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
NOVUS 弦樂四重奏
NOVUS Quartet
21.03.2026 / 7:45 pm
香港大會堂音樂廳
Concert Hall, Hong Kong City Hall
演出長約 1 小時 55 分鐘，包括一節中場休息
Approximately one hour and 55 minutes including one interval
封面照片 Cover Photograph
© Jino Park
※ 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.
© Jino Park
（左起）金在泳、金煐煜、金圭賢、李元海
© Jino Park
From left: Jaeyoung Kim, Young-uk Kim, Kyuhyun Kim, Wonhae Lee
NOVUS 弦樂四重奏
NOVUS 弦樂四重奏（簡稱 NOVUS）成立於
2007 年，由金在泳（小提琴）、金煐煜（小 提琴）、金圭賢（中提琴）及李元海（大提 琴）四位韓國音樂家組成。四人均畢業於 韓國藝術綜合學校，並同樣對室樂演出滿 懷熱忱。 NO VUS 的一大特色，在於他們沒 有固定的第一和第二小提琴，因此得以實 現更為靈活多變並充滿活力的演出風格。
自成立以來，NO VUS 便屢獲殊榮，包括 在大阪及里昂國際室樂大賽中獲獎； 2 012 年，四人在德國慕尼黑 ARD 國際音樂大賽 弦樂四重奏組獲得亞軍，首次在國際舞台 上嶄露頭角；隨後又於 2 014 年榮獲莫扎特 國際大賽首獎——這些成就均標誌了韓國 室樂史的新篇章。
NOVUS 頻頻獲邀參加各大著名音樂節，包 括柏林音樂節、施韋青根音樂節和愛丁堡 國際藝術節，又曾在紐約卡內基音樂廳、 維也納音樂協會（金色大廳）和易北愛樂廳 等知名場地演出。 2 022/23 樂季，他們更成 為倫敦威格摩爾音樂廳的駐場藝術家，是 獲得該場地最多邀約的韓國音樂團體。
2020 年，NOVUS 推出了一項演出計劃—— 從孟德爾頌的弦樂四重奏開始，演出多 個重要作曲家的全套作品。2 021 年 6 月， NOVUS 完成了蕭斯達高維契四重奏系列， 不久後又推出布拉姆斯的全套四重奏作 品。自 2 022/23 樂季起，他們已演畢貝多芬 全套弦樂四重奏。
自 20 16 年發行首張專輯《韋伯恩．貝多芬． 尹》以來， NO VUS 持續推出了多個錄音作 品，包括於 2 017 年發行的柴可夫斯基作品 專輯，以及在 2 019 年發行的貝爾格及舒伯 特《死亡與少女》，後者更榮獲法國音叉唱 片獎推薦。他們於 2 022 年發行蕭斯達高維 契作品專輯，又於 2 025 年發行布拉姆斯專 輯，同時還舉行了布拉姆斯全套弦樂四重 奏的巡迴演出。
The NOVUS Quartet
The NOVUS Quartet, consisting of Jaeyoung Kim (violin), Young-uk Kim (violin), Kyuhyun Kim (viola) and Wonhae Lee (cello), features four of South Korea’s finest musicians. The quartet was established at the Korean National University of Arts in 2007 by a group of young artists dedicated to chamber music. One of the ensemble’s distinguishing features is its lack of fixed first and second violinists, allowing for a versatile and dynamic musical expression.
Sinceitsformation,thequartethasreceivedarange ofsignificantaccolades,includingprizesattheOsaka andLyonInternationalChamberMusicCompetitions. Itfirstcametointernationalprominencein2012 whenitwon thesecondprizeattheARDMusic CompetitioninMunich,followedbythefirstprizeat the InternationalMozartCompetitionin2014.These achievementsmarkedthestartofanewchapterin thehistoryofchambermusicinSouthKorea.
TheNOVUSQuartetisfrequentlyinvitedto prestigiousmusicfestivals,suchastheMusikfest Berlin,theSchwetzingenFestivalandtheEdinburgh InternationalFestival,andhasperformedin renownedvenuesincludingCarnegieHallinNewYork, theMusikvereininViennaandtheElbphilharmonie Hamburg.Duringthe2022/23season,itservedas Artists-in-ResidenceatLondon’sWigmoreHall, settingarecordforthemostinvitationsextendedto aSouthKoreanensembleatthevenue.
In2020,thequartetlaunchedaprojecttoperform completecyclesofmajorcomposers,beginning withtheMendelssohnstringquartets.Itcompleted theShostakovichquartetcycleinJune2021and theBrahmscycleshortlyafter.From2022/23,it performedthecompleteBeethovenstringquartets.
SincereleasingitsdebutalbumWebern,Beethoven, Yunin2016,thequartethascontinuedtorelease recordings,includingTchaikovskyin2017and Berg/Schubert’sDeathandtheMaidenin2019, whichreceivedaDiapasond’Orrecommendation. ItsShostakovichalbumwasreleasedin2022.Its Brahmsalbumwasreleasedin2025,accompaniedby aconcerttourofhiscompletestringquartets.
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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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2828 4911/12
普契尼
《菊花》， SC65
Giacomo Puccini (1858–1924)
Crisantemi (“Chrysanthemums”), SC65
布拉姆斯 Johannes Brahms (1833–97)
A 小調第二弦樂四重奏，作品 51/2
I. 不太快的快板 II. 中庸的行板
III. 中庸的仿小步舞曲
IV. 終曲：不太快的快板
舒可夫
五首弦樂四重奏作品， WV68
I. 維也納圓舞曲：快板 II. 小夜曲：流暢的稍快板
III. 捷克舞曲：甚快板
IV. 米隆加探戈舞曲：行板
V. 塔蘭泰拉舞曲：如火的極急板
String Quartet No 2 in A minor, Op 51, No 2
I. Allegro ma non troppo
II. Andante moderato
III. Quasi Minuetto, moderato
IV. Finale: Allegro non assai
Erwin Schulhoff (1894–1942)
Five Pieces for String Quartet, WV68
I. Alla Valse viennese: Allegro
II. Alla Serenata: Allegretto con moto
III. Alla Czeca: Molto allegro
IV. Alla Tango milonga: Andante
V. Alla Tarantella: Prestissimo con fuoco
德伏扎克 Antonín Dvořák (1841–1904)
F 大調第十二弦樂四重奏，作品 96 ， 「美國」
I. 不太快的快板
II. 緩板
III. 活潑的快板
IV. 終曲：不太快的活板
NOVUS 弦樂四重奏 NOVUS Quartet
小提琴
String Quartet No 12 in F Major, Op 96, “American”
I. Allegro ma non troppo
II. Lento
III. Molto vivace
IV. Finale: Vivace ma non troppo
金在泳 Violin Jaeyoung Kim
小提琴
金煐煜 Violin Young-uk Kim
中提琴
金圭賢 Viola Kyuhyun Kim
大提琴
李元海 Cello Wonhae Lee
普契尼 《菊花》，SC65
Giacomo Puccini (1858–1924)
Crisantemi (“Chrysanthemums”), SC65
歌劇巨匠普契尼筆下的弦樂四重奏寥寥可 數，其中《菊花》就是他於 1890 年創作的 單樂章作品。為紀念驟然離世的奧斯塔公 爵阿梅迪奧親王，作曲家僅花一晚時間， 便寫成這首哀婉奇詭而帶有辛辣和聲的輓 歌，獻給這位跟自己份屬好友的意大利皇 室成員。標題中的菊花，正正在意國傳統 中象徵了哀悼之思。
這首短小精巧的作品按照三段曲式寫成， 當中的主旋律後來更被作曲家「再利用」， 在其 1893 年的成名作《曼儂．萊斯科》中， 女主角離世的場景再度登場。縱使沒有人 聲和佈景烘托，這首弦樂四重奏仍然張力 處處，情志溫婉——他隨後在歌劇領域展 現的才華，大概在此可見一斑。
Composed overnight in 1890 as an elegy for Prince Amadeo, Duke of Aosta—a member of the Italian royal family and a friend of the composer—Crisantemi (“Chrysanthemums”) is among the few pieces for string quartet by the opera giant Giacomo Puccini. Its single movement unfolds in a mood of dark lyricism and piquant harmony. The titular flowers are traditional Italian symbols of mourning.
This exquisite miniature is in song form (A-B-A) and predates his operatic breakthrough with 1893’s Manon Lescaut, in which he would use the same melody to accompany the heroine’s death. Here, without the aid of voices or staging, Puccini still achieves a moving sense of drama and tenderness—an early glimpse of the operatic genius to come.
《菊花》是普契尼為好友阿梅迪奧親王而寫的輓歌 Puccini wrote Crisantemi as an elegy for Prince Amadeo, Duke of Aosta
布拉姆斯
A小調第二弦樂四重奏，作品51/2
Johannes Brahms (1833–97)
String Quartet No 2 in A minor, Op 51, No 2
布拉姆斯在創作第一首交響曲之前躊躇經 年，而他決定涉足弦樂四重奏這個體裁 前，也同樣經歷了一段裹足不前的時間。
1873 年，作曲家終於在不惑之年交出他的 第一套弦樂四重奏——作品 51 第一、第二 首。據說這兩首作品正式脫稿前，他曾先 後銷毀了近二十份草稿。而他在 1876 年交 出的作品 67 ，便是他的第三首，亦是最後 一首弦樂四重奏。那一年，也是他那千呼 萬喚始出來的第一交響曲問世的一年。
在付梓之前，布拉姆斯總要把手稿徹底琢 磨一番才甘心。在那個年代，印刷樂譜是 兼具商業與藝術價值的活動：很多富裕的 業餘愛好者都會購買樂譜在家演奏，形成 一個可觀的本地音樂市場，這也是當時不 少作曲家的主要收入來源之一。
作品 51 兩首弦樂四重奏的關係多被視為相 輔相成。一方面，兩部作品都呈現了嚴密 緊湊的主題和動機發展，盡顯作曲家的創 作天賦；另一方面，它們又展現出截然不 同的氛圍和風格。C 小調四重奏冷冽肅穆， 帶有貝多芬式的暴烈，而 A 小調四重奏則傾 向抒情而被沉鬱籠罩。
布拉姆斯被譽為「絕對」音樂的倡導者， 這種音樂追尋作品本身的內在邏輯，並摒 棄任何標題音樂的敍事手法或外在意象。
事實上，布拉姆斯從不規避在創作中觸及 個人關係和私密的意涵：在作品的第一樂 章，開局主題的第二至第四音依次為 F、A 和 E，恰恰就是德語短語「自由而孤獨」的
Johannes Brahms’ long hesitation before tackling the medium of the string quartet mirrors his protracted struggle with the symphony. It has been claimed that he destroyed about 20 early attempts before publishing his first official quartets, the Op 51 pair, in 1873, at the age of 40. A third and final quartet, Op 67, followed in 1876—the same year his long-awaited First Symphony finally appeared.
Brahms laboured over his scores obsessively before allowing them to be published. Printed music had commercial as well as artistic importance in this era, since the domestic music market—wealthy amateurs playing at home—served as a major source of a composer’s income.
The two quartets comprising the Op 51 set are often viewed as complementary: both show Brahms’ gift for tight thematic integration and motivic development, yet they differ in tone and overall character. The C minor quartet projects a stern, Beethovenian intensity, while the quartet in A minor tends towards the more lyrical end of the spectrum and is tinged with reflective melancholy.
Brahms is hailed as the champion of “absolute” music—composition valued for its internal logic rather than for any programmatic story or external reference. Still, he often wove references to his personal relationships and private meanings into his works. For example, the opening movement begins with a theme whose second to fourth notes spell F-A-E, the musical code for the German phrase
縮寫，而這句短語正是他的好友兼小提琴 家約瑟夫．姚阿幸的座右銘。這個設計或 許純屬無心插柳，卻與作品的內省相映成 趣。後來，布拉姆斯把這兩首弦樂四重奏 獻給另一位摯友——維也納外科醫生兼傑 出的業餘音樂家西奧多．比爾羅特。
布拉姆斯將兩首弦樂四重奏題結集成作品 51，並獻給 友人西奧多．比爾羅特醫生
String Quartets, Op 51 are dedicated to Theodor Billroth (1829-94), a close friend of Brahms
中提琴的三連音型看似隨性，實則經過精 心計算，為第一樂章佈下節奏張力。作 品的四樂章結構雖然沿襲了古典時期的體 裁，但布拉姆斯筆下自由奔放的旋律，卻 又體現了浪漫主義的內在精神。第二樂章 為 A 大調中庸的行板，作曲家在如歌般溫 婉的主體中，加插一段較為暗濤洶湧的間 奏，使人聯想起舒伯特的幾首室樂作品， 當中亦有這種猶如風暴爆發的凌厲對比。
第三樂章的仿小步舞曲，顛覆了古典主義 音樂秉持的沉穩端莊，在宮廷典雅與諧 謔曲式的推進之間來回交替。終樂章向身 為匈牙利人的姚阿幸致敬，全樂章洋溢 着匈牙利風情，並以切分節奏帶動能量。
古典主義講求莊敬自持，浪漫主義則充滿 熱情，布拉姆斯卻能在作品 51 之中取得平
衡，既呈現了交響曲的豐沛情感，又保留 室樂編制本身如絮絮私語的特色。
freiabereinsam (“free but lonely”), which Brahms’ violinist friend Joseph Joachim used as his personal motto. The gesture may not have been intentional, yet it suits the quartet’s introspective cast. Brahms later dedicated both Op 51 quartets to another intimate friend, the Viennese surgeon and gifted amateur musician Theodor Billroth.
Triplet figures in the viola lend the first movement its subtle rhythmic tension—an undercurrent that seems spontaneous but is precisely calculated.
The four-movement architecture recalls classical precedent, while Brahms’ melodic freedom suggests Romantic inwardness. The Andante moderato in A Major frames its songful core with a darker, more dramatic interlude reminiscent of the contrasts that erupt like sudden storms in several of Schubert’s chamber music works.
The third movement, marked Quasi minuetto, turns classical decorum inside out, alternating courtly grace with scherzo-like propulsion. The finale bursts forth with syncopated, Hungarian-tinged energy, an homage to Joachim’s Hungarian roots. Throughout Op 51, Brahms reconciles classical restraint and Romantic ardour, giving chamber music the emotional scope of a symphony while retaining its sense of intimate dialogue.
舒可夫
五首弦樂四重奏作品，WV68
Erwin Schulhoff (1894–1942)
Five Pieces for String Quartet, WV68
◀ 舒可夫（左）
Erwin Schulhoff (left)
在第一次世界大戰後冒起的舒可夫，可說是 當代最具原創性，也最難以預測的作曲家之 一。他生於布拉格一個說德語的猶太家庭， 其音樂天賦早早便為人所知——德伏扎克就 曾建議將當時年僅十歲的舒可夫送進音樂學 院，盡早培養技藝。在歐洲各地求學期間， 舒可夫被奧匈帝國徵召入伍，被逼中斷學 業。這段沙場經歷之慘酷，烙下傷痕之深， 從他後來作品中的反諷與躁動便可見一斑。
戰後，他在當時仍屬威瑪共和國的德國漂泊 了一段時間，在這期間，他不斷吸收各種新 鮮事物，包括史達拉汶斯基的颯爽節奏以及 爵士樂的生命力。不過納粹黨其後將舒可夫 的創作列為「墮落藝術」，予以禁絕，其創作 生涯遂於三十年代被逼畫上句號。之後，他 更遭納粹政權囚禁，1942 年死於集中營內。
在舒可夫眼中，藝術不是裝飾，而是一種改 革，所以創作者必須破舊立新——這套弦樂 四重奏正正體現了這個理念。作曲家在古典 曲式的基礎上採用民俗音樂節奏，並注入卡 巴萊表演的元素，形成這套由五支風格各異 的舞曲組成的新巴羅克組曲。惟當時的觀眾 尚未能接受這種大膽的創作，此作 1924 年在 薩爾斯堡首演時，台下幾乎一片譁然。
作曲家透過辛辣的視角，將五種舞曲在每個 樂章中逐一重塑：維也納圓舞曲在優雅與譏 笑之間來回擺盪；尖銳的撥奏小夜曲流露機 械時代的鋒芒；捷克風格的舞曲稜角分明 而具有都市感；探戈舞曲則極盡誘惑與諷刺 之能事；最後隨着塔蘭泰拉舞曲墮入瘋狂漩 渦，這場由瘋狂節奏和黑色幽默交織而成的 舞蹈才正式落幕。
Erwin Schulhoff was one of the most original—and unpredictable—voices to emerge after World War One. He was born in Prague to a German-speaking Jewish family, a prodigy whose talent was spotted early. Antonín Dvořák himself suggested that the 10-year-old be sent to the conservatory. Schulhoff studied in various European cities, though those years were interrupted when he was drafted into the AustroHungarian army in the war. The experience was brutal, and it left marks that later surfaced in his irony and restless energy.
After the war, he drifted through Weimar-era Germany, soaking up everything new—Igor Stravinsky’s punchy rhythms and the raw excitement of jazz. But his career didn’t survive the 1930s. The Nazis banned his music as “degenerate”, and he was eventually imprisoned, dying in a concentration camp in 1942.
To Schulhoff, art wasn’t decorative—it was revolutionary. It had to break rules and open new paths. Five Pieces for String Quartet (1923) are a snapshot of that ideal: a collision of classical form, folk rhythm and cabaret bite. It’s not a traditional quartet but a neoBaroque suite of five stylised dances. The premiere in Salzburg in 1924 caused a minor uproar—people weren’t used to this kind of wit and audacity.
Each movement recasts a dance through his sardonic lens: a Viennese waltz that wobbles between grace and mockery; a spiky pizzicato serenade with machineage edges; a Czech-flavoured dance made urban and angular; a tango steeped in smoky seduction and satire; and a final tarantella that spins itself into madness—a dance of ecstatic rhythmic fire and dark comedy.
德伏扎克
F大調第十二弦樂四重奏，作品96，「美國」
Antonín Dvořák (1841-1904)
String Quartet No 12 in F Major, Op 96, “American”
1892 年，德伏扎克正處於事業巔峰，並應 邀出掌新成立的美國國立音樂學院，移居 紐約三年。可是大都會的煩囂，很快便教 他疲憊不堪。 1893 年夏天，德伏扎克決定 舉家前往位於愛荷華州的一個小小捷克移 民社區——斯皮爾維爾度假，跟來自捷克 的同鄉聚居。這段日子，讓他得以回味波 希米亞故鄉的恬靜寧謐和自然風光。
德伏扎克只用了兩週，就寫成 F 大調第十二 弦樂四重奏，其時距離他的上一部同類創 作，已有十二年之久。同年春天，他剛完 成了「新世界」交響曲，這作品外號正正 呼應了他的旅美新生活。但另一邊廂，第 十二弦樂四重奏被冠以「美國」之名，卻 並非他本人的意思：1894 年在波士頓首演 後，觀眾自然而然便將這首四重奏明麗的 旋律和節奏，扣連至孕育此作的這片新世 界，於是才有了這麼一個綽號。
德伏扎克年輕時曾是一位中提琴手，第一 樂章（不太快的快板）正是由中提琴作序， 按照五聲音階奏出和煦旋律。熟悉亞洲傳 統音樂的聽眾，或會對這樣的聲音倍感親 切。有些樂評人認為這些樂思是在呼應美 國原住民或非裔族群的旋律；但事實上， 這類旋律走向在捷克和斯洛伐克的民歌中 可說是比比皆是，而作曲家的才情亦充分 體現在質樸與精緻的巧妙融合。他又表示： 「我總是想着海頓『老爹』來創作。」可見 新意背後，依然有古典規範的制約。
德伏扎克在第二樂章（緩板）寫下他其中一 道最懾人心魄的旋律。有人從這道旋律聽
Antonín Dvořák was at the height of his powers when he accepted an invitation to the USA in 1892, moving there for three years to lead the newly founded National Conservatory in New York. But the hectic pace of city life soon proved exhausting. In 1893, the composer escaped to the small Czech community of Spillville, Iowa, for the summer, bringing his family to live among fellow immigrants. It was there that he re-discovered the peace and natural beauty he missed in his Bohemian homeland.
Within two weeks, Dvořák completed his String Quartet No 12 in F Major, his first in a dozen years. He had just finished his “New World” Symphony that spring, whose nickname the composer himself conferred to reflect his American experiences. The moniker “American” for the F Major Quartet, by contrast, was not his idea and arose soon after the work’s Boston premiere in 1894, as audiences associated the score’s open, sun-kissed melodies and rhythmic vitality with the New World in which it had been written.
The first movement (Allegro ma non troppo) opens with a warm melody on the viola—Dvořák’s own instrument as a youth—that is built largely on a five-note pentatonic scale, a sound world that will resonate with listeners familiar with many Asian musical traditions. Commentators have heard this as echoing Native American or African-American melodies, yet such melodic shapes are equally common in Czech and Slovak folk songs. Dvořák’s genius lies in blending rustic simplicity with subtle
出黑人靈歌的端倪，也有人認為這與美洲 原住民的吟詠一脈相承。作曲家本人就曾 主張靈歌和種植歌應成為「所有嚴謹而具 創見的美國作曲學派之正統基礎」。這個論 調雖然在當時惹來爭議，但亦從中反映了 他對民俗傳統的敬仰。
第三樂章（活潑的快板）在大調和小調之間 來回交替，不斷切換節奏情緒。第一小提琴 高亢的啁啾，一直被認為源自德伏扎克在愛 荷華州田間別墅工作期間記下的一種鳥鳴。
作曲家自言看到的是「一隻黑翼的紅鳥」， 所以坊間長年都認定牠是猩紅麗唐納雀，但 近年有研究指出，作風低調的紅眼鶯雀，可 能才是鳥鳴聲的真身，因為其叫聲與作曲家 草稿上的記述更為吻合。
德伏扎克在美國斯皮爾維爾度假期間，常在當地教堂 演奏管風琴
Dvořák attended the local church in Spillville regularly where he would play the organ
終曲的能量澎湃而充滿節奏，令人想起新 世界的喧囂，以及教作曲家着迷不已的火 車頭。樂章中段，有一小段彷如聖詩的旋 律介入，讓人聯想起德伏扎克作為虔誠教 徒，幾乎每天清晨都會參加彌撒，然後在 斯皮爾維爾的教堂演奏管風琴。這種難得 的靜謐，和外面新世界的躍動不息，形成 了鮮明對比。
撰文：湯馬士．梅
中文翻譯：瀧澤勳
craftsmanship. “I had Papa Haydn in mind,” he said, acknowledging the classical balance underlying the music’s freshness.
The slow second movement (Lento) unfolds one of Dvořák’s most haunting melodies. Some listeners hear echoes of African-American spirituals, others of Native American chant. Dvořák himself had controversially championed the idea that spirituals and plantation songs should provide the necessary “true foundation of any serious and original school of composition to be developed in the United States”—a view that stirred debate while reflecting his deep respect for folk traditions.
In the third movement (Molto vivace), Dvořák plays with rhythm and mood, alternating between major and minor. The first violin’s high-flying chirps have traditionally been linked with a bird song Dvořák noted down while working at his idyllic Iowan retreat. For years, the bird was identified as the scarlet tanager, because the composer described seeing “a red bird with black wings”, but recent research suggests the bird was more likely the red - eyed vireo—a less showy species whose song better matches Dvořák’s sketch.
The finale bursts forward with surging rhythmic energy, its driving momentum evoking the bustle of the New World—and the locomotives that so fascinated the composer. At its centre, a brief hymn-like passage recalls the devout Dvořák’s morning habit of attending Mass and afterward playing the church organ in Spillville—a quiet counterpoint to the restless spirit of the New World that surrounds it.
Text: Thomas May Chinese translation: Amadeus Cheung
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Programme Enquiry Hotline
地址 ADDRESS
香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
The Hon. John KC Lee,
GBM SBS PDSM PMSM
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
EXECUTIVE COMMITTEE
Chairman Prof. Lo Kingman, SBS MBE JP
Vice-Chairman
Honorary Treasurer
Members
PROGRAMME COMMITTEE
Chairman
Members
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
Mr Sebastian Shiu-wai Man
Mr Colin Farrell
Ms Joanna Hotung
Ms Leonie Ki, GBS SBS JP
Sir Lam Kin Chung, KCR
Mr Anthony Lau
Ms Kristine Li
Mr Ma, Ching Cheng
Mr Hugh Simon
Mr Tam Wingpong, SBS
Dr Yan Lan
Mr Sunny Yeung
Mr Tam Wingpong, SBS
Prof. Giorgio Biancorosso
Mr Edmond Huang
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Prof. Jue Yao, SBS JP
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Nelson Leong
Dr Yan Lan
Ms Catherine Leung
Mr Carey Cheung
Ms Ophelia Fung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Mr Victor Cha
Dr John CC Chan, GBS JP
Dr Darwin Chen, SBS ISO
Mr Angus H Forsyth
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
Ms Gabriela Kennedy
Mayer Brown Hong Kong LLP
PricewaterhouseCoopers
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋、蘇國雲
副節目總監 李冠輝
高級節目經理 蘇雪凌、游慧姿 *
節目經理 鄭佩群 *、廖國穎 *、馬筠婷 * 、
黃 嵐 *
項目經理 李朗軒 *
節目統籌 陳娟瑜 *、周 翹 *、鍾曉晴 * 、
容諾行 *
節目主任 黃明儀 #
物流
物流及接待經理 金學忠 *
技術
高級製作經理 梁雅芝 * 製作經理 陳梓衡 *
出版
編輯經理 陳詠恩 *
英文編輯 Adam Wright*
副編輯 陳劭儀 *
助理編輯 干 霖 *
外展
外展經理 林嘉敏 *
外展統籌 陳沅渟 *、李幸凝 *、鄧芷蔚 * 、 黃思婷 *
外展主任 趙家琳 *、郭曉潼 *
外展助理 陳美鳳 *
市場推廣
市場總監 鄭尚榮
副市場總監 盧伯全
市場經理 鄭曉恩 *、張予心 *、黃芷賢 *
市場項目經理 譚懿諾 *
副市場項目經理 李穎軒 *
助理市場經理 朱凱潼 *
市場統籌 梁喬正 *
市場主任 王舒萱 *
票務
高級市場經理（票務） 梁彩雲
票務主任 蔡嘉熹 *
發展
發展總監 簡潤如
特別發展協理 蘇啟泰 *
發展經理 陳寶齋 *、葉巧儀 *、黃珮茵 *
助理發展經理 郭倩珩 *
發展主任 葉涴喬 *
短期發展助理 陳芍穎 *
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗 * 會計及行政主任 麥婕妤 * 人力資源及行政 人力資源及行政經理 楊美君 * 接待員 / 初級秘書 李美娟
資訊科技
資訊科技經理 陳啟明 *
無限亮
項目總監 錢 佑 *
節目及外展經理 鍾美琼 *、高 君 *、吳卓恩 *
助理節目及外展經理 潘詠汶 *
節目及外展統籌 鄭銘柔 *
市場經理 黃嘉欣 *
副市場經理 陳佩鈴 *、吳雪琼 *
助理製作經理 鄭家裕 *
高級會計主任 鍾巧明 *
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Project Manager
Programme Coordinators
Programme Officer
LOGISTICS
Logistics Manager
TECHNICAL
Senior Production Manager
Production Manager
PUBLICATIONS
Editorial Manager
English Editor
Associate Editor
Assistant Editor
OUTREACH
Outreach Manager
Outreach Coordinators
Outreach Officers
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Sophie Liao*, Katie Ma*, Neva Wong*
Li Long-hin*
Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung*
Melissa Wong#
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan*
Adam Wright*
Shao yi Chan*
Lindsey Gan*
Carman Lam*
Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong*
Raven Chiu*, Angel Kwok*
Outreach Assistant Christine Chan*
MARKETING
Marketing Director
Associate Marketing Director
Marketing Managers
Project Manager – Marketing
Katy Cheng
Eugene Lo
Vicki Cheng*, Stephanie Cheung*, Effie Wong*
Hades Tam*
Deputy Project Manager - Marketing Hill Li*
Assistant Marketing Manager
Jessica Chu*
Marketing Coordinator Isaac Leung*
Marketing Officer
TICKETING
Senior Marketing Manager (Ticketing)
Ticketing Officer
DEVELOPMENT
Development Director
Nancy Wong*
Eppie Leung
Heidi Choi*
Brenda Kan
Special Development Associate Alex So*
Development Managers
Assistant Development Manager
Development Officer
Leroy Chan*, Evelyn Ip*, Janice Wong*
Evelyn Kwok*
Jeria Yip*
Temporary Development Assistant Cherry Chan*
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Accounting & Administrative Officer
HR & ADMINISTRATION
HR and Admin Manager
Teresa Kwong
Connie To*
Charmaine Mak*
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
INFORMATION TECHNOLOGY
Information Technology Manager
NO LIMITS
Project Director
Derek Chan*
Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Manager Jasmine Poon*
Programme and Outreach Coordinator
Marketing Manager
Deputy Marketing Managers
Assistant Production Manager
Taylor Cheng*
Carly Wong*
Gina Chan*, King Ng*
Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、朱芷慧*、馮碧琪*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、羅玲* 、Lucrezia Luxardo*、胡肇婷*、楊曦*、翁蒨懃*
製作主任 魏俊瑩* 技術統籌 張詠宜*、范文恩*、馮舒凝*、李浩賢*、譚學臻*、鄧煒培*、曾以德*
Artist Coordinators Haynes Cheung*, Eleanor Chu*, Betty Fung*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Celine Luo*, Lucrezia Luxardo*, Blanche Wu*, Adrien Yeung*, Bonnie Yung*
Production Officer Rita Ngai*
Technical Coordinators Jess Cheung*, Yan Fan*, Cherry Fung*, Lawrence Lee*, Camille Tam*, Billy Tang*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2025/26由香港藝術發展局資助
# 2025/26 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2026年2月更新 Updated February 2026
請支持您的藝術節！
Become a Supporter of Your Festival!
香港藝術節是一所非牟利機構，單憑票房收入及政府基本資助，遠遠 未足以應付呈獻及推廣世界各地頂尖表演藝術的成本。藝術節之所以 能持續舉辦，捐助者的慷慨支持實在功不可沒。誠意邀請您捐助藝術 節捐助計劃，協助我們繼續帶來高質素國際及本地藝術家精采的演出， 以及舉辦多元化的外展及教育活動。
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲一元對一元的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
The Hong Kong Arts Festival is a non-profit organisation. Income from ticket sales and government baseline funding can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous support of its donors. Please support the Festival Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
is amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
1899.Childe Hassam - New England Headlands