基保持聯繫的朋友中，塞爾蓋． 塔涅耶夫給《尤金．奧尼金》提供了意見。

在十二月的信中，他誇讚了配器，但批評劇 本情節不夠緊湊、塔提雅娜的愛情來得太突 然、開幕場景戲劇張力不足。柴可夫斯基激

昂地為作品辯護，認為舞台效果對他而言 並不重要，他寫《尤金．奧尼金》的首要目 的，是將小說的元素轉化為音樂，而不是為 了營造宏大的舞台場景。他堅信自己需要的 是有血有肉的人物，而不是人偶，並始終認 為塔提雅娜對奧尼金正是一見鍾情，不需要 長久的醞釀。

在聖雷莫，他完成了配器和鋼琴縮譜。到

了 1879 年 2 月，他告訴馮．梅克夫人，所有 細節都已完成，他很快就會開始譜寫總譜。

他將分譜寄給尼古拉．魯賓斯坦，並請卡雷 爾．阿爾布雷特編配鋼琴縮譜和舞台指示。

1878 年 9 月回到莫斯科後，他對在帝國劇院

上演此劇有所顧慮，情願選擇在莫斯科音樂 學院演出。其原因在於：《尤金．奧尼金》 極富創新性，不須依賴華麗和公式化的排 場。音樂學院正是演繹此作的理想場所。

關於作品的演出，1878年3 月前後，《尤金． 奧尼金》選段於女中音朱莉亞．費奧多羅夫 娜．阿巴扎在聖彼得堡的府邸中非公開演 出，同年 12月16日在音樂學院公開彩排。柴 可夫斯基和莫傑斯特出席了 1879年3 月17 日在 莫斯科小音樂學院的首演，由尼古拉．魯賓 斯坦指揮、伊凡．薩馬林執導。他在致馮． 梅克夫人的信中形容，首演時自己隱身於黑

the next day, 6 July, and the newlyweds left Saint Petersburg for their country home. Tchaikovsky then spent time at Kamenka, working on Symphony No 4 and EugeneOnegin

The marriage quickly faltered and by September Tchaikovsky contemplated suicide. Returning to Moscow, he separated emotionally and eventually left for Berlin on 3 October with his brother, Anatoly. He settled in Villa Richelieu, Clarens, by Lake Geneva, living frugally but receiving a 6,000-rouble annual allowance from von Meck, which gave him financial independence. Despite the upheaval, he continued to work on Onegin. By midNovember 1877, he was finishing the orchestration of the first scene of Act II to send to the Moscow Conservatory for the premiere, rather than entrusting it to the Imperial Theatres.

Tchaikovsky stayed in touch with friends, including Sergei Taneyev, who provided critique. Taneyev’s December note praised the music, but faulted the libretto for insufficient action, noting Tatyana’s leap to love and the opening scene’s limited dramatic movement. Tchaikovsky defended his work passionately, arguing that scenic effect mattered little to him. He wrote EugeneOnegin because he was obsessed with musicalising the novel’s elements, not to imitate grand-stage spectacle. He believed he needed real people, not puppets, and stood by his claim that Tatyana’s love for Onegin could arise instantly, not from long acquaintance.

In San Remo, he finished the instrumentation and piano excerpts; by February 1879 he told von Meck that everything was detail-complete and he would soon score it. He sent parts to Nikolai Rubinstein and asked Karel Albrecht to arrange piano excerpts and directing notes. On his return to Moscow in September 1878 he was wary of using the Imperial Theatres because of the innovative nature of the piece, preferring to stage it at the Conservatory because it was a more intimate venue that did not rely on pomp and formula.

For the performance of EugeneOnegin, parts of it were performed in a private showing in Saint Petersburg in the house of mezzo-soprano Julia Feodorovna Abaza around March 1878, with

© Patrik Borecký

暗中觀賞演出，對合唱團與管弦樂團印象深 刻，卻認為獨唱表現未盡理想。1880 年，

陀思妥耶夫斯基在普希金紀念碑揭幕儀式

上的演講打動了柴可夫斯基，這也促使他 再度審視歌劇的結局 ——1881 年 1 月 11 日， 《尤金．奧尼金》在莫斯科大劇院舉行首

演，結局亦從原版戲劇性的災難改為以塔 提雅娜優雅克制的姿態作結。

之後，半專業的演出也紛紛湧現：1883 年，

《尤金．奧尼金》在聖彼得堡的科諾諾夫劇 院上演；同年十一月，該劇在馬林斯基劇院 上演，由愛德華．納普拉夫尼克指揮。1885

年的復排版本在第三幕中增加了一段新的舞 會舞蹈，但原版結局中塔提雅娜離開時那段 二十一小節的樂段，至今仍被認為比後來的 改動更加激昂有力。

時至今日，《尤金．奧尼金》已成為世界各 地歌劇院的經典劇目，它融合了普希金優雅 的詩句與柴可夫斯基的音樂，細膩地展現了 塔提雅娜、奧尼金和連斯基的內心世界，歷 久彌新，引人深思。

撰文：帕翠絲．卡斯高娃 中文翻譯：黃家慧

public dress rehearsals at the Conservatory on 16 December 1878. Tchaikovsky and Modest attended the first production on 17 March 1879 at the Moscow Small Conservatory, conducted by Nikolai Rubinstein and directed by Ivan Samarin. He described the premiere to von Meck: he watched in darkness, impressed by the chorus and orchestra, but felt the soloists underperformed. In 1880, he endorsed speech by Dostoevsky at the unveiling of Pushkin’s monument, influencing the ending: at Moscow’s Great Theatre premiere on 11 January 1881, Onegin ends with Tatyana’s refined restraint rather than dramatic catastrophe.

Semi-amateur productions persisted: in 1883

Onegin appeared at the Kononov Theatre in Saint Petersburg, and a Mariinsky Theatre staging followed in November 1883 under Eduard Nápravník. A 1885 revival added a new ball dance in Act III. Yet the original 21-bar storm of Tatyana’s exit remains arguably more powerful than later additions.

Today EugeneOnegin is a staple worldwide, blending Pushkin’s elegant verse with Tchaikovsky’s music to reveal layers of Tatyana, Onegin and Lensky in a timeless, resonant drama.

Text: Patricie Částková Chinese translation: Gabi Wong

劇場導演專訪

A Conversation with the Stage Director

柴可夫斯基的歌劇《尤金．奧尼金》在世 界各地上演過無數次，這次由捷克布爾諾 國家歌劇院帶來的演出如何詮繹這套經典

之作？香港藝術節邀請了劇場導演馬丁．

格瑟進行訪談，剖析創作團隊的藝術理念。

問 劇中主角尤金．奧尼金常被形容為「壞 男孩」。他家世顯貴、風度翩翩，卻輕率 魯莽，甚至挑逗友人連斯基的未婚妻奧爾 加，最終引發兩人決鬥並釀成悲劇。這演 出如何刻畫奧尼金複雜的個性？ 格瑟 你所說得都沒錯。但同時，這部歌 劇也會令人感受到一種來自靈魂深處的痛 苦，以及對無法觸及的事物的強烈渴望── 我們都渴望得到一段圓滿的關係。奧尼金 很清楚，這在現實世界中幾乎無法實現。

他的人生像是在玩俄羅斯輪盤，隨時都要 面對「二擇一」，甚至「一子錯，滿盤皆落 索」的抉擇。他的所作所為不僅摧毀身邊 人，也讓自己孤身陷於失落和幻象的一片 荒蕪之中。儘管奧尼金有種種陰暗面，我 們仍然要同情、原諒他。

Tchaikovsky’s EugeneOnegin has graced stages across the globe countless times. How does the National Theatre Brno re-interpret this timeless masterpiece for today’s audiences? The HKAF conducts a Q&A with stage director Martin Glaser to uncover the artistic vision behind their latest production.

Q The title character, Eugene Onegin, is often described as a “bad boy”—charismatic, privileged and reckless, particularly when he provokes the fatal duel with his friend Lensky and his flirtatious behaviour towards Lensky’s fiancé Olga. How does this performance capture and convey the complexity of Onegin’s character?

Martin Glaser All of that is true, but at the same time, throughout the whole opera we feel a deep inner pain and a desire for something deep, unattainable. For a relationship that would bring total fulfilment. Onegin realises that is not possible in real life, so he plays a kind of Russian roulette. At any moment, it's an “either/or”, “all-or-nothing” decision. In doing this, he destroys everyone around him, until, in the end, he is left hopelessly alone in a desolate palace of lost memories and illusions. And we must sympathise with him and forgive him despite all his dark sides.

問「寫信場景」是這部歌劇的名場景之一。

你們如何詮釋塔提雅娜的情感和內心活動？ 又如何在舞台上展現她對奧尼金的感情？

格瑟 「書信」與「夢境」是貫穿整個製作 的主題。在「寫信場景」中，我們希望細膩 剖析塔提雅娜的內心世界，在她的靈魂與 幻夢之間築起一道橋樑。因此前半部分， 我們刻意追求極簡，將焦點放在人聲、姿 態及動作上。這種處理方式營造出強烈的 張力，加上（觀眾）對舞台的想像力，可以 爆發出意想不到的視覺效果。

問《尤金．奧尼金》歷經全世界無數版本 演繹。布爾諾國家歌劇院的版本有何獨特 之處？你們重點關注哪些觀點與角度？

格瑟 柴可夫斯基以「抒情場景」為這部歌 劇定調。這是一部充滿幻夢、思緒和回憶 的作品，我們也正是從這個角度切入。塔

提雅娜回望自己的一生，意識到自己早已 偏離了年輕時的願景。我們嘗試在舞台上 映照她的靈魂，以亦幻亦真的形式重現她 的記憶和夢想。塔提雅娜彷彿坐在某個廢

棄戲院的座位上，或是身處她的宮殿中某 個無人居住的角落，像觀看電影那樣審視 自己的人生。我相信，這可為柴可夫斯基 的作品增添一份奇幻色彩。

問 許多人認為柴可夫斯基將自己不為人知 的一面投射到奧尼金這個角色身上。你在 多大程度上同意這種看法？它如何影響你 對這部歌劇的解讀？

格瑟 如果一定要這麼說的話，我覺得柴可 夫斯基把他的慾望投射在塔提雅娜和連斯 基這兩個角色上。他們擁有純潔無瑕、感 情充沛的靈魂，渴望那遙不可及的愛情。

畢竟，塔提雅娜的戲份甚至超越了作為劇 名的主角奧尼金。

撰文：楊紫媛

Q The Letter Scene is one of the opera’s most iconic moments. How does this production interpret the emotions and psychology of Tatyana, and how are her feelings for Onegin expressed on stage?

MG The motif of the letter and the dream runs through our entire production. In the Letter Scene, we wanted to create a bridge between detailed, concentrated psychological analysis of Tatyana's soul and the fantastical world of her dreaming. So the first part is intentionally minimalist—we focus on expression in the voice, on every gesture and movement. This creates a huge overpressure, which is transformed into an explosion of unexpected magical images with the help of stage imagination.

Q EugeneOnegin has been performed countless times around the world. What sets this particular production apart, and what unique perspective or angle does it focus on?

MG Tchaikovsky himself described this opera as lyrical scenes. It is a work full of dreams, ideas and memories. This is also the basis of our interpretation. It is Tatyana’s look back at a life that went in a different direction than she wished. We conceived the stage space as a landscape of her soul, in which those memories and dreams are rehashed, sometimes taking on a ghostly form. As if she had sat down in a seat in some derelict cinema or in an uninhabited part of her palace, she looked at her life like it was a film. I believe that this has intensified the dreamlike dimension of Tchaikovsky’s work.

Q Many believe that Tchaikovsky projected hidden aspects of himself onto the character of Onegin. Do you agree with this and did this inform your interpretation of the opera?

MG I would rather say that Tchaikovsky put his desires into the characters of Tatyana and Lensky. These are pure, lyrical souls who long for unattainable love. After all, Tatyana has more space in the opera than the title hero.

Text: Trista Yeung

布爾諾國家歌劇院楊納傑克歌劇團

The Janáček Opera of the National Theatre Brno

楊納傑克歌劇團是中歐領先的歌劇團之一， 其歷史可以追溯到十九世紀。多年來，歌劇

樂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人的 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。

楊納傑克歌劇團演出了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。歌劇團管弦樂團及合唱團走出捷 克國門，其活動橫跨歐洲和中東（阿曼馬斯 喀特皇家歌劇院、杜拜），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」，成為捷克共和

國首個獲此殊榮的音樂節，並於2024年再 度獲得該獎。

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 樂季加入布爾諾劇 院，並自 2025 / 26 樂季起擔任楊納傑克歌劇團首席 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。他擔任過多部作品的演出指揮，如《黑 桃皇后》、《李布謝》、《希臘受難曲》、《魔鬼之 墻》、《死屋手記》和《格利高拉彌撒曲》的雙場表 演、《玫瑰騎士》以及《奧塞羅》。

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 such as TheQueenofSpades, Libuše, TheGreekPassion, TheDevil’sWall, the double-bill FromtheHouseof theDead/GlagoliticMass, DerRosenkavalier and Otello.

劇場導演 馬丁．格瑟

馬丁．格瑟自 2013 年 11 月起擔任捷克布爾諾國家歌 劇院的總監。他作為劇場導演，曾執導了許多捷克 國內外戲劇的首演。他的作品主要探討操縱和權力 此類主題。在捷克布爾諾國家歌劇院，他創作了 《哈維爾在牧牛人的國度》、《油燈》、《恐懼》和 《一報還一報》。

格瑟在皮爾森劇院執導音樂劇《妙女郎》時，開始 接觸到各類音樂流派。他最初執導的歌劇是威爾 第的《奧塞羅》，隨後執導了舒曼唯一的歌劇作品 《格諾費娃》；與布爾諾劇團合作期間，他執導了楊 納傑克的《耶奴法》、柴可夫斯基的《黑桃皇后》、 威爾第的《唐．卡洛》和《奧塞羅》、德伏扎克的 《雅各賓派人》和韓德爾的《阿格里皮娜》。

Stage Director

Martin Glaser

Martin Glaser has been the General Director of the National Theatre Brno since November 2013. As a stage director, he has mounted the premieres of a number of domestic and foreign plays. In his productions, he mostly deals with themes of manipulation and power. For the drama stage of the National Theatre Brno, he created the productions of Havel in the Land of Cattlemen, Oil Lamps, Terror and Measure for Measure

He became acquainted with music genres while directing the musical Funny Girl in the Pilsen Theatre. He first worked on opera with Verdi’s Otello followed by Genoveva, the only opera by Schumann; and with the Brno ensemble, he staged Janáček’s Jenůfa, Tchaikovsky’s The Queen of Spades, Verdi’s Don Carlos, Otello, Dvořák’s The Jacobin and Händel’s Agrippina

戲劇構作 帕翠絲．卡斯高娃

帕翠絲．卡斯高娃畢業於楊納傑克表演藝術學院歌 劇導演專業，自 1995 年以來，她一直在楊納傑克歌 劇團擔任戲劇構作，參與製作了八十多部歌劇作品 （如《莎樂美》、《狡猾的小狐狸》、《布魯柴克先生 的月球之旅》、《費加羅的婚禮》、《水仙子》、《亞 美達》、《遙遠的愛》、《吉爾伽美什史詩》、《李布 謝》、《彼德．格蘭姆斯》、《托斯卡》、《達利波》 和《阿爾辛娜》），並與尤里．赫曼、大衛．普尼、 羅伯特．卡森和大衛．拉多克等導演合作。

卡斯高娃是楊納傑克布爾諾國際音樂節的聯合組織 者暨戲劇構作委員會成員。她是楊納傑克歌劇團多 個教育項目的講師，也是兒童劇《胡爾維內克出賣 新娘》的作者。

Dramaturge

Patricie Částková

Patricie Částková graduated from the Janáček Academy of Performing Arts in Opera Directing and since 1995 has been working as a dramaturge with the Janáček Opera, where she has been involved in more than 80 opera productions (such as Salome, TheCunningLittleVixen, TheAdventuresofMr Brouček, TheMarriageofFigaro, Rusalka, Armida, LovefromAfar, TheEpicofGilgamesh, Libuše, PeterGrimes, Tosca, Dalibor and Alcina) and has collaborated with directors including Jiří Heřman, David Pountney, Robert Carsen and David Radok.

She is a co-organiser of the Janáček Brno International Festival and a member of the festival’s dramaturgical board. She is a lecturer for a number of educational projects at the Janáček Opera and the author of the children's play HurvínekBarterstheBride.

佈景設計

巴維．博拉克

巴維．博拉克自 1994 年以來一直活躍於佈景設計領 域。他至今已參與過一百多部作品的製作，並曾與 托馬斯．魯日奇卡、佐婭．米科托娃、J A．皮廷 斯基、馬丁．格瑟等人合作。他為捷克布爾諾國家 歌劇院楊納傑克歌劇團設計了《漂泊的荷蘭人》、 《黑桃皇后》、《唐．卡洛》、《雅各賓派人》和《耶 奴法》的佈景。

他的其他劇作佈景設計作品包括：《海達．蓋伯 勒》、《阿卡迪亞》、《三姊妹》、《三聯畫》、《卡 拉馬佐夫兄弟》和《牧羊人的妻子》（以上均由羅 曼．博拉克執導、在布拉迪斯拉瓦的斯洛伐克國家 劇院上演）；《信、望、愛》（布拉格喜劇院）；《耳 朵》（布爾諾哈那切克劇院）；《羅密歐與茱麗葉》 （伊希拉瓦霍拉茨克劇院）和《第十二夜》（布爾諾 城市劇院）。

Set Designer

Pavel Borák

Pavel Borák has been active in scenography since 1994. Across more than 100 productions to date, he has worked with Tomáš Růžička, Zoja Mikotová, J. A. Pitínský, Martin Glaser and others. For the Janáček Opera of the National Theatre Brno, he designed the scenography for the FlyingDutchman, TheQueenofSpades, DonCarlos, TheJacobin and Jenůfa

His other works include set design for Hedda Gabler, Arcadia, ThreeSisters, Triptych, The BrothersKaramazov and TheShepherd’sWife, all directed by Roman Polák at the Slovak National Theatre in Bratislava; Faith, Love, Hope for the Komedie Theatre in Prague; TheEar at HaDivadlo in Brno; RomeoandJuliet at the Horácké Theatre in Jihlava; and TwelfthNight at the Brno City Theatre.

服裝設計

瑪琪塔．史拉迪高娃

瑪琪塔．史拉迪高娃起初在捷克電視台工作，後來 主要專注於戲劇場景和服裝設計。她曾與捷克和斯 洛伐克共和國的許多劇院合作。她為捷克布爾諾 國家歌劇院楊納傑克歌劇團設計了《黑桃皇后》、 《唐．卡洛》、《雅各賓派人》和《耶奴法》的演出 服裝。她偶爾也會從事空間設計，例如她曾參與 2014 年法蘭克福書展捷克展區的設計。

Costume Designer

Markéta Sládečková

Markéta Sládečková started working with Czech Television and later focused mainly on drama scenography and costume design. She has worked with many theatres in the Czech and Slovak republics. For the Janáček Opera of the National Theatre Brno, she designed costumes for TheQueenofSpades, DonCarlos, TheJacobin and Jenůfa. She occasionally engages in spatial design, for example for the Czech exposition at the Frankfurt Book Fair in 2014.

燈光設計 馬丁．史比力

馬丁．史比力最初在布拉格的戴維奇劇院擔任燈 光師，2004 年加入布拉格的斯萬達劇院擔任舞台 燈光師。他還與其他劇團合作，例如連續劇場（捷 克共和國 / 波希米亞）、錯位劇團（捷克共和國 / 法 國）、新前線劇院（俄羅斯 / 捷克共和國）、螯蝦劇 團（芬蘭 / 美國 / 捷克共和國）、噴火戰機劇團（捷 克共和國）、筒倉劇團（荷蘭）和說書人劇團（加 拿大）。他不僅擅長形體劇場和舞蹈劇場的燈光設 計，對於特定場域劇場與視覺劇場的燈光佈置亦富 造詣。

Lighting Designer Martin Špetlík

Martin Špetlík started working as a lighting engineer in the Dejvické Theatre in Prague and in 2004 he joined the Švanda Theatre in Prague as a scenic lighting master. He also worked with other theatre troupes such as Divadlo Continuo (Czech Republic/Bohemia), Compagnie Decalages (Czech Republic/France), Teatr Novogo Fronta (Russia/Czech Republic), Krepsko (Finland/USA/Czech Republic), Spitfire Company (Czech Republic), Silo Theatre (the Netherlands) and the Debajehmujig Theatre Group (Canada). He specialises in physical and dance theatre as well as site-specific and visual theatre.

編舞

馬丁．帕西克

馬丁．帕西克是布拉格 BUFO 舞蹈劇團的創始人， 現擔任藝術總監和編舞。三十多年來，他在捷克和 斯洛伐克合作創作了約五百部戲劇、音樂劇、歌劇 和輕歌劇作品。在楊納傑克歌劇團，他曾擔任《愛 情靈藥》、《黑桃皇后》、《雅各賓派人》的編舞， 還與戲劇部門合作製作了《十二怒漢》、《哈維爾在 牧牛人的國度》、《油燈》、《愚人夜》和《協定》。

Choreographer

Martin Pacek

Martin Pacek is the founder of the BUFO dance theatre group in Prague, where he works as Artistic Director and Choreographer. Over three decades he has collaborated on about 500 drama, musical, opera and operetta productions in the Czech Republic and Slovakia. At the Janáček Opera he has worked as a choreographer on productions of L’elisird’amore, TheQueenofSpades and The Jacobin; and with the drama department on productions of TwelveAngryMen, Havelinthe LandofCattlemen, OilLamps, NightofFools and Protocol

合唱指導

巴維．康納克

巴維．康納克自 1997 年起已在捷克布爾諾國家歌劇 院工作，並從 2016 年起擔任首席合唱指導。他迄今 已與楊納傑克歌劇團合唱團排練了五十多部作品， 並參與了數十部作品的籌備工作。他曾隨捷克布 爾諾國家歌劇院在歐洲和亞洲的多個城市演出。自 1995 年起，他擔任奧洛穆克摩拉維亞愛樂樂團薛勒 帖學院合唱團的藝術總監兼合唱指導。他同時在布 爾諾楊納傑克表演藝術學院和奧洛穆克的福音派音 樂學院教授合唱指揮。

Chorus Master Pavel Koňárek

Pavel Koňárek has worked at the National Theatre Brno since 1997, and he became Principal Chorus Master in 2016. To date, he has rehearsed more than 50 productions with the Janáček Opera choir and participated in the preparation of dozens more. With the National Theatre Brno, he has performed in many European and Asian cities. Since 1995, he has been the Artistic Director and Chorus Master of the Žerotín Academic Choir at the Moravian Philharmonic in Olomouc. He teaches choral conducting at the Janáček Academy of Performing Arts in Brno and at the Conservatory of the Evangelical Academy in Olomouc.

男中音

斯瓦托普魯克．瑟姆 飾　尤金．奧尼金（3月19日）

斯瓦托普魯克．瑟姆是布拉格國家劇院歌劇院的獨 唱家，曾演出多個男中音主角（包括唐．喬望尼、 古列爾摩、貝戈爾、傑蒙、雷納托、沃爾夫拉姆、 克林索和艾斯卡米歐）。

2016 年 4 月，他與卡麗塔．馬蒂娜一起，在倫敦皇 家艾伯特音樂廳舉行的英國廣播公司逍遙音樂節 上，與英國廣播公司交響樂團合作，演出楊納傑 克的《馬克羅普洛斯事件》，在其中飾演普魯斯男 爵。他經常與捷克布爾諾國家歌劇院合作。他還在 都靈皇家劇院飾演《狡猾的小狐狸》中的守林人。

2018 年，他參與了歐洲的歌劇項目《歌劇視野》， 飾演了普熱米斯爾（《李布謝》）和守林人（《狡猾 的小狐狸》）。

Baritone

Svatopluk Sem

As Eugene Onegin (19 March)

Svatopluk Sem, a soloist of the National Theatre Opera in Prague, has appeared in a number of leading baritone roles (including Don Giovanni, Guglielmo, Belcore, Germont, Renato, Wolfram von Eschenbach, Klingsor and Escamillo).

In April 2016, he appeared alongside Karita Matilla at the prestigious BBC Proms Festival at London’s Royal Albert Hall as Jaroslav Prus in Janáček’s TheMakropulosCase with the BBC Symphony Orchestra. He regularly collaborates with the National Theatre Brno. He has also appeared as the Forester (TheCunningLittleVixen) at the Teatro Regio in Turin. In 2018, he took part in the European opera project OperaVision, where he sang Přemysl (Libuše) and the Forester (TheCunningLittleVixen).

男中音 羅曼．荷沙 飾　尤金．奧尼金（3月21日）

羅曼．荷沙是楊納傑克歌劇團和杜塞爾多夫德國萊 茵歌劇院的成員。 2015 年，他在捷克布拉格國家劇 院首次亮相，在《費加羅的婚禮》中飾演費加羅。 此後他便成為該劇院的常駐客席演員。

在捷克布爾諾國家歌劇院，他曾多次飾演男中音 主角（包括唐．喬望尼、古列爾摩、費加羅、貝戈 爾、艾斯卡米歐和丹尼路）。他也是各大音樂會中 的當紅歌者。2023 年，他在雅各．胡薩的指揮下， 與聖切契利亞國立音樂學院管弦樂團合作，在羅馬 演出了德伏扎克的《鬼新娘》。他合作過的巴洛克 管弦樂團有 1704 古樂團、不均等樂團、佛羅利亞古 樂團和捷克室內巴洛克樂團。他亦經常獲邀參與捷 克和外國歌劇院和音樂節。

Baritone

Roman Hoza

As Eugene Onegin (21 March)

Roman Hoza is a member of the Janáček Opera ensemble and the Deutsche Oper am Rhein in Düsseldorf. In 2015, he made his debut at the National Theatre in Prague as Figaro in TheMarriage ofFigaro and has been a regular guest ever since.

At the National Theatre Brno, he has appeared in a number of leading baritone roles (including Don Giovanni, Guglielmo, Figaro, Belcore, Escamillo and Danilo). He is also a sought-after performer of the concert repertoire. In 2023, he performed in Dvořák’s TheSpectre’sBride under the baton of Jakub Hrůša with the Accademia Nazionale di Santa Cecilia orchestra in Rome. He collaborates with Baroque orchestras such as Collegium 1704, Ensemble Inégal, Musica Florea and the Czech Ensemble Baroque. He is a regular guest at Czech and foreign opera houses and festivals.

女高音

蓮達．巴洛娃 飾　塔提雅娜（3月19日）

蓮達．巴洛娃於 2006 / 07 樂季在科希策國立劇院 首次亮相，飾演古諾《浮士德》中的斯貝爾。她曾 出演《被出賣的新娘》中的瑪蓮卡、《唐．喬望尼》 中的唐娜．安娜、《馬克羅普洛斯事件》中的艾米 利亞．馬蒂、《唐．卡洛》中的伊麗莎白和《蝴蝶 夫人》中的秋秋桑等角色。她還於 2014 年在比利時 的阿爾登比森演出唐娜．安娜一角，並與荷西．庫 拉在布拉迪斯拉瓦和俄斯特拉發（2014）以及克羅地 亞杜布羅夫尼克（2016）舉行音樂會。

2017 年，她首次代表捷克布爾諾國家歌劇院在中國 上海國際藝術節演出，飾演艾米利亞．馬蒂一角。

2022 年，她在匈牙利國家歌劇院首次飾演威爾第 《唐．卡洛》中的伊麗莎白。

Soprano

Linda Ballová

As Tatyana (19 March)

Linda Ballová made her debut at the State Theatre Košice as Siebel in Gounod’s Faust (2006/07). She has an extensive repertoire including Mařenka in TheBarteredBride, Donna Anna in DonGiovanni, Emilia Marty in TheMakropulosCase, Elisabetta in DonCarlos and Cio Cio San in MadamaButterfly. She also performed the role of Donna Anna at Belgium’s Alden Biesen in 2014 and concerts with José Cura in Bratislava and Ostrava (2014), and in Dubrovnik, Croatia, in 2016.

In 2017, she made her debut with the National Theatre Brno as Emilia Marty at the China Shanghai International Arts Festival. In 2022 she made her debut at the Hungarian State Opera as Elisabetta in Verdi’s DonCarlos

女高音 艾斯特．皮利巴 飾　塔提雅娜（3月21日）

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 的角色包括米凱拉（《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

As Tatyana (21 March)

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 I Capuleti e i Montecchi and Ilia in Idomeneo. Her recent roles include Micaëla (Carmen), Mimì (La bohème), Giulietta (I Capuleti e i Montecchi), Ilia (Idomeneo) and Susanna (Le nozze di Figaro).

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

男高音

彼得．伯傑

飾　連斯基（3月19日）

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、 連斯基等。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》）。伯傑也是一位多產的音樂會藝術 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

As Lensky (19 March)

Peter Berger’s repertoire comprises Alfredo (La traviata), Macduff (Macbeth), Faust (Faust), Jeník (TheBarteredBride), the Prince (Rusalka), Werther and Lensky. 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.

男高音 阿列什．布里賽因 飾　連斯基（3月21日）

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。他的職業里程碑包括：在日內瓦演 出鮑里斯（《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 立歌劇院演出費兒卡（《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、薩爾斯堡藝術節、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。

Tenor

Aleš Briscein

As Lensky (21 March)

Czech tenor Aleš Briscein is one of the most sought-after interpreters of Slavic opera literature. Important milestones in his career include roles such as Boris (Katya Kabanova) and Kuragin (War and Peace, directed by Calixto Bieito) in Geneva, Filka (From the House of the Dead) at the Bayerische Staatsoper and Lensky (Eugene Onegin) 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.

女低音

域卡拉娃．卡雷伊契．豪斯高娃 飾　奧爾加（3月19日）

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團的獨唱家。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》）、 菲妮娜（《拿布果》）、奧他維文（《玫瑰騎士》）、 狐狸（《狡猾的小狐狸》）、布拉達曼特（《阿爾辛 娜》）及安奈莉絲（《阿依達》）等角色。她在維也 納劇院首次亮相，在楊納傑克的《耶奴法》（2022） 中飾演市長夫人。她與尼基．史賓斯和朱利亞斯． 德雷克共同錄製了由海柏利昂公司發行的《失蹤者 的日記》。

Contralto

Václava Krejčí Housková

As Olga (19 March)

Václava Krejčí Housková is a soloist at the Janáček Opera of the National Theatre Brno. Her repertoire includes roles such as Dorabella (Cosìfantutte), Kate (TheDevilandKate), Carmen, Witch (Rusalka), Olga (EugeneOnegin), Fenena (Nabucco), Octavian (DerRosenkavalier), Fox (TheCunningLittleVixen), Bradamante (Alcina) and Amneris (Aida). She made her debut at the Theater an der Wien as the Mayor’s wife in Janáček’s Jenůfa (2022). Václava participated in the recording of TheDiaryofOne WhoDisappeared for Hyperion along with Nicky Spence and Julius Drake.

女低音 / 女中音 雅娜．赫羅喬娃 飾　奧爾加（3月21日）／拉維娜（3月19日） 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。

Contralto / Mezzo-soprano

Jana Hrochová

As Olga (21 March)/Larina (19 March)

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 Orlofsky (DieFledermaus) and others. She works with conductors such as Jakub Hrůša, Leoš Svárovský, Tomáš Hanus and others.

女中音

丹尼拉．史特拉高娃 飾　拉維娜（3月21日）

丹尼拉．史特拉高娃自 1992 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，並曾飾演 不同的角色，包括瑪琳卡（《被 出賣的新娘》）、布拉珍卡（《秘 密》）、薇奧列達（《茶花女》）、 諾麗娜（《帕老爺的婚事》）、咪 咪（《波希米亞人》）和費奧迪麗 姬（《女人心》）等。

Mezzo-soprano

Daniela Straková

As Larina (21 March)

Daniela Straková has been a soloist with the National Theatre Brno’s Janáček Opera since 1992, and has performed a diverse range of roles including Mařenka (TheBarteredBride), Blaženka (TheSecret), Violetta (La traviata), Norina (DonPasquale), Mimì (Labohème) and Fiordiligi (Cosìfantutte).

女中音

伊特卡．扎爾豪奧娃 飾　菲利皮耶娜

伊特卡．扎爾豪奧娃曾是捷克布 爾諾國家歌劇院楊納傑克歌劇團 的長期成員，她也是斯洛伐克國 家劇院歌劇團和布拉格國家劇院 的常駐客席藝術家。她曾飾演眾 多女中音角色，包括卡門、老女 巫（《水仙子》）、凱蒂（《凱蒂 與魔鬼》）和艾素芊娜（《遊吟詩 人》）等。

Mezzo-soprano

Jitka Zerhauová

As Filippyevna

Jitka Zerhauová was a long-standing member of the National Theatre Brno’s Janáček Opera. She has also been a regular guest artist at the Slovak National Theatre and the National Theatre in Prague. She performs a diverse range of mezzosoprano roles including Carmen, Old Witch (Rusalka), Kate (The Devil and Kate), Azucena (Il trovatore) and many others.

男低音 揚．舒瓦 飾　格雷明親王（3月19日） 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以客席演員 身份演出。他出演的角色包括雷 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

As Prince Gremin (19 March)

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. His repertoire includes Leporello (Don Giovanni), Don Alfonso (Così fan tutte), Figaro and Bartolo (Le nozze di Figaro), the King (Aida), Méphistophélès (Faust) and Waterman (Rusalka).

男低音

大衛．森迪赫 飾　格雷明親王（3月21日）

大衛．森迪赫曾是奧洛穆茨的摩 拉維爾劇院的獨唱家。自 2005 年起，他作為客席演員在捷克布 爾諾國家歌劇院演出。他在 2023 年成為捷克布爾諾國家歌劇院 的獨唱家，曾演繹過撒迦利亞 （《拿布果》）、拉姆菲斯（《阿 依達》）和巴托羅（《費加羅的婚 禮》）。他亦經常在捷克交響樂 作品的音樂會中登場。

Bass

David Szendiuch

As Prince Gremin (21 March)

David Szendiuch was a soloist with the Opera of the Moravian Theatre in Olomouc. He has appeared as a guest at the Brno National Theatre since 2005. He became a soloist with the National Theatre Brno in 2023 and has sung Zacharias (Nabucco), Ramfis (Aida) and Bartolo (LenozzediFigaro). He regularly appears in concert programmes of Czech symphonic works.

男高音

維特．諾塞克 飾　特林格特

維特．諾塞克是布拉格國家劇院 和摩拉維亞 西里西亞國家劇院 的客席演員。他目前是捷克布爾 諾國家歌劇院的獨唱家，曾演 出納拉博特（《莎樂美》）、巴多 福（《法斯塔夫》）、莫羅斯達托 （《魔笛》）等角色。他曾參演布 列頓的知名歌劇《彼德．格蘭姆 斯》，並於 2022 年布爾諾楊納傑 克音樂節與指揮雅各．胡薩演出 《死屋手記》。

Tenor

Vít Nosek

As Triquet

Vít Nosek is a guest performer at the National Theatre in Prague and the National Moravian-Silesian Theatre. He is currently a soloist at the National Theatre Brno, performing roles such as Narraboth (Salome), Bardolfo (Falstaff) and Monostatos (The Magic Flute). He appeared in the highly regarded production of Britten’s Peter Grimes and performed under conductor Jakub Hrůša in the opera From the House of the Dead at the Janáček Brno 2022 festival.

男低音

科內爾．米卡茲 飾　沙里斯基

科內爾．米卡茲自 2017 年起已是 捷克布爾諾國家歌劇院楊納傑克 歌劇團合唱團的成員，並經常 飾演獨唱角色，如使者（《奧塞 羅》）、旅店老闆（《狡猾的小狐 狸》）和第五個猶太人（《莎樂 美》）。

Bass Kornél Mikecz

As Zaretsky

Kornél Mikecz has been a member of the National Theatre Brno’s Janáček Theatre Choir since 2017, and regularly sings solo roles such as Herald (Otello), Innkeeper (The Cunning Little Vixen) and the Fifth Jew (Salome).

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

捷克布爾諾國家歌劇院楊納傑克歌劇團管弦樂團

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

雙簧管 Oboe

Barbora Šteflová

Klára Kučerová

單簧管 Clarinet

Tomáš Kraus

Dominik Sedlák

巴松管 Bassoon

Pavel Horák

Miroslav Černohlávek

圓號 French Horn

Martin Novák

Tomáš Kopecký

Lada Hojačová

Pavla Tichá

小號 Trumpet

Lukáš Soldán

Vít Štěpánek

長號 Trombone

Zbyněk Pavluš

Vladislav Prokopec

Šimon Pavlík

定音鼓 Timpani

Jan Řihák

豎琴 Harp

Pavla Kopecká

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