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
電影《體育皇后》 管風琴：金馬倫．卡彭特
Organist Cameron Carpenter at the Movies: SportsQueen
28.02.2026 / 7:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 1 小時 40 分鐘，不設中場休息
Approximately one hour and 40 minutes with no interval
電影附中、英文字幕
Movie with Chinese and English subtitles
封面照片 Cover Photograph
Cameron Carpenter © Dovile Sermokas SportsQueen © China Film Archive 中國電影資料館
※ 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”).
藝術節加料節目
演前講座 Pre-Performance Talk 金馬倫．卡彭特：打破管風琴的界限
Cameron Carpenter: Breaking Boundaries with the Organ 28.02.2026（ 已舉行 Past event）
大師班 Masterclass 金馬倫．卡彭特管風琴大師班
Cameron Carpenter Organ Masterclass 01.03.2026 / 2:00pm-3:45pm
香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre
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為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中 場休息後遲到和在演出期間中途離場的觀眾重新入場。
Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會有權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能 性及方式。
The HKAF also reserves the right to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.
在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點 入場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任 何爭議，本會保留最終決定權。
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
© Dovile
管風琴
金馬倫．卡彭特
金馬倫．卡彭特於 1981 年出生在美國賓 夕法尼亞州泰特斯維爾市，並以融合創新 科技的演奏以及獨特的管風琴巡演而聞 名。他童年時接受在家教育，後於 1993 年入讀位於普林斯頓的美國男童合唱團學 校（1993-95），並以詩班成員及鍵盤獨奏 的身份，在美國和歐洲公開演出，之後兩 年他再次在家學習（1995-96）。後來，他 分別入讀北卡羅萊納大學藝術學院（19962000）和茱莉亞音樂學院（2000-06），並先 後獲得音樂學士學位以及管風琴表演碩士 學位。
卡彭特憑藉專輯《革命者》（2008），成為 首位獲提名格林美獎的管風琴家。他於 2009 年與彼得斯出版社簽訂出版合約，隨 後於 2010 年移居德國。他的首部管風琴與 管弦樂團協奏曲作品《醜聞》，於 2011 年在 德國科隆愛樂音樂廳 舉 行首演。同年，他 在石勒蘇益格 - 荷爾斯泰因音樂節榮獲李 安納．伯恩斯坦獎。
另外，卡彭特亦於 2012 至 2013 年樂季成為柏 林愛樂樂團的首位駐團管風琴家，並於 2013 年與索尼古典唱片公司簽訂唱片合約。由他 本人親自設計並出資製作的「國際巡演管風 琴」，於 2014 年在紐約林肯中心和維也納音 樂廳首次亮相。他隨後帶着這台管風琴，以 多種形式展開全球巡演。
2014 年，卡彭特為美國作曲家特里．賴利 的管風琴協奏曲《皇家尊耀》首演擔任表演 者。2015 年，他憑着《你若知我心》獲得 德國古典回聲獎。2016 年，他在美國佛羅 里達州西棕櫚灘首次以喬治．默根斯紀念 管風琴來演奏。2016 年至 2017 年期間，他 為拉赫曼尼諾夫的《帕格尼尼主題狂想曲》 創作了管風琴與管弦樂版本。卡彭特曾擔 任柏林音樂廳駐場藝術家（2017 / 18 樂季）， 又與上海交響樂團等多個管弦樂團合作演 出，並於 2019 年為索尼古典唱片公司錄製 《帕格尼尼主題狂想曲》。
Organ
Cameron Carpenter
Cameron Carpenter, born in 1981 in Titusville, Pennsylvania, is an acclaimed American organist known for his innovative approach to technology and touring organ projects. He was homeschooled until 1992 and later attended the American Boychoir School in Princeton (1993–95), performing as a chorister and keyboard soloist across the USA and Europe. Following more homeschooling (1995–96), he studied at the University of North Carolina School of the Arts (1996–2000) and The Juilliard School (2000–06), earning a Bachelor ’ s degree in Music and a Master ’ s degree in Organ Performance.
Carpenter made history as the first organist nominated for a Grammy Award for his album Revolutionary (2008). He signed a publishing contract with Edition Peters in 2009 and moved to Germany in 2010. His first organ and orchestra concerto, The Scandal, premiered in 2011 at Cologne ’ s Philharmonie. In the same year, he won the Leonard Bernstein Award at the Schleswig-Holstein Music Festival.
Carpenter became the first Organist-in-Residence at the Philharmonie Berlin during the 2012/13 season and signed a recording contract with Sony Classical in 2013. He designed and funded the International Touring Organ (ITO), debuting in 2014 at the Lincoln Center in New York and Vienna ’ s Konzerthaus. He has since toured globally with the ITO in various formats.
In 2014, he premiered Terry Riley ’ s organ concerto At TheRoyalMajestic. He won the ECHO Klassik Award in 2015 for IfYouCouldReadMyMindand debuted the George W. Mergens Memorial Organ in West Palm Beach in 2016. From 2016-17, he created an organ and orchestra version of Rachmaninoff ’ s Rhapsodyona ThemeofPaganini. He served as Artist-in-Residence at the Konzerthaus Berlin (2017–18) and performed with various orchestras, including the Shanghai Symphony Orchestra, and recorded Rachmaninoff ’ s Paganini for Sony Classical in 2019.
當「管風琴王者」遇上體育皇后
The King of Instruments Meets the Queen of Sports
金馬倫．卡彭特之於管風琴，正如奈吉爾． 甘迺迪之於小提琴，兩人都把龐克搖滾精 神注入古典音樂之中，同時向新一代的年 輕觀眾推廣這種古老樂器的潛在魅力與可 能性。
這位美國管風琴家除了親自設計劃時代的 巡演用電風琴，更於 2009 年憑專輯《革命 者》，成為第一位獲提名格林美獎的管風 琴家。
卡彭特的事業不無爭議：無論是以另類手法 詮釋標準曲目，還是過於自由不羈的演繹， 都引來了傳統主義者的批評。
提及這些批評，卡彭特選擇與這些負面聲音 並存：「要完全『放下』是不可能的——我 只是習慣了被批評而已。一來是自己年紀漸 長；二來新冠疫情後，古典音樂界已大不相 同，這些東西便自然變得不那麽重要了。」
Cameron Carpenter has done for the organ what Nigel Kennedy did for the violin, infusing a little punk-rock attitude into the classical realm and introducing a new, younger audience to the possibilities of an antiquated instrument.
The American organist has enjoyed an illustrious, boundary-breaking career—a career that includes designing and commissioning a revolutionary electronic touring organ and becoming the first organist to be nominated for a Grammy Award in 2009 for his solo album, Revolutionary
It's also a career that hasn't been without its controversies, with traditionalists criticising Carpenter for unorthodox interpretations of the standard repertoire and the dramatic liberties he often takes in articulation.
The organist says that he learned to live with the negativity. “I didn’t ever get over it, I just got used to it. As I got older and the classical music landscape changed after Covid, such things simply became less important.”
© Dovile Sermokas
卡彭特在十餘年間多次亮相香港藝術節， 包括於2023年替兩部經典默片——《將軍 號》（1926）及《大都會》（1927）即興演奏
配樂。今年，他將再次假香港藝術節帶來兩 場節目，包括是次《體育皇后》現場配樂的 世界首演。卡彭特這次使用的香港文化中心 萊格管風琴，擁有四排鍵盤、九十三個音栓
和八千支音管，無論在精密性還是音色方面 都極具觀賞價值。
談及為默片提供現場配樂的挑戰，卡彭特
說：「默片非常適合用管風琴來伴奏。一切 我需要知道的，其實都已包含在影片内；我 只管好好演奏，而最理想的情況是，觀眾能 在某些時間忘記我在彈奏。」
對於這次為中國電影配樂，卡彭特大感雀 躍：「處理方法與其他所有電影無異，音樂 必須配合角色與他們的行動，並密切配合他 們的需求。若說有何不同，那就是沒有西方 文字反而令我感到輕鬆，畢竟早期荷里活電 影中的字幕卡常常流於老氣迂腐。」
撰文：Adam Wright
原文刊登於香港藝術節之《閱藝》雜誌，經編纂 後重新刊載
Carpenter has been a repeat visitor to the HKAF over the past decade and a half. He previously appeared at the HKAF in 2023 when he provided live organ soundtracks to two classics of silent cinema—Buster Keaton ’ s The General (1926) and sci-fi classic Metropolis (1927) —and he’s returning to the Festival in 2026 for two programmes, including the world premiere of the Chinese silent classic Sports Queen in concert. This time, Carpenter will be performing on the majestic Rieger organ at the Hong Kong Cultural Centre, which is known for its remarkable precision and rich tonal colours, thanks to its intricate design that features four manuals, 93 stops, and 8,000 pipes.
When asked about the challenges of providing live soundtracks to silent movies, Carpenter says: “Silent movies are a good use of the organ. The movie tells you everything you need to know, and you improvise appropriately. Ideally the viewer will at some level forget that I am playing, at least some of the time.”
And this time he’s excited to be working with a Chinese film. “The methodology is the same as in any other film; the music must support the characters and their action and always be subordinate to their needs. If anything, the absence of Western text is a relief when compared to the often clichéd, pedantic role of text cards in many early Hollywood films.”
Text : Adam Wright
This is a revised version of an article originally published in the HKAF’s FestMag
Dovile Sermokas
《體育皇后》與電影音樂 SportsQueen and Film Music
早期的電影是無聲的，指的是電影不發 聲。但實際上，電影放映鮮少是完全靜默 的。稍具規模的電影放映往往配有現場音 樂，可以是簡單的一把小提琴，一架風琴 或鋼琴，以至一個小型室樂團。這樣的配 置在香港早期電影甚為普遍，如 1910 年代 香港最大的域多利影畫院有一名專職的音 樂指揮 A．蒙特兹教授，會依照影片的內容 選擇各種西洋音樂，作現場伴奏。
中國早期電影放映同樣有現場音樂伴奏。
電影院選用的配樂多半是來自現成的西洋 樂曲，少有專為影片製作樂曲。最早將中 國原創音樂帶入戲院的嘗試之一，是 1926 年的《良心復活》。製片公司特別譜寫插曲 〈乳娘曲〉，由主演楊耐梅於影片放映時登 台演唱。這項嘗試可謂與當時荷里活對有 聲片的發掘相互輝映。
1900–90
Sun Yu (1900-90) is one of the earliest filmmakers in China who experimented with sound films
Although early films were technically “silent”, screenings were rarely completely devoid of sound. Moderately equipped screenings often featured live accompaniment—ranging from a violin, an organ or a piano, to a small chamber ensemble. Such arrangements were particularly common in early film screenings in Hong Kong. Hong Kong’s largest cinema in the 1910s, the Victoria Cinematograph, employed a dedicated music conductor—Professor A. Montez, who would select various Western music pieces according to the film’s content for live accompaniment.
Live musical accompaniment was also used in early Chinese film screenings. Instead of specifically composing music for the films, the cinema typically drew scores from the existing Western repertoires. One of the earliest attempts to introduce original Chinese music into theatres was the 1926 film Resurrection. The production company specially composed TheSongofTheNanny, which was performed live on stage by the lead actress, Yang Naimei, as the film played. This experiment can be compared with Hollywood’s explorations into sound film technology in the same period.
One of the most significant directors of Chinese leftist cinema, Sun Yu, is known for his unparalleled dedication to film sound and score music. As early as 1928, Sun Yu composed a piece for the dongxiao (Chinese vertical flute) for his film TheStrange Swordsman (a Great Wall Presentation). Later, in the United Photoplay Service Film Studio’s WildFlower (1930), Sun Yu incorporated the song AThousand MilesforMyBrother (with lyrics by Sun Yu), which was recorded on wax cylinder. This work was widely celebrated and regarded as one of China’s earliest successful experiments with sound films. With sound becoming an irresistible trend, the Lianhua Film Company’s (United Photoplay Service Film Studio) 1934 production SongoftheFishermen, featuring its eponymous theme song, achieved even greater box office success. Yet these achievements did not
孫瑜是中國左翼電影最重要的導演之一， 他對電影聲音與配樂的重視，無人能及。
早在 1928 年，孫瑜為其執導的《魚叉怪
俠》（長城畫片公司製作）譜寫以洞簫演 奏的樂曲。之後孫瑜為聯華影業公司執導 《野草閒花》（1930），以蠟盤配音的方法 在影片加插〈萬里尋兄詞〉一曲（孫瑜作 詞），口碑甚佳，被視為是中國最早試驗有 聲片的成功案例之一。有聲片當時已是不 可抵擋的趨勢，聯華在 1934 年出品的《漁 光曲》配有同名插曲，更大獲票房勝利。
但這些成果並未大 舉 改變聯華對有聲片的 態度：由於技術與資金因素，聯華仍堅持 拍攝默片。孫瑜導演的《體育皇后》，同樣 是 1934 年出品，則完全無聲。查閱《聯華 畫報》，並未發現有任何插曲的蹤跡，也 找不到任何有關音樂的報導。反倒在 1932 年 11 月 12 日上海《晶報》上刊有由黎明暉 寫的時代曲〈體育皇后〉，分五段歌詞，並 加注音樂：
(A) 小姐們，出了閨門，都要振作起精神， 勤學問，學聰明，健康為根本！（下略）
(C) 來一會賽跑，長短距離先定好！（下略）
(E) …小姐們。不可怠，萬國 舉 行總比賽， 差不多時候就要開，大家奪得錦標， 歸來…
歌詞和影片的故事完全吻合。歌曲〈體 育皇后〉由勝利唱片（RCA Victor Co. of China）錄音，於 1933 年出版，主唱為王人 美，由明月音樂會伴奏。
〈體育皇后〉的出現早於同名電影兩年。這
個發現改變了電影音樂只是輔助影像的固 有看法。或許因為如此，這部透過宣揚體 育表達抗日愛國精神的電影，完全不提歌
曲〈體育皇后〉的存在，放棄在影片中穿 插樂觀向上的主題曲，浪費了以積極輕快 的曲調來增強影片中體育競賽的速度感。
想像若是有輕快的歌曲伴隨黎莉莉短跑，
這部影片或許更能表現當中的速度與拼搏 精神。
撰文：葉月瑜、趙含章（香港嶺南大學數碼藝術 與創意產業系）
substantially alter the studio’s stance toward sound films. Due to technical and financial reasons, the studio continued to produce silent films. Director Sun Yu’s SportsQueen, also released in 1934, was completely silent. LianhuaPictorial, a periodical published by the Lianhua studio, reveals no trace of any inserted songs, nor any coverage related to music. Instead, the Shanghai newspaper TheCrystal on November 12, 1932, had published the pop tune “Sports Queen” written by Li Minghui, featuring five stanzas of lyrics with musical notation appended.
(A) Ladies, step beyond the boudoir and rouse your spirits—Diligent in learning, keen in wit, health is the primary duty of life! [lines omitted]
(C) Now to the races—Long and short distances set clear! [lines omitted]
(E) …Ladies, don’t slack off! The grand contest soon shall be underway. Strive to seize the laurels and return in triumph’s sway…
The lyrics completely matched the film’s storyline. The recording of “Sports Queen” was produced by RCA Victor Co. of China in 1933, featuring vocalist Wang Renmei, and accompanied by the Mingyue Music Society.
The song predates the SportsQueen film by two years. This discovery challenges the conventional view that film music merely supports the visuals. Perhaps for this reason, Sun Yu’s film makes no mention of the song, forgoing the inclusion of an optimistic theme song that could have highlighted the speed of the sports sequences. One can imagine how a lively song accompanying Li Lili’s sprinting scenes might have better captured the speed and competitive spirit of athletics.
Text: Emilie Yeh Yeuh-yu, Zhao Hanzhang (The Department of Digital Arts and Creative Industries, Lingnan University)
《體育皇后》SportsQueen (1934)
編劇及導演
孫瑜
出品
聯華影業公司
監製
羅明佑
Screenwriter & Director Sun Yu
Production Company United Photoplay Service
Producer Lo Ming-yau
演員及角色 Cast & Characters
黎莉莉
飾 林瓔 Li Lili as Lin Ying
張翼
飾 雲鵬 Zhang Yi as Yun Peng
殷虛
飾 雲雁 Yin Xu as Yun Yan
白璐
飾 蕭秋華 Bai Lu as Xiao Qiuhua
王默秋
飾 艾琤 Wang Moqiu as Ai Cheng
故事大綱 Synopsis
林瓔是一名抱持體育救國理想的少女，從 浙江鄉下來到上海，並進入競華女子體
專。不久，她便展現出驚人的短跑天賦。
在教練雲鵬的嚴厲指導下，林瓔刻苦訓 練，並在秋季的全國運動會接連打破三項 短跑紀錄，一躍成為體育界的超新星。
然而，來自各方的吹捧卻漸漸令林瓔迷失 自我，終日沉迷交際應酬，更怠忽訓練， 令雲教練痛心不已。在一場奢華的舞會結 束後，球王胡少元對她屢次輕薄，使她從 虛榮中驚醒，重新振作、投入訓練。與此 同時，同校的短跑健將艾琤因林瓔在全國 運動會出色的表現而妒火中燒，暗中聯合 患有心臟病的蕭秋華一起加緊訓練，以求 在遠東預選大會中擊敗林瓔——最終釀成 一場悲劇，亦令林瓔幡然頓悟到體育的真 精神。
Lin Ying, a young athlete who has dreamed of saving the country through sports, decides to move to Shanghai and enter the Jing Hua Women ’ s Sports Academy, where her talent as a sprinter is discovered. Under the strict guidance of Coach Yun Peng, Lin trains relentlessly and manages to break three sprint records at the National Games.
However, constant praise and flattery cause Lin to lose sight of her goals. She becomes obsessed with socialising and neglects her training, which deeply distresses Coach Yun. When she is harassed by a suitor after a lavish ball, Lin finally realises her mistake and returns to her training. Meanwhile, fellow sprinter Ai Cheng grows jealous of Lin ’ s success and secretly teams up with Xiao Qiuhua, who suffers from heart disease, vowing to defeat Lin at the Far Eastern Qualifying Trials. An unexpected turn of events, however, prompts Lin to re-think her goals.
《體育皇后》賞析
Appreciation ofSportsQueen
至今仍有保存底片的中國電影中，《體育皇 后》可以說是最早的體育題材電影。雖然一
般認為《一腳踢出去》（又名《同學之愛》； 張石川、洪深導演，1928）是中國最初的體 育電影，但由於其底片早已散佚，所以只 能依據劇本與當時的宣傳文案來判斷。
事實上，記錄馬匹與火車的「運動」影 像，可 說 與攝影技術及戲院放映業的誕生 密不可分——挑戰人類運動極限的體育比 賽影片，自然也由來已久；《體育皇后》雖 然以影像記錄了田徑比賽，然而其影像重 心，與其說是比賽本身，不如說更側重於 呈現運動時所展現的健康身體。據稱主演
黎莉莉（1915-2005）本身身體素質極佳， 她在孫瑜另一部電影《小玩意》（1933）中 亦展現出驚人的柔韌性。
順帶一提，中國默片的發展在 1920 年代迎 來重要的轉捩點與擴張，特別是《火燒紅 蓮寺》（張石川導演，1928 ／底片散佚）掀 起了武俠電影的潮流，大量模仿之作接連 問世並為票房取得成功。進入 1930 年代，
SportsQueen is arguably one of the earliest titles revolving around sports that is still preserved in its original reels. Although LoveStoryonClassmates (directed by Zhang Shichuan and Hong Shen, 1928) is generally considered the first sports film, the film itself has long been lost.
Footage of trotting horses and churning locomotives are practically inseparable from the origins of filmmaking and theatre screenings. Naturally, the act of documenting extreme sporting feats has also been practised since the early developments of film. SportsQueen embeds Olympic track events into its scenes; yet rather than the competitive nature of the race, it chooses to focus on the display of the sporting physique. Lead actress Li Lili (1915–2005) was famed for her excellent figure, and her impressive flexibility was also on full display in Sun Yu’s Playthings (1933).
Chinese silent films reached a pivotal turning point in the 1920s. The influential TheBurningoftheRed LotusTemple (directed by Zhang Shichuan, 1928)
以《火燒紅蓮寺》為起點，武俠電影在 1920 年代末蔚為風潮 Martial arts films, such as TheBurningoftheRedLotusTemple, dominated the Chinese big screens near the end of 1920s
女星黎莉莉在 1930 年代中國電影中成 為了健美體魄的 代名詞
Actress Li Lili was regarded as the embodiment of a new beauty standard and healthy physique in 1930s Chinese cinema
在日本侵華的壓力下，強調社會功能與 宣傳功能的「左翼電影」逐漸成為主流。
1930 年代常被稱為上海電影的黃金時代， 實際上其核心即是左翼電影與抗日電影。
由於中國方言 眾 多，加之當時的先進放映 設備多用於荷里活影片，因此有聲片在中 國的普及較為緩慢，而默片始終佔據 1930 年代電影的重要地位。
中國電影有聲化的發展順序是先有音樂、 後有音效，最後才有對白（有聲）。孫瑜是 中國最早重視電影音樂的導演之一：根據 其自傳《銀海泛舟》記載，在《故都春夢》 （1930 年／底片散佚）上映時，他甚至親 自進到放映間裏，將唱針放在唱片上播放 音樂。他自述：「當時上海的影院都有專
led to the emergence of the wuxia (martial arts) genre, giving rise to a wave of imitations that went on to become box-office hits. During the Japanese occupation in the 1930s, these films gave way to left-wing movies that pushed for social progress. The 1930s are often described as the “Golden Age” of Shanghai cinema, with a focus on leftist and anti-imperialist movies. The spread of “talkies” was comparatively slow in China, due to the innumerable variety of dialects and the fact that advanced projection technologies were reserved for Hollywood film screenings. Silent movies therefore remained the cornerstone of Chinese cinema throughout the entire decade.
The development of sound in Chinese films followed a sequence: first music, then sound effects and finally spoken dialogue. Sun Yu was one of the earliest directors in China to emphasise film music. According to his autobiography SailingonSilverSea, when SpringDreamoftheOldCapital (a lost film from 1930) was screened, he personally went into the projection room and placed the needle on the record to play the songs. He said: “At that time, cinemas in Shanghai had musicians who specially selected Chinese and Western music records to accompany the entire soundtrack of silent films according to the film’s plot.” By the time of TheBigRoad (1935), with music by Nie Er (1912-35), although the dialogue was still presented as intertitles, the entire film had music and sound effects, known as a “silent dialogue dubbed film”.
Amid the drastic shift from wuxia movies to political pictures, Chinese films remained anchored around female stars. An embodiment of the golden 1930s era, Sun Yu remains known for his depictions of animated physicality and the beauty of the human form. Not only is his aesthetic vision on full display in SportsQueen, but it also gives us a glimpse into the educated classes’ appreciation of a sculpted figure.
Sun Yu also moves beyond the body to zero in on depictions of limbs, especially the legs of women, to make a statement against the practice of foot binding. In particular, SportsQueen stands out for focusing extensively on legs: images of legs
為默片按影片劇情、選用中西音樂唱片來配放 全片音樂的樂師」。由孫瑜執導、聶耳（19121935）擔任配樂的《大路》（1935）當中，雖然 對白仍以字幕呈現，但全片均配有音樂與音 效，稱為「無聲對白配音歌唱影片」。
孫瑜執導的《大路》配有音樂與音效，稱為「無聲對白配音 歌唱影片」
Featuring music and sound effects, Sun Yu ’ s The Big Road is known as a “ silent dialogue dubbed film ”
從武俠電影到左翼電影，題材雖發生了巨大變 化，但女星依舊是當時中國電影的中心。作為 上海電影黃金時代代表的孫瑜，一向以強調健 康體魄與肉體美的作品著稱——這不僅反映 了其個人之創作特色，也顯示出 1930 年代知 識分子確有欣賞健美體態的風氣。
孫瑜不只是強調肉體美，也經常特寫女性腿 部。這也可以說是反映了當時人們反對纏足文 化的社會背景。《體育皇后》便以大量的腿部 影像而顯得格外突出，如集體躺在床上練習抬 腿動作、在洗漱間洗漱洗澡的場面等。可見強 健的腿部與體魄在當時也常與現代化及先進性 聯繫在一起。
《體育皇后》以蒙太奇手法結尾，將集體體操 場面轉接至軍隊行軍影像，讓人留下深刻印 象。片中刻意呈現遭日本侵略的中國東北地 名，可見本片並非單純的體育電影，同時也是 一部抗日作品。健康肉體的呈示亦讓人聯想到 擁有強大現代化軍隊的中國，打破了「東亞病 夫」之負面形象。本片不僅展現美麗健康的人 體，更寄託了對當時社會的呼籲，堪稱一部寓 意深刻的經典之作。
撰文：吉川龍生（慶應義塾大學）
stretching on the bed, legs being washed in the bathroom, and so on. Even in those days, sturdy legs and a toned body were already associated with modernisation and progress.
SportsQueen concludes with a montage sequence, piecing together scenes of communal exercise and marching soldiers. The movie makes an effort to prominently feature northeastern Chinese cities under Japanese occupation, emphasising how rather than simply being a sports movie, it is a work that stands firmly against imperialism. Representations of strong bodies also bring to mind the modernised and robust Chinese army, challenging the derogatory stereotype of the country as the “Sick Man of Asia”. Beyond being a display of beautiful and healthy bodies, this film is a defiant call to action and encapsulates an enduring message that has made it a classic work of cinema.
Text: Yoshikawa Tatsuo (Keio University)
Acknowledgements
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The Hon. John KC Lee,
GBM SBS PDSM PMSM
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
EXECUTIVE COMMITTEE
Chairman Prof. Lo Kingman, SBS MBE JP
Vice-Chairman
Honorary Treasurer
Members
PROGRAMME COMMITTEE
Chairman
Members
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
Mr Sebastian Shiu-wai Man
Mr Colin Farrell
Ms Joanna Hotung
Ms Leonie Ki, GBS SBS JP
Sir Lam Kin Chung, KCR
Mr Anthony Lau
Ms Kristine Li
Mr Ma, Ching Cheng
Mr Hugh Simon
Mr Tam Wingpong, SBS
Dr Yan Lan
Mr Sunny Yeung
Mr Tam Wingpong, SBS
Prof. Giorgio Biancorosso
Mr Edmond Huang
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Prof. Jue Yao, SBS JP
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Nelson Leong
Dr Yan Lan
Ms Catherine Leung
Mr Carey Cheung
Ms Ophelia Fung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Mr Victor Cha
Dr John CC Chan, GBS JP
Dr Darwin Chen, SBS ISO
Mr Angus H Forsyth
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
Ms Gabriela Kennedy
Mayer Brown Hong Kong LLP
PricewaterhouseCoopers
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋、蘇國雲
副節目總監 李冠輝
高級節目經理 蘇雪凌、游慧姿 *
節目經理 鄭佩群 *、廖國穎 *、馬筠婷 *
黃 嵐 *
項目經理 李朗軒 *
節目統籌 陳娟瑜 *、周 翹 *、鍾曉晴 *
容諾行 *
節目主任 黃明儀 #
物流
物流及接待經理 金學忠 *
技術
高級製作經理 梁雅芝 * 製作經理 陳梓衡 *
出版
編輯經理 陳詠恩 *
英文編輯 Adam Wright*
副編輯 陳劭儀 *
助理編輯 干 霖 *
外展
外展經理 林嘉敏 *
外展統籌 陳沅渟 *、李幸凝 *、鄧芷蔚 * 、 黃思婷 *
外展主任 趙家琳 *、郭曉潼 *
外展助理 陳美鳳 *
市場推廣
市場總監 鄭尚榮
副市場總監 盧伯全
市場經理 鄭曉恩 *、張予心 *、黃芷賢 *
市場項目經理 譚懿諾 *
副市場項目經理 李穎軒 *
助理市場經理 朱凱潼 *
市場統籌 梁喬正 *
市場主任 王舒萱 *
票務
高級市場經理（票務） 梁彩雲 票務主任 蔡嘉熹 *
發展
發展總監 簡潤如
特別發展協理 蘇啟泰 *
發展經理 陳寶齋 *、葉巧儀 *、黃珮茵 *
助理發展經理 郭倩珩 *
發展主任 葉涴喬 *
短期發展助理 陳芍穎 *
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗 *
會計及行政主任 麥婕妤 * 人力資源及行政 人力資源及行政經理 楊美君 * 接待員 / 初級秘書 李美娟
資訊科技 資訊科技經理 陳啟明 *
無限亮
項目總監 錢 佑 *
節目及外展經理 鍾美琼 *、高 君 *、吳卓恩 *
助理節目及外展經理 潘詠汶 *
節目及外展統籌 鄭銘柔 *
市場經理 黃嘉欣 *
副市場經理 陳佩鈴 *、吳雪琼 *
助理製作經理 鄭家裕 *
高級會計主任 鍾巧明 *
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Project Manager
Programme Coordinators
Programme Officer
LOGISTICS
Logistics Manager
TECHNICAL
Senior Production Manager
Production Manager
PUBLICATIONS
Editorial Manager
English Editor
Associate Editor
Assistant Editor
OUTREACH
Outreach Manager
Outreach Coordinators
Outreach Officers
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Sophie Liao*,
Katie Ma*, Neva Wong*
Li Long-hin*
Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung*
Melissa Wong#
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan*
Adam Wright*
Shao yi Chan*
Lindsey Gan*
Carman Lam*
Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong*
Raven Chiu*, Angel Kwok*
Outreach Assistant Christine Chan*
MARKETING
Marketing Director
Associate Marketing Director
Marketing Managers
Project Manager – Marketing
Katy Cheng
Eugene Lo
Vicki Cheng*, Stephanie Cheung*, Effie Wong*
Hades Tam*
Deputy Project Manager - Marketing Hill Li*
Assistant Marketing Manager
Jessica Chu*
Marketing Coordinator Isaac Leung*
Marketing Officer
TICKETING
Senior Marketing Manager (Ticketing)
Ticketing Officer
DEVELOPMENT
Development Director
Special Development Associate
Development Managers
Assistant Development Manager
Development Officer
Nancy Wong*
Eppie Leung
Heidi Choi*
Brenda Kan
Alex So*
Leroy Chan*, Evelyn Ip*, Janice Wong*
Evelyn Kwok*
Jeria Yip*
Temporary Development Assistant Cherry Chan*
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Accounting & Administrative Officer
HR & ADMINISTRATION
HR and Admin Manager
Teresa Kwong
Connie To*
Charmaine Mak*
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
INFORMATION TECHNOLOGY
Information Technology Manager
NO LIMITS
Project Director
Derek Chan*
Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Manager Jasmine Poon*
Programme and Outreach Coordinator Taylor Cheng*
Marketing Manager Carly Wong*
Deputy Marketing Managers
Gina Chan*, King Ng*
Assistant Production Manager Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、朱芷慧*、馮碧琪*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、羅玲* 、Lucrezia Luxardo*、胡肇婷*、楊曦*、翁蒨懃*
製作主任 魏俊瑩*
技術統籌 張詠宜*、范文恩*、馮舒凝*、李浩賢*、譚學臻*、鄧煒培*、曾以德*
Artist Coordinators Haynes Cheung*, Eleanor Chu*, Betty Fung*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Celine Luo*, Lucrezia Luxardo*, Blanche Wu*, Adrien Yeung*, Bonnie Yung*
Production Officer Rita Ngai*
Technical Coordinators Jess Cheung*, Yan Fan*, Cherry Fung*, Lawrence Lee*, Camille Tam*, Billy Tang*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2025/26由香港藝術發展局資助
# 2025/26 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2026年2月更新 Updated February 2026
請支持您的藝術節！
Become a Supporter of Your Festival!
香港藝術節是一所非牟利機構，單憑票房收入及政府基本資助，遠遠 未足以應付呈獻及推廣世界各地頂尖表演藝術的成本。藝術節之所以 能持續舉辦，捐助者的慷慨支持實在功不可沒。誠意邀請您捐助藝術 節捐助計劃，協助我們繼續帶來高質素國際及本地藝術家精采的演出， 以及舉辦多元化的外展及教育活動。
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲一元對一元的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
The Hong Kong Arts Festival is a non-profit organisation. Income from ticket sales and government baseline funding can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous support of its donors. Please support the Festival Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
is amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
1899.Childe Hassam - New England Headlands