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689:;7 47<=8< ಋᖚ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ٻ࿚ᆅʘুұณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔Ρ of inspiring art, music and cultural ԞਝΊࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓˮcผ˥ࠗಋ artists and leading local talents. I am sure that ਝʼʝผࠛቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚࡼၤܰωଞٴᔑϊᚭ d I extend our warmest welcome to allผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ
TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚ᘆᖽ Message from the Chairman
.ၤɍɊɍ։ࠗಋᖚ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝcܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ၀ߜc˞ʥ̯Δ෮ݗึؿᖚ Festival presents the finest international andਂ ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶᑢ༦ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ྆˞ʥɁ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚຝ༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇయ˞ʥ རነ́ʥαႦᜮଠઅᘩΈᗘᖚe ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥɁ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ɺᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛωᑢჇɎؿʻʹ 2005αࠗಋᖚຝɻӮࠍe programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival.
ңพᄤ Charles Lee
:ࠗಋᖚຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director
005αࠗಋᖚຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ԭඖʏॖcܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚѼβؿӮᕀҥၤݖ creative impulses for the performing arts in most cultures cʌ։ຝ͌గऋПॶਪʦܮ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ෮֨e҈ࠨѴશԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌe memorable ࿘۾ȿࣵ̔ᖚɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋჱ྆d̯Δ ˮαႦ፡ೄۗࡼਜ਼ᆼdࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢၤˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δᖚ၀ߜ ுʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτɈݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚຝᘗᙩዶรկ̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿАɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէၦރು ਝ࠭ᅥdཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd pieces such as Amber, The Nightingale, All That Shanghai̟ےᅚؿȹ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚຝݯᜮଠᘆɐȹ ྆ٲϛɀɊ̒ˮcၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ˳ܢɍɊɀࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ̯Δ྆cᑹτԭࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟdᇹผʥᖚɁᇹe seminars and meet-the-artist sessions.
ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡɣd˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌dԮઢೕֲؿᖚ that it will be one of our most enjoyable and inspiring. We .ၤe are delighted that you could join usيຝɾȹcᑢჇɎ
ঢ়ᄨᓤ Douglas Gautier 5
1 ɩࣂ30ʗᘸcٽຝ͌ ɺஉɻͤࢠ Running time: approximately 1 hour and 30 minutes with no interval
ࠗಋʼʝɻʶࠑᅥᜨ Concert Hall, Hong Kong Cultural Centre 10 – 11.3.2005
ᗐઌʹdಲᇃཋʥඨՓዀؿᚊባکݯȿᜑɣࡼྦྷωˮजɎΡͿോcᇼʘতΕຝ͌ ສeผʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕмํcΛᑢАk 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, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation. ʄࠇۗιࡗQuintet Members 7
© Giorgio Scola ɩొೄ Violin ୧༆g˺ऋ Regina Carter ፡ೄ Piano ࣍gԓʩժ Alon Yavnaiځ Ꮎ Percussion ᑺဍּg˺ҳԈ Mayra Casales ར Drums ဍ̥ऋg˱ढ़ऋ Alvester Garnettځ Гࠑɣొೄ Bass КԈgഠऋ˺ౝ Chris Lightcap
10.3.2005̒Thur ܃ᖚɁᇹ Meet-the-Artist (Post-Performance) जүcၤ୧༆g˺ऋӮࠍ܃ᜮଠˮٴᚭ If you would like to meet Regina Carter, please stay behind in the auditorium after the performance
̯ຝ͌ࠑᚊኂҥͅСೄϷᖳХ The audio equipment is sponsored by
ࠍʥ5ࠒ๑ː Cover and page 5 photographs © Giorgio Scola۬ 10 ਿInterview
© Bill Phelps
ၤ୧༆g˺ऋؿȹ
i݅ଉɡg̈́
i୧༆g˺ऋ
ᆅԅԓ̛̛ۗ֔ࣟजɎؿ1743αྠכɣऻؿΊೄ˺ऋ౦ီڙȹωۗ܃Б ʑԈɩొೄcϭʌɰτȹݒࣂංcБᕤ֨ලj
ᕤ۾ᗒᄦۗeߗॶ٦ɐడ˂˾ᆃୌ̚c҈ֶผ۾ؿᅥኂcЎɖ۾Ӏτeܰ̚ ؝ΐॖcԅԒ҈ҡɺᕤ֨eܧΛ۾cЎ҈Ӏτዀผeʹّcᄦۗϊೄ߬૾ࣹ֨
ଞଐടΊࠑᅥɁcΣӴແg˺ऋdϝဍऋgዶႫd̛ٛgВ৺ဍd܁Бؿࡼ൰֛ऋ ᕽ˩Ѻdʮʩgּແʩdࡌढ़fВᄨdಝϝgּ̥ढ़࣓ʥʣဍgКያ೩cБ ΔʿॶөዟऋؿࠑᅥɁලj܁෮֛ऋ
ےʑܰ܁e֛ऋےʥ܁ଞଐዟԮࠓࣟؿࠑᅥࡼcཫ֛ऋ̟ے෮eτԒ҈ ːʔ̇ےࠑᅥႇАcПѿতᄾܰڏcɁࠨԞϬ̒ʿɄࠍcݯؿɺܰӁӹɮพc̟ මၙȿɺʼʝdࠑᅥʏॖcʥΈʿࠍؿᄧᚊe܁ɖΕϊe˿˞႓c֛ऋ
ɊӷeϤ̳ܰ҈߬ؿeڰΣʌ҈˞ख़ݯਥΔe㛾˨ॶ൴cᜑ҈ȹᘨፚԞ෦
ɩొೄࡼԞ႓ԎɺӮeכБּۗɩొೄȼαɷնነୌᚾᖪcྦྷ
Ρc҈cᜑ҈Ϭͅೕ۾႓eೕଊ҈ᚹɈقϢઔ͂༻˃ઠነؒcЎɺผԗ࣊҈ ᅚӶcϬಳᎷᄦۗe܉༞ࠑᅥكcЎ҈ɺ͂ᚾᖪɖکΕ҈ࠍיࢄeɖ౦Ґᅥᖪ ਿInterview 11
Бᚹ໊ଉؿۗලj
અقɺౘ།ˢܨሌ༦ȹԭωˢؿଊۗe႓Ԟcΐݯ҈ʪࡻୈcɺc҈̋ ʭᚹᏲɡᅥcᚹؿɩొೄᏲɡᅥగ̋τˢdֆያgᕡແʥጻࡥဍgޅ͚ᇹeԅࣂ҈ ΐऋeؐ
ॶۂjሂؿАۂcᑹܰԯˢᅥኂؿАۂcБ˚߬ᚹɩొೄА܃ԑۗᏲɡᅥ ̨৽Бj
ȹ̨̭cБ߬ͱਐϬɯiΕ࡚㛾ነᏲɡᅥjԯফᆻɺཫ̀ࠑپᏲɡᅥɣ ಳͨЄආܫʨ࣊c̋ॶቌϬɯҒˮ༏eپᅥcӀτϢઠБ͂ʇფʿؒcɖӀτɃ ͱːˮೕeڏݒ˿նc҈
ኬኬȹαc҈̋ᚹ݅Сg֔Кؿࠑܰכ࣎ؿᅥඅઠ౦ᜑ҈ۗؒਝ໔ؿͫc҈ Ԟc҈અᘩԷКСါ܃ᅥcԎᅡ͝ˢؿዟۗcᒖಳ҈ࣂɺᎷԅᛰʝຒɝؿ֞e ᄨg̠࣍dႝgࠏВऋdКּКgऋԈؿࠑᅥcೕଊ̀Ϣؿࠑϳ༖мʵ҈e།㠥ܰ ࡥּgഥওּᄨeכʹc҈ᒉੱ
།፡ೄɣ̛ٛgʱ࠷፣ႇFreefallɀࠇۗࣂτЯшᗒj eိɀࠇۗܰ፡ೄͱԞዟמ།̛ٛgʱ࠷ϽࠑᅥɣАcࠧܰႦᕌࢀ ҡཫۂɺؿЂۗʿؒcᜑА͂҈ܰכɎԞᜑ҈ዟۗe҈ɺ௩ᚭᅚc܃cಳۗ ɩొೄၤ፡ೄؿྦྷe
ؿ୮ଉɐcБؿᖐ།ࡈþّۗτЯɺj܁Εફ
τመeߗۗςc҈ผϬಳΔ˞ʹؿʿβ୮ଉcࠑሁɐɺผАʪɣҝ۾ਐᕀ ᛰcࣂࣵผࣺଊീeЎߗܰࠑᅥc҈ผཹࠇณᇁςc˞҈ؿᅥኂeτ ࣂc҈ผၤᅥඅȹࠇᇁࠑᅥe
ГjБɌॶЯࣂ২ԷjיЯτԒ̀ࠑᅥؿҌ̝߬ܰ
˿ᏲɡؿࠑሁcɺگؿcԝΣɶؒʥᛌх೩Ҍ̝eᇾਦɐ҈ྦྷነ́႓iܰՒܰ Ͳɶeۗҕੱςࣂc҈ผ།ˢࠨ႓ྻ͂ؿᛌхԎɺሬeͲܰ҈ؿɾ͂ ࠨܰɺؿࠑᅥႍӰeಳϤcʋτԒࠑ͉̚ע༞Єࣂ߬ᔝ͂ПؿҌ̝cɖكᇹc҈ үϬ۬cྦྷܺᗘࠑᅥʶΦৱӮcΐݯˢࠨӀؒӶˮ՞τႍӰʼʝؿ࣑ܼcܨᅥɁ ሌПɁؿࠑᅥe˾ 12 ਿInterview
A Conversation with Regina Carter
: Charles Martin : Regina Carter
It’s been a while since you’ve played ‘The Cannon’ [Paganini’s famous 1743 Guarneri violin, which Regina Carter played in Genoa]. Do you miss it? No. It’s a beautiful instrument, but it’s a difficult instrument too. If I’d had the opportunity to spend a couple of months playing it, I might miss it now, but I never had the chance to get used to the violin. Plus, there were a lot of politics involved, and I don’t miss that either. © Bill Phelps The list of musicians from your home town of Detroit is long and impressive: Betty Carter, Milt Jackson, Kenny Burrell, Thad and Hank Jones, Yusef Lateef, Donald Byrd, Tommy Flanagan, and Earl Klugh, among others. Do you think Detroit produces a different kind of musician? I do. Some cities seem to produce a lot of musicians, and each of those cities has its own sound: Detroit, Philadelphia for instance. One reason is that Detroit is really a city, an inner city. People have relocated there from all over, for both the automotive industry and the music industry – Motown records was there, remember? So you have a mixture of cultures, as well as a mix of musical and other influences. I’m based in New York now. The energy is great here, which is what I need: waking up and hearing the hustle-bustle. It makes you get up and do something. You played for seven years before you learned how to read music. That doesn’t usually happen with violin. My teacher was doing the Suzuki method, but not according to the book. She noticed I had an ear. I think she was so taken by that fact that she let me get away with it. She did put music in front of me, but I could usually tell which way the piece was going, and could play without reading. ਿInterview 13
Did you hear Stephane Grappelli a lot? No. I heard him once or twice live. Unfortunately, I was too shy to go up and talk to him. At the time, I hadn’t heard much jazz. Back then my only references for jazz violin were him, Jean-Luc Ponty and Noel Pointer. When you developed your jazz approach, did you listen to violinists or other instrumentalists? Who were you drawn to the most? When you start jazz you need to ask, “How do I learn this music?” It’s not like classical, where your teacher tells you which method you’ll use. You have to find the road yourself: there’s no Book 1, 2 and 3. You can come in at any period. So I checked out records. My big band teacher in college gave me horn parts to play. For a year, I listened just to Charlie Parker and transcribed his solos, though at the time I didn’t understand the chord changes underneath them. Eventually I checked out Clifford Brown, Ben Webster and Clark Terry. I was drawn more to the older kind of sounds. Then came vocalists. I’m heavily into Ella. How difficult was it to pull off the piano-violin duo with Kenny Barron on the recording Freefall? With Kenny Barron, it was easy to do – he’s such a master. A lot of times, the piano will just play a solo and then stand there while I play. I didn’t want that, so I tried different kinds of comping (accompanying), and made the pieces more like conversations between the two instruments. Do you feel your approach to a tune is different from what’s gone before? Funny, if I take a tune from a vocalist, I kind of do it the way they do it. I don’t veer off too much. I’m thinking of the words to the song. But if I’m doing an instrumental, I try and come up with a new arrangement, something that fits my instrument. Sometimes the band and I come up with the arrangement together.
Are there times when you have to disregard classical technique, or can you always make it work? Yes, things like bowing and vibrato. At a master class, I’ll tell a student, “This is a bebop tune. You can’t use the full bow”. Or on a ballad, I’ll tell them they can’t use the same kind of vibrato. That’s when I notice how I’ve had to change my playing. That’s when I realise that it’s a different language. There are still some people, musicians included, who have prejudices about all kinds of music, because they’ve never stepped outside the boundaries of their own language, their own culture. 16 ̡́ʍଽBiographies
୧༆g˺ऋ ɩొೄ
୧༆g˺ऋؿࠑᅥԑพȹίࠓcѽΣȹੜࠑଲe͓ҁ˞ዟऋؿࠑᅥʿβ ᘆᅥኋcንᔄԯಲᆯɈ൴cɺͤ˅Δ̒ˮԀিۗe
ݘᏲɡᅥʹcᏵፕ߳෮ɣСᆅԅԓc̛ۗ֔ࣟڈ2001α12˂cιݯࠖϽᔄ :जɎؿྠʑԈɩొೄeɺʥȹαc߳෮ɣСᙠ፣ณؿ̀ࠑᅥਿፎPaganini̛ After a Dreamࣂʹωּۗϊೄcݯࠑᅥԑพ͓ɎԈೡຌe
ऋؿοመcЎಲ˿Яႏcܰι˲ؿ˺ڈᐣಳЂֶۗ˞ነ́Ӹͫ།ɣۗ ܁ࡼ൰֛ऋܰܫဍਅਅ̗শؿɩొೄɣऒhރࠇ߬ΐॖe˺ऋɐ༦͠ऋʺКg ͚ᚊᅥ྆྆ࡗcɖܰݚϷୂቊᏽؿιࡗeݯొԜȿΈᗘˮؿዀผcΣͱ །Ᏺɡᅥʹཊg̠࣍dˈСg࣮৺dန୧Ϊgோ݇ऋᙬᄨd፡ೄ̛ٛgʱ࠷dౝ܃ С೪ᆉ˚ใནgּdᙬgࠏནʥ˺ࣚᄨּgۤဍႫۗcԎ˘౦།ݚϷ ᅥ৫ཫ࣠୧gʱནʥˈСgीԫˮe
།ԓऋᙬɣ͚ᚊᅥ྆dဍӂਥ͚ᚊᅥ܃2002/03ᅥտc˺ऋʥԯʄࠇۗιࡗͱ ᘣ༠ဳ֞ᅥ྆೩Аe˺ऋʥԯʄࠇۗ౦ΕȹؐɡནݚϷࠑᅥؿऋௐຝ̛עd྆ Вࣟʥϴᇘgϴ̥cȹڲज़ɩొೄʹढ़gᔁ৺ݤgॗވ˖cҡၤԭϽޚڋɻ͌ ࠖКԈg̠ቧӴКᎼʩ g̠ቧӴКɾɥऋПݯˢࠨАؿInterplaye
֔ܢ˳͛ᅚӞe౦།АؿടΊࠑᅥɁۂЩۗcЎԯ፣ࠑАٽऋኞ˺ ཊᔁgؒКடdနᗫg̠ഠdԈgѴဍdࡼ˺ࣚᄨּgۤဍځແgּӴဍd ႫdГࠑɣ௬̐ʹ̌ొʩgऋԈd፡ೄ̛ٛgʱ࠷ʥɽ̛༏gԣཊdˢʹᖓᄨ gᕽdϳɡࠓʹ˻ɡg˺ऋdߜʷ̒ࠇۗdख़֞ᅥɍࠇۗ೩e̛
ΕԔᙷਝ܃ςdͿ۹ࠑᅥcԷ̀ࠑᅥeͱ܊ᄤcຝۗޅऋؿࠑᅥ૦˺ ݘࠑڈؿख़ߜ࠷ࠑᅥነʥะ࣓ᖓྵऋؿෙКᙬɣነc˚࠳̀ࠑᅥʥβ ؿʼነɡነϽeٲᅥcԎᏵෙКᙬɣነཕೕࠑᅥ
˺ऋͳτʄਜ਼Ɂːc˳ܢ୧༆ g˺ऋ1995dSomething for Grace 1997ʥ Rhythms of the Heart1998 e2000α9˂ೕϷؿ̒ਜ਼ːc̳ܰऋП ࠑᅥɁߎฑؿMotor City Momentse̊̔c།፡ೄ̛ٛgʱ࠷ۗؿ܁Ή֛ऋ ᆉొΊeณɣဥ׳α2˂Ᏽࣟכʨࠍ˖cԎܬ2001α כ Freefallc 2003α4˂ઐˮeכڬPaganini: After a Dream
ᆅؿαႦɩొ˿ʹتଊˮΛʏࠑᅥࠓࣟؿ˺ऋcɰιݯʌʨଊˤᅥኋτᅕٲᘗᙩ ೄࡼe ̡́ʍଽBiographies 17
Regina Carter Violin
Regina Carter’s career has been a veritable crescendo of success that shows no sign of letting up. She is on a mission: to make a meaningful musical contribution and do it on her own terms. Indeed, she tours with relentless purpose and a seemingly endless supply of energy.
In December 2001, Regina Carter travelled to Genoa, Italy and became the first jazz musician and first African-American to play the legendary Guarneri del Gesu ‘Cannon’ violin, owned by classical music virtuoso and composer Nicolo Paganini. Less than a year later, Carter returned to Genoa to accomplish another milestone – using the treasured violin to record her new classical-infused album Paganini: After a Dream.
Regina Carter’s recent triumphs by no means came without paying her dues as a side person and a student. Carter’s master classes with violin giants, Itzak Perlman and Yehudi Menuhin, as well as her association as a member of the Detroit Civic Symphony Orchestra and with the pop-funk group, Brainstorm, provided the needed experience to play with a range of artists. Carter has had the opportunity to perform, with such jazz luminaries as Ray Brown, Dr Billy Taylor, Marian McPartland, Kenny Barron, Wynton Marsalis, Randy Weston and Cassandra Wilson. She has also performed with ‘pop’ icons Dolly Parton and Billy Joel. ̡́ʍଽBiographies 19
During the 2002/03 season, Regina Carter and her touring band began performing with numerous orchestras including, the Atlanta Symphony, the Milwaukee Symphony and the Minnesota Orchestra. Carter and her band have also performed a special engagement with the Boston Pops, featuring classical virtuosos, Nadja Salerno Sonnenberg and Eileen Ivers. Together, the three violinists debuted a song written especially for them, by Chris Brubeck (Dave Brubeck’s son), entitled, Interplay.
Just as prolific as her accomplishments on stage are Carter’s performances on record. Included in her discography, along with recordings with Patti Labelle, Aretha Franklin, Mary J Blige and Lauryn Hill are recordings with vocalists, Cassandra Wilson and Carmen Lundy; trombonist Steve Turre; pianists Kenny Barron and Danilo Perez; guitarist Rodney Jones; saxophonist James Carter; Quartet Indigo, led by cellist, Akua Dixon and the String Trio of New York.
Carter’s musical influences have ranged from R&B to East Indian to classical music. As a college student, she took on a double major in classical music and African- American music at both the prestigious New England Conservatory and Oakland University in Rochester, Michigan, where she earned a Bachelor of Arts degree in Performance.
Regina Carter has five discs under her own name: Regina Carter (1995), Something for Grace (1997) and Rhythms of the Heart (1998). Her fourth CD, Motor City Moments, was released in September 2000 and is a tribute to the musical legacy of her hometown of Detroit. Freefall, a collaboration with pianist Kenny Barron, was released in the spring of 2001 and was nominated for a Grammy Award in February 2002. Her latest CD, Paganini: After a Dream, was released in April 2003.
Regina Carter continues to reveal a distinctly diverse musical personality. She has become one of the most popular young violinists in modern music today. ̡́ʍଽBiographies 25
࣍gԓʩժځ ፡ೄ
ϳͶ̿ෑ͠ճࠑᅥነc̒ัነ፡˞כϳͶcଓพ˞כ࣍gԓʩժ́ځ፡ೄࡼ eˢϬɰؿᏲɡᅥɍࠇۗԷ୮ˮc1993αଫֈٲೄcɊɍัɰնᓻพ ߶eڥਝcԎΕЃᖓԈ༠ήКႫၐဍᐾϷؿਝ৩ɣᏲɡᅥ፡ೄˈᑩɐᏵ gᄾϹگЃgʱᄨdּၐg݀ɭdᎏܢ˳ˢ౦ၤଠΛടΊᖚࡼȹˮc ᖓg˺̥ᖓdෑ̛ԓgСВෑᄨdɽ̛gʷऋ྇ځ৺ဍdۄgࣵdಝճgמd༏ С̠dෙ˺gෑढ़ᖓdؐˈgͤ௶gୣཊݤ೩e
ּܢ˳ԓʩժܰ֔ۘΛgӓၐּ۩ʑᏲɡᅥɍࠇۗιࡗcᅥඅۗΈိࠑᅥc ജଞན̀াɻʶc˞ʥΕ˺ʑਥܢ˳ΈΔcވ˖ȻᏲɡᅥ̀۩ᅥcӷ༌༧ʥ ࠑᅥᜨɩొೄຝɐၤɣొೄࡼʤʤۗe
ቮϹࡐѐѮਝܢ˳dɻݘᅩݘˮcԎ˱ΛᏲɡᅥຝcڈԓʩժ౦֡Ϲ ᏲɡᅥຝdؐɡནଈᏲɡᅥຝᄨਝʱဍແ˺ᏲɡᅥຝeˢၤɺࠑᅥɁː ʔ̇ᙠ፣Ɋਜ਼ːc2005α1˂ˢؿᏲɡᅥɍࠇۗΕउּΖᐾፒؿਝᏲ ɡᅥຝɐೕϷณਿፎe Alon Yavani Piano
Israeli-born pianist Alon Yavnai is a graduate of the Gyvataym Conservatory, Israel. He began playing the piano at age four and started performing professionally at age 13. He toured with his own jazz trio before moving to the US in 1993, where he won First Place at the Great American Jazz Piano Competition in Jacksonville, Florida.
He has performed with a host of renowned artists, such as Freddie Hubbard, Ravi Coltrane, Bob Moses, Louis Hayes, Tom Harrell, Arturo ‘Zambo’ Cavero, Tania Libertad, Danny Gottlieb, Oscar Stagnaro, Bobby Shew and Joe Morello.
Alon Yavnai is a member of the Paquito D’Rivera Chamber Jazz Trio which plays music from Latin Jazz to Chamber Classical giving performances internationally, as well as at the Kennedy Center, Washington DC and the Fiddle Fest at Carnegie Hall with cellist Yo-Yo Ma.
Yavnai has toured in West Africa, Central America and Europe, and has appeared in the International Jazz Festival in Cancun, Mexico; the Boston Globe Jazz Festival and the Baltica Jazz Festival in Germany among others. He has recorded over a dozen albums with various artists and labels, and in January 2005 Yavnai and his jazz trio released their latest CD titled Picture This at the International Jazz Festival in Punta Del Este, Uruguay. ̡́ʍଽBiographies 27
ᑺဍּg˺ҳԈ Ꮎ
ʱࡧᜪࢬc̀כᑺဍּg˺ҳԈ഼ݯαˤɻԮɷജؿᎾᅥʹɾȹé cϊࣴ૬ΕځࡼɻɍΊ˩ѺιȿࠑᅥɁeαႦࣂ፭ࡼɁଫֈЃᖓԈ༠ήᑺ τ֗།Ԕᙷਝؿ̀ʱʥּȻࠑᅥɁڏؿࠑᅥʼʝɾɻeɺɔcٻᔔఒΛ ȻϹ୧ԓgКቧd˺ݤg̿ဍᄨdթμʥ࣮μgౝऋ೩eּܢ˳Аc
1978αc˺ҳԈᐾࡼଫֈख़܃cΕΔᘗᙩೕࢄࠑᅥԑพcԎ།ΛϽᅥኋඨ Аc߮τiღgഠ͊dࠏ࢟gጣऋdཊgʱཊμʥഥ୧gࣵਅeذթɁ cኪͨ୧༆g˺ऋʥ௶࢟gያϹΐؿᎾᅥʹcɌݯΛཋᄧʥཋ഼dཋ̎ᄤٶ йАςe Mayra Casales Percussion
Mayra Casales is considered to be one of the most versatile and well rounded percussionist of her generation. Born in Havana, Cuba, Casales has three siblings, all of whom are musicians. While very young, she moved with her family to Miami, Florida where she began to immerse herself in the musical culture of that environment. Before long she was performing with some of the biggest names in Latino and Cuban music including Celia Cruz, Carlos ‘Patato’ Valdez, Machito and Tito Puente.
In 1978 Mayra Casales’ family moved to New York where she continued her musical journey, working with such legendary artists as Dizzy Gillespie, Wayne Shorter, Ray Barretto and Phyllis Hyman. Currently Casales can be found holding down percussion duties for both Regina Carter and Jon Lucien, while still continuing to compose for movie scores, television and radio commercials. ̡́ʍଽBiographies 29
ဍ̥ऋg˱ढ़ऋځ ར
ӠޢԓᐲԄɣነᏲɡᅥ̛ނԓήͶ؝ʼc1993αၐ̛ނၐכဍ̥ऋg˱ढ़ऋ́ځ d༞ࣟgଉ݅ʥࡥСgמgჳڀӡଓพeΕነ౨ංˢτ֗།ோgᖓթdਟ ٛ׳gˈځɍ˂cˢଫֈख़cԎၤӴແg˺ऋ܃ּ೩ΛϽɣነୌeଓพ ͳԑe
ٛ̒ࠇۗcАȿ̒αΛcԯංˢɖΕᑩ৺gʘढ़ऋ׳gˈځc˱ढ़ऋ˱Ƀ܃ԯ ҳແؿιځΊݯמ܃Ԉୂԯۄɍࠇۗˮȿԭαeϊ̔cˢɖܰऋʿg ٛ׳gˈځࡗeˢؿརᅥ˿ΕԯᏵᆉɣဥA Cloud of Red DustɻᚹԷe̊̔cΕ Who Used to DanceʥWholly Earthԭਜ਼ːɻɖॶҒԷˢؿ၀ಖརҌe
ࣟᖓʩdऋۄढ़ऋ౦།ɺʭᅥඅАcΣճɡg˺ऋdใནgּdᖓ͠g˱ ဍgࣟཊ೩ؿᅥඅeځgෲᄨജdؒᖓgࣚᄨdКּКgऋԈʥ Alvester Garnett Drums
Alvester Garnett hails from Richmond, Virginia and graduated from the Jazz Studies Department at Virginia Commonwealth University in 1993. During his time in college and high school he had invaluable opportunities to study with Max Roach, Victor Lewis, Doug Richards and Ellis Marsalis. Three months after graduating from university Garnett moved to New York and was working with Betty Carter and Abbey Lincoln.
Around the same time he became a regular member of the Abbey Lincoln Quartet, playing with them for over four years, while also playing with the Cyrus Chestnut Trio for two years. Alvester Garnett was also a member of the first Stefon Harris group that went by the name Ashati and he can be heard drumming on the award winning debut CD entitled A Cloud of Red Dust. Other highlights of his appearances on recordings also include Abbey Lincoln’s Who Used to Dance and Wholly Earth.
Alvester Garnett has also worked in the bands of many other artists including James Carter, Wynton Marsalis, Roy Hargrove, Teddy Edwards, Pharoh Sanders, Clark Terry and Al Grey. ̡́ʍଽBiographies 31
КԈgഠऋ˺ౝ Гࠑɣొೄ
෧ነc1993αցֈख़ۤכႝɢɓ̛ԓήcଓพכКԈgഠऋ˺ౝ1971ά iࡥᄨg̠ഠК৩ဍd௶؝g˱Іܢ˳eˢ౦།ΛϽࠓࣟଔؿЩጙۗࡼАc ࢟dѴဍg௶ɽdऋgѴౝdּၐg݀ɭʥ௶gढ़Ԉe i௶gୣԈdܢ˳ˢ˞ЂّۗӸͫၤႇАؿː༠ɀɊ̒ਜ਼c౦АؿࠑᅥɁ ৺ဍdऋgढ़Ԉd̠ྵgୣԈʥΪ̛g݀ਅ೩eӸ࠹ۄКgԈऋdಝճg ݯϬٶАςࡼؿഠऋ˺ౝcֺАς͌ိᗘᐥΛcͅ۩ᅥϭ͚ᚊᅥcᎶτသτeˢ cҡ̨Ƀཋ̎Ᏺɡᅥ࿔ۂɯؿ̒ࠇۗᇁᄘɣဥLay-UpcᏵख़ࣂంിݯȹݚА ɊɣϽສe
عߗڠ˰ɻᘭi
Chris Lightcap Bass
Born in Pennsylvania in 1971, bassist Chris Lightcap graduated from Williams College and has lived in New York since 1993. He has performed with a wide array of improvisers including Ed Blackwell, George Garzone, Sheila Jordan, Matt Shipp, Ravi Coltrane and Joe Maneri.
Among his two dozen recordings as a sideman are CDs with Joe Morris, Marc Ribot, Tom Harrell, Mat Maneri, Butch Morris and Anthony Coleman.
Also a composer, Lightcap has written extended works ranging from chamber ensembles to full orchestras. Recently he has been involved with writing music for his quartet, whose debut CD Lay-Up was dubbed ‘first rate’ by the New York Times and reached the top ten on the jazz radio charts. ᖳХིٞ߮Patron’s Club ผࡗ Gold Membersټ ผࡗ Platinum Membersټ͉ ಲΊˊ Anonymous ᚋ༅ႺϷ Coutts Bank ผ C C Wu Cultural & Education ષᛷСጙพτࠉʔ̇ Henry G Leong Estates Ltdټඑιʼʝઠөਥ͢ Foundation Fund তඡࡣτࠉʔ̇ Hutchison Whampoa Ltd 㟱එ྆ E2-Capital Group ֱඑ྆ Jardines Matheson Ltdټ ෙᄤй Ogilvy & Mather Asia Pacific ཽԈઁٖτࠉʔ̇ Kerry Holdings Ltd ଓۤผ߮ԑ৻ֺ KPMG Ⴚผࡗ Silver Members Ⱦᄤᚁ༏ʔ̇ Kowloon-Canton Ⴛผࡗ Bronze Members RailwayCorporation ఒᄨͬพτࠉʔ̇ Fontana Enterprises Ltd ɐࣵਆพႺϷ Shanghai Commercial Bank Ltd ෬சࠗಋτࠉʔ̇ Microsoft Hong Kong Ltd The Swire Group Charitable Trust ټপਥڌʪ̀එ྆෯ഁ ነི́߮ࢶХɁ Student Ticket Scheme Donors ᆉ Platinum Award The Helena May The Helena Mayټ͉ ಲΊˊ Anonymous ߈͓́ͱ́ Mr Maurice Hoo ผ C C Wu Cultural & Education Ms Caroline Hu Ms Caroline Huټඑιʼʝઠөਥ͢ Foundation Fund Ms Hu Shu Ms Hu Shu ٦࿏ႺϷ Citigroup Mrs Dorothy Hung 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Strickland Mr & Mrs John & Anthea Strickland Mr Mark Machin Mr Mark Machin ோָ࣊ Mackie Study Ltdځ Mr & Mrs Stephen Tan Mr & Mrs Stephen Tan Mr Wong Kong Chiu Mr Wong Kong Chiu Mr Mak Fai Shing Mr Mak Fai Shing Mr Michael Mak Hoi Hung Mr Michael Mak Hoi Hung Ⴛᆉ Bronze Award Mak Ko Kee Building Contractor Ltd Mak Ko Kee Building Contractor Ltd ಲΊˊ (18) Anonymous (18) Mr John Malpas Mr John Malpas Sir David Akers-Jones Sir David Akers-Jones Maplewood Education Services Maplewood Education Services ਂⴷᘚͱ́ Mr Au Son Yiu Mr Michael McClellan Mr Michael McClellan Ms Gael Black Ms Gael Black Ms Olivia Mo Siu Wai Ms Olivia Mo Siu Wai Ms Caroline Calvey Ms Caroline Calvey ୣяନͱ́ Mr Mok Kwun Cheung ஹᅥ́ͱ́ Mr Samuel Chan Lok Sang Dr & Mrs Sam Nariman Dr & Mrs Sam Nariman ஹᄨᗎͱ́ Mr Chan Tak Ken Mr Kellogg Ngai Mr Kellogg Ngai Ms Chan Wan Tung Ms Chan Wan Tung Mr David Owens Mr David Owens ஹ፷შɩմ Ms Liat Chen Mrs Platt and Friends Mrs Platt and Friends Mr & Mrs Ann & Paul Chen Mr & Mrs Ann & Paul Chen 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Δэ Address: ࠗಋᜪˠಋᜪ༞ɀ໔ࠗಋᖚɻʶɊɀᅢ 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong ཋ Telephone: 2824 3555 ඨभ Fax: 2824 3798 / 2824 3722 ၉ࠒ Website: http://www.hk.artsfestival.org ཋ൯ Email: [email protected] ᓻࡗ Staff ᓻࡗ Staff (contract) Ϸܧᐢဟ ([HFXWLYH'LUHFWRU ຝ͌ Programme ଉ /RJLVWLFV0DQDJHUۿঢ়ᄨᓤ Douglas Gautier અ ነ֦ Elvis Kingټ ຝ͌ Programme ႇАଉ 3URGXFWLRQ0DQDJHUV ຝ͌ᐢဟ 3URJUDPPH'LUHFWRU ̝ۢ̽ Tiffany Yiu ષు☜ Grace Lang ષᜮ Roy Leung ຝ͌ଉ 3URJUDPPH0DQDJHUV ̔ࢄᘐ 2XWUHDFK&RRUGLQDWRU Andrew Chan ڭᘣਝඔ So Kwok-wan ஹҁ ՚⌿ Mio Margarit Chow ̔ࢄХଉ 2XWUHDFK$VVLVWDQW ჳϐ૯ Eva Lau ຝ͌ᘐ 3URJUDPPH&RRUGLQDWRU ຝ͌Хଉ 3URJUDPPH$VVLVWDQW ່৪༻൬࠳ͤ Linda Yip (on study leave) ңણต Christina Lee ອଉຝ͌ᘐ $FWLQJ3URJUDPPH&RRUGLQDWRU Ҍᘐ 7HFKQLFDO&RRUGLQDWRUV ፠Ї Eddy Zee ஹ⍱ജ Billy Chan ሲᅳშ Cat Cheng ઐᄤ Marketing ඟ֗Σ Rufina Fung̟ Nancy Lam׳ ଉ 0DUNHWLQJ0DQDJHU̟ ሲֆ࿘ Katy Cheng ңཽᗸ Kathy Lee ષᘚੜ Gary Leung Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHUV ࠑᚊᘐ 6RXQG&RRUGLQDWRU ՚ֱ Alexia Chow ஹ৪ Joey Chan ॐ࣠ Chris Lam׳ Publication خಌ༠ᑞ Andy Yau ˮ ᇁፎ (GLWRU ೕࢄ Development χ㠒ෲ Daisy Chu ೕࢄଉ 'HYHORSPHQW0DQDJHU ߜʼᇁፎ (QJOLVK(GLWRU ஈዷඓ Angela Hui Mya Kirwan Mya Kirwan Хଉᇁፎ $VVLVWDQW(GLWRU Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ඡฑΪ John Wong ஹ᜔ᙀ Eunice Chan ̟ઐᄤ Marketing ผ߮ Accounts Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHU ผ߮ $FFRXQWDQW ЄయᎩ Agatha Ho ࣨუށ June Yun ̟˚ͨ 0DUNHWLQJ2IILFHU ฦዤ Michelle Yeung ผ߮ʼࡗ $FFRXQWV&OHUN ৻Хଉ 7LFNHWLQJ$VVLVWDQW Bonia Wong ඡਝෲ ோுജ Ada Mak ৻˚ͨ &XVWRPHU6HUYLFHV2IILFHUVרAdministration ۪ʸ ܧϷ Ϸܧो࣊ ([HFXWLYH6HFUHWDU\ ᘣϤ Alfee So Wu Kai-yin ۽χ༠⍖ Carmen Chu ͢ԙ ႚ Pang Leoژధ ज़ो࣊ 5HFHSWLRQLVW-XQLRU6HFUHWDU\ ೕࢄ Developmentٱࡗþۿઅ ң Virginia Li Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ೡણֱ Michelle Ching ፒʔ۩Хଉ 2IILFH$VVLVWDQW Administration ܧTony Cheng Ϸ ټሲ ፒʔ۩Хଉ 2IILFH$VVLVWDQW Dicky Chan ̵ژஹ
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