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House Programme 1 2 / * ,+ 0. - 5>:;=8= 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࿚ᆅʘুұ௚ณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚ୺ຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔΃Ρ of inspiring art, music and cultural ੓Ԟਝ჌Ίࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓ࿫ˮc๫ผ˥ࠗಋ஛ artists and leading local talents. I am sure that ਝ჌ʼʝ஭ผࠛ૚ቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚ୺ࡼ਄ၤܰωଞٴᔑϊᚭ ఻d I extend our warmest welcome to all؀ผcԎूࣵʑ̔ᜮଠʶ̈́ 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 ຝc஛ܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝ჌՗ԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ୺၀ߜc˞ʥ̯Δ௚෮ݗึؿᖚ Festival presents the finest international andਂ ୺ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶ෰ᑢ஦༦੖ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ৛֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚ୺ຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚ୺ຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ୺྆᛽˞ʥ࠯Ɂ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚ୺ຝ஦༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇ଩᎚య˞ʥ ར᎞ነ́ʥαႦᜮଠઅᘩΈᗘᖚ୺e ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥ࠯Ɂ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚ୺ຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ΋ɺ΃ᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛω෰ᑢჇɎؿʻʹ 2005αࠗಋᖚ୺ຝɻӮࠍe 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 :ࠗಋᖚ୺ຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director 005αࠗಋᖚ୺ຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ஛ԭඖʏॖc஭ܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚ୺Ѽβؿ੒Ӯᕀҥၤ᜙෰ݖ 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 contrastsޚܫ࠯෮֨e҈ࠨѴશ஛ԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌ᛽᛻e memorable ࿘۾৖ȿࣵ̔ᖚ୺ɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δ࿫ᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋ໷ჱ྆d̯Δ௑ ˮαႦ፡ೄ࿫ۗࡼਜ਼ᆼ౟d૜ࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢ਄ၤ࿫ˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД૆ Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δ࿫ᖚ၀ߜ ு໱ʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτ΋Ɉݵႇ 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 ᖚ୺ຝᘗᙩዶรկ޸̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿ௚АɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէ࿨ၦރು ਝ჌࠭ᅥ஫dཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd׭ pieces such as Amber, The Nightingale, All That Shanghai̟ے஛ᅚؿȹ࠯ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚ୺ຝݯᜮଠᘆɐȹ ࿫྆᛽ٲϛɀɊ̒௿࿫ˮc਄ၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ࠯˳ܢɍɊɀ࠯ࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ࠯̯Δ྆᛽cᑹτԭ࠯ࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚ୺ຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟ࢔d࢔ᇹผʥᖚɁᇹe seminars and meet-the-artist sessions. ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡ௖ɣd௖˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌d௖Ԯઢೕֲؿᖚ୺ that it will be one of our most enjoyable and inspiring. We .਄ၤe are delighted that you could join usيຝɾȹc෰ᑢჇɎ׊ ঢ়ᄨᓤ Douglas Gautier 5 ޸1 ɩࣂ30ʗᘸcٽຝ͌ ɺஉɻ௿ͤࢠ Running time: approximately 1 hour and 30 minutes with no interval ࠗಋʼʝɻʶࠑᅥᜨ Concert Hall, Hong Kong Cultural Centre 10 – 11.3.2005 ᗐઌʹ፜dಲᇃཋ໷ʥඨՓዀؿᚊባ໦کݯȿᜑɣࡼྦྷ஛ω࿫ˮजɎ޻ΡͿോcᇼʘতΕຝ͌඀௿ ສeผ௿ʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕ՗мํcΛᑢ΋Аk 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˺ҳԈ౜ Mayra Casales ར Drums ဍ̥౜ऋg˱ढ़ऋ Alvester Garnettځ Гࠑɣొೄ Bass КԈ౜gഠऋ˺ౝ Chris Lightcap 10.3.2005̒Thur ࿫܃ᖚɁᇹ Meet-the-Artist (Post-Performance) जүcၤ୧༆࡭g˺ऋӮࠍ܃ᜮଠ࿫ˮٴᚭ If you would like to meet Regina Carter, please stay behind in the auditorium after the performance ̯ຝ͌ࠑᚊኂҥͅ஝СೄϷᖳХ The audio equipment is sponsored by ࠍʥ଱5ࠒ๑ː Cover and page 5 photographs © Giorgio Scola۬ 10 ਿ஄Interview © Bill Phelps ၤ୧༆࡭g˺ऋؿȹ࢐໷ i݅ଉɡg৛̈́ i୧༆࡭g˺ऋ ᆅԅԓ࿫̛̛ۗ֔ࣟजɎؿ1743αྠכɣऻؿΊೄ˺ऋ౦ီڙȹω࿫ۗ܃Б௖ ʑԈɩొೄcϭʌɰτȹݒࣂංcБᕤ֨ලj ᕤ۾ᗒᄦۗeߗॶ٦ɐడ࠯˂˾ᆃୌ̚c҈ֶผ۾޻ؿᅥኂcЎɖ۾Ӏτeܰ̚ ؝ΐॖcԅԒ҈ҡɺᕤ֨eܧΛ۾cЎ҈Ӏτ஛࠯ዀผeʹّcᄦۗϊೄ߬૾ࣹ֨ ଞଐടΊࠑᅥɁcΣӴແg˺ऋdϝဍऋgዶႫd̛ٛgВ৺ဍd܁Бؿࡼ൰֛ऋ ᕽ౜˩Ѻdʮ෌ʩgּແʩdࡌढ़fВᄨdಝϝgּ̥ढ़࣓ʥʣဍgКያ೩cБ΃ ஛Δʿॶ਩өዟऋؿࠑᅥɁලj܁෮֛ऋ ے࠯ʑ஺ܰ܁e֛ऋےʥ൒܁ଞଐዟԮࠓࣟؿࠑᅥࡼcཫ֛ऋ̟ے΃෮eτԒ҈ ਎ːʔ̇ےࠑᅥႇАcПѿতᄾܰڏcɁࠨԞϬ̒ʿɄࠍcݯؿɺܰӁӹɮพc̟ මၙȿɺ΃ʼʝdࠑᅥʏॖcʥΈʿࠍؿᄧᚊe܁ɖΕϊe˿˞႓c֛ऋ ɊӷeϤ஛̳ܰ҈჏߬ؿeڰΣʌ҈˞ख़޸ݯਥΔe஛㛾˨࿶ॶ൴cᜑ҈ȹᘨፚԞ෦ ɩొೄࡼԞ႓஛Ԏɺ੒ӮeכБּۗɩొೄȼαɷ඀նነୌᚾᖪcྦྷ Ρc҈෱c΢෱ᜑ҈Ϭͅೕ۾႓e΢ೕଊ҈ᚹɈقϢ࢑ઔ͂༻˃ઠነؒcЎɺผԗ࣊҈ ᅚӶcϬಳᎷ੡ᄦۗe܉༞ࠑᅥكcЎ҈஝੒ɺ͂ᚾᖪɖکΕ҈ࠍיࢄe΢ɖ౦Ґᅥᖪ ਿ஄Interview 11 Б੒ᚹ໊਩ଉؿ࿫ۗලj અقɺౘ།ˢܨሌ༦ȹԭωˢؿଊ௿࿫ۗe႓Ԟ྽෼cΐݯ҈ʪࡻୈc؀ɺc҈̋ ʭᚹᏲɡᅥcᚹؿɩొೄᏲɡᅥగ̋τˢdֆያ౜gᕡແʥጻࡥဍgޅ͚ᇹeԅࣂ҈ ΐऋeؐ ௖ॶۂjሂؿАۂcᑹܰԯˢᅥኂؿАۂcБ˚߬ᚹɩొೄА܃੣ԑ࿫ۗᏲɡᅥ ̨৽Бj ȹ̨̭඀cБ჏߬ͱਐϬɯiΕ࡚㛾ነᏲɡᅥjԯফᆻɺཫ̀԰ࠑپᏲɡᅥɣ ಳͨЄආܫʨ࣊c̋ॶቌϬɯҒˮ༏eپᅥcӀτϢ࢑ઠБ͂ʇფʿؒcɖӀτɃ ͱ੣਎ːˮೕeڏݒ஭˿඀նc҈ ኬኬȹαc҈̋ᚹ݅Сg֔Кؿࠑܰכ࣎ؿᅥඅઠ࢑౦ᜑ҈࿫ۗؒਝ໔ؿ஫ͫc҈ Ԟc҈અᘩԷКСါ܃ᅥcԎᅡ͝ˢؿዟۗcᒖಳ҈๫ࣂɺᎷԅᛰʝຒɝؿ՗֞e ᄨg̠࣍dႝgࠏВ౜ऋdКּКgऋԈؿࠑᅥcೕଊ̀Ϣؿࠑϳ༖мʵ҈e།㠥ܰ ࡥּgഥও׵ּᄨeכ࿨ʹc҈ᒉੱ །፡ೄɣ࢑̛ٛgʱ࠷፣ႇFreefallɀࠇۗࣂτЯшᗒj e஝੒஛ိɀࠇۗ஭ܰ፡ೄͱԞዟמ།̛ٛgʱ࠷஛Ͻࠑᅥɣ࢑΋АcࠧܰႦᕌࢀ ҡཫۂɺ΃ؿЂۗʿؒcᜑА͂҈ܰכ৤ɎԞᜑ҈ዟۗe҈ɺ௩ᚭ஛ᅚc܃cಳۗ ɩొೄၤ፡ೄؿྦྷ໷e ؿ୮ଉɐcБؿ࿫ᖐ།ࡈ਎þ࿫ّۗτЯɺ΃j܁Εફ τመeߗ࿫ۗ࿨ςc҈ผϬಳΔ˞࿨ʹؿʿβ୮ଉcࠑሁɐɺผАʪɣҝ۾஛ਐᕀ ᛰc΃ࣂ຾ࣵผࣺଊ࿨ീeЎߗܰࠑᅥc҈ผཹ໰ࠇณᇁςc˞৉΋҈ؿᅥኂeτ ࣂc҈ผၤᅥඅȹ঴ࠇᇁࠑᅥe ГjБɌॶЯࣂ੒২ԷjיЯτԒ̀԰ࠑᅥؿҌ̝჏߬ܰ ˿ᏲɡؿࠑሁcɺگؿcԝΣɶؒʥᛌх೩Ҍ̝eᇾਦɐ҈ྦྷነ́႓i஛ܰՒܰ Ͳɶe࿫ۗҕੱςࣂc҈ผ།ˢࠨ႓ྻ͂ؿᛌхԎɺ΋ሬe஛Ͳܰ҈ؿ຤᛻ɾ͂ ࠨܰɺ΃ؿࠑᅥႍӰeಳϤcʋτԒࠑ͉̚ע༞Єࣂ߬ᔝ͂ПؿҌ̝cɖكᇹc҈ үϬ۬cྦྷܺᗘࠑᅥʶΦৱӮcΐݯˢࠨӀؒӶˮ՞τႍӰ՗ʼʝؿ࣑ܼcܨᅥɁ 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.
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