Ӟ6XPL-R Mad for Love
ຝ͌ ڭਜ਼ਝ ܞ ᖓϹ̛ ᑩּϝᄨiѵς Zhang Guoyong ؿັᅳؿͮיѺ Ҧɤಿ༠iΐෲዝٻconductor ࡌ̛ ᒚᄨဍ டढ़Λiᜑ҈ࡖ؆ Ӟ ɤঢ়ࠑ ̀ጻ ࣺɡᄨi٢ᑂࠑᅥ Sumi Jo ӴС̛ ઠiˢԅใܹؿᐰᇃ soprano xɻͤࢠx
ςۗکဍ এ٦ɤiɍྭiۤ ɡiෞෞcᚹᚹ҈႓ڭ˒ ځ Ԉࡧ ࠓݚྠਯiၐ୧ԓɾ ʨܬဍ ϹϹԈયᖅiۤ В࢟դ ϢྡྷɁiᕷၤᚭ࿑
Programme ROSSINI Semiramide : Overture DONIZETTI Linda di Chamounix : O luce di quest’anima HANDEL Rinaldo : Lascia ch’io pianga GOUNOD Faust : Ballet music BELLINI I Puritani : Qui la voce sua soave
– Intermission – VERDI La Traviata : Act III: Prelude ADAM Le Toréador : Ah, vous dirai-je, maman LEHÁR The Merry Widow : Vilja’s song VERDI I Vespri Siciliani : Spring BERNSTEIN Candide : Glitter and be gay
ΈϽᜮଠ cᇼᗐઌʹొཋʥԯˢᚊባສeʑɺ૰ඝࠕdᙘᄧd፣ࠑֶ፣ᄧeूɣࡼτکሌᅥ ȹ҄ؿࠑᅥe Dear patrons For a wonderful concert experience, kindly switch off your mobile phone and other beeping devices before the concert begins. Photography, recording, filming, eating or drinking are not allowed.We wish you a very enjoyable evening. Salute ᑢ͟Ђ to Our Partners kܛࠗಋဳ֞ᅥ྆টʶᑢ˞ɎᖳХዀ࿚ؿྐྵష༅Хʻ The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the Partners below for their generous sponsorship and support!
˚߬ᖳХ ࠖᖳХ MAJOR FUNDING BODY PRINCIPAL PATRON
ຝ͌ᖳХMAJOR SPONSORS
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name
(ࠗಋဳ֞ᅥ྆ಋᅥܰԓݘਂʑԮეኒΔ The Hong Kong Philharmonic Orchestra (HKPO Ͻؿᅥ྆ɾȹcᔔఒࠗಋʼʝ́՜༩ȹ˖c is one of Asia’s leading orchestras. Enriching Hong Kong’s ɍɊαԞɰೕࢄιඑജɁၤࣵ̔ࠑᅥ၀ߜؿ cultural life for over a century, the Orchestra has grown intoٶ ˮᅥ྆cмʵ˖ވज़ᖚࡼ̎ᘆᖚeಋᅥ a formidable ensemble of Chinese and international talents Ұα༦൚༦ȹϛʄɊؿˮcᘩ৽ɀɊຒ in the last three decades, attracting world-class artists to ᅥ়ؿʶe perform on the same stage.HKPO annually touches the lives of 200,000 music lovers through more than 150 performances. ɣϴ۹fജऋეኒɎcܞΕԔᙷਝؿ Under the leadership of its internationally renowned conductor αˮ৺ٶಋᅥؿᖚˋ̡ྨঢ়ࢋeಋᅥ Edo deWaart, HKPO continues to scale new heights in musical Ͳࡨ͚ᚊςӡͶdჱࠑᅥผdඨ̀ᅥς excellence. The continuing cycle of Mahler symphonies and cҡۿؿྩณς͌cяݯᅥ়ֺᆅʘ౨̔˞ challenging programming outside the traditional repertoire, ᅥտؿ ιݯᅥ྆ᖚೕࢄؿԈೡຌe have become highly anticipated events as well as musical ᅕӴΛ٧ؿᒫԈෙჱࠑᅥผڈࠇᎻc milestones for the Orchestra. Beethoven’s Fidelio opera-in- ʥ৺ؿɣΔɾɺ˿cϤԯˢၤಋᅥ concert and Mahler’s Das Lied von der Erde are inarguably the i፡ೄࡼແˤdܢ˳ڬؿᕷᅥኋ̜ܱ̎ major highlights of the 2009/10 season. Many great artists ,ॗʩਥʥңၐcɩొೄࡼਜ̷਼քʥ perform with the HKPO, from pianists Jean-Yves Thibaudetּˈ ɣొೄࡼ͠СeඨթܞᖓऋӇਥ Boris Berezovsky and Paul Lewis, violinist Sarah Chang ɣቝᐽcᄤɣᅥ়ຒʜ፟༦e to cellist Steven Isserlis. The visit of the legendary Gennadi Rozhdestvensky is also an event not to be missed. ιݯټপਥڌα˂cʪ̀එ྆෯ഁ ᅥ྆ؿࠖᖳХc˞Хജऋྡྷଊˢྦྷᅥ྆ؿ From April 2006, The Swire Group Charitable Trust became ѩᗙeϊݯಋᅥ̌ɐɣؿͬพᖳХc˥ᅥ྆ the Hong Kong Philharmonic’s Principal Patron, enabling ၦ̎ᑺ൬ Maestro de Waart’s artistic vision for the Orchestra to beވ˖˞ΕᖚɐτҡɣؿೕࢄcΉ ,ؿࣂcੀঢ়ˋๅؿˮᄤɣ̵̟cᜑҡ realized. Swire’s sponsorship of the Hong Kong Philharmonic ΛɁઅᘩԷ̀ࠑᅥe the largest in the Orchestra’s history, supports artistic growth and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public. ॵฉ૯૯၇κcዶรઐᄤဳ HKPO stays in tune with our city by presenting the orchestra̟ےಋᅥࠗಋؿ ผΈආᄙcੀ၀ؿࠑᅥผԷ in unexpected venues and bringing the excitement of theمᅥϭ֞ ΈࡼΈʸcɻɺʭࠇ߬ˮҡ༦ཋ̎ʥ concert experience to every home through radio and television ᅥ broadcasts.These included,in the 2007/08 season,the biggestכܢ˳ሌcཋ഼ᔝᅌͲಋ̵̟ ʸ outdoor symphonic concert of the year,Swire Symphony UnderێտcΕൠΔ༝ᅥᐾϷؿͲαɣ ͚̔ᚊࠑᅥผzʪ̀ಋᅥfܱէf͚ᚊςe the Stars at Happy Valley.The Orchestra runs a comprehensive ݯȿొঢ়Ͳಋɻdɩdऋࣦነ́ྦྷ̀ࠑᅥؿ schools education programme, Creative Notes, bringing the ጙመcಋᅥᐾፒࠑᅥઠөི߮෮ࠑଲc joy of classical music to primary, secondary and special school kids, and once in a while, the Orchestra drops the formality of ԜЛࠑᅥผʥΈඖઠөݠ৽eᅥ྆͛ཹొ the classical concerts to crossover with Western and Chinese ምˮक़̀ࠑᅥؿᆲᕿcց౨ᑼᇼɻd pop stars. ᜮଠઅᘩڇݚϷʹ̎ˮcмʵҡΛἁ ̀ࠑᅥe The Orchestra also builds its reputation and raises its artistic standards by touring. In 2007/08 season, the Orchestra ᐰᙷ performed in the Shanghai Spring International Music͓ۺಋᅥؿࣵ̔Ԁিˮcᜑᅥ྆Εಋ̔ ʥ൬ȹүొʠᖚˋ̡eᅥտcಋᅥʗ Festival and the Beijing Music Festival. In 2009, the Orchestra ਝࠑᅥຝʥ˵ԕਝࠑᅥຝɻ undertook a major six-concert tour of China, including theܬɐࣵɾכП αcᅥ྆ҡΕϴ۹fജऋؿეኒ Xinghai Concert Hall in Guangzhou, Beijing’s National Centre eޚڋ ɎԷᄤήܱࣵࠑᅥᜨd˵ԕਝࡼɣჱʥɐࣵ for the Performing Arts and Shanghai Grand Theatre under .ɣჱɣჱАɻਝԀcݯᄤɣɻਝᚹଠ the leadership of Maestro Edo de Waart ˮʒ၀ࠑᅥผe In February 2008, the Hong Kong Arts Development Council honoured the HKPO with the Arts Promotion Award, in α˂ཕೕᖚઐᄤ recognition of its success in expanding its audience base andכࠗಋᖚೕࢄѫ .αԞι˲ᒷ gaining public support in recent yearsٶಋᅥٲ˞ᆉʀࠗಋဳ֞ᅥ྆c ࢄᜮଠᄙࠍᏵՅʔଠʻܛe The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region ༅Х SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra֚ܧਂܧࠗಋဳ֞ᅥ྆ࠗͅಋऋПϷ ࠗಋဳ֞ᅥ྆ࠖᖳХiʪ̀එ྆ The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong ࠗಋဳ֞ᅥ྆ݯࠗಋʼʝɻʶΔ͟Ђ Kong Cultural Centre
ڭਜ਼ਝ Zhang Guoyong
ܞ conductor
α In 1983, Zhang Guoyong graduated from the conducting ӡcܞɐࣵࠑᅥነכαଓพ Ᏽୣޫਝ͓ࣜ˿ʩਥࠑᅥነʀࠑᅥ department of the Shanghai Conservatory of Music. In ɡነϽeͱ܃ടΊܞࡼdࠑᅥઠөࡼ 1997, he was awarded a PhD in music with distinction from the Moscow State Conservatory named after ɣᖓऋӇܞᖓടΊڜඡኮઠ Tchaikovsky. He studied under the direction of two ࠹ᖚᐢဟdɐࣵٽਥeଊͨɐࣵჱ famous conductors: Professor Huang Xiaotong and the ࠑᅥነАςܞӡઠɐ͚ࣵᚊᅥ྆ͨ world-renowned Gennadi Rozhdestvensky. He is the ܞe president and artistic director of Shanghai Opera House, a professor in the composing and conducting department ၤਝʑ̔ടΊჱd͚ᚊᅥ྆ of the Shanghai Conservatory of Music and the resident܃౦ͱڭਜ਼ਝ .i conductor of the Shanghai Symphony Orchestraܢ˳eɻۂˮȿȹӡͶАܞА ჱѹϫdࡌ֔ഠd൰Ҧᕉɡd ᇥᇦʩɁdؐѴϝԓؿ́dএ٦ɤd Zhang has cooperated with many renowned opera houses and orchestras at home and abroad, conducting a dෙᑩᖓdࣺɡᄨؿʨᙵdქdپ˺ series of such classic productions as operas like Rigoletto, ࣺɡᄨdઔकɁh٢ᑂၦჱ߈࣠іɥd Don Pasquale, Cavalleria Rusticana, Madama Butterfly, ʨᕖಙdᑩဍʥࡌᄨh˞ʥԯˢ La Bohème, La Traviata, Carmen, Othello, La Damnation ɾdັ̴ੵd de Faust, The Nose, Faust and The Pearl Fishers; ballets׳iΪრςdܢ˳ۂА ᙬdඡ،ɣc˞ʥӴΛ٧Ⱦ such as The Nutcracker, Swan Lake, Giselle, and̠ Don Quixote and other works such as Requiem, Song of کcܰ͌ۂᖓАڜܞٽ͚ᚊς೩eˢʮԯኞ ਝʑʔႏؿጣ༠ঢ়ၐ͚ۖᚊςԙᘷّe the Forest, Stabat Mater, Carmina Burana, and Yellow River Cantata and Beethoven’s Symphony No. 9. Zhang ᖓʼʝ Guoyong is particularly well-versed in Russian productionsڜΈടΊؿᅥ྆cΣiܞˢ౦ and is regarded as the best interpreter of Shostakovich’s ᖓෲᅥᅥ྆dЃᖓ̛ڜਝ͓͚ᚊᅥ྆d symphonies in China. ͚ᚊᅥ྆dउКᙬ͚ᚊᅥ྆dˀʑ̿ଊˤ۩ᅥ྆d ᅥ྆೩೩eپˀ̯ԕෲᅥdዌ Zhang has collaborated with distinguished orchestras such as, the Russian State Symphony Orchestra of the Culture ܞɣᖓऋӇਥ౦ጙኍΔྦྷࠑᅥിሃ Ministry, Russian Philharmonic Orchestra, Voronezh State ୣޫࠑᅥነ Symphony Orchestra, Ukraine Symphony Orchestra, Genevaڭࡼতّࠨ႓i҈ȿਜ਼ਝ ,ɐͨ Contemporary Chamber Orchestra, Tokyo Philharmonicވ˖ӡτ̌˞Ԟؿঢ়ʗcˢ˿˞Εܞ .Єȹᅥ྆ҒԷϬɯؿϽສk Macau Symphony Orchestra, among others
Maestro Gennadi Rozhdestvensky excitedly stated for the critics and reporters, “I am awarding Zhang Guoyong the highest mark in the history of the conducting department in the Moscow Conservatory. He can most assuredly take his place in any orchestra throughout the world!”
Ӟ Sumi Jo
ɤঢ়ࠑ soprano
Ӟᐰ̝၀ๅcᜑɁԷธ෮ݗึcؿ Praised for the remarkable agility, precision and warmth ,ᆅؿɤঢ়ࠑ of her voice, and for her outstanding musicianship˿ʹتࠑᅥ࠳ቔˮଠcܰˤᅥኋ ɾȹcӷ༌༧ም˖ވΈɣჱࠑᅥᜨcϤ˘ Sumi Jo has established herself as one of her generation’s most sought-after sopranos. She has been consistently ௐՇᅥ়ඨఌውሌeقȹ greeted with exceptional accolades, by public and press alike, for her performances in the most important opera ౣСັΔˑࡐכiܢ˳ᖐؿӯϳٶӞ houses and concert halls throughout the world. ࡼޒቧဍ̠כˮ߶ɻɤࠂؿန୧cʥ ,ճऋɽˮઠؿ Sumi Jo was Marie in La fille du régiment in Santiagoځᛅྫྷѫჱ ෮ɣСӴဍ˱ୣ Chile, and Elvira in I Puritani in concert with the Monnaieכᅥտc ϴᑈּe Ӵ̛Сؿઠdؒਝʱቭ௩ჱ in Brussels and in Amsterdam recently. Her 2008/09 ࡼჱᚓৠ season includes Bellini’s I Puritani in Bergamo, Fra DiavoloޒˈСࣂͶˀᤇؿജඊ ፳Ѓݤμ at the Opéra Comique and Opéra Royal de Wallonie inעѺdΕ˵ԕၤϣʩਅd̥ഠ˩ Liège, a gala concert with Jonas Kaufmann, Renée Fleming ʩਥᄪूෙ༜ࠑᅥผc˞ʥΕʱඊࢬၤ and Dmitri Hvorostovsky as part of the Olympic games Ԉּັᇻࠑᅥผ೩e˺ in Beijing and a Christmas concert with José Carreras in Barcelona among others. Ӟ˞ࠑᅥผѼβˮcɌၤΈඖ˖ވ ,dၤؐʘСԀিԓݘˮ Sumi Jo is also in constant demand as a concert artist״ވ˖ଞԑcΣi ς೩eɌ both for special events such as the World Cup, an Asian tourټၤӺӺԅొݚϷᅥ྆ᖐၐɖढ़ ᐾϷዟࠑᅥผcޮૄ˖ވΈɣࠑᅥຝ of gala concerts with Andrea Bocelli, and a programme of ʥࠑᅥᜨeαcΕ˺ʑਥࠑᅥᜨࠖω Viennese favourites with celebrated Cincinnati Pops. She ਿፎ2QO\/RYHɻؿΛࠖ has been heard in recital in major festivals and concertވʔˮɁ༎ halls worldwide. In 2001 at Carnegie Hall, accompanied ϛϢමΊςcԎͅັ༏˱ဳ֞ᅥ྆Ђۗcਿፎ by the Orchestra of St. Luke’s, she gave her first public Ͳଈᐢሻ൴൚༦ຒਜ਼cᙔɁԯɻȹਜ਼ performances of Broadway songs on her crossover album ࿑ሻɣဥe Only Love, which sold more than 1,200,000 copies worldwide, adding to her list of best-selling recordings. Ӟ౦ᙠ፣ؿː൚༦ਜ਼cԯɻɊਜ਼ݯ i࿘ She currently has over 50 recordings to her credit, whichܢ˳UDWRݯೕϷؿɁਿፎcԯˢː) d/RQGRQ'HFFD include ten solo albums for Erato. Among them are aܞᆉdͅᘣఀᏲɡ׳Ᏽࣟ d'* Grammy-winning Die Frau ohne Schatten with Sir Georg SoltiܞೕϷؿӀτᄧɥؿɤɁdͅ˺ּ ɣᘣఀА for London/Decca and Un Ballo in Maschera for DeutscheܞೕϷؿࠍၦผeɌၤ Grammophon under Herbert von Karajan. She has also ᙠ፣ᚓରȹਜ਼ാོሁɣဥeαcᖋ recorded The Magic Flute and an album of arias under the ଈːιݯ࿏ɎਿᙔᖚɁe˱ baton of Maestro Solti. In 2007 she signed an exclusivity contract with Universal Music. ᒚਝؿӞcႩ߳ᖓϹϹСԓਝࡼࠑᅥכ́ ΕؿीਝነୌcαcᏵ Born in Korea, Sumi Jo studied in her native country beforeکነ൬࠳ enrolling in the Conservatory of the Accademia di Santa כᐲਝઠޫʼୂᓱፕݯ̡ᖚࡼcଊֈ ᖓe Cecilia in Rome. She was elected as “Artist for Peace” of UNESCO in 2003. She makes her home in Rome.
ᖓϹ̛ Gioachino Rossini 1792-1868
ᑩּϝᄨiѵς Semiramide : Overture
ᑩּϝᄨѼࢀݯభ྾ؿඨթჱcܰ Semiramide, Rossini’s 34th opera, was first staged in ᖓϹ̛ᙌჱcα˂ˀΕ̛ۤ Venice on 3rd February 1823. Described as a “tragic ࠖeჱ̯Ƚ໊ෑጻfᖓϹ࣓ኣͥဍ࣮ؿჱА melodrama”, it is based on a text by Gaetano Rossi, which ᄘιc˞̀ʱˈ࠷ was itself drawn from the play Sémiramis by Voltaire خαˮ ᑩּϝ published in 1748. Set in ancient Babylon the story tells ݯ߇ౡcᑟ߸ʱˈ࠷ɤ˔ᑩּϝᄨጷ of the Babylonian Queen (the eponymous Semiramide) c܃ጱʩcᎳͯܰΊ̉ԓ߸ဍؿɁeɏʩϋ who, having murdered her husband with the assistance كʶშαႦ߶ւԓᅊcᕦಳɺڳᑩּϝᄨ of one Assur, turns her attention to the youthful army ,ࡈԞԓᅊగܰؿጱԫhϤ̳ၤᑩּϝᄨ commander, Arsace. Unfortunately, unbeknown to her ਬᑩּϝᄨɷၤ Arsace is actually her own son. Assur, who is in love withٴݯȿٱᛞؿԓ߸ဍcޚ ϻጷcଊΕʶɐɁଫੱПᛞcగ့̨ઌ Semiramide and only assisted in her husband’s murder .Ԟೕଊԓᅊܰ so that he could marry her, plots to murder Arsace܃ᅓԓᅊeᑩּϝᄨੱ ԓ߸ဍhԓ߸ဍၤ When Semiramide discovers that Arsace is her son, she˅ڂϬɯጱ́ড়Ϩcగ tries to stop Assur but, attempting to intervene in theirڳԓᅊɣ̨ˮʹcᑩּϝᄨʍɃሁࣂ ԓᅊԶϋe fight, is herself stabbed to death by Arsace.
ᗒ˥ɁɐᐲԒ˥Ɂ None of these appalling events might seem immediately۾ईؿѵςٻጙঢ় apparent from the distinctly jovial overture, but, unlike ড়ࢣಳؿੱຝhЎࠖѵςܰᖓϹ̛ऋПݯˉ many of his other operatic overtures, Rossini did actually Ԟɖ܃ᑩּϝᄨϤᄘؿcϤ˘ΡԒᅥݒ compose this one specifically for Semiramide and parts ΕჱɻࠇଊcԭᒨၤᖓϹ̛ɣʗჱѵς of it do, indeed, reappear during the course of the ɺeѵςဲው৽ɁʶcΕ৽ؿ֞ᅥd stage work. The graceful hymn-like theme given out by c̒ʻ໔ۗˮཫ four horns (after the stirring opening with its throbbing܃үү൬߾ؿցࠑརۗ༦ Ķ ԅ̳ܰପ̇Ӷ൬ȹ strings and menacing drum-roll) accompanies the ܁ȹᅚؿફ ԅܰᑩּϝᄨəʩؿᄉΔ ࣂᚊ moment in the opera when priests enter the dark temple ดؿुำ :eࠖࣂcτɁ႓ݒࠑᅥಲኜ˿ᎾΔ where Semiramide’s murdered husband is entombed܁ؿફ ࢰࢴȿԅိ֮࢜ؿౡe়Ɂؿᔶᓫဳ˚ᕀ at its première this music was said to capture perfectly ᅚΕჱୄࠇଊ Ķ ଠɁႏݯᑩּϝᄨɾϋ the “gruesome” scene. Similarly the charming theme ؿ announced by a pair of oboes reappears at the very end܈Ƚ՝ͅϬՅhޯˮؿᅁᎾᐰ˞ʥ˃ဳರ of the opera where the people consider Semiramide’s ΑᎶcҐԓ߸ဍၤԓᅊؿ̨ࠍూᖒ death to be entirely her just desserts; and the dramatic ݠݠଊe crashes with their fluttering woodwind echoes depict the confrontation between Assur and Arsace. Ѻٻࡌ̛ Gaetano Donizetti 1797-1848
Ҧɤಿ༠i Linda di Chamounix : ؿັᅳؿͮ O luce di quest’animaיΐෲዝ
ѺҦɤಿ༠ؿ Gaetano Rossi (who provided Rossini with his librettoٻᖓϹ̛ᑩּϝᄨࡌ̛ ჱ̯ˮϬ໊ෑጻfᖓϹʹ೫eᐣಳԭᙌჱ for Semiramide) also wrote the libretto for Linda di ,ணcЎ˚Ɂ।ܰȹෲੱ Chamounix, and while the setting may be very differentޚԑ߇ౡɣܨؿ ˀ the theme is much the same; a woman driven to the ⰜϤӶ፮ؿɤɁeҦɤಿ༠α˂ brink by love. First staged in Vienna on 19th May 1842, ܃ѺᙌჱؿٻΕၐɖढ़ࠖcܰࡌ̛ this was the last of Donizetti’s 65 operas and the ԑೕ́Ε˖ؿɡeҦɤಿ༠ܨȹᙌe eponymous heroine is a peasant girl brought up on a ɣeˎጱҐ༛ٽȹ༛ٶڃΕࡧୣ̛ farm near Chamonix in Switzerland in the 18th century. ᏲhϤ̋߬ˢ೮Ꮆᜑಿ༠ Her father is offered the mortgage on his farm if heڎؐʩईԈא .Ᏺؿੱਯcగ˿˞ᚿΑ༛eಿ༠ˎጱɺٛ allows her to become the Marquis Boisfleury’s mistressڎ He refuses and sends her to Paris where, under strict قగᆲcԎҐಿ༠ԷʱቭhԞԷʱቭcಿ༠ȹ ȹɎɖ instructions from her mother, she refuses even the mostגᗲΨ̴ጱઠ႕cடᜑʶɐɁ˺ᖓኟ ʗɾ e˺ᖓ chaste embrace from her true beloved, Carlo; who is, inڈɺٛcЩԚӘʿӀτ˸ᒨ ҘАֈಲցֺ fact, the Marquis’ nephew, and who has lived for manyقᏲؿۡԫcΛαԞȹڎࡈԞܰ Ԟࠔඡ years in the disguise of an itinerant painter. When Linda܃Էಿ༠قؿೋࡼcᒔշࡤΊΔ༦ݠh ,ᚉӸͫeԭɁ makes a success of Paris and can afford to live in luxuryٲᙂ༠ćݠਫജؿࣂ࠰c˺ᖓɷ ᏲଊӸ Carlo reveals his true identity and they secretly proposeڎҺցৰৰh˿ੴΡԑΛዱcͱܰ to get married. But first the Marquis reappears and urges ༤Ӯ௪৫ؿܰ܃߬ұಿ༠ˢؿੱਯcಳ Linda to become his mistress, then Linda encounters ڳࢿઅᏜˎጱࣂcϢɁࡼ܉ ጱΕഷɐϷɗˎ her widowed father begging on the streets and when ؿ̨Ꮎ܃႒˞ݯᑨՅɺຮɾলϤՑൄ e she gives him money he curses her for her wealth. The ༞˺ᖓਬȹ༛ࡼɤ last straw comes when Carlo’s mother, horrified that heكԞϬ˺ᖓؿ̴ጱi ਬȹϽ is intending to wed a peasant girl, arranges for him toٴݯծcɐɣΌȹcફЩΪખԫɥ ɩմeಿ༠Εࠇࠇ̨ᎾɾɎရઌȿeЎ marry a noblewoman. All this drives Linda mad. Butټɝ cΕȹࠖӞؿാོሁˮྦྷ˺ before all of that she has proclaimed her love for Carloکȹʘɾ .ᖓؿ૯ੱe in one of the opera’s finest arias ɔ Ah! tardai troppo, e al nostro Ah! Too long I have waited۾k҈೩ȿ ᑹӀҒԷ҈ጱෲؿ˺ᖓ favorito convegno yet have not found my dear Carlo ΕϢΔʿӀҒടc io non trovai il mio diletto Carlo, at our favourite place. ሂɌॶ႓ˮ e chi sa mai and who can tell ˢΌ༦ޅფߕk quant’egli avrà sofferto! what he has suffered! .Ў҈ΌؿߕٛցˈˢΛe Ma non al par di me. But not as much as I have ෲ҈ Pegno d’amore As a symbol of his love͐ٲˢݯȿ !గजɎȿȹҢҢؿ٦k questi fior mi lasciò! he left me these posies !Λფใܹؿʶk Tenero core! What a tender heart ҈గܰෲˢใܹe E per quel core io l’amo, And I love him for it, .ԅܰˢᗸൔؿe unico di lui bene. it is the greatest treasure he has ,ࠨȹஔΣݟc Poveri entrambi siamo, We are both but poor҈ :ቌടෲ֨༦ݠi viviam d’amor, di speme: living only on thoughts of love̋ ,ಲၘؿೋࡼc pittore ignoto ancora if he was an unknown painterܰکЩԚˢ ንടɷജcɖᐢτˮʨk egli s’innalzerà co’ suoi talenti! his talents would shine! Էࣂ҈గේˢe Sarò sua sposa allora. And I will be his wife. Λფ˥Ɂӷk Oh noi contenti! Oh, what contentment!
҈ʶɾͮc O luce di quest’anima, O light of my soul, ,௩dෲੱၤ́՜Ɉc delizia, amore e vita, delight, love and life ,ࠣؿ՜༜c la nostra sorte unita, are our joint fate҈ܰ ʨɐɓංcПಲɀߎe in terra, in ciel sarà. in earth and heaven. Է҈ԞcΕБෲɁԅ Deh, vieni a me, riposati Oh! Come to me, take your rest ᏵΪྟc su questo cor che t’ama, on this heart that you love so much, ,dݯඹོc che te sospira e brama, that you sigh and yearn for֨܆Б .గݠΕБʶɻe che per te sol vivrà. that lives within your soul ᒚᄨဍ George Frideric Handel 1685-1759
டढ़Λiᜑ҈ࡖ؆ Rinaldo: Lascia ch’io pianga
႓ԷԳིʶືˆݓؿჱɤӯcୄӸɺਬؿ When it came to writing operatic roles depicting evil ᒚᄨဍྡྷΕܰြɻॶʹeˢʒᙌჱடढ़Λ women, the unmarried Handel was a true master. His ;̳ΡτᅚؿӯϳhЎɣࡼɝຒП႒ผȿc sixth opera, Rinaldo, has at its heart just such a woman ʌયؿፕςȽȹݯෲੱΌߕՇևؿɤɥ although we hasten to point out that the role sung by Sumi Jo today is not evil but cruelly wronged for love. ӯeடढ़Λα˂ˀˆڈֺcԎ Premièred in London on 24th February 1711 Rinaldo Ε࠷ࠖcჱ̯ˮϬ෮ɣСɁ༆ޫୣfᖓϹ set a libretto by an expatriate Italian, Giacomo Rossi ˢၤᄘАᑩּϝᄨҦɤಿ༠ؿ ೫ʹ (no relation to the Rossi who supplied libretti to both c࣓ኣෑॗؿ̌ Rossini and Donizetti) based on Tasso’s epic Gerusalemme ڝෑጻfᖓϹӀτጱᙔᗐ໊ α liberata and set in Palestine at the time of the first ԑೕ́Εܨᄘιeי߁༏ᅊОؿ ɊΥ߶ȹω֢ࣂ౨ؿʱ৺դeɤѳԓϝ༠ Crusade (1096). It tells of Armida – a sorceress whose ؿ magic powers are at the disposal of the rulers ofڍҊɃאը߁༏ᅊО؝ّɾ՜c˞ؒɈ ༞cɊΥ߶̦ԗቌࢤੀ Jerusalem in their defence of the city against theكɊΥ߶eԓϝ༠ ጷኤӶடढ़Λ attacking Christian forces – who captures Almirenaܰכடढ़ΛɷॶҞா߁༏ᅊОc ,ϝᑂc˥டढ़Λʗʶeԓϝ༠ under cover of a cloud full of fire-breathing monstersځؿ̰ծ ᛰˮȹ྆ඔcඔʑᑹτஈΛผᄂˌؿ leaving the gallant knight Rinaldo, who was due to marryؒܪ ϝᑂc˥டढ़Λ Almirena, distraught. Armida knows that the ChristiansځઋᙶɎኤӶذcగΕ֯ذ֯ can only capture Jerusalem with Rinaldo’s help and by ᄯʶᨂᨂe ჱੱ܃Ԟҡࢋি༏ᔝiԓϝ༠܃Ԟ stealing his bride-to-be she hopes to distract him from ϝᑂʵ႖ˢhযࢿځɖෲɐȿடढ़ΛcҘι his task. (That she also falls in love with Rinaldo and டԓϝ༠ؿˎጱคᆹාȿ Ķ ΐݯ lures him by disguising herself as Almirena only toڳფȹԞc ϝ confuse her own father who has, in turn, taken a fancyځϝᑂτ෮e ˿ᄵځϢɁࡼྦྷभ̳ؿ ใܹɌʶΔഁӪؿղc̓ຑΕ to the real Almirena, adds a certain complexity to theܫᑂ ԓϝ༠ؿᚓؒ٦්dԓϝ༠ؿˎጱᙨᒹdɌ plot.) Held in Armida’s magic garden and subjected to ,ݯੱɁடढ़Λ૾ືӨcᕤӸ˖ɾɎcగˮ the unwelcome attentions of Armida’s father, the poor ඬؿᜑ҈ࡖ؆e gentle and inherently good Almirena sings sorrowfullyڷ of her fate and of her lost love, Rinaldo.
ᜑ҈ݯ಄Ⴗؿ՜༜ࡖ؆c Lascia ch’io pianga mia cruda sorte, Let me weep for my harsh fate .ᜑ҈ݯϬͅඹོe e che sospiri la libertà. and sigh for my liberty
Ӯ҈ֺՇؿҗዱ Il duolo infranga queste ritorte May sorrow break these chainsޜඬڷЎᗙ ผ˿ᄵ҈cҐᲝᔧ̨वe de’ miei martiri sol per pietà. out of pity for my torment. ̀ጻ Charles-François Gounod 1818-1893
ࣺɡᄨi٢ᑂࠑᅥ Faust : Ballet music
̀ጻҐᄨࣺɡᄨȹҝᇁιჱcᑟ Gounod turned the first part of Goethe’s Faust into ΐݯ an opera which follows the old and disillusioned doctorڳ߸αϢཱུ˖ؿࣺɡᄨɡ̳ๅௐϬသc ᚹӮၦᐰϤϬɺ༟cᘗϤ߬ұோഥऋ as, distracted from a suicide attempt by the sound of ᚓৠؿʝӸ ᎳХˢҒఖɁංรᅥeோഥऋ dancing, he seeks out the devil (in the guise of Mephistopheles) and asks him to help him on his quest ̉ˢȹʶȹ෮ুұෲੱcಳ܃Ґࣺɡᄨᛰι for the ultimate in human happiness. Mephistopheles Әeோഥऋͱ˞Ӟ৽ɁؿနࣟईऋژαႦ directs him to the single-minded pursuit of love and, ʵ႖ࣺɡᄨeࣺɡᄨΉနࣟईऋ͐ෲұᚭc having transformed Faust into a handsome young .Ԟ man, first entices him with the lovely Marguerite܃Ɍୈɺcڳ܃နࣟईऋᒖಳ೮Ꮆcԑ ҡᄯඬιӔc྾ιආɎ̓eࣺɡᄨᎸұோഥ Faust is besotted and almost loses his reason over his Εˮೕ passion for her. Much to Marguerite’s eternal shameڳऋˢ˾ӮနࣟईऋhЎோഥऋ ᇍᇍ she succumbs to his advances and is so distressedکĉ௴̌ɐడϽɣɁΕࣺɡᄨࠍک ၦcรသܥஞɾॶԑeࣺɡᄨࠖ܃Ɋα that she goes mad and is thrown into prison. Faust α Εʱቭ༗ᙷࠇc̀ጻ˱ɐడݒ٢ᑂ begs Mephistopheles to take him to her, but before ၦԳིੱຝcʗПܰ႖ɁؿЦˈԓɤ̗ Mephistopheles does, he tempts him with a succession Ѵᖘ of beautiful women from ancient history who dance ऋݤ͠ؿࣵ࠷ d̀ˤɾၦ ɾၦdྺၦ suggestively before him. This is depicted in a ballet ΊѠᗫ dࡥʥᝉᛰۗςdऋݤԗਯɤ sequence which Gounod inserted into the opera for a ɾၦdᗂɾၦѴᖘΊѠ١ᗫɾၦe Paris revival which took place in 1869, some 10 years after the opera’s original première. First we hear the alluring Dance of the Nubian Slaves followed by a Slow Dance (representing Helen of Troy), Ancient Dance (Laïs), Cleopatra’s Variation, Dance of the Trojan Women, Mirror Dance and finally Phryne’s Dance. ӴС̛ Vincenzo Bellini 1801-1835
ઠiˢԅใܹؿᐰᇃ I Puritani: Qui la voce sua soave
ӴС̛܃ȹᙌჱઠᅚΕʱቭࠖ Bellini’s last opera, I Puritani, was also a work first α˂ˀcʱቭ෮ɣСჱ eɄ˂ heard in Paris. It was premièred at the city’s Théâtre des Italiens on 25th January 1835; eight months and two days later, still on French soil, Bellini died (of “an acute اɣືֲ܈כΕؒਝϋڳcӴС̛܃ཌྷԭˀ ࿘iΪრ inflammation of the large intestine complicated by anڷรသڳʥӥᚺᅻယeಳϤˢؿϋ ᎴᅊΕʱቭ࿘߶ᐾϷcҍඅ͢˳ܢௗቧˈ abscess of the liver”) and was honoured by a Requiem Mass at Les Invalides at which the pall bearers included ᖓϹ̛hؒਝҡুཕؒਝ࿘ᙷ߶྆ᕉɡቺ̛ Cherubini and Rossini. The huge success of I Puritani – ؿઠݯӴС̛ᅗ the French appointed him a Chevalier du LégionٴˢeɣՇᚭ ЎԿ൙ؿࠑᅥི́ɐؿ̏໔ Ķ ȹΣӴС d’honneur – crowned what had been a short but ᖓϹ̛ remarkable career in which, in his own words, heכϬӰcˢɰιݯዃ̌ɐΔϽඩω̛ had secured his place in history as “second only to ԑೕ́Εߜਝʑኝࣂ౨ܨؿჱАςࡼȿe Rossini”. Set in a fortress overlooking the naval port of ౝСߒ߶ಋؿఃᒲeജནᏲɡܰК࠷ۤဍ Plymouth during the English Civil War, Elvira, daughter ઠ߶අؿȹࡗc߲ஐᔪΨఃᒲh˿ܰɤԫ of Lord Walton who is in charge of the fortress on ,ᛞeജནᏲɡ behalf of Cromwell’s Puritan army, is in love with Arthurޚ߶ ߬ࡗޒړ ၤᅓʿڳϴᑈּ a leading figure in the opposing Royalist camp. Lord Ӯ Walton reluctantly agrees to their marriage but whenޜڳɺੱɺᗙΔ೮ᎶȿԭɁؿԑcЎϴᑈּ Elvira sees Arthur leaving the fortress with anotherځၤȹӸׄේϸؿɤɥᔴఃᒲc˞ݯځ ׇૃȿcʶɾɎగရઌȿĶԑྡྷɐcԅɤɥ woman dressed in a bridal veil (actually the Queen whom he is helping to escape from her custody at the ̳Εઋᙶځcޒઠ̓ຑؿܰ hands of the Puritans) she believes he has abandoned ᔴeϴᑈּΕɀྭؿാོሁҐိရӔ her and goes mad. That madness is brilliantly portrayed .ೕသߎe in Elvira’s act 2 ariaྸر
ˢԅใܹؿᐰᇃ Qui la voce sua soave Here his soft voice
Փ௴҈mಳ܃ࣱ̖e mi chiamava e poi sparì. called me and then vanished. ,ˢΕ႑Ӱྦྷ҈֦c Qui giurava esser fedele, here he swore to be faithful ˢؿᆢΕೕ႑c e poi crudele this he was vowing !ݼʶᔴ҈k ei mi fuggì! and then cruelly fled from me܃ಳ ҈ၤˢcʹɖӀτዀผ Ah, mai più qui assorti insieme, Oh! No longer to be joined together .ȹԔՇོࢠؿ௩ࢧe nella gioia dei sospir. in the joy of sighing ҐѴશᑹ҈c Ah, rendetemi la speme, Oh, return my hope ɺಳᜑ҈ϋઌ့ȿk o lasciatemi morir! or let me die!
:ɰঢ়ʨɐi Vien, diletto, è in ciel la luna: Come, beloved, the moon is in the skyڋ˂ԞбcෲɁe ຒᚷ࠭i tutto tace intorno: everything is quiet around us: ,Էवኮc finchè spunti in cielo il giorno, until day breaks in the skyق !ԞcᘽໃΕ҈ؿʶk vien ti posa sul mio cor! come and alight upon my heart ,c Deh!, t’affretta, o Arturo mio, Hurry up, oh, my Arthurځc҈ؿ҄ :ጱෲؿcΑԞcΑԷБؿϴᑈּӸࣀi riedi, o caro, alla tua Elvira: return, my dear, to your Elvira ,ݯБࡖ؆cݯБོࢠc essa piange e ti sospira, she cries and sighs for you .ጱෲؿcԞcԞෲe vien, o caro, all’amore. come, my dear, to love ဍۤ Giuseppe Verdi 1813-1901
ς La Traviata: Act III: Preludeۗکএ٦ɤiɍྭi cଊΕ༖ After the madness with which we closed the first halfྸرȹࠖᅥςూᖒရӔ܃ɐ˸ ؿຝ͌ȿeۤဍএ٦ɤ of this concert, we now turn to something moreޘʑᏇೕɁ૯ ჱΊൎʘؿᘭؒܰᄋໃɤࠂ ؿ˚Ɂ। introvert and reflective. That said, the title of Verdi’s ᐣ La Traviata translates as “The Fallen Woman” and itכڭၐෙּෑܰʱቭടΊ͚٦eᒖಳ concerns Violetta Valéry, a Parisian woman who is ұभෲcႏݯෲੱ࣓̯గܰুכ֬ڳᄳࣵc generous with the fleshly pleasures she offers but ရӔe٪٪ɎɾϫɻcτΊ̉ϴဍ̥ईΛ fights shy of experiencing true love; she considers love भʶෲɐȿhϤၐෙּෑɖೕଊϬɯڳؿɁc itself to be a form of madness. One of her many male ৽ȿभੱc˥Ρ́ߕసeଊΕݯɣࡼᘆɐؿ admirers, Alfredo, does fall in love with her and she is ςeɍྭᑟ߸Ӹ੩ْᏺؿ greatly disturbed to realise that she reciprocates thoseۗکɍྭؿܰ ၐෙּෑɰञɃၝӤcΕѷɐဣടȿeใܹ feelings. We open the second half with the Prelude to ؿɩొೄݚᚉ૯ԳؿඬhࠑᅥඏΔࢄc the opera’s final act where we find Violetta, who is ,ɁՇԷীᔴଊྡྷؿːԳcՇԷʶԑ dying of consumption and has only a few days to live˥ lying asleep on her bed. Gentle violins create a moment ܃ԔːԳΪྟhᅥςכࠇࠇؿɤɥcୄ ૨ฟΔҢe of deep pathos and in the music’s graceful progress, we sense a moment of escape and a rare moment of peace for a profoundly troubled woman, the music finally descending into deep sadness. ځ Adolphe Adam 1803-1856
: ɡiෞෞcᚹᚹ҈႓ Le Toréadorڭ˒ Ah, vous dirai-je, maman
ɡܰϹऒˑؿോᄩɾȹe߬ܰ།ͨ Mention toreadors to any opera buff and the immediateڭ˒ ɡcˢࠨɐగผˈ response would be Carmen. But Bizet’s immenselyڭ˒Єჱ়ొ ቱဳࠓᗕຒɝᅥ popular opera was by no means the only one pennedپ˺h˿ܰcپ˺ɷؿ ݯᕀҥؿؒਝ by a Frenchman to celebrate the life of one of the iconsڭ˒ȹȹᙌ˞ڈԎڳc় of Spain. On 18th May 1849, some quarter-of-a-century ჱeξΕ α˂ˀ Ķ ɖగܰˈɷᄘА before Bizet tackled the idea, Adolphe Adam’s 56th ༞ʩfԓؿჱځ ʳΛαĶکɾپ˺ opera (he composed well over 70) Le Toréador was ɡɰΕʱቭࠖeԓȹ́ͳᄘАȿڭ˒ first staged in Paris. The libretto of Adam’s opera was a ɡܰᙌcʑࢀၤ very different thing from that of Bizet’s, and the storyڭ˒Λᙌჱc ʥeɤ˚ӯ˺ᖓಿؿɏʩ centres around Coraline, the frustrated wife of an oldޚࠓ˒ɺپ˺ Εʱቭ and ugly ex-matador, who has fallen for a young fluteک˞ɌϢɌᒀؿ༦ࣩ˒ɡhܰ ର player she met whilst working as a singer in Paris andٽରʹෲɐȿeٽʹࣂcταႦ ʹ།ട˺ᖓಿΑԷʱඊԅcѴશၤᔶ਼ who has followed her to her home in Barcelona where he is intent on stealing her from her husband. Unlike ܰڳɡڭ˒ᙌభჱcЎܰپ˺ᔶe ௩ჱeാོሁෞෞcᚹᚹ҈႓˨ʗʦܮȿͲჱ Carmen, it’s a comedy, the light-heartedness of it all Ⴆᕌ҄ؿऋϳeᅥς࣓ኣτΊؿԫෞෞc nicely caught in this aria which is a set of coloratura variations on the famous nursery rhyme (known to ɖగܰɣࡼϦᆃॶؿɩܱܱ c ᚹᚹ҈႓ many in this audience as “Twinkle, Twinkle, Little Star”). ᇁᄘιȹடϻ٦ഈᛰۗe˺ᖓಿ˞ดႍйേ Here Coraline is telling her flute-player that she cannot ରʹcϬɯӀτˢగݠɺιĶΐݯ˺ᖓಿؿٽ live without him, although the message is coded; her ɏʩࣂɖΕe husband is also there with them.
ෞෞcᚹᚹ҈႓c Ah! Vous dirai-je, maman, Ah! Let me tell you, mother, .Ґ҈ՇߕؿࡈΐйേБe ce qui cause mon tourment. the cause of my torment ϬӮԷͶࡌᄨई Depuis que j’ai vu Clitandre Ever since i saw Clitandre ใܹΔશട҈˞܃c me regarder d’un air tendre, looking at me tenderly, ؿʶྦྷ҈႓i mon coeur dit à chaque instant my heart told me at that moment҈ ?ӀτੱɁcɁᑹ˿˞ݠɎ˾ලj peut-on vivre sans amant? can one live without a lover Ԉࡧ Franz Lehár 1870-1948
ࠓݚྠਯiၐ୧ԓɾ The Merry Widow : Vilja’s song
˺ᖓಿ ԓ೫ɎȹΊʱඊԅ܊ਯcɏʩܰ Coraline (Adolphe Adams’ frustrated toreador’s wife .hЎԈࡧࠓݚ from Barcelona) was keen to get out of her marriageۥɡ ȹʶᒻڭ˒༦ࣩ ේɁeΕ On the other hand, the title role of Franz Lehár’s 1905ڳα ؿɤ˚ӯ ਯྠ էࡽcณྠؿվ௰ operetta is Hanna, a woman recently widowed andپʱቭȹֺɣΩؿႚ intent, so it would seem, on finding a new husband. ऋ̛ࡐᖓʔਝᓿੱɁؿپΔˮྦྷࡼ൰ At a lavish party in an elegant Paris house, Hanna ༞ੀၤᓿੱɁࠇeكĶ ࣂᑹ̰ ֨܆ sings longingly of her Montenegrin homeland and of her lost love; whom, unbeknown to her, she is about to re-encounter.
,ɻ˦ɥၐ୧ԓዟԫॎടh There once was a Vilja, a witch of the wood׳ ȹᓘɁޜӮȿc A hunter beheld her alone as she stood, ;గؿᝉ়ࠧc The spell of her beauty upon him was laid ޜടޜടగԷk He look’d and he long’d for the magical maid! ᓘɁޯಳʶȹჰc For a sudden tremor ran ,෮ඤੱ়ؿӘɥc Right through the love-bewildered man :గཫұෲɺ༟ؿɁȹᅚོࢠi And he sighed as a hapless lover can
!ɻؿ˦ɥk “Vilja, O Vilja! The witch of the wood׳ၐ୧ԓcၐ୧ԓc ?ЩԚݯБϋc҈ɖᗙ෮k Would I not die for you, dear, if I could ”!ၐ୧ԓcၐ୧ԓc҈ؿጱෲd҈ؿณk Vilja, O Vilja, my love and my bride ˢႦܹඬʶΔོࢠe Softly and sadly he sigh’d.
,ɻ˦ɤ෬ॐടcɖɺ೮c The wood-maiden smiled, and no answer she gave׳ԅ ;ҐᓘɁ̂൬ඣดؿ֍ݞh But beckon’d him into the shade of the caveڳ ,ˢ̰ཹࣱՇ༦ᅚሻრؿါࣩc He never had known such a rapturous bliss ɓංʭɤɺผлფࠗଏk No maiden of mortals so sweetly can kiss! ˢሢΕၐ୧ԓ຺Ɏc As before her feet he lay, ,ࣱ̖ಲᄧಲᔙk She vanished in the wood awayڳၐ୧ԓ ᓘɁԷϋԅʨᑹΕՓ௴e And he called vainly till his dying day.
ဍۤ Giuseppe Verdi 1813-1901
ϹϹԈયᖅiܬʨ I Vespri Siciliani : Spring
ɎȹᙌჱܰϹϹԈયᖅcɣࡼʹ۹ສӸʱቭ We find ourselves at another Parisian ball with our ؿၦผeα˂ˀΕʱቭჱࠖؿ next opera. I Vespri Siciliani (“The Sicilian Vespers”) was th ϹϹԈયᖅc̨ȹնగாɃᒀၘhϤ premièred at the Paris opera house on 13 June 1855 ంᎂc and was mired in scandal from the very start. Verdiڌగܰۤဍ̯ɁiˢᄘّڑնА himself stirred things up by writing to the press with his ɺ௩ᚭϹϹԈયᖅؿჱ̯eۤဍܰעٲ objections about the libretto he had been given; and ᑟ߸ȹະڬ෮ɣСɁcϤϹϹԈયᖅ it does seem an act of great tactlessness to have ؿؒਝΨ߶ Ķ ҐᅚڍϹϹԈɁ͂Ο߮ྦྷ˟Ƀ presented the Italian Verdi with a libretto dealing with ȹჱ̯͚ۤဍྡྷΕɺౣeࡈցؿɤ˚ӯ the treacherous behaviour of a group of Sicilians against Ԟޯಳुो̖ᔙcၤȹؒਝൔપ the French occupying forces. The scandal was only܃Ɂፕ ӝլcҡ˥ԑͧˌɐ˱ؖeЎჱੱၤԯ႓˥Ɂ increased with the sudden and mysterious disappearance ؝෮Ոeʑࢀ˚ᕀ of the soprano booked to sing the leading role; she hadܧቯОcࠧɺΣ႓˨ᇲᔵؿ ɥੱ Ķ ˎጱܰؒਝկͨؿϹϹԈᐢc eloped with a French nobleman. But the heart of theˎܰ ໔ʦؒͫɥeΕȹ˞̒տݯ˚ᕀ on-stage story is not so much scandalous as full of politicalܰڳԫɥ ,ؿၦผɐcʦؒʗɥͬ྇ԶᐢhЎˢԫɥ intrigue; dealing with the love of a father for his son ȿ the father being the French-appointed governor of SicilyكӮɾංઓʺcᑹܰܧΕጱੱၤڳ and the son being one of the leading anti-French rebels. ˎጱcᜑˢীˮ́ʨhѫ˨϶ຸၤᅘɈe At the ball, which has as its theme the four seasons of ʨĶȹ˨ณܬЎʌયֺፕؿၦςབ the year, the rebels attempt to assassinate the governor, શؿտຝ Ķ ၤѫಲᗐeޞ՜ၤ́ but his son, torn between filial instinct and political conviction, warns his father who escapes. It all ends in mayhem and bloodshed, but that doesn’t concern us as we hear the dance which celebrates the season of hope and new life, spring. В࢟դ Leonard Bernstein 1918-1990
ϢྡྷɁiᕷၤᚭ࿑ Candide : Glitter and be gay
ʌયࠖѮԭຝ͌˞ؒਝࡑነࡼͥဍ࣮ We began this concert with an opera based on the α writings of the French philosopher Voltaire, and we end ؿടАݯᔂ̯eͥဍ࣮ؿϢྡྷɁ ᅥᜮhЎ with another. Voltaire’s Candide first appeared in 1759͌فਐ˖cʑࢀጾԶࣂɁֆ .ϢྡྷɁɖࣹʥϨɾෲؿရӔcΐϊɖ and was a satire on the cult of mindless optimism Within the context of our concert today, however, the ԑೕ́Εۤऋܨଲʌયࠑᅥผؿ˚ᕀe story is about the madness of physical love. Having learnt СiᅥᜮؿαႦɁⳁᄨၤਦմհ࢞ᄨͣ the pleasures of the flesh with his cousin, Cunegonde, eযࢿˢᔴپሯˮࡼ܃ৰཹຑc్ೕ the optimistic young Candide is banished from his home Сԓ߶අగԞԷۤऋͣСcϤ˘ in Westphalia, just before the Bulgarian army arrives˱ړɺɔc܃ ӮɁగe̋जɎ࢞ᄨȹݠɟĶΐݯ and slaughters everyone in sight with the excerption of СԓМ့̨ҐሒɃࠓྈeⳁᄨၤ Cunegonde, whom the soldiers decide to keep and sell˱ړ ȹΣɣࡼֺࢿcɌܰϸࠗᄧ out as a prostitute. Inevitably Candide and Cunegonde ࢞Εʱቭࠇ ,Ӹɺͅɯe meet up in Paris (at, you will not be surprised to learnོڷؿၦผ h࢞ᄨ a glittering ball) where she is bemoaning the fact that she cannot be her true self any more.
ᕷၤᚭ࿑c Glitter and be gay, .ԅܰ҈ؿӯϳh that’s the part I play ,గΕĶؒਝʱቭ Here I am in Paris, France Ķ҈߾җຶ forced to bend my soul ,ԑɎሎؿʛc to a sordid role .ݯᐿߕྊֺࡻe victimized by bitter, bitter circumstance҈ ࡘk߬ܰ҈ॶजΕ Alas for me! Had I remained ,ঢ়ൔؿ̴ጱӸࣀc Beside my lady mother ѧᓙ My virtue had remained unstainedܛړ˞˿గ ϭҐୄӸ֗ါ Until my maiden hand was gainedق .ფؿe By some Grand Duke or otherޅপ˟ȹϽɣʔᏲֶ ;࠭֡ဍh Ah, ‘twas not to be ಄Ⴗؿଊྡྷ Harsh necessity .ؿᅣᚶe Brought me to this gilded cageټҐ҈Էᒁ ҈ˮӸঢ়ൔc Born to higher things, !Ɏᔶᐮc Here I droop my wings, ahۍ߬ڳΕ .ˮಲؒᇅؿඬe Singing of a sorrow nothing can assuage
Ўಳ҈ɖ௩ΡఖᚭАᅥc And yet, of course, I rather like to revel, !k ha haۄۄ ,ࠗᓁӀτੜईҊׂc I have no strong objection to champagneྦྷ҈ !k ha haۄۄ ,ؿϸᕫൔཫᚓৠঁΌɁ My wardrobe is expensive as the devil҈ !k ha haۄۄ Perhaps it is ignoble to complain... ࢛m˿۾ʨʮɁɖ܊ॶ˿ ਪȿcਪȿ Enough, enough !ՀሎΔ˞૫ݟࠍɖਪȿk of being basely tearful ࢄଊঢ়ൔؿȹࠍ I’ll show my noble stuff҈ !ଊᚭ҄࣍k by being bright and cheerfulٲ !k Ha ha ha ha ha! Haۄkۄۄۄۄۄ
Pearls and ruby rings... ނकၤᗸ͏҇ܞm ؿϹ ah, how can worldly thingsڙ˖ ?ॶˤ౧̖˾ؿకൔj take the place of honor lost܉ ܉ॶᎴ Can they compensate ,ᄋໃؿྊΔĶ for my fallen state ?j purchased as they were at such an awful costےЩԚ̚ࠨძࠤட Bracelets...lavalieres ཚۍᚄmᗸ͏ʹ ?ৡ҈ؿଡ૫ලj can they dry my tearsܚ˞˿ ˿˞˥҈ྦྷୈ഼࢛ߗಲල" Can they blind my eyes to shame? ؿॳৌ Can the brightest broochڋ ?አஐᗒලj shield me from reproachא౧҈˞˿ ?क़૱ؿᝃ͏c˿˞ᑹ҈͉ලj Can the purest diamond purify my name
ЎಳԒ෧ძࠖཚɖদɁᚭ௩c And yet, of course, these trinkets are endearing, !k ha haۄۄ ,ᔂᗸ͏c I’m oh, so glad my sapphire is a starێभঢ়ጙ҈τᒛܱ !k ha haۄۄ ,ɖᜭ௩ᚭɀɊ˺ؿϦc I rather like a twenty-carat earring҈ !k ha haۄۄ !߬ܰ҈ɺक़ɺ૱cϭʭ҈ؿकᗸਪक़ਪ૱k If I’m not pure, at least my jewels are ਪȿkਪȿk Enough! Enough! ผνɎˢࠨؿᝃ͏ඖᒅ I’ll take their diamond necklace҈ ࢄଊঢ়ൔؿȹࠍ and show my noble stuff҈ !ଊɺΕ˝k by being gay and recklessٲଊᚭcٲ !k Ha ha ha ha ha! Haۄkۄۄۄۄۄ
Ґԅိ˿ְؿୈ࢛ɾʶ Observe how bravely I conceal҈ޜ ᒔᔀΛΡe the dreadful, dreadful shame I feel. !k Ha ha ha ha! Ha ha ha haۄۄۄۄkۄۄۄۄ
ຝ͌ʍଽɻʼᓺᘭiሲኮѻ Programme notes by Marc Rochester
ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ȹɩొೄ First Violins
χၳ ܆˔ สۺࡧց֦ ષ John Harding Leung Kin-fung Wong Sze-hang Zhu Bei ٽɍ৹྆ ٽɀ৹྆ ٽConcertmaster ȹ৹྆ٽ྆ First Associate Second Associate Third Associate Concertmaster Concertmaster Concertmaster PHOTO Bobby Lee ϴ۹fജऋ Edo de Waart ᖚᐢဟ࠹ᐢܞ Artistic Director & Chief Conductor ˉജ ೡ͓ Ґʼౠ ࣔᗫ Mao Hua Cheng Li Ba Wenjing Gui Li Maestro’s Chair – endowed by ᐢܞϽͅ˞Ɏዀ࿚ᖳХ The Octavian Society & Y.S. Liu Foundation
࠵ᘂ ٮଔਝ ᗫڣ ᎘Ѵ Long Xi Mao Yiguo Rachael Mellado Ni Lan
ඡֱཽ ࢘ᰟ ਜ਼Ѵ ڋ˔ Wang Liang Christine Wong Xu Heng Zhang Xi Kar-yee PHOTO Lawrence Chan ᘣ݇শ ՚ᙂࠔ Perry So Zhou Tengfei ඖ͌ਂمઠөʥܞХଉ Assistant Conductor (Education and ɀɩొೄ Community Programmes) Second Violins
´ߑȻ ¶ષʼ☚ ཽᇘ ༻˃͎ࠗ Fan Ting Leslie Ryang Katrina Rafferty-Ma Miyaka Suzuki Moon-sun
ɥ ሲɾણ ңཽ༞ ʿᅳكɻ̈́ڣ Tomoko Tanaka Mao Cheng Chi-man Ricardo de Mello Fang Jie
ڋᓯѩ༞ ѳਝต ᅾѸ ژЄཽ PHOTOS Gallant Ho Ka-chun Russell Kan Wang-to Mo Kwok-fai Martin Poon Cheung Chi Wai & Keith Hiro Ting-leung ɀɩొೄ Second Violins
፫Χ *݀ு *ჳٟѴ *˔ຣ Alisa Yan Yuqing *Ke Xue *Liu Fang-xi * Wang Yue
ɻొೄ Violas
ݙԗɓ ᖓഓ ੌѩ৩ ߑ עညӱԙᓱ ቭ¶ Kaori Wilson Li Ming Alice Rosen Cui Hong-wei Fan Yan Ethan Heath
ࡸ⋳ ˔ᒟ *ߑܱ *ਜ਼ᰢᄧ ע͉ ࠾ۤ෧ William Lane Pak Ming Sun Bin Wang Jun * Fan Xing * Zhang Shu-ying
ɣొೄ Cellos
ዷ ஹֱз ᗐΪ ஹέݘ׳¶ دᎏɈԿ ½ʿኮ´ Richard Bamping Fang Xiaomu Dora Lam Chen Yi-chun Anna Kwan Ton-an Chan Ngat Chau
ңι* ׳Ⴉ ፳ ңႼᘡ Ѩԓעਜ਼ Cheung Ming-yuen Timothy Frank Li Ming-lu Yalin Song * Li Cheng
Гࠑɣొೄ Double Basses
³ᎏဍഥ ¶ۚᙀԞ ඟ࿖ Сԓ Philip Powell Jiang Xinlai Feng Rong Samuel Ferrer
´ࠖPrincipal ³ ອଉࠖActing Principal ᐲࠖCo-Principal ½ ༠ཬ ߑᎼК׳ ࠔ׳ Jeffrey Lehmberg George Lomdaridze Jonathan Van Dyke ¶ ХଉࠖAssistant Principal
ĶټЄᒤᅬࡼપਥ* ʹࠗಋဳ֞ᅥ྆྆ነࡗফི߮ᅥ * Fellows of The Robert H.N. Ho Family Foundation Orchestral Fellowship Scheme ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ର ର Piccoloٽ Flutes
´̌ᄨಿ ¶ያࠏᅩ ܪࡼᇘ Megan Sterling Olivier Nowak Linda Stuckey
ߜਝဳ ᔶᓫဳ Cor Anglais Oboes
ڌஹዿ ࠏဍႫ ½̠ߗ١´ Michael Wilson Ruth Bull Christopher Chen
Гࠑ௰ᓫဳ Bass ௰ᓫဳ Clarinet Clarinets
´̌Ϊी ¶̌ࡼ ᓯʼ Andrew Simon John Schertle Michael Campbell
Гࠑʱဳ Contra ʱဳ Bassoon Bassoons
¶ңࣽɬ ੌीټ½ Kam Shui Vance Lee Adam Treverton Jones
໔ Horns
´ࠏோК ½ᖓԿ܆ ¶՚ౣͦ ң᫉ձ ңʭ፲ ঢ়ҁሑ Mark Vines Lisa Rogers Chow Chi-chung Natalie Lewis Homer Lee Siu-lam Marc Gelfo
໔ٽ ɩ໔ Trumpets Trombones
Կ ജ༠ᄨ ´ࠏඏᅥ ࠏɈթ܆К ¶ୣּ˺´ Jonathan Clarke Christopher Moyse Douglas Waterston Jarod Vermette Maciek Walicki
໔ٽГࠑ ɣ໔ ցࠑར Bass Tuba Timpani Trombone
Ӵဍ ´݇ ´ᕡᅥ܆ Michael Priddy Paul Luxenberg James Boznos
Ꮎᅥኂ ሉೄ ᒄᆚ Percussion Harp Keyboard
؎່֗´ ࣮Ӵࣚ ષ৩ജ ߈ૠᎵ ´̌ਥ༞´ Shaun Tilburg Raymond Leung Sophia Woo Christopher Sidenius Shirley Ip Wai-wa Shuk-fai
ऋᅥʹ ɩ໔ Extra player Trumpet Вఒ Jacobus Chong
ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ΊᙷᖳХɁ HONORARY PATRON ਨϷկࡗผ EXECUTIVE COMMITTEE ւ The Chief Executive ჳʏ́ͱ́ Mr Y S LiuٽܧϷ ౦ᇚᚬͱ́ The Hon Donald Tsang Yam-kuen, GBM ˚ Chair
ဟྦկࡗผ BOARD OF GOVERNORS ᇞᗐዷೄ܁ Mrs Janice Choi ͱ́ Mr Chung Shui-ming, GBS, JPעჳʏ́ͱ́ Mr Y S Liu ᒉ ˚ Chairman ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ᘣዉͮͱ́ Mr Jack C K So, JP ͱ́ Mr Chung Shui-ming, GBS, JP ݇ͱ́ Mr Stephan Spurrעᒉ ৹˚ Vice-Chairman ল৻կࡗผ FINANCE COMMITTEE ͱ́ Mr Chung Shui-ming, GBS, JPעஹౝ٧ɡ Dr Peter P F Chan, BBS, MBE, DS, PhD, JP ᒉ ਜ਼˔̢࠷ʩɁ Mrs Michelle Ong Cheung ˚ Chair ᇞᗐዷೄ܁ Mrs Janice Choi ፳ᜃͱ́ Mr Glenn Fok ፳ᜃͱ́ Mr Glenn Fok ЄʩɁ Mrs Paulette Ho ჳʏ́ͱ́ Mr Y S Liu ͱ́ Mr Nicholas Sallnow-Smithע๖ͮͱ́ Mr Lam Woon-kwong, GBS, JP ᘣͰ׳ ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ᪐ඏ࢟ͱ́ Mr Benedict Sin Nga-yan ჳཎɾ㣍 Prof Liu Ching-chih ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ඡʼᘚͱ́ Mr Robert T. Wong ͱ́ Mr Nicholas Sallnow-SmithעᘣͰ ᪐ඏ࢟ͱ́ Mr Benedict Sin Nga-yan ᘐಁկࡗผ FUNDRAISING COMMITTEE ᘣዉͮͱ́ Mr Jack C K So, JP ᇞᗐዷೄ܁ Mrs Janice Choi ݇ͱ́ Mr Stephan Spurr ˚ Chair ሳ̷ᗌᏲɡ Sir David Tang, KBE ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ͉ဦშɤɡ Ms Deborah Biber ാພɤɡ Ms Winnie Chiuٹ ᇯཽʆͱ́ Mr David Zacharias ЄʩɁ Mrs Paulette Ho կࡗผ ENDOWMENT TRUST FUND 7DVKD/DOYDQLɤɡ Ms Tasha LalvaniټᖳХਥ BOARD OF TRUSTEES ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ᄨͱ́ Mr Peter Siembab֤ܪ ͱ́ Mr Chung Shui-ming, GBS, JPעᒉ ˚ Chair ᘣዉͮͱ́ Mr Jack C K So, JP
ஹౝ٧ɡ Dr Peter P F Chan, BBS, MBE, DS, PhD, JP ೕࢄկࡗผ DEVELOPMENT COMMITTEE ჳʏ́ͱ́ Mr Y S Liu ݇ͱ́ Mr Stephan Spurr ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ˚ Chair
Ίᙷᚋਐ HONORARY ADVISERS ஹी؈ɤɡ Ms Joanne Chan ஹ̷ജ㣍 Prof Chan Wing-wah, JP ᇞᗐዷೄ܁ Mrs Janice Choi ɡ Dr the Hon Marvin Cheung, OBE, SBS, JP ЄʩɁ Mrs Paulette Hoۺਜ਼ ՚̷ιͱ́ Mr Vincent Chow Wing-shing, MBE, JP ңࣽɬͱ́ Mr Vance Lee Є൚ᕽɤɡ Ms Pansy Ho Chiu-king ң৩Ϊͱ́ Mr Warren Lee ߈ؒͮͱ́ Mr Hu Fa-kuang, GBS, CBE, JP ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ཽ༞ଉቺᏲʩɁ Lady Kadoorie ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ષցԄᔢ́ Dr Ronald Leung, OBE, JP Ѱɷ́ͱ́ Mr Shum Choi-sang, SBS, OBE, MA, JP ඡߜೇɤɡ Ms Ada Wong Ying-kay, JP ฦᚁᅨᏲɡ The Hon Sir T. L. Yang, GBM, JP ϷܧɁࡗ MANAGEMENT ̟ઐᄤ MARKETING ᘣѣӪͱ́ Mr So Hau Leung ᖭͰ̵ͱ́ Mr Paul Tam Ϸܧᐢസ Chief Executive ̟ઐᄤᐢဟ Director of Marketing
ஹဦɤɡ Ms Rida Chan ܪʼᄫɩմ Miss Sheryl Sze Ϸܧो࣊ Executive Secretary ̟ઐᄤଉ Marketing Manager (ઐᄤۧඨ (Concert Promotions ᖚϷܧ ARTISTIC ADMINISTRATION ՚⌿ɤɡ Ms Mio Margarit Chow ஹཽయɩմ Ms Tiphanie Chan ᖚ೪ི Artistic Administrator ᇁፎ Publications Editor
˔ཽᆋɩմ Miss Michelle Wong ஹࡄᏟͱ́ Mr Nick Chan Хଉଉ Assistant Manager ঢ়ज़ᤇʥ Senior Marketing Communications Officer ᖚࡼԑ৻ (Artist Liaison) ඨ˚ͨ
ɿҁশͱ́ Mr Jason Wan ඡዷɩմ Miss Natalie Wong ᖚϷܧХଉ Artistic Administration Assistant ᤇʥඨ˚ͨ Marketing Communications Officer
ೕࢄ DEVELOPMENT Ȼඔɩմ Miss Natalie Ting ஈዷඓɤɡ Ms Angela Hui ઠөʥ̔ࢄᘐ˚ͨ Education and Outreach Coordinator ೕࢄᐢဟ Director of Development ɩմ Miss Alice Lamށ׳ ɤɡ Ms Edith Ng ۪৻˚ͨ Customer Service Officerעдௗ ೕࢄଉ Development Manager ᅥ྆ԑ৻ ORCHESTRA AND OPERATIONS ᅥ߹ͱ́ Mr Luke Shawٷ ષႼͱ́ Mr Henry Leung Хଉೕࢄଉ Assistant Development Manager ᅥ྆ԑ৻˚ဳ Head of Orchestra and Operations
ధɩմ Miss Ruby Pang ฦჴᙂͱ́ Mr Ambrose Yeung Хଉೕࢄଉ Assistant Development Manager ᅥ྆Ɂԑଉ Orchestra Personnel Manager
ল৻ʥϷܧ FINANCE AND ADMINISTRATION ஹਝຮͱ́ Mr Steven Chan ߈ࡼᗸɩմ Ms Angel Woo ၦ̎ଉ Stage Manager ল৻ʥϷܧ˚ဳ Head of Finance and Administration Є܆ણɩմ Miss Betty Ho ңႼͱ́ Mr Homer Lee ᅥᖪဳଉ Librarian ল৻ଉ Finance Manager ஹᗗўɩմ Miss Vanessa Chan ხͱ́ Mr Wong Chun Kim Хଉଉ Assistant Managerژඡ ল৻ʥϷܧ Assistant Manager, ᅥ྆ԑ৻ (Orchestra and Operations) Хଉଉ Finance and Administration ɩմ Miss Christy Lawٮᖓ ਜ਼ཽඓɩմ Miss Cherish Cheung ࠑᅥϷܧྡྷୌࡗ Music Administration Intern ɁɈ༅ଉ Human Resources Manager Ԅͱ́ Mr So Kan Pongٶᘣ ᘣဦജɩմ Miss Vonee So ༜ፏ˚ͨ Transportation Officer (Musical Instruments) ল৻ʥϷܧঢ়ज़˚ͨ Senior Officer, Finance & Administration
Miss Pamela Chan ஹᗫᄐɩմ ᐲ҈ࠨ ɣᅢɄᅢܧࡗ Receptionist ࠗಋȾ᎘άҳՍʼʝɻʶϷۿઅ ཋiඨभi ષ፦᎘ͱ́ Mr Sammy Leung Contact us ,ፒʔ۩Хଉ Office Assistant Level 8, Administration Building, Hong Kong Cultural Centre Kowloon, Hong Kong ңࡼ࿘ͱ́ Mr Andrew Li Tel: 2721 2030 Fax: 2311 6229 ༅ޫҌʥඖ͌ଉ Manager, IT & Projects www.hkpo.com ClubMaestro ɣผ
Ⴉೕࢄʥᔔఒ̵̟ٽɣผऋПݯᆅෲဳ֞ᅥؿͬพʥɁɡϤஉcοΕઐ৽ࠗಋဳ֞ᅥ྆ؿ ؿʼʝ́ݠeಋᅥᔑϊΉɎͶΈɣผผࡗߎᑢe Club Maestro is established for the business community and individuals who are fond of symphonic music. It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching cultural life. We heartily thank the following Club Maestro members.
ผࡗPLATINUM MEMBERSټ͉
David M. Webb webb-site.com
ᝃ͏ผࡗDIAMOND MEMBERS
Mr Wilfred Ng MH, JP
၆ᗸ͏ผࡗEMERALD MEMBERS
ނकผࡗPEARL MEMBERS
Mr Peter Siembab
Miss Aliena Wong
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name Λᑢʻܛ Thank You for Your Support
༠ͅটᑢ෮kٲࠗಋဳ֞ᅥ྆ΕϊΉ˞Ɏਆพዀ࿚ʥᆅʶɁɡ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.
CHAIR ENDOWMENT FUNDټᅥ྆ϽᖳХਥ
The Maestro’s Chair endowed byټᖳХਥܞᐢ The Octavian Society Limited Y.S. Liu Foundationټჳʏ́෯ഁਥ
The Musician’s Chair endowed byټᅥᖳХਥ C.C. Chiu Memorial Fundټઢว֨ਥٹ
αANNUAL FUND
ဳᖳХɁGold Patron ႺဳᖳХɁSilver Patron ႻဳᖳХɁ Bronze Patronټ >HK$100,000 HK$50,000 – HK$99,999 HK$30,000 – HK$49,999
ଈ͞ᙎMr & Mrs E Chan Mr & Mrs David Friedۺਝඑ྆τࠉʔ̇ ஹןณ Hsin Chong International Holdings Ltd ਜ਼ဍయ͞ᙎMr & Mrs Lowell & Phyllis Chang Mr Fred William Scholle Ԉઁٖτࠉʔ̇Kerry Holdings Ltdཽ ɤɡMs Tse Chiu MingעષईΪ͞ᙎMr & Mrs Leung Lit On ᑢ൚
कᖳХɁPearl Patronע ᗸᖳХɁ Ruby Patron ၖၕᖳХɁJade Patron HK$10,000 – HK$29,999 HK$5,000 – HK$9,999 HK$3,000 – HK$4,999
ஹ፷ɤɡMs Vivien C C Chan ಲΊˊAnonymous ಲΊˊAnonymous Mrs Anna Chen Mr Barry John Buttifant ஹᒤႩͱ́Mr Chan Hung Yuen Robert Mr Cheung Ngai Sing ஹࢯᔢ́Dr Edmond Chan Mr Cheng Kwan Ming ᇞᏨԄͱ́Mr Edwin Choy ષᖳͱ́ʥ՚ཽ̡ɤɡ ሲң፦٧ɤɡMs Eva Cheng Dr & Mrs Carl Fung Mr Jan Leung & Ms Emily Chow ਜ਼ᘚ౬ͱ́Mr Cheung Yiu Tong ҁө༜৽ਝτࠉʔ̇ Mr & Mrs Michael & Angela Grimsdick ਜ਼ᄨ᎘ͱ́Mr Cheung Tak Lungڋ Gloss Mind Sports International Ltd ߈͓́ͱ́Mr Maurice Hoo Mr Chow Ping Wah ඟᄪᗌ͞ᙎMr & Mrs Kenneth H C Fung ည٠ജϢMs Teresa Hung Dr Affandy Hariman ͱ́ʩɁMr & Mrs Fung Shiu Lam Ms Hu Shu׳߈ጙ̳ᔢ́ʥʩɁDr & Mrs Wayne Hu ඟͰ ঢ়ᐶ͞ᙎMr & Mrs Ko Ying Ms Li Shuen Pui Agnes Mr Toru Inaoka ң৪ᒤᔢ́Dr Lee Kin Hung Dr John Malpas Ms Liu Ying ͱ́Mr Lawrence Mak ధ̷ါᔢ́ʥʩɁDr & Mrs Pang Wing Fuk Mr Joseph Pangעோᘚ ோᓤᔢ́Dr Mak Lai Wo ᅾܭჴͱ́Mr Poon Chiu Kim Raymond ᅾણձɩմMiss Lily Poon Man Nei ᔢ́Dr Paul Tat Ming SheaעMrs Anna Marie Peyer The Hon Mr Justice William Stone ༠ Mr Peter Siembab Ms Carley Shum & Mr Jeff Szeto ౦ʼ́ͱ́Mr Eric M S Tsang ஹౣʼͱ́Mr Stephen Tan Mr Tsunehiko Taketazu Ms Tsang Kwai Fong ผTin Ka Ping Foundation Ȼʨ͓͞ᙎMr & Mrs Ivan Ting ᑢయक़ɤɡMs Tse Wai Shun Susanټࡼݰਥ̈́ ֝ݘᔢ́Dr Tsao Yen Chow Ms Cindy Tse ߈ҁࡄͱ́Mr Wu Chi Kong Wang Family Foundationټҹᄩନ෯ഁਥ ͱ́Mr Wong Po Yanړඡ ͨᚪзͱ́Mr David Yee Kwan Yam Λᑢʻܛ Thank You for Your Support
༠ͅটᑢ෮kٲࠗಋဳ֞ᅥ྆ΕϊΉ˞Ɏਆพዀ࿚ʥᆅʶɁɡ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.
STUDENT TICKET FUNDټነ́༅Хਥ
कᖳХɁPearl Patronע ဳᖳХɁGold Patron ᗸᖳХɁRuby Patronټ >HK$100,000 HK$10,000 – HK$29,999 HK$3,000 – HK$4,999
㞫́ႺϷHang Seng Bank ஹұᄨᔢ́ʥʩɁDr & Mrs Chan Kow Tak Capital Well Investment Limited ผZhilan Foundation Mr David Chiu ஹᒤႩͱ́Mr Chan Hung Yuen Robertټ٠ᙬਥ ңٟ̽ɤɡMs Doreen Lee Mrs K L Chan ષయ౬ᔢ́Dr Thomas W T Leung ՚ᄮജɤɡMs Catherine Mo Wah Chau ႺဳᖳХɁSilver Patron Lo Kar Foon Foundation ஹ৪ജͱ́Mr Chen Chien Huaټᖓࡼ㚺෯ഁਥ HK$50,000 – HK$99,999 ͨᚪзͱ́Mr David Yee Kwan Yam Ms Katherine Cheung
Ԉઁٖτࠉʔ̇ ঢ়ᐶ͞ᙎMr & Mrs Ko Ying ާɣᇯઠProfessor David Clarkeཽ Kerry Holdings Limited ່ጷፓɡDr M T Geoffrey Yeh ፳ዷᎨͱ́Mr Fok Wing Huen ඟݯԙͱ́ʥඟ፳֗หɤɡ Mr Alex Fung & Mrs Hanne Froseth-Fung ႻဳᖳХɁBronze Patron ЄݰЇͱ́ʩɁ͞ᙎ HK$30,000 – HK$49,999 ၖၕᖳХɁJade Patron Mr & Mrs Phyllis & Adolf Ho HK$5,000 – HK$9,999 Item Industries Ltd ષࡼ͞ᙎMr & Mrs Alan Leong ңɣι͞ᙎMr & Mrs Henry & Angelina Lee Mr Ian D Boyce ңኹ࿘ɡDr Lee Shu Wing Ernest Mr Chan Ka Kui Mr Leung Cheuk Yan Mrs Anna Chen ңౡϷͱ́Mr Richard Li Mr Chu Ming Leong Mr Lo Cheung On, Andrew ᒉ܆ᔢ́Dr Chung See Yuen ж̷๑ͱ́Mr Lui Wing Chiu ᗐࡼඐᔢ́ʥʩɁDr & Mrs Kwan Ka Hung Mr Ray Luk ټᎉЕჴ֨ਥ ோሣιͱ́Mr Mak Fai Shing Lok Yu Kim Ching Memorial Fund Mr & Mrs John & Coralie Otoshi ࣍শ෮ਝτࠉʔ̇ Long Hin Creative International Ltd Oxford Success (Overseas) Ltd Mr Wong Kong Chiu Ѱɷ́ͱ́Mr Shum Choi Sang Ms Ophelia Tam ᇞႚͱ́Mr Tony Tsoi ඡܱജɡ Dr Dominic S W Wong, GBS,OBE,JP ଞ̡ʔᖬϷτࠉʔ̇ Zennon & Pierre Company Limited
ઠөඖ͌༅Хዀ࿚ EDUCATION OUTREACH SUPPORTER
The Hongkong Bank Foundationټ㟱ᔔႺϷ෯ഁਥ ࠗಋɻജ๏ࣩτࠉʔ̇The Hong Kong and China Gas Company Limited ENDOWMENT TRUST FUND ټᖳХਥ
ສΔτࠉʔ̇ ټ㟱ᔔႺϷ෯ഁਥ ټপਥڌࠗಋᑩผ෯ഁ The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group
ผټ٦࿏ႺϷ ֱτࠉʔ̇ ࠗಋ໎ˊ෯ഁਥ Citibank. NA Jardine. Matheson & Company Ltd The Tung Foundation
.ȹȾɄɍᾳ˞ɐዀ࿚ᖳХ˞ι͓e The Endowment Trust Fund was set up in 1983 with these initial sponsorsכټᖳХਥ
ਆᖚමക PAGANINI PROJECT
ҹᐌɻͱ́ࢶᖲ Donated by Mr Patrick Wang ɥɩմԚ͂ • Emile Germaine (1907) Violin, played by Ms Tomoko Tanaka Maoكɻ̈́ڣɩొೄfͅ עϴਅfᑢਅ •
ਜ਼ဍయͱ́ࢶᖲ Donated by Mr Lowell Chang ͱ́Ԛ͂ • Lockey Hill (c.1800) Violin, played by Mr Wang Liangڋ˔F ɩొೄfͅ ݤ؝fѴဍ •
ᒉౝݗͱ́ࢶᖲ Donated by Mr Po Chung Ⴉͱ́Ԛ͂ • Dawne Hadded (1991) Violoncello, played by Mr Cheung Ming-yuenע ɣొೄfͅਜ਼ ༠ۄΛ̛f •
໊̌fᖓᙬɡͱ́ࢶᖲ Donated by Mr Laurence Scofield ɩొೄfͅਜ਼ѴɩմԚ͂ • Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi Ϊॖ۹fౝਥ •
ϊི߮ͅਆᖚමകೕʥୂᓱeThis project is initiated and organizated by Business for Art Foundation.
ᅥኂࢶᖲINSTRUMENTAL DONATION
ࠗಋဳ֞Ծผਯɤผࢶᖲ Donated by The Ladies Committee of the Hong Kong Philharmonic Society
– ֺࢶᖲɾӢτᅥኂ– Rare instruments donated ɩొೄfͅೡ͓ͱ́Ԛ͂ • Enrico Rocca (1902) Violin, played by Mr Cheng Li Ϊਟঢ়fݤ˺ • ,Jean Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu • ٽ ɩొೄͅɍ৹྆ ࣚfʱແfၐဍ। • χၳɩմԚ͂ Third Associate Concertmaster Joseph Gagliano (1788) Violin, played by • ٽ ɩొೄͅɀ৹྆ f˱Ԉԓ̗ • ˔܆ͱ́Ԛ͂ Mr Wong Sze-hang, Second Associate Concertmaster ɩొೄc • Cario Antonio Testore (1736) Violin, played by Mr Ni Lan ݤfΪ̛ෙfӓΛ̛˺ • ͅ࠵ᘂͱ́Ԛ͂
ʠᅥ྆ᅥኂॖሔི߮Ϥࢶᖲɾԯˢᅥኂ– Other instruments donated in support of theొܛݯʻ “Instrument Upgrade and Echancement Project” – • ᄨਝᔝβɩ໔ԭʻ • Two German Rotary Trumpets • ᄨਝജࣟढ़ɣ໔Ⱥࡨ • A set of Wagner Tubas • ᐮ໔Ⱥʻ • A Flugelhorn ࠇᒨઐʍFEATURED CONCERT ʪ̀ณɈ൴iʨɷfୣʺऋ Swire New Generation: Kit Armstrong plays Mozart 21&22 Nov 2009 sat 8pm • sun 3pm ࠗಋʼʝɻʶࠑᅥᜨ HK Cultural Centre Concert Hall HK$240 $180 $140 $100
ඔ̛cܞ Lawrence Renes, conductor
՚ഁନc፡ೄ Kit Armstrong, piano ຝ͌Programme ϴࣟၬiѵς ӴΛ٧ BEETHOVEN Egmont : overture ۂୣʺऋ *ɣሁ፡ೄԾۗςcА MOZART Piano Concerto No. 17 in G, K. 453 ࣜ˿ʩਥ ʄ͚ᚊς TCHAIKOVSKY Symphony No. 5
ᆅሒɻHOT PICK Δ྇Ծۗςޝ഼ᚹᚍࡽ z ᖭ Tan Dun’s Map Concerto – a multimedia adventure
27 Nov 2009 fri 8pm ຝ͌Programme ࠗಋʼʝɻʶࠑᅥᜨ ԓ ࡈɥɡ͚ᚊς HK Cultural Centre Concert Hall JOHN ADAMS Doctor Atomic Symphony HK$240 $180 $140 $100 Δ྇cݯɣొೄd፣ཫ ޝᖭ ඔ̛cܞ ᅥඅϤАؿԾۗς Lawrence Renes, conductor TAN DUN The Map, Concerto for cello, ᎏɈԿcɣొೄ video and orchestra Richard Bamping, cello
ᆅሒɻHOT PICK ʪ̀ࠑᅥɣiജऋؿ৺ z ɣΔɾ Swire Maestro: De Waart’s Mahler – The Song of the Earth 3&4 Dec 2009 thu & fri 8pm ຝ͌Programme ࠗಋʼʝɻʶࠑᅥᜨ ࣟС୩ʩ ୄΑz ݯ֞ᅥ྆Ϥᄘ HK Cultural Centre Concert Hall OSVALDO Last Round – HK$480 $320 $220 $160 GOLIJOV for string orchestra
৺ ɣΔɾܞϴ۹c Edo de Waart, conductor MAHLER The Song of the Earth ദКcɤɻࠑ Sasha Cooke, mezzo-soprano ̌ʩcӘঢ়ࠑ Robert Dean Smith, tenor
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