謝謝 With thanks to

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除特別註明，所有照片 Unless otherwise specified, all photographs © Bill Cooper

為了讓大家對這次演出留下美好的印象，請切記在節目開始前關掉手錶、無綫電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and pagers. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

演出長約2小時，包括一節中場休息Running time: approximately 2 hours with one interval

09 創作及演出 Credits

16 故事大綱 Synopsis

特稿 Features20 為《愛麗絲夢遊仙境》作曲

Creating the Music for Alice in Wonderland28 為愛麗絲設計服裝

Costuming Alice

32 簡歷 Biographies

演出團體介紹 Company Profiles 36 英國國家芭蕾舞團 English National Ballet 38 香港小交響樂團 Hong Kong Sinfonietta

4-8.3.2009香港文化中心大劇院Grand Theatre Hong Kong Cultural Centre

除特別註明，所有照片 Unless otherwise specified, all photographs © Bill Cooper

為了讓大家對這次演出留下美好的印象，請切記在節目開始前關掉手錶、無綫電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and pagers. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

演出長約2小時，包括一節中場休息Running time: approximately 2 hours with one interval

09 創作及演出 Credits

16 故事大綱 Synopsis

特稿 Features20 為《愛麗絲夢遊仙境》作曲

Creating the Music for Alice in Wonderland28 為愛麗絲設計服裝

Costuming Alice

32 簡歷 Biographies

演出團體介紹 Company Profiles 36 英國國家芭蕾舞團 English National Ballet 38 香港小交響樂團 Hong Kong Sinfonietta

4-8.3.2009香港文化中心大劇院Grand Theatre Hong Kong Cultural Centre

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Credits 創作及演出

編舞 德里克．迪恩 Choreography Derek Deane

故事 路易斯．卡羅 Story Lewis Carroll

音樂 柴可夫斯基 Music Pyotr Ilyich Tchaikovsky

編曲 卡爾．戴維斯 Music Arrangement Carl Davis

客席指揮 蒂莫西．凱里 (4, 5, 7)及傑里．科尼利厄斯 (6, 8) Guest Conductors Timothy Carey (4, 5, 7) and Gerry Cornelius (6, 8)

服裝設計 蘇．布蘭 Costume Designer Sue Blane

視效 保羅．基夫 Illusionist Paul Kieve

燈光 曉．凡斯頓 Lighting Designer Hugh Vanstone

創作人員Creative Team

加料節目 FESTivAL PLuS 7.3.2009 (六)化粧示範香港文化中心劇院化粧間

觀摩英國國家芭蕾舞團練習香港文化中心大劇院

英國文化協會系列 合作伙伴：英國文化協會

5.3.2009 (四)演後藝人談歡迎觀眾演出後留步，與英國國家芭蕾舞團藝術總監韋恩．伊格凌見面。

6.3.2009 (五)「出奇兔」幕後追蹤

詳情請參閱藝術節加料節目指南，或瀏覽 藝術節網站：www.hk.artsfestival.org

7.3.2009 (Sat)Make-up DemonstrationDressing Room, Grand Theatre, Hong Kong Cultural Centre

English National Ballet Company Open ClassGrand Theatre, Hong Kong Cultural Centre

BriTiSH COuNCiL SEriESIn partnership with the British Council

5.3.2009 (Thu)Meet-the-Artist (Post-Performance)If you would like to meet Wayne Eagling, Artistic Director of English National Ballet, please remain in the auditorium after the performance.

6.3.2009 (Fri)Behind the Scenes “Follow the White rabbit”

For details please refer to the Festival Plus Booklet or go to the Festival website: www.hk.artsfestival.org

樂譜由倫敦Faber Music Ltd提供 Performed by arrangement with Faber Music Ltd, London

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愛麗絲 (4, 6) 維納斯．維拉 (5, 7) 費爾南德．奧利維拉 (8) 麗莎．普羅伯特 Alice Venus Villa Fernanda Oliveira Lisa Probert

姊姊 (4, 6) 麗莎．普羅伯特 (5, 7) 德斯里．巴蘭坦 (8) 艾德拉．萊米雷斯 Sister Lisa Probert Désirée Ballantyne Adela Ramirez

白兔 (4, 6) 張逸仙 (5, 7) 佩特羅．萊佩特 (8) 胡安．羅德里格斯 White Rabbit Yat-Sen Chang Petro Lapetra Juan Rodriguez

老鼠 (4, 6) 富吉咲也子 (5, 7) 麗莎．普羅伯特 (8) 維納斯．維拉 Mouse Sayako Tomiyoshi Lisa Probert Venus Villa

度度 (4, 6) 麥斯．韋斯威爾 (5, 7) 舒維爾．戴諾特 (8) 朱諾．狄奧利維拉．蘇薩 Dodo Max Westwell Shevelle Dynott Junor de Oliveira Souza

小鷹 (4, 6) 珍妮．哈林頓 (5, 7) 克里．貝克特 (8) 千里幸 Eaglet Jennie Harrington Kerry Birkett Senri Kou

鸚鵡 (4-8) 格蘭．里 Lory Grant Rae

猴子 (4, 6, 8) 佩特羅．萊佩特 (5, 7) 胡安．羅德里格斯 Monkey Pedro Lapetra Juan Rodriguez

喜鵲 (4, 6) 珍納．里 (5, 7) 安娜-米．費狄克遜 (8) 娜塔里雅．克雷曼 Magpie Jenna Lee Anna-Mi Fredriksson Natalia Kremen

蟹 (4, 6, 8) 丹尼爾．鍾斯 (5, 7)內森．揚 Crab Daniel Jones Nathan Young

獾 (4) 塔瑪琳．斯托特 (5, 7) 斯汀娜．卡加貝爾 (6, 8) 羅拉．布倫納 Badger Tamarin Stott Stina Quagebeur Laura Bruña

青蛙 (4, 6, 8) 安東．盧科夫堅 (5, 7) 弗朗西斯科．博希 Frog Anton Lukovkin Francisco Bosch

大毛蟲 (4, 6) 弗朗西斯科．博希 (5, 7, 8) 羅倫．里奧塔多 Caterpillar Francisco Bosch Laurent Liotardo

百合花 (4, 6, 8) 高橋繪里奈及阿里安奴．瓦加斯 Tiger Lilies Erina Takahashi and Arionel Vargas

(5, 7) 艾斯塔．巴薩維切特及扎納特．阿蒂姆塔耶夫 Asta Bazevičiūė and Zhanat Atymtayev

三色紫羅蘭 (4, 6) 德里斯．巴蘭坦、Van Le Ngoc、艾德拉．萊米雷斯 Pansy Couples 占士．福伯特、比干娜．曹、扎納特．阿蒂姆塔耶夫

艾斯塔．巴薩維切特、羅倫．里奧塔多 Désirée Ballantyne, Van Le Ngoc, Adela Ramirez James Forbat, Begoña Cao, Zhanat Atymtayev Asta Bazevičiūė, Laurent Liotardo (5, 7) 赤星慶、丹尼爾．克勞斯、基絲圖．科斯塔 安東．盧科夫堅、安納斯．查蘭達、麥斯．韋斯威爾 千里幸、鄭在英 Kei Akahoshi, Daniel Kraus, Crystal Costa Anton Lukovkin, Anaïs Chalendard, Max Westwell Senri Kou, Young Jae Jung (8) 克仙尼亞．奧斯芬尼克、斯蒂芬．韋信、艾德拉．萊米雷斯 尼古拉斯．里夫、比干娜．曹、弗朗西斯科．博希 艾斯塔．巴薩維切特、鄭在英

演員（按演出場次）Cast (dates performing)

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Ksenia Ovsyanick, Stephen Wilson, Adela Ramirez Nicholas Reeves, Begoña Cao, Francisco Bosch Asta Bazevičiūė, Young Jae Jung

魚僕人 (4, 6) 胡安．羅德里格斯 (5, 7, 8) 占士．福伯特 Fish Footmen Juan Rodriguez James Forbat

蛙僕人 (4, 6) 尼古拉斯．里夫 (5, 7) 埃斯特班．伯蘭加 (8) 丹尼爾．克勞斯 Frog Footmen Nicholas Reeves Esteban Berlanga Daniel Kraus

公爵夫人 (4, 6, 8) 占士．斯特里特 (5, 7) 米高．科曼 Duchess James Streeter Michael Coleman

廚師 (4, 5, 7) 珍．哈伍芙 (6, 8) 塔馬林．斯托特 Cook Jane Haworth Tamarin Stott

柴郡貓 (4, 6) 埃斯特班．伯蘭加 (5, 7) Van Le Ngoc (8) 麥斯．韋斯威爾 Cheshire Cat Esteban Berlanga Max Westwell

瘋帽匠 (4, 6) 法比安．雷馬爾 (5, 7) 占士．斯特里特 (8)張逸仙 Mad Hatter Fabian Reimair James Streeter Yat-sen Chang

三月兔 (4, 6) 丹尼爾．克勞斯 (5, 7) 尼古拉斯．里夫 (8) 基絲圖．科斯塔 March Hare Daniel Kraus Nicholas Reeves Crystal Costa

睡鼠 (4, 6, 8) 基絲圖．科斯塔 (5, 7) 艾德拉．萊米雷斯 Dormouse Crystal Costa Adela Ramirez

紅心王后 (4, 6) 莎拉．麥基爾羅伊 (5, 7) 珍納．里 (8) 艾琳娜．格盧狄斯 Queen of Hearts Sarah McIlroy Jenna Lee Elena Glurdjidze

紅心國王 (4, 6, 8) 米高．科曼 (5, 7) 丹尼爾．鍾斯 King of Hearts Michael Coleman Daniel Jones

紅心傑克 (4, 6) 迪米特里．古斯維夫 (5, 7) 阿里安奴．瓦加斯 (8) 扎納特．阿蒂姆塔耶夫 Knave of Hearts Dmitri Gruzdyev Arionel Vargas Zhanat Atymtayev

夢中愛麗絲 (4, 6) 艾琳娜．格盧狄斯 (5, 7) 比干娜．曹 (8) 德斯里．巴蘭坦 Dream Alice Elena Glurdjidze Begoña Cao Désirée Ballantyne

假龜 (4, 6) 羅倫．里奧塔多 (5, 7) 占士．福伯特 (8) 舒維爾．戴諾特 Mock Turtle Laurent Liotardo James Forbat Shevelle Dynott

獅鷲 (4, 6) 扎納特．阿蒂姆塔耶夫 (5, 7) 麥斯．韋斯威爾 (8) Van Le Ngoc Gryphon Zhanat Atymtayev Max Westwell

龍蝦 (4, 6) 艾斯塔．巴薩維切特、比干娜．曹、安納斯．查蘭達、珍納．里 Lobsters Asta Bazevičiūė, Begoña Cao, Anaïs Chalendard, Jenna Lee

(5, 7) 艾斯塔．巴薩維切特、克里．貝克特、羅拉．布倫納、艾莉森．麥維尼 Asta Bazevičiūė, Kerry Birkett, Laura Bruña, Alison McWhinney (8) 艾斯塔．巴薩維切特、羅拉．布倫納、比干娜．曹、安納斯．查蘭達 Asta Bazevičiūė, Laura Bruña, Begoña Cao, Anaïs Chalendard

撲克牌、香豌豆 英國國家芭蕾舞團成員 及其他角色 Dancers of English National Ballet Pack of Cards, Sweet Peas, other characters

演出陣容或有改動。Please note that the cast is subject to change.

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第一幕

愛麗絲在河邊玩耍，姐姐在旁看書；她靠在姐姐的腿上睡着了。忽然，一隻身穿外套，帶着懷錶，又擔心快要遲到的白兔跑過。愛麗絲跟着牠跳進兔子洞，像墮進了佈滿奇異東西深不見底的隧道。愛麗絲墮進一條兩旁都是門的長廊，看見桌上放着一把小鑰匙，她用小鑰匙打開最小的那道門，門後是一個美麗的花園；門太小，愛麗絲擠不進。她回頭看到桌子上有一隻標着「喝我」的瓶子，愛麗絲把瓶裏的東西一喝而盡，身體就開始縮小。不過，愛麗絲把鑰匙留在桌上，現在夠不着了。她又看到桌子底下有件小蛋糕，上面有「吃我」兩字。愛麗絲想不到蛋糕會帶來相反效果，身體愈變愈大。

ACT I

Alice is playing on the riverbank while her sister reads a book. She falls asleep in her sister’s lap and suddenly, a White Rabbit runs by, wearing a coat and carrying a watch, worrying about running late. Alice follows him down a rabbit hole and falls seemingly endlessly down a tunnel populated with curious objects. She lands in a long hallway lined with locked doors. She finds a little key sitting on a table and uses it to open a tiny door which leads into a beautiful garden. The door is too small for Alice to fit through. Looking back at the table she sees a bottle labeled "DRINK ME". Alice drinks the contents of the bottle and starts to shrink. But Alice has left the key high above on the table, and she can no longer reach it. Then, underneath the table she finds a small cake, with the words "EAT ME" on it. To her surprise it has the opposite effect to the bottle and Alice starts to grow and grow.

The White Rabbit runs by and is so frightened by Alice that he drops the gloves and fan he is holding. Frustrated, Alice cries and her tears flood the hallway

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Synopsis 故事大綱

until she finds herself swimming in a pool of her own tears. She is surrounded by animals swimming through the pool of tears to the safety of the bank.

Alice decides to hold a Caucus Race in order to dry the animals’ ruffled fur and feathers. The White Rabbit returns in search of his glove and fan and he and Alice meet an enormous Caterpillar sitting on top of a huge mushroom smoking a large hookah pipe. The Caterpillar conjures up the Garden of Living Flowers.

A Fish-Footman has an invitation for the Duchess to the Queen’s Croquet Match, which he delivers to a Frog-Footman. The Duchess’s house comes into view as the Duchess and the Cook are hard at work in their kitchen. Watched by the Cheshire Cat, the Cook prepares fish with clouds of pepper while the Duchess attends to the baby. The baby, it transpires, is a pig. The Cook and Duchess dash off leaving Alice with the Cheshire Cat. The White Rabbit reappears and whisks Alice off to the Mad Hatter’s Tea Party.

ACT II

Alice is escorted to the Queen’s Croquet Match by the White Rabbit where she meets the Royal Gardeners busily painting the roses red. The Queen of Hearts arrives with the entire pack of cards in attendance including the Knave of Hearts. The croquet match begins and out of nowhere the Cheshire Cat reappears to watch the game.

The Duchess returns and tells Alice a few truths about the Queen, but the Queen disturbs the gossiping

白兔跑過，被愛麗絲的模樣嚇得丟下手套和扇子。愛麗絲不知所措，哭了起來，眼淚淹沒長廊，最後竟然在淚池中游泳，身邊圍滿了一大群動物，努力游回安全的岸邊。

愛麗絲決定舉行一場馬拉松賽跑，讓濕淋淋的動物弄乾皮毛。白兔回來找丟失的手套和摺扇，他和愛麗絲遇到一條巨形毛蟲，坐在一個大蘑菇上抽着長長的水煙管。毛蟲以魔法變出一個百花園。

魚僕人給公爵夫人送上出席皇后的槌球比賽的請柬，並交予蛙僕人。來到公爵夫人的房子，公爵夫人和廚師在廚房埋頭工作。柴郡貓在旁看着，廚師把大量胡椒粉灑在魚上；公爵夫人在照顧一個小孩，那個嬰孩，原來是一隻豬。廚師和公爵夫人趕着出門，留下愛麗絲和柴郡貓。白兔又再出現，突然帶愛麗絲去參加瘋帽匠的吃茶派對。

第二幕

愛麗絲被白兔帶到皇后的槌球比賽，看見皇室的園丁正忙於把玫瑰染紅。紅心皇后與一整套撲克牌到來，包括

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紅心傑克。槌球賽開始，柴郡貓又突然出現，觀看球賽。

公爵夫人回來，告訴愛麗絲幾件關於皇后的事情，可是皇后打擾她們閒話，還傳令「砍掉公爵夫人的頭」。 皇室成員消失了，留下愛麗絲和獅鷲。獅鷲帶愛麗絲到海邊見假龜，海裏冒出四隻龍蝦，還跳起龍蝦四對 舞來。

愛麗絲睡着了，在夢中看見紅心傑克，兩人一起跳雙人舞。白兔回來，神情非常慌張，把愛麗絲帶到審判現場。紅心傑克站在被告席，被控偷走了餡餅。白兔讀出控罪，然後傳召第一位證人瘋帽匠作供，接着是第二證人廚師。紅心皇后決定在陪審員有裁決前判罪。

當愛麗絲想起法庭上大部份人物都只不過是撲克牌，她已回到河邊，與姐姐一起。

and passes sentence on the Duchess — “Off with her head!”. The court disappears, leaving Alice with the Gryphon who takes her to see the Mock Turtle by the sea shore where four lobsters appear from the sea and dance the Lobster Quadrille.

Alice falls asleep and in her dream the Knave of Hearts appears and they dance a pas de deux. The White Rabbit returns and in a great panic, takes Alice to The Trial. The Knave of Hearts stands in the dock accused of stealing jam tarts. The White Rabbit reads out the accusation and asks for evidence. The first witness is the Mad Hatter, who doesn’t help the case at all. The second witness is the Duchess's Cook. The Queen of Hearts decides to pass sentence before the jury have decided on their verdict.

As Alice remembers that most of the characters in the courtroom are no more than playing cards, she finds herself back on the riverbank with her sister.

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特稿 Features

《愛麗絲夢遊仙境》的音樂旅程 Creating the Music for Alice in Wonderland

Text: Nicholas DromgooleWhen Derek Deane approached Carl Davis about the score for his proposed Alice in Wonderland, he already had Tchaikovsky in mind. Carroll was a contemporary of both Petipa and Tchaikovsky, and the story and the score had to be conceived in the context of a classical ballet that could fit comfortably alongside Tchaikovsky’s other full-length ballets: The Nutcracker, Swan Lake and Sleeping Beauty.

Much of Tchaikovsky’s music had already been raided for ballet. Onegin had exploited much of his piano music, as had Francesca di Rimini. Clearly, the three ballet classics were out of bounds. Balanchine had used the Third Orchestral Suite, but there were still the first two.

Even more importantly, there was one crucial aspect of the three Tchaikovsky ballet classics – their music was already familiar. The pleasurable shock of recognition helped to make the ballets immediately accessible for a modern audience. If Alice in Wonderland was to fit alongside them, it must have the same advantage.

Fortunately there was Tchaikovsky’s Album for the Young — 24 pieces written to be played to children. Each one tells a story and is in itself a very vivid characterisation. If the ballet was not to be just a hotchpotch of different Tchaikovsky bits, then it had

文：尼古拉斯．德羅姆古爾當德里克．迪恩找卡爾．戴維斯為他打算製作的《愛麗絲夢遊仙境》譜曲時，心中早已想到柴可夫斯基。 《愛》的作者卡羅與佩蒂巴和柴可夫斯基同輩，故事和音樂必須以古典芭蕾為框架，而且與柴可夫斯基其他足本芭蕾舞作品相稱，如《胡桃夾 子》、《天鵝湖》及《睡美人》。

柴可夫斯基大部份音樂作品早已被芭蕾舞採用，如《奧尼金》和《弗蘭切斯卡》便用上大量他的鋼琴作品。很明顯，那三齣芭蕾舞經典也不是考慮之列；巴蘭欽已採用過第三套管弦樂組曲，還有首兩套。

更重要的是，柴可夫斯基那三齣芭蕾舞經典還有一個重要的特點 ── 那些音樂早已耳熟能詳。聽得出音樂出自何處，會讓人有驚喜，芭蕾作品便可即時引起現代觀眾的共鳴。要《愛麗絲夢遊仙境》與這些作品同日而語，必須要有同樣的特點。

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to have some kind of uniformity in its musical structure, and the Album for the Young provides this. Fifteen out of the 24 available pieces are used in Alice and they are doing just what Carroll himself was doing and what Deane is faithfully translating into dance – telling stories to children. Davis could comfortably find themes for the White Rabbit, the Cheshire Cat, the Caterpillar, the Gryphon, the Lobsters and the Mock Turtle, confident that they would fit into the overall musical tone.

Of the two major moments in Act I where the audience can expect to recognise the music, the first is the large corps de ballet number when Alice, having wept and created a pool of tears, shrinks to find herself swimming with other small creatures now her own size. For this, Chanson Triste could hardly be more appropriate, leading into the well-known scherzo from the third movement of the Fourth Symphony.

For the second, the Garden of the Living Flowers, the waltz from the third movement of the Fifth Symphony

幸好還有柴可夫斯基的《兒童鋼琴曲集》── 24首寫給兒童演奏的樂曲。每一首都是一個故事，而且各有明確個性。如果這套芭蕾不要變成只是柴可夫斯基作品片段的大雜燴，就必須在音樂結構上有種統一的效果，而《兒童鋼琴曲集》正是如此。《愛麗絲》選用了其中15首樂曲，這些樂曲都很稱職，像卡羅的妙筆和迪恩如實地以舞蹈展現原著所做的一樣 ── 給孩子說故事。戴維斯很輕易便找到白兔、柴郡貓、大毛蟲、獅鷲、龍蝦和假龜的主題音樂，很有信心這些樂章與整體樂調配合得宜。

第一幕中有兩個主要樂章，觀眾應可聽得出是什麼音樂；第一個樂章在大型群舞響起，當時愛麗絲淚流成池，身體縮小了，和一群與她身形相若的小動物在淚池中游泳。這一幕選用 《悲傷之歌》是最適合不過，然後引入第四交響曲第三樂章裏著名的〈諧謔曲〉。

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第二個樂章在〈百花園〉出現，取自第五交響曲第三樂章的華爾茲與情境相融。樂曲初成的時候，當時的樂評人指責柴可夫斯基「創作芭蕾音 樂」，好像說這樣做會貶低古典樂作曲家。《愛麗絲夢遊仙境》有這音樂史上最開心的峰迴路轉情節，這個樂章真真正正成為芭蕾音樂了。

所有芭蕾舞最華麗的場面就是雙人舞，這一段不但挑戰首席舞者的技藝極限，而且也要求作曲家把高潮帶出。在敘述方面而言，雙人舞的結構對《愛麗絲》可說是一種挑戰，因為愛麗絲既是一個孩子，但華麗的雙人舞卻肯定屬於成人世界。不過，和所有小孩子一樣，愛麗絲也有她長大之後的影子，表現得像個母親，看見被欺負的人便挺身保護。所以，雙人舞會是一個圍繞着她的英雄紅心傑克的夢境。

惟一從柴可夫斯基那三齣經典芭蕾舞借來的樂章，出現在第一幕的公爵夫

fits perfectly. When this was first composed, the music critics of the day accused Tchaikovsky of “writing ballet music”, as though this was in some way demeaning for a classical composer. In Alice in Wonderland, by one of the most delightful twists in musical history, it actually has become ballet music.

The grandest moment in any ballet is in the grand pas de deux. Not only is this where the principal dancers are challenged to the limits of their virtuosity, but this ought to be a grand climax for the composer too. From the narrative point of view, the structure of the pas de deux represented something of a challenge for Alice in Wonderland. Alice is a child and the grand pas de deux belongs firmly in the adult world. Yet, like all children, Alice gives hints of the adult she is going to become; she is already maternal and protective whenever anybody is under attack. So the pas de deux becomes a dream centred around her hero, the Knave of Hearts.

The only borrowing from Tchaikovsky’s three ballet classics occurs in Act I, with the music for the Duchess. In this episode an aura of violence caused by the cook’s pepper quickly changes with the arrival of the invitation to play croquet. In the score for Sleeping Beauty there is a variation in Act III for Cinderella and her Prince which is never used, and which moves from an agitated portrayal of the Prince’s journey to end in

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人音樂。在這節，由廚師的胡椒粉引起的緊張氛圍，隨着槌球賽請柬送來而 迅 速 轉 變 。 在 《睡美人》的第三幕，有一段本來為灰姑娘和王子而寫的變奏，從來都沒用上，這樂段最初展現王子旅途上的憂心忡忡，結尾時卻是突如其來的甜蜜 和 誇 張 的 華 爾滋。這樂段恰似為這一場而寫的。

對配器和編曲的人來說，最大的挑戰或者就是要配合這齣情節緊湊的芭蕾：愛麗絲的故事中情節緊湊 ──她掉進兔子洞、發現自己身處的地方有很多不斷變大縮小的門、置身繁忙的茶會，以及親睹皇后怒髮衝冠的情境。幸好柴可夫斯基的創作都很富戲劇性，如演出開始時所用的 《 暴 風 雨 》， 可 生 動 地 表 現 愛 麗絲掉進洞裏的情形；《兒童的夢》用於表現多門長廊一幕，在捕捉那種零碎、奇異和夢幻境界時，恰到好處。戴維斯找到的，正好是迪恩所 要的。

被遺忘的樂章被注入新氣息，動聽的舊曲子披上新裝，合起來以後，聽上去可能就像柴可夫斯基本該動筆的第四套芭蕾舞作品吧。

尼古拉斯．德羅姆古爾曾為《星期日郵報》撰寫舞評。

sudden sweetness and an over-the-top waltz. It might have been written for this episode.

Perhaps the main challenge for the orchestrator and arranger is the constant action in the ballet. A great deal happens in Alice’s story — she falls down a rabbit hole, finds herself in a hall where the doors are changing sizes, is present at a tea party which is crowded with activity and is witness to the Queen’s rage. Fortunately Tchaikovsky was a dramatic composer, and in works like The Tempest, which is used for Alice’s fall at the beginning of the ballet, and the apt Rêves d’Enfant, for the corridor of doors, which has a fragmented, strange and dreamy quality, Davis has found exactly what Deane needs.

New life has been breathed back into forgotten pieces and old favourites given new guises; combined together perhaps they come as close as we are likely to get to the fourth ballet that Tchaikovsky should have written but never did.

Nicholas Dromgoole is the former dance critic of The Sunday

Telegraph.

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特稿 Features

為愛麗絲設計服裝Costuming Alice

Text: Sue BlaneWhen Macmillan first published Alice’s Adventures in Wonderland in 1866 there were plenty of both. Lewis Carroll’s anarchic yet magical world was brought brilliantly to life by the 42 black-and-white drawings, which accompanied the text. The illustrations were the work of Sir John Tenniel, a contemporary artist well-known for his work in Punch, who worked closely with Carroll to create the vision of Wonderland which has proved so enduring. Macmillan has continued to publish editions of Alice’s Adventures in Wonderland ever since. In 1911, eight colour plates prepared by artist Harry Theaker towards the end of Tenniel’s life were added to the book. These fixed the

文：蘇．布蘭1866年由麥美倫出版的初版《愛麗絲夢遊仙境》是圖文並茂的，路易斯．卡羅筆下那無政府的魔幻世界，藉42幅黑白插圖躍然紙上。那些插畫是當代藝術家約翰．坦尼爾爵士的作品，他以漫畫刊物《笨趣》的畫作揚名，與卡羅合作緊密，創作出歷久不衰的仙境。從那時起，麥美倫繼續出版愛麗絲的故事。1911年的版本加進了八幅由藝術家哈利．西爾克作的彩色插圖，那時，坦尼爾已行將就木。這些

「書本有什麼用呢?」愛麗絲心想：「如果裏面連一幅圖畫，一段對話都沒有。」“And what is the use of a book,” thought Alice, “without pictures or conversations?”

© Dee Conway

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image of Alice as you see her today: blonde hair, blue dress and striped stockings.

The idea was originally developed by Derek Deane and Carl Davis in 1996. They wanted to produce a totally new piece, bringing Alice in Wonderland to the stage. Derek approached me directly and I thought it was a wonderful idea. Such stunning subject matter!

When faced with creating something as well-known and celebrated as Alice in Wonderland, there are quite a lot of ideas to apply. My main focus was to turn Carroll’s famous characters into characters that would work in a classical ballet. First and foremost the costumes had to be danceable and needed to allow the dancers as much freedom as possible to compliment Derek’s choreography. I was also keen to acknowledge Tenniel’s original drawings in my designs.

To understand what makes a costume danceable is really common sense. Ideally, a dancer should be able to move in every direction. One of the most interesting costumes to design was the square tutu for the pack of cards, an idea that Derek and I came up with together. It’s very important for classical dancers to use tutus as

插圖裏的愛麗絲形象，維持至今 ──金髮、藍裙子，還有條紋襪子。

這個構思是德里克．迪恩和卡爾．戴維斯於1996年想到的，他們希望製作一個全新作品，把《愛麗絲夢遊仙境》編成芭蕾作品呈現舞台。德里克直接來找我，我也覺得這主意很好，那是多麼吸引的題材。

創作如《愛麗絲夢遊仙境》這種膾炙人口的作品，參考資料實在不少；我會着眼於如何把路易斯．卡羅的名角，成功以經典芭蕾舞去演繹。首先，戲服一定要方便跳舞，讓舞者盡可能無拘無束地演出德里克的編舞。我也很渴望以我的設計作品，向約翰．坦尼爾爵士致敬。

怎樣才算是方便跳舞的服裝呢？眾所周知，舞者最好可以活動自如。其中最好玩的，是為撲克牌兵設計方形

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芭蕾舞裙，那是德里克和我一起想出來的。芭蕾舞裙對古典芭蕾舞舞者是很重要的，他們要靠裙子的形狀去平衡，所以，要把方形芭蕾舞裙也設計到如傳統戲服一樣能幫助平衡，的確很有難度。我也花了一點時間，才做出平衡效果恰當的短裙原型。動物角色也是一種挑戰；一方面我希望服裝有栩栩如生之感，同時要突出舞者的舞姿。

戲服久經封存之後，到了試戲服的時候，戲服組和舞者又要面對新難題。所有戲服都會非常小心地收藏，要修改的時候，會提早很多從貯藏室取出來，確保戲服完好。把戲服試上身之後，會開始進一步的修改工作；第一次穿在舞者身上演出的戲服，通常都要稍作調整。幸好英國國家芭蕾團的戲服組非常超卓，可應付任何修改。演出前數星期，我們也會一直試穿，舞者有機會把戲服穿上身，感覺一下動作是否流暢。舞者都是出色的技術員，知道怎樣穿着一身戲服，仍活動自如，那不是一般人可以做到的。

they use the shape to balance, so to make a square tutu work in the same way as a conventional one was quite a challenge. The prototype took quite a while to perfect in order to get the balance right. The animals were also a challenge; I wanted them to be believable as animals

but the costumes also had to show off the dancer’s movements.

After a long time in storage there are new challenges for the wardrobe team and dancers when they undertake the costume fittings. The costumes are stored extremely carefully and are taken out of storage to make sure they are in good condition long before work is started on them. More detailed work starts when the costumes are fitted. We go through several weeks of fittings before a production opens giving the dances the opportunities to try on the costumes and see how they feel to move in. There are often small adjustments required after a costume has been danced in for the first time. Luckily the English National Ballet has a great costume team

on hand to make any changes. Finally, dancers are great technicians and know how to move in a costume in order to make it work to its full effect; something that for most of us would be impossible!

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創作人員簡歷 Biographies

加州帕翠西亞．萊姆斯舞蹈藝術學校畢業，2005年12月年加入英國國家芭蕾 舞團。曾任職：皇家芭蕾舞團（1969-1991）、荷蘭國家芭蕾舞團（藝術總監， 1991-2003）代表作品：與瑪歌．芳婷合演由肯尼思．麥美倫編舞的《仙女》、《哈姆雷特》與《奧菲莉亞》；為費雷迪．摩克瑞及皇后樂隊的演出《I Want to Break Free》編舞。其他：曾為下列團體及藝術家編舞：皇家芭蕾舞學校、皇家芭蕾舞團、卡拉．弗奇、米蘭史卡拉芭蕾舞團、荷蘭國家芭蕾舞團、香港芭蕾舞團、羅馬歌劇院、莫斯科克里姆林芭蕾舞團及英國國家芭蕾舞團。Training: Patricia Ramsey School of Dance Arts, California; Royal Ballet School

Previous affiliations: Royal Ballet (1969-91), Dutch National Ballet (Artistic Director, 1991 - 2003)

English National Ballet, joined in December 2005

Career highlights: Partnering Dame Margot Fonteyn in Les Sylphides, Hamlet and Ophelia, working with Sir Kenneth MacMillan and choreographing I Want to Break Free for Freddie Mercury and Queen.

Other infomation: Has choreographed work for the Royal Ballet School and The Royal Ballet, Carla Fracci, La Scala, Milan, Dutch National Ballet, Hong Kong Ballet, Rome Opera, Kremlin Ballet (Moscow) and English National Ballet.

韋恩．伊格凌 Wayne Eagling藝術總監Artistic Director

皇家芭蕾學院畢業。曾任職：皇家芭蕾學院高級首席舞者、羅馬歌劇院副藝術總監及駐院編舞、英國國家芭蕾舞團總監（至2001年）。曾為下列團體創作：英國國家芭蕾舞團，包括深受好評的「巡迴」製作；為多間主要國際劇團創作新作品。獎項：2000年獲頒OBE勳銜，表揚他對舞蹈的貢獻。Training: Royal Ballet School.

Previous affiliations: Dancer with The Royal Ballet (Senior Principal), Deputy Artistic Director and Resident Choreographer at Teatro dell’Opera in Rome, Artistic Director of English National Ballet until 2001.

Created work for: English National Ballet, including the acclaimed “in-the-round” productions, as well as new works for many major international companies.

Career highlight: Awarded the OBE in 2000 for services to dance.

德里克．迪恩 Derek Deane 編舞Choreographer

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卡爾．戴維斯 Carl Davis

美國新英格蘭音樂學院及巴德學院畢業。曾任職：皇家利物浦愛樂樂團、倫敦交響樂團、皇家愛樂樂團、倫敦愛樂樂團、英國廣播公司演奏會管弦樂團。舞蹈音樂作品：《聖誕頌歌》（英國北部芭蕾劇團）、《愛與死亡之舞》（倫敦當代芭蕾舞團）、《阿拉丁》（蘇格蘭芭蕾舞團）、《大鼻子情聖》（伯明翰皇家芭蕾舞團）。其他作品包括：《傲慢與偏見》（英國廣播公司）、《晚安湯姆先生》（英國廣播公司）、《歌聲魅影》（皇家歌劇院）。其他：英國電影電視藝術學院獎終身成就獎、CBE勳銜、藝術及文學騎士勳章。Training: The New England Conservatory (US), Bard College.

Previous affiliations: Royal Liverpool Philharmonic Orchestra, London Symphony Orchestra, Royal Philharmonic Orchestra, London Philharmonic Orchestra, BBC Concert Orchestra.

Dance work: A Christmas Carol (Northern Ballet Theatre), Dances of Love and Death (London Contemporary Ballet), Aladdin (Scottish Ballet), Cyrano de Bergerac (Birmingham Royal Ballet).

Other work includes: Pride and Prejudice (BBC), Goodnight Mr. Tom (BBC), Phantom of the Opera (Royal Opera House).

Other information: BAFTA Special Lifetime Achievement Award, Hon. CBE, The Order of Chevalier des Arts et des Lettres.

編曲Musical Arranger

蒂莫西．凱里 Timothy Carey

皇家音樂學院及聖彼得堡音樂學院畢業。曾任職：布拉格室樂愛樂樂團、聖彼得堡室樂愛樂樂團、莫拉維亞愛樂樂團；曾參與歌劇演出包括魏爾《馬城小傳》、伯恩斯坦《大溪地風雲》；曾參與藝術節包括帕克索斯（希臘）、姆拉達-帕萊哈〈捷克〉、徹爾滕納姆、巴克斯頓、利奇菲爾德及牛津等地的藝術節。英國國家芭蕾舞團作品：《羅密歐與茱麗葉》、《胡桃夾子》、《吉賽爾》、《愛麗絲夢遊仙境》、《古堡守護靈》、《我肌膚上的百萬個吻》、《柯貝利亞》、《天鵝湖》及《曼儂》。其他資料：常擔任皇家芭蕾舞團助理指揮，與基洛夫及俄羅斯大劇院等劇院的名指揮家合作。2006年首次演出鋼琴獨奏，為蘭伯特舞團的《站立與凝視》與《狐女》演奏，並經常演出室樂音樂會。Training: Royal Academy of Music, St Petersburg Conservatoire

Previous affiliations: Prague Chamber Philharmonic Orchestra, St Petersburg Chamber Philharmonic Orchestra and Moravian Philharmonic Orchestra. He has assisted on various projects with The Opera Group including Weill’s Mahagonny Songspiel and Bernstein’s Trouble in Tahiti. Festivals include Paxos (Greece), Mlada Praha (Czech Republic), Cheltenham, Buxton, Lichfield and Oxford.

English National Ballet: Romeo & Juliet, The Nutcracker, Giselle, Alice in Wonderland, The Canterville Ghost, A Million Kisses to my Skin, Sinfonietta Giocosa, Concerto, Coppélia, Swan Lake and Manon.

Other infomation: As a regular assistant conductor with The Royal Ballet he has worked on several productions, with acclaimed conductors from the Kirov and Bolshoi companies. In 2006, he made his debut, as a solo pianist, with Rambert Dance Company in Stand and Stare and Lady into Fox and continues to perform chamber music regularly.

客席指揮Guest Conductor

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蘇．布蘭 Sue Blane

美術及設計中央學校畢業。其他佈景及服裝設計作品包括：《病發》、《仲夏夜之夢》、《女學者》、《安東尼與克里奧帕拉》、《塞維利亞的理髮師》、《鵲賊》、《平安夜》。 服裝設計作品：《洛基恐怖晚會》、《小伙子與大姑娘》、《波吉與貝絲》、《卡門》、《天皇》、《玫瑰騎士》、《三個橙子的愛情》、《拜訪森林》、《西部女郎》、《天師捉妖》、拜羅伊特音樂節的《羅恩格林》、意大利鳳凰劇院的《仲夏夜之夢》，以及東京演出的《露露》。電影作品包括：《洛基恐怖晚會》及《繪圖師的合約》其他：2005年獲皇家藝術工業團體頒發皇家行業設計師獎；將參與於奧爾德堡藝術節上演的布列頓作品《威尼斯之死》。Training: Central School of Art & Design.

Set and costume designs include: The Relapse, Midsummer Night’s Dream, The Learned Ladies, Anthony and Cleopatra, Barber of Seville, The Thieving Magpie and Christmas Eve.

Costume designs include: Rocky Horror Show, Guys and Dolls, Porgy and Bess, Carmen, The Mikado, Der Rosenkavalier, The Love for Three Oranges, Into the Woods, La Fanciulla del West, Dance of the Vampires, Lohengrin for Bayreuth, Midsummer Nights Dream, La Fenice and Lulu, Tokyo.

Film credits include: The Rocky Horror Picture Show and The Draughtsman’s Contract

Other information: Awarded a Royal Designer for Industry by the Royal Society for the Arts in Industry in 2005. Future plans include Britten’s Death in Venice for the Aldeburgh Festival.

服裝設計Costume Designer

先後於杜倫大學、倫敦皇家音樂學院及聖彼得堡音樂學院畢業。其他：曾參與多屆阿爾梅達及奧爾德堡藝術節，展開其劇場事業，主要負責當化歌劇的首演。2005年，科尼利厄指揮了多場首演，包括斯比特福德藝術節、皇家歌劇院林伯里劇場、英國國家歌劇院及當代藝術中心的演出。今年的指揮演出包括德國魯爾三年展藝術節、英國國家芭蕾舞團及威爾斯國立歌劇院。科尼利厄斯現為赫特福德交響樂團音樂總監。Education: Durham University, Royal Academy of Music, London, St Petersburg Conservatory

Other information: Theatre debut with the Almeida and Aldeburgh Festivals, with responsibility for premiere productions of contemporary opera. Conducted premieres for Spitalfields Festival, Linbury Studio of the Royal Opera House, English National Opera and the Institute of Contemporary Arts in 2005. Conducted for the Ruhr Triennale Festival in Germany, English National Ballet and Welsh National Opera. He also continues as Music Director of the Hertford Symphony Orchestra.

傑里．科尼利厄斯 Gerry Cornelius客席指揮Guest Conductor

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保羅．基夫 Paul Kieve

曾任職：皇家莎士比亞劇院、國家劇團、倫敦約克公爵劇團、皇家斯特拉福特劇團、利物浦劇院、英國國家歌劇院、巴士底歌劇院、漢堡歌劇院。作品包括：《音樂劇史顧己》（多明尼安劇院）、羅爾德．達爾的《女巫》（倫敦約克公爵劇院）、《謎》、《化身博士》（皇家莎士比亞劇團）、《大奇蹟》（皇家國家劇團）及《帕西法爾》（巴黎巴士底劇院）。其他：曾合作過的包括：魔術師大衛．高柏菲、安德魯．萊特．韋伯、迪士尼劇場製作魔術顧問、魔術行內人金星會員。Previous affiliations: Royal Shakespeare Company, Royal National Theatre, Duke of York’s Theatre, London, Theatre Royal Stratford East, Liverpool Playhouse, English National Opera, Opera Bastille, Hamburg State Opera.

Work includes: Scrooge – The Musical (Dominion Theatre), Roald Dahl’s The Witches (Duke of York’s Theatre), The Mysteries, Dr Jekyll and Mr Hyde (Royal Shakespeare Company), La Grande Magia (Royal National Theatre) and Parisfal (Paris Bastille).

Other information: Collaborated with illusionist David Copperfield and Andrew Lloyd Webber; magic consultant to Walt Disney Theatrical Productions; Gold Star member of the Inner Magic Circle.

視效Illusionist

於埃克塞特北科特劇團受訓。曾任職：宮廷劇團、阿波羅劇團、英國國家劇團、英國國家歌劇院。作品包括：一百五十多部燈光設計作品，包括《火腿騎士》（宮廷劇團）、《一生一次》（英國國家劇團）、《瑪麗．斯圖瓦特》（阿波羅劇團）、《聖衣會》（英國國家歌劇院）、《喬治．狄倫的墓誌銘》（喜劇劇院）其他：曾六度獲提名羅蘭士．奧利花獎，三度獲獎。Training: Northcott Theatre, Exeter.

Previous affiliations: Palace Theatre, Apollo Theatre, National Theatre, English National Opera.

Work includes: Lighting design for more than 150 productions including Spamalot (Palace Theatre), Once in a Lifetime (National Theatre), Mary Stuart (Apollo Theatre), The Carmelites (English National Opera) and Epitaph for George Dillon (Comedy).

Other information: Nominated for six Laurence Olivier Awards, winning three.

曉．凡斯頓 Hugh Vanstone 燈光設計Lighting Designer

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舞團介紹 Company Profile

英國國家芭蕾舞團是世界首屈一指的芭蕾舞團，於1950年代成立時，矢志讓各地觀眾以實惠價錢欣賞最上乘的古典芭蕾舞，而這宗旨舞團一直奉行至今。舞團在英國及海外演出頻繁，又為英國奠下聖誕節欣賞《胡桃夾子》的傳統，58年來每年均在倫敦演出這深受觀眾喜愛的作品；另外，舞團每年也會在皇家艾爾拔音樂廳作夏季演出。舞團常演舞目包括多齣經典傑作及各類卓越新製作。透過委約及採集新作品、修飾現有作品，以及鼓勵新進編舞，舞團旨在保留一個原創及流行作品並存的舞目。

English National Ballet is one of the world’s great ballet companies. The original 1950s vision for the Company — to take classical ballet of the highest quality to the widest geographical audience, at a price everyone can afford — remains the cornerstone of the Company’s philosophy. English National Ballet presents an extensive touring schedule in the UK and abroad. The history of English National Ballet is entwined with that of The Nutcracker at Christmas and the Company’s Christmas season is unimaginable without this well-loved ballet. The Company has performed The Nutcracker in London annually for over 58 years. English National Ballet’s repertoire includes a catalogue of masterpieces as well as an array of excellent new productions. By commissioning and acquiring new pieces, refurbishing existing works and encouraging new choreographers, the Company aims to maintain an original and popular repertoire.

英國國家芭蕾舞團English National Ballet

贊助人 約克郡公爵 Patron HRH The Duke of York, KG, KCVO, ADC

主席 貝里爾．格雷夫人 President Dame Beryl Grey DBE

藝術總監 韋恩．伊格凌 Artistic Director Wayne Eagling

常務董事 克雷格．哈素爾 Managing Director Craig Hassall

藝術 ArtisticWayne EaglingAntony DowsonYuri UchiumiRosalyn WhittenJane Haworth

行政 AdministrationCraig HassallAndrew MorganSarah Cannon-Jones

醫療 MedicalDominic HickieJackie Pelly

技術 TechnicalAl RichesAnne LincolnKerry Lewis

服裝 WardrobeLola StottAnna EvripidouGemma SpiceLucy Eyte

機械師 MechanistsDavid BaxterAndy MorrisonSteve ChesworthSimon ReadAusten HaffendenMarc Dussert

燈光 Lighting David RichardsonIan ComerSid Ellen

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高級首席舞蹈員 Senior Principals

Elena Glurdjidze

Dmitri Gruzdyev

Erina Takahashi

首席舞蹈員 Principals 演員 Character Artists

Michael Coleman* Jane HaworthYat-Sen Chang Sarah McIlroy Fernanda

Oliveira Arionel Vargas

舞團成員 The Company

第一獨舞員 First SoloistsBegoña Cao Crystal Costa Adela Ramirez Fabian Reimair

* 客席舞蹈員 Guest Artist

獨舞員 Soloists

第一舞蹈員 First Artists

舞蹈員 Artists

香港特約演員 Hong Kong Supernumeraries

Zhanat Atymtayev Désirée Ballantyne

Asta Bazevičiūė Anaïs Chalendard

Daniel Jones Jenna Lee

Kei Akahoshi Esteban Berlanga James Forbat Laura Hussey

Senri Kou Daniel Kraus Van Le Ngoc Laurent Liotardo

Anton Lukovkin Lisa Probert Juan Rodriguez Adrienne Schulte

James Streeter Venus Villa

Kerry Birkett Francisco Bosch Ruth Brill Laura Bruña Jung ah Choi Shevelle Dynott Anna-Mi Fredriksson

Jennie Harrington Anjuli Hudson Amber Hunt Young Jae Jung Natalia Kremen Pedro Lapetra Miranda Lee

Alison McWhinney Nancy Osbaldeston Ksenia Ovsyanick Stina Quagebeur Grant Rae Nicholas Reeves Junor de Oliveira Souza

Tamarin Stott Sayako Tomiyoshi Max Westwell Stephen Wilson Araminta Wraith Nathan Young Jia Zhang

陳英娜 Chan Ying-na 何真有 Ho Chun-yau 顧尚文 Benedict Koo

潘啓文 Rayman Poon 譚芷翎 Tam Tsz-ling 黃佩彥 Peony Wong

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樂團介紹 Orchestra Profile

香港小交響樂團在音樂總監葉詠詩領 導 下 ， 每 年 在 港 演 出 超 過 7 0 場次，被譽為「世界上出色的小樂團之 一」。多年來，樂團曾與不少國際著名音樂家及藝團合作，如亞殊堅納西、杜明高、杜美、傅聰、霍活特、巴伐洛堤、蘇嘉文、英國皇家芭蕾舞團、基洛夫芭蕾舞團、莫斯科大劇院芭蕾舞團和史圖加芭蕾舞團等，亦經常應邀參與本港及外地多個藝術節，包括東京《熱狂の日》音樂祭、法國漢斯夏季音樂會、法國聖里奇音樂節、上海之春國際音樂節及香港藝術節等。由雨果製作為樂團錄製的多套華人作曲家優秀作品鐳射唱片，和近期由DECCA發行的《就是古典音樂》亦廣獲好評。同時，樂團著意與不同界別的藝術家製作嶄新的跨界節目，所選演奏的曲目亦豐富而廣泛，除了傳統的管弦樂章外，樂團每年均委約作曲家為樂團譜新曲。

Hailed as “one of the world’s great small orchestras”, Hong Kong Sinfonietta performs over 70 times each year under the leadership of Music Director Yip Wing-sie. Over the years, the orchestra has collaborated with an illustrious array of international artists and groups including Vladimir Ashkenazy, Plácido Domingo, Augustin Dumay, Fou Ts’ong, Christopher Hogwood, Luciano Pavarotti, Pinchas Zukerman, The Royal Ballet, Kirov Ballet, Bolshoi Ballet and Stuttgart Ballet. The orchestra is a regular guest of all the major festivals in Hong Kong and has participated in overseas festivals, including La Folle Journée in Tokyo, Les Flâneries Musicales d’Été de Reims, the Saint-Riquier Festival in France and the Shanghai Spring International Music Festival. As well as performing live, the orchestra has recorded several highly acclaimed CDs: the Master Chinese Composition Series on the HUGO label and This is Classical Music released on the DECCA label last year. Apart from the standard orchestral repertoire, the orchestra commissions new works every year and ventures into crossover performances with other art forms.

香港小交響樂團Hong Kong Sinfonietta

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小提琴 Violin龍向輝 Jensen Lung ◆ 助理樂團首席 Assistant Concertmaster

李海南 Le Hoai-nam 第二小提琴首席 Second Violin Principal Leader of the Performances

蔡路 Tsai Loo 第二小提琴助理首席 Second Violin Assistant Principal

蔡穎琼 Cai Ying-qiong周惜分 Sylvia Chow馮佳 Feng Jia保坂英子 Eiko Hosaka林新駿 Lam Sun-chun呂灝然 Ambrose Lui羅蔚敏 Luo Wei-min彭曉筠 Pang Hiu-wan高橋真珠 Matama Takahashi丁鈺 Teng Yuk Sophia戴豪逸 Joseph Vickers黃裕翔 Wong Yu-cheung葉紹羲 Yip Siu-hay袁以恆 Jonathan Yuen

中提琴 Viola陳子信 Chan Tsz-shun Elvis ★

錢江Chin Kong何永妍 Cecilia Ho ◆

劉琛彥 Lau Sum-yin顏星安 Ngan Sing-on胡斯樂 Wu Shee-lok

大提琴 Cello張培節 Chang Pei-chieh ○

貝樂安 Laurent Perrin ▼

何國芝 Ho Kwok-chee Karey金劉儀 Yvonne Kam ◆

朴詩媛Park Si-won黃嘉輝Wong Ka-fai David

低音大提琴 Double Bass永井雅美 Masami Nagai ▼

姜鵬 Jiang Peng

長笛 Flute翁斯貝 Weng Si-bei ★

上杉晃代 Akiyo Uesugi

雙簧管 Oboe福原真美 Mami Fukuhara

單簧管 Clarinet方曉佳 Fong Hiu-kai Johnny ★

陳秋媛 Chen Chiu-yuan

巴松管 Bassoon秦慶生 Chin Hing-sang ★

田口美奈子 Minako Taguchi

圓號 Horn舒培特 Supreeti Ansvananda ★

東出真澄 Masumi Higashide岑慶璋 Shum Hing-cheung關山明 Benny Kwan

小號 Trumpet馮嘉興Fung Ka-hing ★

顏熾權 Joseph Ngan ▼

丹尼路 Danilo Delfin

長號 Trombone新妻裕子 Yuko Niitsuma ★

關子禮 Kwan Tsz-lai Steve ◆

低音長號 Bass Trombone江子文 Kong Tze-man Jason

大號 Tuba林榮燦 Lam Wing-tsan ★

定音鼓 Timpani村本曉洋 Akihiro Muramoto ★

敲擊樂 Percussion周展彤 Chau Chin-tung ★

豎琴 Harp黃士倫 Ann Huang ★

★ Principal 首席○ Acting Principal 署理首席▼ Assistant Principal 助理首席◆ On Leave 休假

註 Notes1. Guest Principal Oboe — Tam Tze-fai Victor (譚子輝), Guest Principal Keyboard — Winnie Choy (蔡慧楨).2. Freelance musicians: Chow Ying-man Joanne (周影雯), Otto Kwan (關統洋), Amos Lee (李家耀), Luk Kin-bun (陸健斌)

Carmen Ma (馬家敏), Louis Siu (邵俊傑), Harty Tam (譚凱怡), Xiong Yin (熊胤), Yam King-lam (任景林) Yip Chun-kit (葉俊傑).

3. APA student (with kind permission of The Hong Kong Academy for Performing Arts): Chan Ching-tak Walter (陳清德), Choi Tsz-wing (蔡芷穎).

樂團成員 Orchestra Members

音樂總監 Music Director 葉詠詩 Yip Wing-sie