CS_HouseProgammes_210x148.indd 1 10/01/2012 5:59 PM

香港藝術節匯聚全城文化精髓，

是享譽亞洲的文化盛事。藝術節

絢麗多姿的節目，每年吸引無數

海內外藝術愛好者熱烈捧場。觀

眾無論以香港為家，還是慕名而

來，都不難感受箇中都會魅力。

香港藝術節雲集本地以至全球名

家傾力演出，盡展藝術才華。精

選節目包羅萬象，古今俱備，觀

眾既可欣賞當代新銳創作，更可

回味大師經典作品。

欣逢香港藝術節四十周年，可喜

可賀。謹祝各位有一個愉快難忘

的晚上。

香港特別行政區行政長官

The Hong Kong Arts Festival is a highlight of our city’s cultural calendar and a widely celebrated arts event in Asia. Each year it presents a feast of exciting programmes that draw arts lovers from near and far, adding to Hong Kong’s attractiveness both as a home and a tourist destination.

The Festival is an important platform for showcasing local talent alongside the best artists from around the world. With a judicious mix of programmes, it champions new and contemporary works while celebrating great masterpieces, giving audiences much to savour.

I congratulate the Hong Kong Arts Festival on its 40th Anniversary and wish you all a truly memorable evening.

Chief ExecutiveHong Kong Special Administrative Region

獻辭message

歡迎蒞臨第40

屆香港藝術節。

作為重要的國際

文化盛會，香港

藝術節每年呈獻

世界頂尖及多元

化的表演節目。

今年榮幸再邀請

到世界各地及本

港藝術精英，帶

來舞蹈、音樂、

歌劇及戲劇等精采表演，讓觀眾可欣

賞振奮心靈的繽紛藝饌。

我藉此感謝香港特區政府、香港賽馬

會、各贊助企業及個人的慷慨資助。

踏入第40周年，香港藝術節除了雲

集世界各地的藝術界翹楚，帶來精采

演出，亦透過學生票贊助計劃及「青

少年之友」計劃，培養年青人的藝術

體驗；此舉有賴一群熱愛藝術的有心

人慷慨資助，鼓勵年青人參與藝術節

的精采演出，提升日後觀賞藝術的興

趣。

各位觀眾的支持和參與，乃驅動藝術

節向前邁進的力量。感謝您前來欣賞

本節目，希望本屆藝術節為您帶來美

好的觀賞時光。

I warmly welcome you to the 40th Hong Kong Arts Festival.

Recognised for the quality and variety of its programming, the annual Hong Kong Arts Festival is keenly anticipated as the premier event in Hong Kong’s cultural calendar. This year we again welcome top international and local talent in dance, music, opera and theatre, whose artistry will delight and inspire us.

I wish to acknowledge strong support of the Government of Hong Kong SAR, the Hong Kong Jockey Club, and sponsors and donors who make this Festival possible. At this 40 year mark, I am particularly delighted that in addition to presenting wonderful artists to a discerning public, we can also nurture young audiences through our Student Ticket Scheme and Young Friends Scheme, thanks to the contributions of donors and supporters who generously share their own love for the arts with audiences of the future.

Thank you very much for coming to this performance. Your presence is paramount to the success of the Festival, and I wish you a very enjoyable experience.

獻辭 message

香港藝術節主席 Charles Lee, Chairman

歡迎閣下蒞臨第

40屆香港藝術

節。

今年香港藝術節

呈獻的藝術名家

及精采節目，就

如香港大都會一

樣多元化又璀璨

奪目。延續四十

年的優良傳統，

我們繼續邀請

本地及國際知名的星級藝術家點亮香

港大小舞台，呈現世界豐碩的文化傳

統，豐富未來的文化面貌。

衷心感謝多年來熱心支持香港藝術節

的各界人士及團體。我們過去的成

功源自他們對藝術的熱忱，他們亦深

信豐盛多元的文化藝術生活，是香港

作為名副其實的國際大都會之重要支

柱。

感謝您與我們一起慶祝香港藝術節的

四十年。藝術節團隊向每一位支持香

港藝術節的觀眾衷心致謝，期望您盡

享連串多姿多采的節目。

It is a pleasure and privilege to welcome you to the 40th Hong Kong Arts Festival.

The array of artistic talent and programmatic content presented at this year’s Festival is as diverse and multi-faceted as the city which has hosted this annual event in the course of four decades. As we add to the roll call of local and international luminaries who grace our stages, we continue to draw upon the impressive traditions available to us, and work to augment a heritage for the future.

I am deeply grateful to many individuals and institutions for their contributions to the Festival’s success over the years, informed by a love for the arts and an appreciation of how important it is for a major city worthy of that description to have a rich cultural life.

Thank you for being here to celebrate forty years of the Hong Kong Arts Festival. The Festival would not happen without its audience. The entire Festival team appreciates your contribution to the 40th Hong Kong Arts Festival and hopes that you enjoy many wonderful performances.

香港藝術節資助來自：

The Hong Kong Arts Festival is made possible with the funding support of:

獻辭 message

香港藝術節行政總監 Tisa Ho, Executive Director

琶音古樂團 總監 斯蒂娜．普盧哈

敬請關掉所有響鬧裝置，請勿擅自攝影、錄音或錄影，多謝合作。

Please switch off all sound-making devices. Unauthorised photography or recording of any kind is strictly prohibited. Thank you for your co-operation.

2.2.2012

《愛情劇院》Teatro d’Amore

演出長約1小時35分鐘，不設中場休息

Approx 1 hr 35 mins with no interval

香港大會堂音樂廳

Concert Hall, HK City Hall

3.2.2012

《拿波里音樂風格》Alla Napoletana

演出長約1小時5分鐘，不設中場休息

Approx 1 hr 5 mins with no interval

沙田大會堂演奏廳

Auditorium, Sha Tin Town hall

Presents

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Sino Art.pdf 2011/12/6 6:02:30 PM

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封面照片 Cover Photographs:

(first row, from left to right) David Mayoral and Marcello Vitale © Reiner Pfisterer,Christina Pluhar © Marco Borggreve(second row) Haru Kitamika © Reiner Pfisterer(third row, from left to right) Lucilla Galeazzi © Helmut Lackinger, David Mayoral © Peter Rauchecker(fourth row, from left to right) Doron Sherwin and Carmen Gaggl © Reiner Pfisterer,Rodney Prada © Reiner Pfisterer

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琶音古樂團L’ Arpeggiata

Ensemble of original instruments

Founded in 2000, L’Arpeggiata is an outstanding ensemble directed by Christina Pluhar. Its members are some of today’s best soloists working in Europe, and they collaborate with exceptional singers from the baroque and traditional music worlds. Their aim is to revive an almost unknown repertoire and to focus their artistic work especially on French, Italian and Neapolitan music from the beginning of the 17th century.

The music of L’Arpeggiata is based upon three main areas of interest: instrumental improvisation; a different approach to singing centred on the development of vocal interpretation influenced by traditional music; and the creation and staging of attractive shows.

Since its foundation, L’Arpeggiata has had an incredible response from audiences worldwide and received outstanding reviews from critics.

Their album La Villanella, dedicated to the music of Girolamo Kapsberger, was awarded the Premio Internationale del disco per la musica italiana. La Tarantella, an encounter between baroque and traditional musicians, won the 2004 Cannes Classical Award as Best Early Music CD. All’Improvviso was BBC Music Magazine’s CD of the Month. Since 2009, the ensemble exclusively for EMI/Virgin Classics, with notable successes including Teatro d’Amore, Via Crucis and their most recent release, Monteverdi: Vespro della Beate Vergine.

L’Arpeggiata has par t ic ipated in major festivals across France, Austria, Switzerland, Italy, Belgium, Germany, Spain and the UK and at prestigious venues including a residency at Carnegie Hall New York this year, among many others.

琶音古樂團由克里斯蒂安娜．普盧哈於

2000年創立，成員都是當今歐洲最優秀

的獨奏家，與巴羅克和傳統音樂界的傑

出歌手有緊密合作。樂團希望復興鮮為

人知的作品，尤其

是十七世紀初的法

國、意大利及拿坡

里的音樂。

琶音古樂團的音樂

主要有三大特色：

即興演奏、獨特的

歌唱方式（以聲樂

演繹之發展為主，

並 受 傳 統 音 樂 影

響），以及引人入

勝的舞台演出。

琶 音 古 樂 團 的 演

出深受觀眾及樂評人激賞。他們向卡斯

貝爾格音樂致敬的唱片《鄉村歌曲》，

更獲頒意大利國際唱片大獎；與巴羅克

和傳統樂師合作灌錄的《塔朗泰拉舞

曲》，2004年榮獲康城經典大獎的最佳

早期音樂唱片獎。2 0 0 9年起，樂團專

為百代 / 維京經典

錄製唱片，廣受讚

賞的唱片有《愛情

劇院》、《十字之

路》及他們最新發

行的蒙特威爾第作

品《聖母晚禱》。

琶音古樂團曾於法

國 、 奧 地 利 、 瑞

士、意大利、比利

時 、 德 國 、 西 班

牙、英國各地參加

多 個 主 要 的 音 樂

節，亦曾到各大著名的表演場地，如今

年駐紐約卡耐基音樂廳進行演出。

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歌手 ︳Singers

演唱 露西亞．加利亞齊Voice Lucilla Galeazzi

女高音 拉卡爾．安杜爾查Soprano Raquel Andueza

次男高音 榮森佐．卡柏索圖Contralto Vincenzo Capezzuto

樂手 ︳Instrumentalists

雙頸低音大琵琶 / 巴羅克豎琴 / 總監 克里斯蒂娜．普盧哈Théorbo, Baroque Harp & Director Christina Pluhar

薩泰里琴 卡門．吉姬Psaltery Carmen Gaggl

巴羅克結他 馬塞洛．維塔里Baroque Guitar Marcello Vitale

短號 多倫．沙溫Cornett Doron Sherwin

古大提琴 羅德尼．普拉達Viola da Gamba Rodney Prada

風琴* / 古鍵琴 北御門はるOrgan* / Harpsichord Haru Kitamika

敲擊樂 戴維．梅奧奴Percussion David Mayoral

國際巡演 ︱ International Tour Management

International Classical Artists Ltd.

高級項目及巡演經理 陸．德美

Senior Manager, Projects and Tours Tuck May Loke

副項目及巡演經理 蘇珊．多伊爾

Associate Manager, Projects and Tours Suzanne Doyle

* 風琴由香港演藝學院提供* Chamber Organ is provided by The Hong Kong Academy For Performing Arts

2.2.2012

愛情劇院 Teatro d’Amore蒙特威爾第及同期音樂作品 Music by Monteverdi and his contemporaries

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是晚演出曲目或次序或有更改

Songs and their order of performance are subject to change

歌迪奧．蒙特威爾第 Claudio Monteverdi (1567-1643)觸技曲 (器樂) Toccata Toccata (instrumental)

芭芭拉．史特洛治 BarbaraStrozzi你能說甚麼呢？ Che si puo fare What Can One Say?

露西拉．加利亞齊 LucillaGaleazzi夜色清朗 Era una notte chiara It Was a Clear Night

傳統民歌 Traditional豐滿美女 Tu bella, ca lu tieni My Beauty of the Rounded Breast

歌迪奧．蒙特威爾第 ClaudioMonteverdi輕蔑一瞥 Quel sguardo sdegnosetto That Scornful Little Glance

歌迪奧．蒙特威爾第 ClaudioMonteverdi可愛女郎，為我倒酒 Damigella, tutta bella Lovely Girl, Come Pour

傳統民歌 Traditional我的庇絲卡麗娜 Pizzica Tarantata Pizzica Tarantata

歌迪奧．蒙特威爾第 ClaudioMonteverdi甜蜜的折磨 Si dolce e’l tormento So Sweet is the Torment

歌迪奧．蒙特威爾第 ClaudioMonteverdi躺下吧，波佩亞 Adagati Poppea Lie Down, Poppea

傳統民歌 Traditional天空中有幾顆星 Quante stelle nel Cielo How Many Stars in the Sky?

歌迪奧．蒙特威爾第 ClaudioMonteverdi唉，我要墮落了﹗ Ohime ch’io cado Alas, I am Falling!

即興 Improvisation本尼凡托的塔朗特舞曲 (器樂) Tarantella del Benevento Tarantella del Benevento (instrumental)

雷之．波治 LuigiPozzi最後一次歎息 Cantata Sopra il Passacaglio My Last Sigh

歌迪奧．蒙特威爾第 ClaudioMonteverdi金髮 Chiome d’oro Hair of Gold

勞倫索．亞歷格 LorenzoAllegri加納利 (器樂) Canario Canario (instrumental)

多曼力哥．瑪莉亞美利 DomenicoMariaMelli可愛臉兒 Dispiegate, guance amate Reveal, Beloved Cheeks

安德烈亞．福爾肯尼洛 AndreaFalconiero斯帕烈迪魯的劍 (器樂) Brando Il Spiritillo Brando Il Spiritillo (instrumental)

班奈迪托．法拉利 BenedettoFerrari我的滅亡 Son ruinato I am Ruined

傳統民歌 Traditional鳥兒飛入了穀倉 Lu Passariellu A Bird is in the Grain

即興 Improvisation貓兒吹風笛 Ninna, nanna sopra la Romanesca The Cat was Playing the Bagpipes

傑凡尼．美利 GiovanniMealli榮斯奧連拿（器樂） La Vinciolina La Vinciolina (instrumental)

傑凡尼．菲力斯聖安斯 GiovanniFeliceSances聖母悼歌 Stabat Mater Mournful Mother

歌迪奧．蒙特威爾第 ClaudioMonteverdi榮耀經 Laudate Dominum Praise the Lord

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13

Che si puo fare

le stelle rubelle non hanno pietà che s’el cielo non da un influso di pace al mio penare che si può fare.Che si può dire da gl’astri disastri mi piovano ogn’or; che si può dire che le perfido amer un respiro di niega al mio martire che si può dire.

Così va rio destin forte tiranna gl’innocenti con danna così l’oro più fido di costanza e di fè lasso convienelo raffini d’ogn’or fuoco di pene. Sì, sì, sì, sì penar deggio che darei sospiri deggio trarne i respiri.

In aspri guai per eternarmi il ciel niega mia sorte al periodo vital punto di morte. Voi spirti dannati ne sete beati s’ogni eumenide ria sol’ è intenta a crucciar l’anima mia.

Se sono sparite le furie di Dite voi ne gl’elisi eterni i di trahete io coverò gl’inferni.

Così avvien a chi tocca calcar l’orme d’un cieco alfin trabbocca.

What Can One Say?

What can one do if the rebel stars have no pity; what can be done if heaven has no peaceful influence to soothe my sorrows; what can one say from the stars disasters rain upon me at all hours; what can be said if perfidious love denies the slightest repose to my martyrdom; what can be said?

That is how it goes with perverse destiny, that condemns the innocent, so too constancy that most trusted gold and, oh, it nonetheless need be purified at every hour by the flames of my sorrows. Yes, yes I should suffer, yes, yes, from my sighs I should hold back my breath.

In bitter misfortunes so as to prolong my being, the heavens deny me my destiny, that my life’s course should lead to death. Cursed spirits, you do rejoice indeed, when each of the perverse furies has as its only goal the torment of my soul.

If the furies of this were to vanish, you would spend your days in the eternal Elysia, while I perish in the underworld.

So it happens to him who must follow the example of the blind man:in the end he falls to the ground.

你能說甚麼呢？

還能做甚麼呢？如果反叛的星星不再憐憫；還能做甚麼呢？如果天堂不再以和平來撫慰我的憂傷；還能說甚麼呢？如果星星之災時刻都繞着我打轉；還能說甚麼呢？如果背信棄義的愛人一點也不願意停止對我的折磨；還能說甚麼呢？

與人作對的命運啊，責難着無辜的人，如此堅定不移以致於最可信的金子，仍需以我的憂傷之火每小時提煉一次。是啊，我應該受難，是啊，在慨嘆聲中，我應該要屏住呼吸。

為了繼續生存我歷盡苦難，天神們也不願解救我的命運，我的生活軌跡註定通向死亡。被詛咒的靈魂啊，你們確實是歡喜的，而每一個固執的盛怒都有它唯一的目標，就是折磨我的靈魂。

如若這些盛怒將要消失，你會在永恆的極樂世界度過你的時光，而我則在陰間腐爛。

於是這一切便發生在他身上：他必然像盲人般，最終摔倒在地上。

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Era una notte chiara

Era una notte chiarasembrava che lu marela terra e lu cielu s'annassero a sposarela terra e lu cielus'annassaro a sposare.

E c'era un ventu sognatoree mille e mille stelleera una notte che mettevali brividi alla pelleera una notte che metteva li brividi alla pelle.

Era una notte bellacantavano li pratice scambiavamo mille bacipromessi e mai donatice scambiavamo mille baci promessi e mai donati. Era una notte pe l'ammorelu munnu interu disse "sì"li fiori e l'animalil'omini e l'angelili fiori e l'animalil'omini e l'angeli.

Era una notte incantatascoppiava l'allegriaper una notte lu dolorescappò de casa miaper una notte la paurascappò de casa mia.

Tu bella, ca lu tieni

Tu bella ca lu tieni lu puttu tunduNun sacciu ci su menne o su cutugna.Maria ti chiammi u, ci bellu nommiStru nommi ti l’ha mmisu la Madonna.Stateve citte, stateve ‘nzulenzia,Vogghiu ca vuje sintiti lu mia cantare.Bellu è lu mare e bella la marina,Bella è la figlia di lu marinaru.La ni la ninina la ninena,Ha dettu l’amuri miu staseri vena.

It Was a Clear Night

It was a clear night It seems that the sea, the Earth and the sky were going to marry the Earth and the sky were going to marry

And there was a windthat bought dreams,and thousands andthousands of starsIt was a night that brought shivers to the skinIt was a night that brought shivers to the skin

It was a beautiful nightthey sang in the meadowswe exchanged a thousand kissespromised, and never givenwe exchanged a thousand kissespromised, and never given.

It was a night for love The whole world said "yes" the flowers and the animals the men and angels the flowers and the animals the men and angels.

It was a magical night bursting with joy my love for a night ran away from home for a night of fear escaped from my house.

My Beauty of the Rounded Breast

My beauty of the rounded breast,Breasts or apples, I know not whichYour name is Mary, what a pretty name!This is the name of the Madonna.Hush, be sillent,I would like you to hear my song.The sea is fair and fair is the shore, And fair is the sailor’s daughterLa ni la ninina la ni ninena,My love told me she would come tonight.

夜色清朗

夜色清朗，似乎海洋、地球和天空將要步入婚姻殿堂，地球和天空將要步入婚姻殿堂。

承載着夢想的風和一千顆、又一千顆星星，夜露寒霜，滲入肌膚內；夜露寒霜，滲入肌膚內。

寂靜的夜裏，他們在草地上歌唱。我們交換了一千個承諾，交換了從未落實的一千個吻，承諾了卻從未落實的親吻。

那是個充滿愛的夜晚，全世界都說：「好」。花兒們和動物們，人們和天使們，花兒們和動物們，人們和天使們。

夜幕醉人，漫溢歡悅。依戀的一夜，離家出走了。驚恐的一夜，從我屋子逃離了。

豐滿美女

我的美人胸脯豐滿，是胸脯還是蘋果，我不知道。你叫瑪利，多好聽的名字啊！這可是聖母的名字。噓，別作聲，我想你細聽我的歌美人是我的海、我的岸，美人是我的水手之女。啦哩啦﹗哩哩啦﹗哩哩咧啦﹗我的愛人告訴我她今晚會來。

Marange e marangelle vogghui chiantariNu limoncellu pi lu béni miaBella dintr’a li belle tu bella sei,Ca de li belle tu puorti la palma.Tu rondine ca rundini lu mare,Ferma quandu ti dicu doje parole.

Quel sguardo sdegnosetto

Quel sguardo sdegnosetto Lucente e minacioso, Quel dardo velenoso Vola a ferirmi il petto: Bellezze ond'io tutt'ardo E son da me diviso. Piagatemi col sguardo, Sanatemi col riso.

Armatevi pupille D'asprissimo, d'asprissimo rigore, Versatemi su'l core Un nembo di faville, Ma 'l labro non sia tardo A ravvivarmi ucciso. Feriscami quel sguardo, Ma sanimi quel riso.

Begli occhi a l'armi, a l'armi! Io vi preparo il seno. Gioite di piagarmi, Infin ch'io venga meno. E se da vostri dardi Io resterò conquiso, Ferischino quei sguardi, Ma sanimi quel riso.

Damigella, tutta bella

Damigella tutta bella versa, versa quel bel vino, fa che cada la ruggiada distillata di rubino.

Ho nel seno rio veneno che vi sparse Amor profondo ma gittarlo e lasciarlo vò sommerso in questo fondo.

I shall plant oranges large and small,And a lemon for my love.You are the fairest of the fair,You win the prize for beauty.You are a swallow skimming over the sea. Stop, that I may say a few words to you…

That Scornful Little Glance

That scornful little glancegleaming and threatening -that poisonous dart -Shoots out and strikes my heart.Charms that have set me on fire,and have divided me.Wound me with a glanceHeal me with laughter!

Eyes be armedwith roughest rigorpour on my hearta cloudburst of sparks!But let not the lips be latein reviving my corpse;let that glance wound mebut that laughter heal me.

To arms sweet eyes!I prepare my breast for you:take joy in wounding meuntil I faint.For if by your dartsI remain conquered,Wound me with those glances!But heal me with that laughter.

Lovely Girl, Come Pour

Lovely girl, pour, come pour that sparkling wine, cause to flow the dew distilled from rubies.

My breast is suffused with potent poison introduced by deepest love, but I would cast it outand sink it to the bottom of this glass.

我會種下大大小小的橘樹，以及為了我愛人種一棵檸檬樹。沒有人比你更美，美麗這個讚美非你莫屬。你是掠過海面的燕子，等等，我要跟你說悄悄話……

輕蔑一瞥

那輕蔑的一瞥，閃爍着脅迫之光。那有毒的箭，正中我的心房。魅力將我燃點，亦使我心煩意亂。冷冷一瞥令我哀傷，傾城一笑為我療傷！

你的目光，攝人心魄。傾倒在我的心坎內，濺起四溢的花火！讓那柔唇早點到來，讓我的殘骸得以復甦；就讓冷冷一瞥令我哀傷，傾城一笑為我療傷。

甜美又鋒利的目光啊！隨時為你獻上我的胸膛：盡情傷害我吧，直至我昏厥失神。若然是你射出的箭，我甘願臣服，就讓冷冷一瞥令我哀傷，傾城一笑為我療傷。

可愛女郎，為我倒酒

可愛的女子，來為我傾倒。起泡的紅酒，讓紅寶石滲出的露珠潺潺流動。

我的胸中瀰漫着最深切情感滲出的強力毒藥，但我將它流放，讓它沉澱於杯底之中。

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Ah che spento io non sento il furor de gl’ardor miei. Men cocenti meno ardenti sono ohimè gli incendi Etnei.

Damigella tutta bella di quel vin tu non mi satii, fa che cada la ruggiada distillata da topatii.

Pizzica Tarantata

Pizzicarella mia, pizzicarellalu camminatu to’ la li li lalu camminatu to’ pare ca balla

A du te pizzicau ca no te scerne?sutta lu giru o la li li lasutta lu giru giru di la suttana.

Quantu t’amau t’amau lu core miumo nun tte ama chiù la li li lamo nun tte ama chiù se ne scerrau.

Te l’ura ca te vitti te ‘mmirai‘nu segnu fici a la li li la‘nu segnu fici a mmienzu a ll’occhi toi.

Ca quiddu foì nu segnu particolarecu no’ te scerri a la li li lacu nu te scerri de l’amore toi. Amore amore ce m’hai fattu farede quindici anni a la li li la, de quindici anni m’hai fatto impazzire.

Pizzicarella mia, pizzicarellalu camminatu to’ la li li lalu camminatu to’ pare ca balla

Ah, but quenchedI do not feel the raging fires of passion. Less vehement, less fervid are, alas, the fires of Etna.

Lovely girl, that wine doesn’t satisfy me: cause to flow the dew distilled from topaz.

Pizzica Tarantata

My little scallywag,The way you walk, la li la,The way you walk is dancing…

Where were you pinched, that you never stop?Beneath the band, o la li li la,Beneath the band of your petticoat…

Oh how my heart loved you:But now it loves you, la li li la,Now it loves you no more, it is shut.

Ever since I set eyes on you, I admired you,And I made a mark, a la li li la,I made a mark between your eyes.

And it was a special signSo you would not shut, a la li li la,So you would not shut your heart to love.

O Love, Love, what you make me do!For fifteen years, a la li li la, For fifteen years, you've been driving me mad.

My little scallywag,The way you walk, la li la,The way you walk is dancing.

啊，卻熄滅了，我已無法感受熱情之火的煎熬。熱烈不再，激情不再，唉，那是沉寂的埃特納火山。

可愛的女郎，那紅酒無法滿足我：讓黃寶石滲出的露珠潺潺流動。

我的庇絲卡麗娜

我的小無賴，你走起路來，啦哩哩啦，步伐如舞動般搖曳……

你給人捏了哪處，教你停不下來？在領口之下，噢啦哩哩啦，在你衣領口之下

我曾經多麼愛你……可是我的心，啦哩哩啦，現在已不再愛你，心已關了。

自從我看見你，就仰慕你，我作了個記號，呀啦哩哩啦，在你雙眼之中，作了個特別記號。

這是一個特別的記號好讓你不會封閉，呀啦哩哩啦，好讓你不會封閉心扉拒絕去愛。

啊愛情，要我有此作為﹗十五年來，呀啦哩哩啦，十五年來，你讓我神魂顛倒。

我的小無賴，你走起路來，啦哩啦，步伐如舞動般搖曳。

Si dolce e’l tormento Sì dolce è ’l tormento che in seno mi sta ch’io vivo contento per cruda beltà.Nel ciel di bellezza s’accreschi fierezza e manchi pietà ché sempre qual scoglio all’onda d’orgogliomia fede sarà.

La speme fallace rivolgam’ il piè, diletto né pace non scendano a me, e l’empia ch’adoro mi nieghi ristorodi buona mercé; tra doglia infinita, tra speme tradita vivrà la mia fé.

Se fiamma d’amore già mai non sentì quel rigido core ch’il cor mi rapì,se niega pietate la cruda beltate che l’alma invaghì, ben fia che dolente pentita e languente sospirimi un dì.

Adagati Poppea

Adagiati, Poppea,Acquietati, anima mia:Sarai ben custodita.

Oblivion soaveI dolci senti mentiIn te figlia addormenti.

Posate vi occhi ladriAper ti deh che fateSe chiusi anco rubate.

Poppea, rimanti in pace;Luci care e gradite,Dor-mi-te.

So Sweet is the Torment

So sweet is the torment within my breast that I am content though my lady is cruel. In heaven let beauty’s arrogance increaseand pity be absent, for like a rock battered by breakers of pride my love shall stand firm.

Let false hopes abandon me, joy and contentment never be mine, and let the one I adore deny me the solace of simple kindness; despite infinite sorrow, despite hope betrayed, my love will survive.

If passionate love was never felt by that austere spirit who stole my heart, if pity is deniedby the cruel beauty who ravished my soul, it is right that in sorrow, repentant and pining, one day she sighs for me.

Lie Down, Poppea

Lie down, Poppea, rest, my heart. You shall be well guarded.

Let gentle oblivion lull your tender feelings to sleep, my child.

Close, heart-stealing eyes: what can you do when open, if closed you can still steal hearts?

Poppea, sleep in peace; eyes so dear and sweet, go to sleep now, sleep

甜蜜的折磨

我的胸膛中的折磨是如此甜蜜，縱使我的愛人冷酷，我依然滿足。在極樂之地，讓美叫人心高氣傲，憐憫漸逝，即管遭受驕縱者持續猛擊，我的愛如磐石堅固。

讓虛假的希望唾棄我，歡樂和滿足從不屬於我，讓我傾慕的人從不以單純的善良給我慰藉；縱使憂傷無限，縱使希望破滅，我的愛也依然存活。

如果我熱烈的愛情不能讓偷走我心的那個苦樸靈魂感受得到，如果使我神魂顛倒的殘酷女子，不願給我憐憫，那麼總有一天，在憂傷、懊悔和思念中，她將為我歎息不盡。

躺下吧，波佩亞

躺下吧，波佩亞，休息吧，我的心肝寶貝。我會為你守護周全。

輕輕地遺忘一切，讓你伴着纖柔的感覺進入夢鄉，睡吧，我的孩子。

閉上那對偷心的眼；若然閉上眼後你還能偷心，那睜開眼時你會做甚麼呢？

波佩亞，恬靜地睡吧；可愛又甜美的雙眼，現在就入睡吧，酣睡吧。

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HK Art Festival AD_TLLON_2011_OP.pdf 1 18/11/2011 10:20 AM

19

Quante stelle nel Cielo

Quante stelle nel cielo con la luna sono luci che accendono gli amanti e più brillanti sono e più penso che quelle stelle brillano per me e per te.

Amore amore amore a perdifiatoquante volte di notte t'ho sognatoe t'ho cercato dal mare fino al monte come assetato cerca la sua fonte.

E quando lo trovavocome un vento di primaverasfiorava la mia manopoi di nuovo lontano era.Amore amore che inganniprofumi d'aria di maggioti tocco, ti credo verosvanisci come un miraggioamore che vieni e che vaicome una cosa leggera ah,ah ah......

Amore amore per te ho messo un fiorenel mio giardino s'è sparso l'odoree notte e giorno io l'ho ben curatoe questa volta il fiore non s'è seccato.

E l'ho bagnato con l'acqua di fontee l'ho difeso dal vento del montee l'ho nutrito a tutte quante l'oreamore amore amore amore amore.

E quando lo trovavocome un vento di primaverasfiorava la mia manopoi di nuovo lontano era.Amore amore che inganniprofumi d'aria di maggioti tocco, ti credo verosvanisci come un miraggioamore che vieni e che vaicome una cosa leggera ah,ah ah......

How Many Stars in the Sky?

How many stars in the sky with the moon lights that light lovers and the brightest are, the more I think the stars that shine for me and for you.

Love, love, love at breakneck speed how many times at night dreamed thee and looked up from the sea to the mountain as a thirst looking for its source.

And when I found it like a spring wind that touched my handbut it was far away. Love, love that deception perfumes the air in May I touch you, you truly believe vanish like a mirage love that comes and goes as a light thing ah, ah ah...

Love, love for you I place a flower the smell is in my garden shed, night and day, I have well-maintained the flower and this time he is not annoyed.

And I soaked in spring water and have protected him from the wind of the mountain and I fed them all the hours love love love love love.

And when I found like a spring wind touched my hand then again it was far away. Love love that deception perfumes the air in May I touch you, you truly believe vanish like a mirage love that comes and goes as a light thing ah, ah ah...

天空中有幾顆星

天空中有幾顆星和月光一起照耀着愛人們？我認為最明亮的那幾顆星， 是為你和我綻放光芒。

極速的愛如奪命般，多少次在夜裏我夢見你。然後從海洋仰望到山巔，渴望尋找愛的來源。

當我找到它時，它如春風般拂過我的手，可惜卻遠在天邊。愛是一場詭計，使五月瀰漫着香氣。我觸碰你，讓你深信如海市蜃樓般消失的愛，就像細碎的東西來無蹤，去無影啊，啊，啊……

愛你，我為着愛你放下一朵花兒，來自我花房的芳香，日與夜，我精心照料這朵花，而這次，他不再備受困擾。

我曾將他浸於泉水中，讓他不受山風侵襲。我總時刻澆灌他們，愛情啊愛情。

當我找到它時，它如春風般拂過我的手，可惜卻遠在天邊。愛是一場詭計，使五月瀰漫着香氣。我觸碰你，讓你深信如海市蜃樓般消失的愛，就像細碎的東西來無蹤，去無影啊，啊，啊……

20 21

Ohime ch’io cado

Ohimè ch’io cado, ohimè ch’inciampo ancora il piè pur come pria, e la sfiorita mia caduta spene pur di novo rigar con fresco lagrimar hor mi conviene!

Lasso, del vecchio ardor conosco l’orme ancor dentro nel petto, ch’ha rotto il vago aspetto e i guardi amati, lo smalto adamantin ond’armaro il meschin pensier gelati.

Folle! credev’io pur d’aver schermo sicur da un nudo arciero, e pur io sì guerriero hor son codardo, né vaglio sostener il colpo lusinghier d’un solo sguardo.

O campion immortal sdegno, come sì fral or fugge indietro! A sott’armi di vetro, incauto errante, m’hai condotto infedel, contro spada crudel d’aspro diamante.

O come sa punir tiranno Amor l’ardir d’alma rubella! Una dolce favella, un seren volto, un vezzoso mirar, sogliono rilegar un cor disciolto.

Occhi belli, ah! se fu sempre bella virtù, giusta pietate, deh, voi non mi negate il guardo e ’l riso, che mi sia la prigion per sì bella cagion il Paradiso.

Cantata Sopra il Passacaglio

Cosi dal lungo sangue, saprso dagl’occhi fuor, In lacrimos’umor son fatto e sangue.

E’l moi tormento si grave hor sento che teme

l’almamia ch’il mio primo suspir,l’ultimo sia.

Pietà, piétà dunque hor confesso quell’amoroso ardor che commise’l mio cor.

Ah ! ah ! troppo spesso.Prima peccai perchè adorai un idolo d’or goglio,una donna non già non già ma, un crudo scoglio.

Confesso ch’ostinato nutij nel sen l’ardore,e’l suo infernal dolore chiamai chiamai beato ed a un doce volto solo rivolto,

dietro sue false scorte di mio proprio voler Cor si,cor si crosi allamorte cor si allamorte.

Confesso ch la vita io presi à sdegn’ancor e invidiai talhor chi la compita, e invidiai talhor chi la compita.

Con gl’occhi ardenti e troppo intenti ladr’accorto furai l’oro d’un crin e d’un bel d’un bel volto irai.

Credei che fusse inviso qual serpente tra fior il Paradiso, qual serpente tra fior il Paradiso.

Bramai sovente e in gor da mente un sen le forme in tatte,le forme in tatte d’un petti pomi e d’una mano il lette.

Alas, I am Falling!

Alas, I am falling! Alas, I am stumbling as I did before, and the faded hopes I thought were dead must now be watered with new-shed tears.

Ah, I recognise the signs in my breast of that past passion. What spoilt the charming face and eyes I loved? The adamantine carapace with which her icy coldness armed the minx.

Fool! I thought I had a secure defence against love’s darts; but I, so soldierly, am now a coward, nor can I face the alluring attack of a single glance.

What a prize buffoon I am! How I despise the weakness of my retreat! Armed with glass, a dreamy drifter, you led me treacherously against a cruel, adamantine sword.

How well does tyrannous love punish presumption in a rebellious soul! A sugared word, an innocent expression, a flirtatious glance always recapture the unfettered heart.

Beautiful eyes, ah, if only virtue were always beautiful, mercy just! Come, do not deny me a glance, a smile, for by such pretty wiles you turn my prison into paradise!

My Last Sigh

Thus, with blood streaming from my eyes,my strength abandons me

Mine is infinite suffering:

I feel in the terror of my soul that my first sigh will also be the last

So I beg for mercy, I confess to the amorous ardour that my heart, alas, has felt too often.

My first sin was to worship a proud idol, not a woman, but a hard, cruel stone.

I confess that persistently I fed that flame and called the terrible suffering of its unrequitedness bliss.

And I turned to a face that was indeed sweet, but I hid my thoughts.

I confess that I took to despising life and envied him who lived from day to day.

My eyes, ardent and too intent, stole the gold of her hair and the brightness of that fair countenance.

I thought her serpent's face was like the flowers of paradise

Often fervently I desired her body,her unsoiled breasts,her hands as white as milk.

唉，我要墮落了！

唉，我要墮落了！唉，我又像從前那樣踉蹌了，我以為枯萎的希望已死，現在又需要用剛流出的淚水給它滋養。

啊，在我往昔熱情的胸膛內，意識到這些跡象。是甚麼破壞了我愛過的迷人眼眸和臉龐？那輕佻女子用冷若冰霜來給自己武裝起堅硬的殼。

傻瓜！我以為我已經有安全的防衛來抵禦愛之箭；曾經英勇的我，現在卻成了懦夫，我也無法抵擋驚鴻一瞥的醉迷突襲。

我真是個模範傻瓜！我多恨自己軟弱畏縮啊！以玻璃為盾，恍惚的漂泊者，你不可靠地帶領我對抗殘酷堅硬的劍。

專橫的愛多麼善於懲罰自以為是的叛逆靈魂啊！甜蜜的言語，無辜的表情，調情的眼神，總能重新俘獲不羈的心。

美麗的雙眼啊，如果品行永遠是美好的話，就給我憐憫吧！來吧，不要躲避我的眼神，吝嗇你的笑容，有了這些可愛的小詭計，我的牢獄也給你變成天堂！

最後一次歎息

於是，隨着眼中流出血淚，我漸漸失去力氣。

我陷入無窮的痛苦：

靈魂中的恐懼讓我覺得，這將是我的第一次，亦是最後一次的歎息。

所以我乞求憐憫，我懺悔，我的心啊，唉，時常感受到愛的激情。

我的第一宗罪是崇拜了驕傲的偶像，她不是一個女子，而是一塊堅硬冷酷的石頭。

我總是讓愛情之火愈燒愈旺，招來無盡折磨、相思之苦。

我面向一個漂亮的人，但我隱藏了我的思緒。

我懺悔，我習慣憤世嫉俗，還嫉妒及時行樂的人。

我的雙眼，多情又過份專注，竊取了她秀髮中的黃金和嬌容中的明亮。

我曾認為她狡猾的面容像天堂之花一樣。

我熱烈地渴望她的身體，她柔嫩的胸脯，她雪白的雙手。

22 23

Hor ti preg’apietate che preghi con fervor con fervor le luci amate.Che s’una volta ella t’ascolta già purgato ne’pianti Mi le va al ciel.De’ più beati amanti.

Chiome d’oro

Chiome d'oro,Bel tesoro,Tu mi leghi in mille modiSe t'annodi,Se ti snodi.

CandidettePerle elette,Se le rose che copriteDiscoprite,mi ferite.

Vive stelleChe sì belleE sì vaghe risplendete,Se rideteM'ancidete.

Preziose,Amorose,Coralline labbra amate,Se parlateMi beate.

O bel nodoPer cui godo!O soave uscir di vita!O graditaMia ferita!

Dispiegate, guance amate

Dispegate,Guance amateQuelle propora acerbettaChe perdentiChe dolentiFian le rose in sù l’herbetta

Deh, scoprite,Deh partite,Chiare stelle i vostri rai,Che partendo,Che scoprendo,Fia men chiaro il sol d’assai.

Apri ò labroDi cinabroUn soriso ancor trà il velo,Ch’ad aprirlo,Ch’a scoprirloRiderà terra, e’l cielo.

Tocca, toccabella boccaL’Aria homai di qulque accento,Che toccando,Che parlandoTacerà per l’aria il vento.

Son ruinato

Son ruinatoappassionato;quel traditor d’amoremi guida al loco dov’il mio foco à poco si fà maggiore s’io vado presto laguisce il petto e s’io m’arresto villan son detto ah misero mio stato son ruinato appassionato

Son disperato assassinato; gia già tanto mi sente foco, e faville fiamma, e scintille, ch'à mill'à mille mi fan scontento; ne quest'ardore può far men forte, se non l'horrore del gel di morte; ahi mio destino ingrato; son disperato assassinato.

Son intricato ammartellato; se con amor m'impaccio repente cria nell'alma mia

Now, (Love,) I beg you piteously, that you may plead with her beloved eyes: for if she listened to you once, I could leave the purgatory of my tears, and rise to the heaven of the most blissful lovers.

Hair of Gold

Hair of gold, Beautiful treasure, You tie me in a thousand ways If I undo,if I tie.

Pearls candid, selected If you reveal the roses You hide, you hurt me Bright stars that shine So beautiful, so kind If you laugh, you kill me Precious, love, Coral lips, love, If you speak I am blessed. O beautiful tresses that I enjoy!O sweet adventure of life! O welcome My wound!

Reveal, Beloved Cheeks

Reveal,beloved cheeks,that blushing harshness,that in loss,that in grief,makes roses over the grass.

Ah uncover,ah part,bright stars, your rays,that parting,that uncovering,the sun may be less bright.

Open your lipsof cinnabar,a smile still through the veil,that when they open,when they are uncovered, earth will laugh, and heaven.

Give forth, give forth,fair mouth,the air of such beautythat giving forth,that speaking,through that air the wind shall be silent.

I am Ruined

I am ruinedWith passion That traitor of loveDrove me to the placeWhere my fireIs growing; If I go away soon reduceThe chestAnd if I stop they call me a rascalOh poor me.I am ruined,With passion.

I am desperatelykilled,He has to listen to meFire and sparkFlames and sparksThat thousands and thousands left me dissatisfied And not this fervourcan give me force if not the horror of the cold death, Ah my ungrateful destiny.I am desperately killed;

I am intricate tormented; If with love I become embarrassedQuickly grownIn my soul The jealousy of icy flames

現在啊，（愛情，）我卑微地請求你，去打動她可愛的眼睛：只要她聽你說一次，我就能離開我的淚之煉獄，升上最幸福愛人的極樂天堂。

金髮

金髮，漂亮的財富，你用一千種方式將我捆綁我是該解開，還是該捆綁。

潔白的珍珠，經過精挑細選。若你展露了玫瑰，然後避而不見，我會因你受傷。

閃耀的明星，如此美麗、如此友善；如若你笑了，我就給你殺掉。

珍貴的，愛人，珊瑚般的唇，愛人，如若你開口，我會被保佑。

噢，美麗的一縷長髮，我十分喜愛！噢，生命的甜蜜歷險！噢，歡迎你，我的傷痛！

可愛臉兒

展露吧，可愛的臉頰，流露你的羞澀，在遺憾中，在傷痛中，在草地上種下玫瑰花。

展露吧，分離吧，明亮的星星，你的光線，在分離，在揭示，太陽也漸失光華。

開啟吧你的朱唇，透過面紗流露的笑靨，當開啟的一刻，當流露的一刻，天和地也綻放笑顏。

綻放吧，綻放吧，漂亮的朱唇，如此芳華，在綻放中，在訴說中，連風也寂靜無話。

我的滅亡

激情要我滅之。愛的叛徒，將我驅趕至此處。我的火焰，在此處燃燒。若我即將離開，心中會痛苦憔悴。若我停滯不前，他們會叫我無賴。噢﹗可憐的我。激情要我滅之。

我已徹徹底底被殺掉了，他必須聽我說：熱情和花火、火焰和花火，成千上萬，也不能滿足我。就算冰冷的死亡沒有帶來恐慌，這股熱忱，也不能賜我力量。啊，我悲慘的命運。我已徹徹底底被殺掉了；

我的心思難懂，受盡妒忌折磨。我一旦戀愛，就會侷促不安。我的靈魂，會瞬間燃起妒忌的冰火。

Italian and English lyrics courtesy of Scherzi musicali a tre voci, Naxos Group of LIbrary

24 25

la gelosia fiamme di ghiaccio; ch'il sesso amante di Donna instabile e'l men costante e'l più variabile; ahi core sfortunato son intricato ammartellato.

Lu Passariellu

O re, re, lu passariello ‘nta ll’avena,E si nun lu va’ a paràTutta ll’avena se magnarrà‘O riavulo, stanotteE mugliereme è caduta da lu liette;‘O riavulo stanotteLa jatta s’è magnata li cunfiette.E si prima eremo a tre a ballà la tarantella,Mo’ simmo rimaste a ddujeE mugliereme quant’è bella.Santo Michele sarva ogne Christianemoniche, monicelle e artigiane.O re, re, lu passariello ‘nta ll’avena,E si nun lu va’ a paràTutta ll’avena se magnarrà.

Ninna, nanna sopra la Romanesca

Lu gattu la sonava la zampognalu sorce la davanti je ballavaLa gallinella rifacea lu lettu

e lu gallettu je lu mesticavaQuante canzoni e quante canzonettela famijola me le fa scordaneChi vo’ le scarpe e chi vo’ le carzette

chi su la mezzanotte vo’ lo pane.E mo’ che me credea d’ave’ finitue chi vo’ pijà moje e chi maritu.

That the loveof an unstable womanAnd the less constantAnd the more variable.Oh, unlucky heartI am intricatetormented.

A Bird is in the Grain

King, King, a bird is in the grain. And if you do nothing,then he will eat the whole grain. To hell, to hell, tonight is my wife fell off the bed. To hell, to hell, this night has become the cat, feasted on candy. And if we advance to third danced the tarantella, we are now left with a friend. Oh, how beautiful my wife! Oh, holy Michael, save everyChristian, Nuns, novices and artisans. King, King, a bird is in the grain. And if you do nothing,then he willeat the whole grain.

The Cat was Playing the Bagpipes

The cat was playing the bagpipes, The mouse was dancing before him;The hen was making the bed

And the cock was plumping the mattress.What a lot of songs and ditties!Enough to make me forget my small family.And who wants shoes and socks?

And who wants bread at midnight?And now, just when I thought I’d finishedWho wants to take a wife and who seeks a husband?

那份愛來自一個善變的女人，愈不堅貞、愈多變幻。噢，不幸的心﹗我的心思難懂，受盡折磨。

鳥兒飛入了穀倉

主啊，主，一隻鳥兒飛入了穀倉。若然您袖手旁觀，牠就會將穀物吃清光。落地獄，落地獄去吧，今夜我妻子從床上摔下來。落地獄，落地獄去吧，今夜已變為貓兒，飽嘗糖果。若然我們繼而跳第三隻旋轉舞，現在剩下我們和一位朋友。噢，我的妻子多麼漂亮﹗噢，聖米迦勒，救救基督徒吧，修女、學徒及工匠們。主啊，主，一隻鳥兒飛入了穀倉。若然您袖手旁觀，牠就會將穀物吃清光。

貓兒吹風笛

貓兒在吹奏風笛，老鼠在跟前跳舞；母雞在整理床鋪。

公雞正鼓起床墊。這麼多歌兒和小調﹗足以讓我忘掉我的小家園。誰還想要鞋子和襪子？

誰想午夜起來吃麵包?還以為一天的工作已經結束。誰想討老婆誰要覓夫郎？

Stabat Mater

Stabat mater dolorosa juxta Crucem lacrimosa, dum pendebat Filius.

Cuius animam gementem, Contristatam et dolentem pertransivit gladius.

O quam tristis et afflicta Fuit illa benedicta mater unigenti !

Quae moerebat et dolebat Et tremebat, dum videbat Nati poenas incliti.

Quis est homo, quinon fleret,Matrem Christi si videretIn tanto supplicio ?

Quis non posset contristari, Piam matrem contemplariDolentem cum Filio.

Pro peccatis suae gentisVidit Jesum in tormentisEt flagellis subditum.

Vidit suum dulcem natumMorientem desolatum,Dum emisit sprirtum.

Eja mater, fons amoris,Me sentire vim dolorisFac, ut tecum lugeam.

Fac, ut ardeat cor meumIn amando Christum deum,Ut sibi complaceam.

Sancta mater, istud agas,Crucufixi fige plagas,Cordi meo valide !

Tui nati vulnerati,Tam dignati pro me pati,Poenas mecum divide.

Fac me vere tecum flere,Crucifixo condolere,Donec ego vixero.

Mournful Mother

At the cross her station keeping,stood the mournful Mother weeping,close to her Son to the last.

Through her heart, His sorrow sharing,all His bitter anguish bearing,now at length the sword has passed.

O how sad and sore distressedwas that Mother, highly blest,of the sole-begotten One.

Christ above in torment hangs,she beneath beholds the pangsof her dying glorious Son.

Is there one who would not weep,whelmed in miseries so deep,Christ's dear Mother to behold?

Can the human heart refrainfrom partaking in her pain,in that Mother's pain untold?

For the sins of His own nation,She saw Jesus wracked with torment,All with scourges rent.

She beheld her tender Child,Saw Him hang in desolation,Till His spirit forth He sent.

O thou Mother! Fount of love!Touch my spirit from above,make my heart with thine accord:

Make me feel as thou hast felt;make my soul to glow and meltwith the love of Christ my Lord.

Holy Mother! pierce me through,in my heart each wound renewof my Saviour crucified:

Let me share with thee His pain,who for all my sins was slain,who for me in torments died.

Let me mingle tears with thee,mourning Him who mourned for me,all the days that I may live.

聖母悼歌

當聖子高懸十字架上，聖母悲泣侍立，目送愛兒直到最後。

心靈長吟，鬱悶憂傷，心中悲愴何其深，如利刃刺透心。

獨生聖子之母，憂悶悲愴。榮光之子受盡苦難，

仁慈主母見之凄愴。舉目仰視淚流長。

瞻仰基督親愛之母，深陷悲愴幽谷，誰能見之不哭？

瞻仰聖母不能言喻之創痛，試問誰會忍心拒絕分擔她的憂傷？

為救其民願捨其身，仰視耶穌受盡苦辱，被鞭至皮開肉綻。

目睹至親的愛兒，孤伶地懸掛於人前，直至靈魂被釋放。

噢，仁愛的慈母﹗熱愛之泉﹗求妳感動我的靈，讓我感受妳的哀傷沉痛。

讓我與妳的心相連；伴隨耶穌基督的慈愛，讓靈魂發熱發亮。

求聖母施予慈愛，將妳聖兒在苦架上的傷痕，重新刺入我的心房。

聖子耶穌為我的罪行受盡苦難，為我慘遭折磨，讓我分擔祂所承受的痛楚。

讓我跟妳一起痛哭，在我生存的每一天，哀悼曾為我憂傷的祂。

C

M

Y

CM

MY

CY

CMY

K

Emphasis.pdf 2011/12/16 12:16:37 PM

26

Iuxta crucem tecum stare,Et me tibi sociareIn planctu desidero.

Viro, Virginum preaclara,Mihi jam non sis amara :Fac me tecum plangere.

Fac, ut portem Christi mortem,Passionis fac consortemEt plagas recolere.

Fac me plagis vulnerari,Cruce hac inebriariOb amorem filii !

Inflammatus et accensus,Per te, Virgo, sim defensusIn die judicii !

Fac me cruse custodiri,Morte Christi praemuniri,Confoveri gratia.

Quando corpus morieturFac, ut animae doneturParadisi gloria.

Laudate Dominum

Laudate Dominum in sanctis eius;laudate eum in firmamento virtutis eius.Laudate eum in sono tubae;laudate eum in psalterio et cithara.

Laudate eum in tympano et choro.Laudate eum in cymbalis bene sonantibus;laudate eum in cymbalis iubilationibus.Omnis spiritus laudet Dominum!Alleluia.

By the Cross with thee to stay,there with thee to weep and pray,is all I ask of thee to give.

Virgin of all virgins blest!Listen to my fond request:let me share thy grief divine;

Let me, to my latest breath,in my body bear the deathof that dying Son of thine.

Wounded with His every wound,steep my soul till it hath swooned,in His very Blood away;

Be to me,O Virgin, nigh,lest in flames I burn and die,in His awful Judgment Day.

Christ, when Thou shalt call me hence,by Thy Mother my defence,by Thy Cross my victory;

While my body here decays,may my soul Thy goodness praise,Safe in Paradise with Thee.

Praise the Lord

Praise the Lord in his sanctuary. Praise him in his mighty firmament.Praise him for his mighty deeds. Praise him according to the entire range of his greatness. Praise him with the sound of the trumpet. Praise him with lyre and harp.

Praise him with timbrel and choral dance. Praise him with strings and organ. Praise him with resounding cymbals. Praise him with joyful cymbals. Let every breath praise the Lord!

願與妳共侍立架旁，與妳一同悲泣和祈禱，是我對妳的僅有請求。

童貞女中之最優秀者﹗聆聽我的熱切祈盼；讓我跟你分擔聖潔的哀榮；

讓我與妳共分憂，在我還有一口氣，承受着妳聖兒死亡的創痛。

使我感受祂的創痛，將我的靈魂浸泡在祂流淌的血泊之中；

噢﹗慈愛的聖母，求妳成全罷﹗唯恐在祂殘忍之審判日，我在火焰中焚燬。

基督，當祢召喚我時，讓我倚仗祢慈母的守護，倚仗祢的十字架獲得勝利；

當我軀殼腐敗之時，請頌讚我的靈魂，與祢共享天堂之安榮。

榮耀經

你們要讚美上主，在神的聖所讚美祂，在他顯能力的穹蒼讚美祂。要因他大能的作為讚美祂，按着他極美的大德讚美祂。

要用角聲讚美祂，鼓瑟彈琴讚美祂。

擊鼓跳舞讚美祂，用絲絃的樂器、和簫的聲音讚美祂。用大響的鈸讚美祂，用高聲的鈸讚美祂。凡有氣息的、都要讚美上主，哈利路亞！

歌詞中譯：葛欣

[《榮耀經》中譯：選自詩篇150篇1-6節]

28 29

蒙特威爾第1 5 6 7年生於意大利克雷

莫納，是家中的長子。父親寶達沙是

個藥劑師兼理髮師，同時也是（非完

全合法的）外科醫生，於克雷莫納大

教堂的參事會租了一個小商舖工作。

雖然家境並不富裕，他也盡量讓兒子

們接受最好的音樂訓練，安排他們跟

大教堂的樂長

因杰涅里上私

人課，學費不

菲。

一生獻給藝術

蒙特威爾第早

在 1 5 歲 時 已

完成首套作品

《 神 聖 小 曲

集》，2 3歲時

獲得第一份工

作，於曼圖亞

榮森佐龔薩加

公爵府中任歌手和提琴手，但很快他

就成為一位傑出的作曲家。1596年公

爵府樂長賈謝斯德韋爾特逝世，蒙特

威爾第申請出任這個職位，卻不獲取

錄，令他十分沮喪。到1601年，在公

爵府工作1 6年後，他才得到一直夢寐

以求的職位。

蒙特威爾第於1 5 9 0至1 6 0 5年間作了

四卷牧歌。1607年獲委約為周年狂歡

節和曼圖亞繼承人婚禮籌備工作創作

了第一部歌劇《奧菲歐》；2月2 4日

首演後，由於大獲成功，迅速於一周

後重演。不久太太去世，蒙特威爾第

起初還拒絕回曼圖亞，到1608年才於

當地寫下另一部歌劇《阿里安娜》，

可惜現存的只有當中的《哀歌》。

1610年他寫下最重要的宗教作品《聖

母晚禱》，直至現在仍然是聖樂史上

最卓越的音樂。1612年，榮森佐公爵

逝世，作曲家和弟弟朱里奧因繼承人

弗朗切斯科的新「經濟政策」而被解

僱，然而這卻可能是蒙特威爾第整個

事業生涯裏最快活的時刻。後來，龔

薩加家族感到後悔，希望蒙特威爾第

回來，作曲家和曼圖亞才一直保持着

聯繫。

1 6 1 3年，威尼斯聖馬可大教堂樂長

一職空缺，蒙特威爾第申請出任，立

刻獲一致贊成受聘擔任這個當時音樂

界舉足輕重的職位。蒙特威爾第重整

合唱團，聘請新的技藝精湛歌手（包

括弗朗西卡瓦利），又購入新樂譜，

重新要求合唱團於平日及假日進行吟

誦彌撒。蒙特威爾第除了為聖馬可大

教堂的馬西昂納合唱團寫了無數聖樂

外，亦寫下很多戲劇性的音樂和世俗

音樂，於1 6 1 4至1 6 3 8年間出版了第

六、第七及第八卷牧歌。他在威尼斯

獲得很高的評價；由於當地是集中出

版音樂的樞紐，蒙特威爾第的名聲亦

因而傳到海外。

1637年，威尼斯第一所公眾歌劇院開

幕，促使蒙特威爾第於1641年寫下歌

劇《尤利西斯返鄉記》。同年，他又

親自監督其聖樂精選集《道德與精神

之林》的出版。7 5歲那年，他寫下最

後一部歌劇《波佩亞的加冕》，同年

（1642年）於聖喬凡尼劇場演出。

Monteverdi was born in 1567 in Cremona, the eldest son of Baldassare Monteverdi. His father was an apothecary and barber, and practised (not entirely legally) as a surgeon. He conducted his business in a small shop rented from the chapter of Cremona Cathedral. Despite his modest circumstances, he arranged for his sons

to receive the best p o s s i b l e m u s i c a l t r a i n i n g , i n t h e shape of expensive private lessons with Marc’Antonio Ingegneri, maestro di cappella at the cathedral.

A Life for Art

Monteverdi composed his first collection of wo rks , t he Sac rae cantiunculae, at the early age of 15. When

he was 23 he received his first appointment, as singer and viol player at the court of Duke Vincenzo I Gonzaga in Mantua; once there, however, he very soon distinguished himself as a composer. When the court’s maestro di cappella Giaches de Wert died in 1596 Monteverdi applied for the job but was passed over, which embittered him. Only after sixteen years at the court, in 1601, did he finally obtain the post to which he aspired.

Monteverdi composed four books of madrigals between 1590 and 1605. In 1607 came his first opera, L’Orfeo, commissioned on the occasion of the annual Carnival and the preparations for the marriage of the

heir apparent in Mantua. It was premiered on 24 February, and repeated a week later on account of the great success it had enjoyed. After initially refusing to return to Mantua after his wife’s death, Monteverdi finally composed a further opera there in 1608, L’Arianna, of which unfortunately only the Lamento has survived. In 1610 he composed his most significant religious work, the Vespro della Beata Vergine, which has remained unparalleled in the entire history of sacred music right down to the present day. After the death of Duke Vincenzo in the year 1612, Claudio and his brother Giulio Cesare were dismissed by Vincenzo’s successor Francesco Gonzaga as an economic measure, an event which can probably be seen as the happiest in Monteverdi’s career. The Gonzagas later regretted this decision and went back on it, with the result that Monteverdi remained in communication with Mantua during the years which followed.

In 1613 Monteverdi applied for the vacant post of maestro di cappella at St Mark’s Basilica in Venice, one of the most important musical functions at that time, and was immediately appointed by unanimous decision. He revitalised the choir, engaged new virtuoso singers (including Francesco Cavalli), bought new scores, reintroduced the practice of singing masses on weekdays and ferial days. Alongside the numerous sacred compositions he wrote for the Cappella Marciana, Monteverdi pursued an intensive interest in dramatic and secular works, publishing his sixth, seventh, and eighth books of madrigals between 1614 and 1638. He was highly thought of in Venice, and since the city was the centre of

歌迪奧．

蒙特威爾第

Claudio Monteverdi

30 31

music printing, his fame spread abroad.

Prompted by the opening of the first public opera house in Venice in the year 1637, Monteverdi wrote his opera Il ritorno d’Ulisse in patria in 1641. In the same year he oversaw the publication of his selected sacred music in the collection Selva morale e spirituale. At the age of seventy-five he composed his last opera L’incoronazione di Poppea, given at the Teatro Santi Giovanni in 1642.

After a final journey to Cremona and Mantua, Monteverdi died in 1643 in Venice, where he was granted a solemn funeral. His tomb is in the church of Santa Maria Gloriosa dei Frari in Venice.

Scholarly Pursuits

Monteverdi’s most admirable trait is the enormous diversity of compositional techniques that he masters and interweaves with supreme ski l l . Our aim in this performance is to bring out the varietà of his secular compositions. The modernity that runs like a constant thread through his pieces and makes his music seem timeless even in the twenty-first century is self-evident if one considers, for example, his use of ostinato basses. Jazz musicians are supposed to have "invented" the walking bass in the 1940s, but already in Monteverdi we find ostinato basses which diverge from the standard ostinatos of the seventeenth century, that are unique and sound extremely modern.

Monteverdi first used an ostinato bass in 1607, in L’Orfeo (and at the precise moment when Orpheus walks out of the Underworld). He underlays the duet Chiome d’oro* with

almost the same bass.

Zefiro torna is the first vocal duet over a ciaccona bass in musical history. It was to be followed by many imitators, but still remains unsurpassed for its expressive accentuation of words.

The Lamento della Ninfa is of particular interest. Here too was a first in musical history, the first time a passacaglia bass had been utilised in the form of a lamento – indeed, thanks to this piece the passacaglia later became, quite simply, standard form for the lamento. Monteverdi wrote in the title that the soprano voice was to sing in tempo rubato – a rhythmic subtlety that he precisely notated in the scores of many other pieces (with the resolution of the dissonances just before the following beat). In the Lamento della Ninfa, however, he only gives the instruction that the top part should be sung in free rhythm, while the lower voices must remain in strict time.

The special interest of Si dolce è’l tormento* lies in its harmonies. This is an aria (in the tradition of the strophic villanella), but in its harmonic language it conforms to the compositional technique of the seconda prattica. For half the piece he leaves the melody on a single note while the bass descends stepwise: this produces harmonies that were forbidden (and unprecedented) at the time, which are not unlike modern jazz chords.

Con che soavi tà is of the greatest importance for our understanding of instrumental colouring of the words through the use of continuo instruments. Monteverdi labels its musical form concerto. Three differently constituted instrumental

1643年，蒙特威爾第在造訪克雷莫納

和曼圖亞後，於維尼斯逝世。人們為

他舉行了一個莊嚴的喪禮；他的墓地

位於威尼斯聖方濟榮耀聖母教堂。

學術成就

蒙特威爾第最令人津津樂道的，是他

多采多姿的作曲手法，並能很有技

巧地使用在其作品中。今次表演的目

的，正是表現作曲家各種各樣的世

俗音樂。他的作品呈現現代感，即使

在二十一世紀亦讓人有永垂不朽的感

覺，從他運用頑固低音的手法即可見

一斑：人們或許以為行進低音是二十

世紀四十年代爵士樂手「發明」的，

其實早在蒙特威爾第的作品裏我們已

找到與十七世紀標準截然不同、現代

感極重的頑固低音。

蒙特威爾第於1 6 0 7年的歌劇《奧菲

歐》中首次使用頑固低音（正當奧菲

歐脫離地下社會之時），他在二重奏

《金髮》* 中使用了幾乎完全相同的低

音。

《風神》是音樂史上第一首使用康夏

式低音的二重唱，是不少後人的模仿

對象。但由於作品中字詞重音的運用

非常富有感情，後來者一直無法超越

此一佳作。

《寧芙女神的悲歌》是部很值得注意

的作品。這部作品亦創下了音樂史上

的另一個第一，成為第一部運用了帕

薩卡利亞式低音的悲歌；也是因為這

部樂曲，讓帕薩卡利亞後來成為悲歌

的標準。蒙特威爾第在標題上註明女

高音要以彈性速度演唱；即使在下一

拍之前已把不協調和聲解決，他也會

把節奏清晰地標示在樂譜中，這種做

法在作曲家很多其他作品都出現過。

但在《寧芙女神的悲歌》裏，作曲

家卻指出只在高音聲部才使用彈性速

度，其他低音聲部節奏要保持嚴格。

《甜蜜的折磨》* 的和聲很值得注意。

作品雖然是詠嘆調（以反復村歌的慣

例寫成），但其和聲技巧卻遵照了

「第二常規」的作曲手法。旋律有一

半時間都只有一個單音，而低音卻一

步步向下走；這種和聲是當時不容許

的（也是史無前例的），效果和現代

的爵士樂和弦有點相似。

《如此甜美》是一部很重要的作品，

讓我們了解如何利用低音樂器，讓歌

曲字詞的音色變得更精采。蒙特威爾

第把這種音樂形式稱為協奏曲，用上

三種不同內容的樂器組別，突出歌詞

的字詞和章節，這種編排其實就是以

渾厚的低音製造強烈的空間感。作曲

家有時在歌手唱着一個長音的時候要

求音色變化，以突顯人聲部份的「漸

強漸弱唱法」。這部作品是獨一無二

的，但對沒有預先制定數字低音的音

樂，於配器法的運用上有一定的啟

發。

令人詫異的是，雖然蒙特威爾第常常

在作品中要求當時的各種樂器演奏難

度極高的段落，他卻從來沒有出版過

為樂器而寫的曲集。因此，我們還選

了一些序曲與舞曲來演出，還有《奧

菲歐》及《聖母晚禱》的引子 — 一部

宏亮的觸技曲，音樂標誌着龔薩加家

族的慶節活動，常常在活動前演奏。

32

這些作品，都會令我們的節目變得更

多姿多采。

《唉﹗我要墮落了﹗》* 的行進低音，

與《金髮》* 的很相似。為了帶出低音

中那調皮的現代感，我們把樂曲演得

有點詼諧。如果聽眾感到這演出太前

衛，可以批評我們「太現代」，但我

很希望各聽眾和讀者明白，像蒙特威

爾第曾經說：我不會貿然作決定的。

克里斯蒂娜．普盧哈

2008年於巴黎

中譯：張婉麗

* 歌曲或器樂選段為是次音樂會曲目

groups underline the individual words and sections of the text, a layout which is to be understood as implying an especially rich continuo team with marked spatial separation. It is particularly interesting that he sometimes inserts a change of colour in the course of a single long-held note in the vocal line in order to underscore a messa di voce in the voice. The piece is sui generis, but it can be regarded as the inspiration for an instrumentation in which the continuo is not fixed in advance.

It is very surprising that Monteverdi never published a collection of instrumental p ieces , g i ven tha t he repea ted ly intersperses his works with highly virtuosic episodes for all the instruments that were current in his day. We have therefore chosen to enrich our programme by plucking from their context a number of sinfonias and balli, as well as the fanfare-like Toccata he used as introductory music to both L’Orfeo and the Vespro della Beata Vergine, and which was the "signature tune" of the Gonzagas that preceded all their festivities.

The bass line of Ohimè ch’io cado* is a walking bass laid out in a similar fashion to that of Chiome d’oro*. Here we have allowed ourselves a little scherzo musicale in order to bring out the cheeky modernity of this bass. Anyone to whom this smacks too much of the avant-garde is welcome to criticise our version as "too modern", but I should like most humbly to assure my worthy readers and listeners after all these many lines ch’io non faccio le mie cose à caso...

Christina Pluhar, Paris 2008

*Songs or instrumental excerpts of this performance

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37

在青翠山脈*的甜蜜庇蔭下，

他愉悅快慰；

高貴的歌迪奧啊，

因您，心中鬱結也一一驅走了。

如果我要在這世界活一千年，

我只會為您而長生，

甘願永遠侍奉您；

因您讓我感受到全新音樂力量，

承載着如此璀璨多姿，

不僅人世和天堂，連地獄也被它牽引；

所有人都只尊敬您一人，

為了您的音樂，只愛您一人，

從此只傾慕、尊敬和崇拜您一人。

被讚頌了一千次，

連筆墨都沾光，

它們昭示了您的智慧果實，

您成為時代奇才，

讓賣弄學問的人班門弄斧，

卻在聽到您的名字時惱羞成怒，

因為他們都已才思枯竭。

我聽說過羅馬不甚和諧，

自吹自擂，不可一世；

那些歌者，固然是舉世無雙，

因為他們是數以百萬計，

唱歌時舉手投足份外優雅；

然而若作曲家不夠優秀，

歌手的風格又總是千篇一律，

他們就隨即變為蠢才，歌聲刺耳。

毫無變化和扎實的技巧，

毫無痛快感、優雅姿態和卓越表現，

如同無法融入您的風格，令我傾慕讚賞。

Happy is he who takes refuge

in the sweet shade,

Noble Claudio, of your Green Mount [Monteverde],

For it chases all melancholy from the heart.

If I were to pass a thousand years in this world,

I would live eternally for you alone,

And be condemned always to serve you;

For in you I perceive a new music

Of such diversity that it captivates

Not only earth and heaven, but even hell;

Which is the reason all men honour you alone

For your works of music, and love you alone,

Admire, esteem, and adore you alone.

Then be blest a thousand times,

And blest the paper and the ink

That reveals the fruits of your intellect,

Which makes you unique in our age,

And let the pedants say what they will,

And bite and bark on hearing your name,

For the style of them all is constipated.

I have heard the disharmony of Rome,

Which glorifies and boasts of itself above all others;

The singers, to be sure, are peerless,

For the place produces them in millions,

And they sing with special grace;

But if the composers are not good,

Since their style is always such

As grates on one’s ears, they are dunces.

There is no varied and solid technique,

No piquancy, no grace, no excellence

As in your style that I admire and praise.

神聖的歌迪奧 The Divine Claudio

著名意大利作曲家和詩人貝勒羅芬特．卡斯塔爾蒂藉着以下詩歌，向蒙特威爾第致敬。

Renowned Italian composer and poet Bellerofonte Castaldi pays tribute to the single most important musician of the 17th century.

38

在此我昭告世人：尊貴的

歌迪奧．蒙特威爾第，

作品完美、風格生動，

詞曲相承，

創作大膽又熟練，

高貴、豐富、精致、雋永，

在太陽底下顯得尊貴無敵。

我們不禁想知道

為什麼他讓我們如此愉悅？

他胸前懷抱的雙頸低音大琵琶

會告訴我們。

文：貝勒羅芬特．卡斯塔爾蒂

《詼諧詩》，1638（藏於意大利摩德納市埃斯特家族圖書館手稿）

I declare that noble

Claudio Monteverde,

In whose perfect compositions in the dramatic style

Music obeys the words,

Yet who is bold and skilled in his inventions,

Noble, varied and fine, and evergreen,

Shows himself without equal under the sun.

. . . the reason that wants

To know, and why he gives such pleasure?

The theorbo that he has always at his breast

will tell us.

Bellerofonte Castaldi

Rime burlesche, 1638(Manuscript in the Biblioteca Estense, Modena)

*蒙特威爾第的意大利語意譯為「青翠山脈」

中譯：葛欣 鄺潔冰

41

歌手 ︳Singers

演唱 露西亞．加利亞齊Voice Lucilla Galeazzi

高男高音 榮森佐．卡柏索圖Contralto Vincenzo Capezzuto

樂手 ︳Instrumentalists

雙頸低音大琵琶 / 巴羅克豎琴 / 總監 克里斯蒂娜．普盧哈Théorbo, Baroque Harp & Director Christina Pluhar

巴羅克結他 馬塞洛．維塔里Baroque Guitar Marcello Vitale

短號 多倫．沙溫Cornet Doron Sherwin

薩泰里琴 卡門．吉姬Psaltery Carmen Gaggl

敲擊樂 戴維．梅奧奴Percussion David Mayoral

古大提琴 羅德尼．普拉達Viola da Gamba Rodney Prada

風琴* / 古鍵琴 北御門はるOrgan* / Harpsichord Haru Kitamika

國際巡演 ︱ International Tour Management

International Classical Artists Ltd.

高級項目及巡演經理 陸．德美

Senior Manager, Projects and Tours Tuck May Loke

副項目及巡演經理 蘇珊．多伊爾

Associate Manager, Projects and Tours Suzanne Doyle

* 風琴由香港演藝學院提供* Chamber Organ is provided by The Hong Kong Academy For Performing Arts

3.2.2012

拿波里音樂風格 Alla Napoletana示範音樂會：從拿波里王國細說巴羅克音樂

A demonstration concert: Baroque music from the Kingdom of Naples

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是晚演出曲目或次序或有更改

Songs and their order of performance are subject to change

傳統民歌 Traditonal拿波里民歌 Canzona napoletana Neopolitan Song

即興 Improvisation意大利舞 ( 器樂 ) Danza Italiana Italian Dance (instrumental)

傳統民歌 Traditional塔朗特舞曲之加格諾 Tarantella del Gargano My Fine Lady

傳統民歌 Traditional塔朗特舞曲之一（器樂） Tarantella prima Tarantella prima (instrumental)

解說 explanations

無名氏 Anonym世事萬物 Stu criatu Stu criatu

傳統民歌 Traditional夢吧，我的小花 Dormi, fiori miu Dream, My Flower

傳統民歌 Traditonal塔朗特舞曲之二（器樂） Tarantella seconda Tarantella seconda (instrumental)

傳統民歌 Traditional塔朗特舞曲之花莖甘藍 Tarantella Calabrese Tarantella Calabrese

解說 explanations

傳統民歌 Traditional小魚兒 * Lo Guarracino* The Little Fish

即興 Improvisation摩斯舞曲（器樂） Moresca Moorish Dance (instrumental)

即興 Improvisation無言歌（器樂） Canzona senza parole The Wordless Song (instrumental)

傳統民歌 Traditional鳥兒飛入了穀倉 Lu Passariellu A Bird is in the Grain

傳統民歌 Traditional病榻中的小安東尼 ‘Ntonuccio malado Little Anthony is Ailing

即興 Improvisation特解藥（器樂） Antidotum Antidotum (instrumental)

* 這首曲目在本刊內未有提供歌詞* No lyrics are provided for this song

44 45

Canzona napoletana

Ti piacevano le salsicce,Mo non le mangi più.Ti piacevano le ciliegie,Mo non le mangi più.Ti piaceva fare l'amore,A tutte quante l'ore.Ah! Vita bella,perché non torni più?

Ti piaceva il pane caldo,Ti piaceva pasta e fagioli,Ti piaceva la tua famiglia,Ti piacevano i tuoi figliol,.Ti piaceva la festa e il ballo,Ti piaceva andare a cavallo,Ah! Vita bella,perché non torni più?

Ti piaceva il profumo dei fiori,Mo non lo senti più.Ti piaceva la campagna,Mo' non lo vedi più.Ti piaceva stare a guardare il soleQando si tuffa in mare,Ah, vita bella!Perché non torni più?

Tarantella del Gargano

Sta donniComme dee fari pi ama sta donniDi rose ‘nde a fari nu bellu ciardini

Nu bello ciandiniDi rose ‘nde a fari nu bello ciardiniDi prete, preziose et ori finiMiezo dela cava na brava funtani

Na brava funtaniMiezo de la cava na brava funtani

E ja fa corre l’acqua sorgentiviL’acqua sorgentiviE ja fa corre l’acqua sorgentivi‘ncoppa ce le mette n’auciello a cantari

Neopolitan Song

You used to like sausages,but now you don't eat them.You used to like cherries,but now you don't eat them.You used to like making love,at any time of the day.Ah! The good life!Why don't you return?

You used to like warm bread,You used to like pasta and beans.You used to love your family,You used to love your children,You used to like fun and dance,You used to like riding on a horseback.Ah! The good life!Why don't you return?

You used to like the scent of flowers,now you don't even sniff them...You used to like the countryside,now you don't even notice it...You used to like watching the sun,as it set over the sea...Ah! The good life!Why don't you return?

My Fine Lady

This woman,How can I make this woman love me?I would need a garden of fine roses

A garden of fine roses,I need a fine gardenWith precious stones and fine gold,With a beautiful fountain in the centre

A beautiful fountain,In the centre a beautiful fountain,

With spring water flowing out of itSpring water,With spring water running out of it,And above a singing bird

拿波里歌

昔日你愛吃香腸，今天卻一口不嚐。昔日你愛吃櫻桃，今天卻推推讓讓。昔日你雲雨無厭，分分秒秒春心癢。啊，美好生活﹗何不再臨？

你往日愛吃熱麵包，豆和麵條都覺香。你往日深愛着家人，兒女幸福總惦量。你往日愛跳舞玩樂，騎在馬背便心歡暢。啊，美好生活﹗何不再臨？

你總是愛花芬芳，現在聞一聞也不想。你總愛留連郊野，現在城外風光不放心上。你總愛看日落倒影，在海波上蕩漾。啊﹗美好生活﹗何不再臨？

塔朗特舞曲之加格諾

這樣的女子，如何讓她對我傾心？我需要滿園漂亮玫瑰。

滿園漂亮玫瑰，我需要一個精緻花園，內有珍貴寶石和上等黃金，美麗噴泉坐落中央。

美麗噴泉啊，坐落中央的美麗噴泉，

泉水傾瀉出來，泉水啊，泉水傾瀉出來，鳴雀在半空飛翔。

n’auciello a cantari‘ncoppo ce le mette n’auciello a cantariCantava e reposava e bello dicevi

Reposava e bella diceviCantava e repasova e bella dicevaPe voi so addivintato n’aucielloPi fare no sonno accanto o vujeBella madonna

Me na fatto ‘nnammuraLa cammenoture e cu parlareSi bella tu non ive, ‘nnammura non me faciveMe na fatto ‘nnammora la cammenaturaE lo parla

Pure la cammenatura e lo parleMa na fatto ‘nnammura la cammenatura E lo parla

Si bella tu nun ive ‘nnammoraNon me faciveA pinciue sta ncagnata che vu dameE mammeta lo sape e lo voDice pure a te.

Stu criatu

O' saccio, o' saccio io sulamente Chelle c'aggio passate quando ll'angelo e' vulate Chelle c'aggio passato quando ll'angelo e' vulate Quando ll'angelo e' vulate c'aggio passate.

Na voce 'na voce mmo rripete Nun perdere chiu tiempe circa r'essere felice Nun perdere chiu tiempe circa r'essere felice Cerca d'essere felice, nun ci sta tiempe

A singing bird,Above it a singing bird,A bird which sings, lands and calls you “bella mia”,

Which landsAnd says sweet things,I have become a bird for you,So as to sleep beside you,My fine lady.

You have made me fall in love with youBy your gait and your voice.If you had not been so beautiful,you wouldn’t have made me fall in love with you.You have made me fall in love with you by your gait and your voice.

By your gait and your voice,You have made me fall in love with you,

If you had not been so beautiful,You wouldn’t have made me fall in love with you.My dear, stay furious, there’s nothing you can do.Your mother knows and I wantTo tell you too.

World Creation

I know, I’m the only one I knowWhen I lived when the angel was flyingWhen I lived when the angel was flyingWhen the angel flew when I lived.

A voice repeated to meDon’t lose time to be happyDon’t lose time to be happyTry to be happy, there’s no time.

鳴雀啊，鳴雀在半空飛翔，鳴雀在歡唱了，着陸了，喚你為「我的美人」，

着陸在地上，說着甜言蜜語，我為你變作鳴雀，只為在你身邊棲息，我的清秀佳人。

你讓我愛得入神，因着你的玉步綿言。你若非如此美麗，也不會讓我對你愛得入神。你讓我愛得入神，因着你的玉步綿言。

你的玉步綿言，讓我愛得入神。

你若非如此美麗，也不會讓我對你愛得入神。親愛的，繼續盛怒吧，除此你別無選擇。你母親已明瞭，而我也要讓你知曉。

世事萬物

我知道，我獨一無二我知道，當我活着時，天使在飛翔，當我活着時，天使在飛翔，當天使飛翔，我正活着。

耳邊重複聽到一把聲音，要抓緊時間盡歡，要抓緊時間盡歡。時日無多了，請盡情歡樂吧。

English lyrics provided by FESTA NAPOLETANA, translated by Peter Hicks.

46 47

E cantene e cantene l'aucielle E cantane sultante quando e' sante nu pensiere E cantane sultante quando e' sante nu pensiere Quando e' sante nu pensiere canta l'aucielle

'A notte a' notte tene 'e stelle 'E stelle hanno brillate fino a quanne l''e guardate 'E stelle hanno brillate fino a quanne l''e guardate Fino a quanne l''e guardate hanno brillate

'A pace , 'a pace e' comme 'a pece E' 'a mette 'ncopp 'o ffuoche chille ca nun e' capace Chille ca nun e' capace mette 'o ffuoche sotto a pace Mette o' ffuoche sotto 'a pace chi nn'e' capace

'A vocca , a' vocca e' comme 'e rrose Quanne parla d'ammore tene e spine 'nde 'e pparole Quanne parla d'ammore tene e spine 'nde 'e pparole Tene e spine 'nde 'e pparole si rice ammore

'A vita, 'a vita e' comme 'a morte Stanne vicine 'e casa nun se ponne appicceca' Stanne vicine 'e case nun se ponno appicceca' Nun se ponno appicceca' songh'una cosa 'E tu , e tu figlie 'e maria Tu nun si mmanghe nate gia' si state cundannate Tu nun si mmanche nate gia' si state cundannate Gia' si tate cundannate appena nate

'E figlie, 'e figlie songhe e die E nun se tocca niente chelle ch'e' stare criate Chelle ch'e' stare criate, nun ce l'amme mai 'mparate Nun ce l'amme mai 'mparate chistu criate

And sing, and sing the birdsAnd sing only when the thought is of saintsAnd sing only when the thought is of saintsWhen the thought is only of saints.

Oh night, oh night with the starsThe stars shined until I saw themThe stars shined until I saw themUntil i saw them they shined.

The peace, the peace is like the pitchAnd put on the fire what it is not able to doShe is not able to put the fire under the peace.Put the fire under the peace.

The mouth, the mouth is like a roseWhen she speaks of love and has the thorns in wordsWhen she speaks of love and has the thorns in wordsHas the thorns in words of a telling love.

The life is like the deathThey are neighbours and they cannot connectThey are neighbours and they cannot connectThey cannot connect they are one thing.And you, and you Maria’s sonYou are not yet born and you've already been condemnedYou are not yet born and you've aleady been condemnedAlready condemned at birth.

The sons, the sons are of godAnd it is not possible to touch what is createdWhat was created, never do they learnNever do they learn what was created.

歡唱，鳥兒在歡唱，因想到聖賢而歡唱，只因想到聖賢而歡唱，只因想到聖賢。

夜晚，滿天繁星的夜晚，群星閃爍，直至我驚鴻一瞥。群星閃爍，直至我驚鴻一瞥。直至我驚鴻一瞥，群星依然閃爍。

和平、和平如樹脂，無力將火燃點。她無力在和平氣氛下將火燃起。在和平氣氛下將火燃起。

朱唇，朱唇如玫瑰，她談情時話中帶刺，她談情時話中帶刺，談情時，她話中帶刺。

生命如同死亡，他們是觸不到的鄰居，他們是觸不到的鄰居。他們觸不到，卻渾然一體。你，瑪利亞之子，還未降生時，你已被定罪；還未降生時，你已被定罪；一降生時已被定罪。

子孫，神的子孫，不可能觸碰受造的萬物，受造的萬物，從未學懂，從未學懂受造的萬物。

Dormi, fiori miu

Sogna fiore mio, sogna e riposaChiude sta vocca che pare na rosaSogna e chiude gli occhi tunne tunneCa quanne sogni tu sogna gliu munneChiude gli occhi e nun parlareSogna gliu funne di gliu mareChiude gli occhi e nun avè pauraSogna nu munne fatta a sunature.

Sogna lu ventu e sogna la tempestaSogna gliu mare e sogna la forestaCa la musica de st’organettoTe riempe ‘ncore e te scaveta ‘mpetteE raziulella mia nun parlareNun’`è cchiù tempe ‘de rifiatareOggi hai finite de disperareDopedimani jamma a faticare.

Ch gl’amma da fare nu gran castellePiene de tante cose belleGl’ammma da fare d’ore e d’argentec’hanna abitare tutta la genteE ogni jorne sarà allegriaE ci sarà pure mamma miaE la fatia nun sarà cchi`ù amaraPecchè saremo allora tutti quanti uguale.

Sogna fiore mio sogna e riposaSt’occhi toi so` comme li roseSogna tutti sti cose belleGliu cielo…gliu mare e tutte li stelleE sogna sogna e nun tardareE falla subito reposareE scegne sogne e se non vo`venireCo chesta musica falla addormire.

Dream, My Flower

Dream, my flower, dream and rest,Close your rosy lips.Dream and close your wide, wide eyesFor when you dream, the world dreams.Close your eyes and say no more,Dream of the deep, deep sea.Close your eyes and have no fear,Dream of a world full of musicians.

Dream of the wind and dream of the storm,Dream of the sea and dream of the forest.The music of this barrel organFills your heart and moves your breast,And, my pretty one, speak not,This is not the time for sighing.Today your despair is over,After tomorrow we’re going to work.

We’ll build a great castleFull of fine things.We’ll make it of gold and silver,With room for everyone,And everyday will be full of gaiety,And my mother will be there too,And our fatigue will no longer be bitterFor we shall all be equal.

Dream, my flower, dream and rest,Your eyes are like roses,Dream of all those pleasant things:The sky… the sea and all the stars.Dream and go on dreaming now.And now let her take her rest,Sleep descends, and if it will not come,Let this music lull her to sleep…

夢吧，我的小花

夢吧，我的小花，入夢鄉歇息吧，合上玫瑰紅唇。閉上一雙明眸，入夢吧﹗世界與你同步入夢。閉上眼，別再講話，夢進深邃大海，閉上眼，別驚慌，處處有樂師伴奏入夢。

夢見風吹，又見雨打，夢見汪洋，又見森林。手搖風琴的樂韻，注入肺腑，感動你心，我的美人，請安靜，此刻不是哀嘆時。今天你不再絕望，明天過後，我們仍需幹活。

我們將建宏偉城堡，放滿美好的東西。我們以金銀打造城堡，每人各有天地，天天歡愉連綿，母親亦與我同在，我們的疲憊不再苦澀，因我們將會被平等對待。

夢吧，我的小花，入夢鄉歇息吧，你雙眼猶如玫瑰倩影，快樂佈滿着每個夢境：蒼穹、碧海與繁星。夢吧，繼續做夢。現在就讓她歇息，沉睡吧，若無法入夢，讓這樂韻伴她入眠……

48 49

Tarantella Calabrese

E beatu sia lu Santu Sacramentu !Evviva di lu Carminu Maria.Santu tu Pascalu bellu Baylonne tu si’ lu prutetturi de li donneE mannammillu bonu nu marito che sia jiancu, russo o culuritu,Na-na-na-neddra, quattu sordi di caciucaveddra

E nu caveciu a la gunnedra u vantesinu pi ll’aria va’E la figlia di Bellavia, chi natichi tunni, chi minni ci avia,

Puru la mamma ci lu dicia : « Chi natichi tunni mia figlia Lucia ! »O nicchiu nicchiu nicchiu chi vai ndurniannu,Gaddrini nun ce stanno ntra sti cuntorni;

E ce ne st auna sula e va cantannu lu pâtre ha dittu ca l’è picculina.

Abballati, abballati fimmini schetti e maritati,R si nun abballati bonu nun vi cabtu en un vi sonuSi non abballati pulitu e ci lu dico a le vostru zitu.

O Sciroccu, o Punenti, o Tramuntana dammi la forza ca trovo la viaCu soni e canti’ ‘mParaviso acchiana la Grazia di lu Carminu Maria.

Tarantella Calabrese

Blessed the Holy Sacrament!Long live to our Lady of Carmel!Pascal Baylon, patron saint of women,Send me a husband, pale or ruddy or with a rosy complexion. He must be like you, St Pascal!

If you want chick peas, away with you!If you want carobs, there are none;Women with small breasts cannot find a husband.

Nannella, Nannella, four penny worth of mozzarella,A kick to the skirt, and off flies the apron…Bellavia’s daughter: what a nice bottom,what lovely breasts!

Her mother boasts about it too:‘My daughter Lucia, what a nice bottom!’

Crafty one, off snooping, there are no chicks around here: There’s only one who goes off singing, but her father says she’s too young yet, Dance, women, single and married, and you’d better dance well, or I’ll neither sing nor play and you’d better dance neatly, or I’ll tell your sweetheart… Dance, Mrs Nannella, and you, comrade, with the tambourine…

塔朗特舞曲之花莖甘藍

求主賜福聖餐！嘉謨聖母萬歲！帕斯卡．巴比倫，女子的守護神，賜我一個丈夫吧，臉色蒼白或紅潤，或是有玫瑰色肌膚。他必須像你一樣，聖帕斯卡！

若你想要鷹嘴豆，你應有盡有！若你想要角豆樹，卻無法擁有；胸脯細小的女人嫁杏無期。

娜奈拉，娜奈拉，值四塊錢的意大利白芝士，踢起裙襬，圍裙輕柔飛揚……貝拉維亞的女兒：多漂亮的美臀，多可愛的胸脯啊！

她媽媽也為之自豪：「我女兒露西亞，多漂亮的美臀！」

狡猾的人，四出窺探，沒有少女的蹤影：只有一個邊走邊唱，可是她父親認為她太過年輕，起舞吧，女士們，單身的、已婚的，你們務必跳得好看，否則我會不彈不唱。你們務必跳得靈巧，否則我會讓你知啊，甜心……起舞吧，娜奈拉夫人，還有你，我的盟友，隨着手鼓起舞吧……

鳥兒飛入了穀倉

主啊，主，一隻鳥兒飛入了穀倉。若然您袖手旁觀，牠就會將穀物吃清光。落地獄，落地獄去吧，今夜我妻子從床上摔下來。落地獄，落地獄去吧，今夜已變為貓兒，飽嘗糖果。若然我們繼而跳第三隻旋轉舞，現在剩下我們和一位朋友。噢，我的妻子多麼漂亮﹗噢，聖米迦勒，救救基督徒吧，修女、學徒及工匠們。主啊，主，一隻鳥兒飛入穀倉。若然您袖手旁觀，牠就會將穀物吃清光。

病榻中的小安東尼

可憐的小安東尼，被病魔煎熬，

他患上了相思病。他的愛人知道了：

「快來，母親，快去看他吧﹗」當她趕到時，已頓成寡婦，

當她踏上首級石階。不幸的小安東尼，被病魔煎熬﹗

他的慈母與他相伴。今天將會是我的葬禮……

他的慈母與他相伴。我的葬禮是最後一場盛大儀式……

他的慈母在他身旁。

Lu Passariellu

O re, re, lu passariello ‘nta ll’avena,E si nun lu va’ a paràTutta ll’avena se magnarrà‘O riavulo, stanotteE mugliereme è caduta da lu liette;‘O riavulo stanotteLa jatta s’è magnata li cunfiette.E si prima eremo a tre a ballà la tarantella,Mo’ simmo rimaste a ddujeE mugliereme quant’è bella.Santo Michele sarva ogne Christianemoniche, monicelle e artigiane.O re, re, lu passariello ‘nta ll’avena,E si nun lu va’ a paràTutta ll’avena se magnarrà.

‘Ntonuccio malado

E lu povero ‘Ntonuccio j’è malatu, e j’era de core la soi malatiae j’era de core la soi malatia.E quando lo seppu la so’ nnemorata:e sciamme de mamma mia, sciamm’ a bederlo.e sciamme de mamma mia, sciamm’ a bederlo.E quando aribau dentro già cumata,e quando aribau a lo primo scaluno,e quando aribau a lo primo scaluno.E maldito lo ‘Ntonuccio ch’è malatu,e areto areto la mammà soi cara,e areto areto la mammà soi caraE lo jorno ca m’è sciut’ a sepoltura,e areto areto la mammà soi carae areto areto la mammà soi cara.E l’ultima pompa mia, la sepoltura,e areto areto la mammà soi cara,e areto areto la mammà soi cara.

A Bird is in the Grain

King, King, a bird is in the grain.And if you do nothing,then he will eat the whole grain.To hell, to hell,tonight my wife fell off the bed.To hell, to hell,this night has become the cat, feasted on candy.And if we advance to thirddanced the tarantella,we are now left with a friend.Oh, how beautiful my wife!Oh, holy Michael, save every Christian,Nuns, novices and artisans.King, King, a bird is in the grain.And if you do nothing,then he willeat the whole grain.

Little Anthony is Ailing

Little Anthony, poor thing, is ailing,

And his sickness is love sickness.When his sweetheart found out:

Come, mother, let’s go and see him.And when she got there, she was a widow,

As soon as she put her foot on the first step.Cursed be Little Anthony, who is ailing!

And near him his dear mother.Today will be my burial…

And near him his dear mother.The last great ceremony, my burial…

And near him his dear mother.

50 51

所有音樂家都會面對相同的問題：我

們應該進取還是保守？詮釋還是創

作？在創新時，我們可以走多遠？應

該走多遠？界線在哪裏？什麼時候我

們可以超越界線？什麼時候我們必須

超越界線？更重要的是，如何超越？

一種新風格出現，往往是因為舊風格

已經完成了；新風格總是由舊概念萌

生而來的。

無論是中世紀末精緻藝術的複雜節

奏、文藝復興時期末5 4個聲部的複音

音樂、巴洛克時期初的哀歌和第二常

規，巴洛克盛期那複雜的裝飾音，還

是浪漫時期末對調性系統的探索，以

至十二音序列的產生，人類一直在尋

找界線，並希望超越它們。

然而，二十世紀各種風格並存的現

象，是音樂史中獨有的。音樂分為

「輕音樂」、「嚴肅音樂」、古樂、

古典音樂和當代音樂。所謂「輕音

樂」的發展迅速，極具創意，也是史

無前例的：由傳統爵士樂到自由爵士

樂、打擊樂和流行樂到搖滾樂、爵士

搖滾、硬搖滾、重搖滾、電子音樂、

饒舌，還有混合音樂。今時今日的聽

眾，很多都喜歡當代的「輕音樂」，

「嚴肅」的當代音樂變得越來越不合

聽眾口味。

All musicians find themselves faced with the same questions. Should we elaborate or preserve, interpret or create? How far can or must we go in terms of innovation? Where are the limits? And when — and above all how — can or must we overstep those limits?

The emergence of a new style is always the result of the consummation of a previous style; new ideas always have roots that delve deeply into earlier conceptions.

Whether in the rhythmic complexity of the ars subtilior of the late Middle Ages, the fifty-four-part polyphony of the end of the Renaissance, the monody and the seconda prattica of early Baroque, the complex ornamentation of high Baroque, the exploration of our tonal system during the late Romantic period and the explosion thereof in dodecaphony, man has always sought out the limits with the aim of overstepping them.

But unique in musical history is the twentieth-century juxtaposition of all those styles, the breakdown into “light” and “serious” music and the division into ancient, classical and contemporary music. Unique too is the rapid creative development of so-called “light” music, from traditional jazz to free jazz, from beat and pop to rock, jazz-rock

其實，「古典音樂」曲目沒有變化，

詮釋規則嚴格，難以創新，才應該

被稱為「古樂」；而現在的所謂「古

樂」卻能為我們提供很多新靈感，帶

我們重新發掘不同的和聲，使我們認

識當時的樂器那多采多姿的音色，各

式各樣的風格美輪美奐，還有最重要

的，就是讓能掌握一定技術的樂手享

有詮釋和即興創作的自由。一代又一

代的音樂家致力發掘和了解這些失傳

了的傳統規則，又努力熟習這些荒廢

了的樂器和音樂。他們的熱情打開了

音樂發展的新一頁，讓音樂產生更多

的可能性。

到了廿一世紀，時間和空間彷彿匯合

起來，把各種不同模式的表達方式連

繫上。在幾百年來探索過調性系統所

有和聲與節奏上的可能性後，我們現

在渴求的，是超越地理疆界的和聲語

言，以表達音樂的精髓，讓樂手演繹

得自由一點，以感動聽眾。所謂界線

已不再存在，不同背景的音樂家相互

交流，令不同的音樂語言聯合起來，

產生千變萬化的形象。

在結合兩種音樂風格的時候，即興創

作自然會引起一些問題。我們有沒有

權這權做？我們有權做什麼？產生的

風格該稱為什麼？

and hard rock, heavy metal, techno, rap and crossover. This contemporary “light” music appeals to much of today’s music-loving public, while “serious” contemporary music gradually becomes more and more remote from the listener’s tastes.

Moreover, it is “classical” music, with its unchanging repertoire and its strictly defined interpretative rules, leaving no room for innovation, that should really be described as “ancient”. And it is so-called “ancient” music that is in fact the provider of new ideas, leading us to rediscover harmony, the vast range of colours provided by its instruments, the ineffable beauty of its various styles and, above all, the interpretative and improvisational freedom that is available to its musicians, once they have grasped the necessary rules. For several generations now, musicians have set themselves the task of rediscovering and assimilating the rules of a culture that disappeared long ago, of mastering, with all the necessary virtuosity, the instruments and the music of a long-ceased tradition. Their passion and devotion have opened up a whole new province of musical possibilities.

In the twenty-first century, we appear to have reached a point at which space and time merge, creating a bridge between various

賦予古樂創新風格Innovate the Ancient Music with New Inspiration

52 53

普盧哈在家鄉奧地利格拉茨研習結他，

復在海牙音樂學院師隨佐藤豐彥演奏

琵琶。及後，她進入瑞士巴塞爾音樂

學院隨霍普金森．史密夫學習，獲頒

深造文憑，後來在米蘭公立學校師隨

著名豎琴演奏家馬拉．格拉西。

普盧哈自 1992 年定居巴黎，經常在不

同音樂節作獨

奏和數字低音

伴 奏， 合 作 的

樂團包括羅浮

宮音樂家合奏

團、 威 尼 斯 鳳

凰 樂 團、 索 亞

衛合奏團和科

隆 合 奏 團； 經

常合作演出的

樂 手 包 括： 雷

內．雅各布斯、

艾 弗． 波 頓 和

亞歷山德羅．迪馬奇。

1992 年，她與鳳凰樂團一起榮獲瑞典

馬模國際早期音樂大賽冠軍。2000 年

她創辦了琶音古樂團，樂團至今已推

出多張唱片。

普盧哈於 1993 年起在格拉茨大學主持

大師班，1999 年開始在海牙皇家音樂

學院教授巴羅克豎琴。她演奏的曲目

包括十六至十八世紀的魯特琴、巴羅

克結他、大魯特琴、雙頸低音大琵琶

和巴羅克豎琴的獨奏及數字低音作品。

After studying guitar in her home city of Graz, Pluhar graduated as a lutenist after studying with Toyohiko Sato at The Hague Conservatory. She was awarded the Diplôme Supérieur de Perfectionnement at the Schola Cantorum Basiliensis where she studied with Hopkinson Smith. Pluhar completed her studies with Mara Galassi

at the Scuola Civica di Milano.

Since 1992 Pluhar has lived in Paris, where she performs regularly as a soloist and continuo player at prestigious f e s t i v a l s a n d w i t h ensembles such as Les Musiciens du Louvre, La Fenice, Concerto Soave and Concerto Köln. She has collaborated frequently with René Jacobs, Ivor Bolton and Alessandro di Marchi.

In 1992 she won 1st Prize in the International Early Music Competition of Malmö with the ensemble La Fenice. She founded L’Arpeggiata in 2000 and since then the group has released several widely acclaimed CDs, particularly notable successes are their recent releases on Virgin Classics.

Since 1993 Pluhar has given masterclasses at Graz University, as well as teaching the baroque harp at the Royal Conservatory of The Hague where she has worked since 1999. Her repertoire includes solo and continuo works from the 16th to 18th centuries for Renaissance lute, Baroque guitar, archlute, théorbo and Baroque harp.

克里斯蒂娜． 普盧哈

Christina Pluhar

樂團創辦人 巴羅克豎琴 雙頸低音大琵琶

Director Baroque Harp Théorbo

然而，最有趣的問題卻是：我們之間

有什麼共通點？即興創作的基本意義

是什麼？我們彼此之間能互相學習到

什麼？

對於一個音樂家來說，無論其背景如

何，即興創作能最直接地跟聽眾溝

通。在過往的所有年代和文化裏，即

興創作都比其他音樂形式出現得要

早。即興創作將我們內心的聲音真誠

地表現出來，也是我們所接受的音樂

訓練的寫照。今日，我們可以自由選

擇，而我們所選擇的路反映了我們心

底裏的聲音；用以表達情感的音樂就

像鏡子一樣，把我們的靈魂映照出

來。

文：克里斯蒂娜．普盧哈

中譯：張婉麗

modes of expression. After exploring all the harmonic and rythmic possibilities of our tonal system for hundreds of years, we now aspire to a universal harmonic language that is capable of conveying the essence of music, allowing the musician a certain freedom, and touching the listener. The limits disappear, while the combination of different musical idioms forms kaleidoscopic images as musicians from different backgrounds get together.

Improvising, while trying to bridge the gap between two styles of music, naturally raises a number of questions. Have we the right to do this? What exactly are we allowed to do? What is the name of the resulting style?

But the most interesting questions are these: What do we have in common? What is the basic pith of improvisation? What can we learn from one another?

For a musician, whatever his background, improvisation is the most direct form of communication with the listener. In every age and culture, improvisation came before all other forms of music. It exposes our true, inner voice, which has been affected by our musical training. Today we are free to choose, and our chosen path is an expression of our innermost being. The music we use to express our emotions is the mirror of our soul.

Written by Christina Pluhar

English Translation by Mary Pardoe©

Mar

co B

org

gre

ve

54 55

加利亞齊來自意大利中部的翁布利亞，

擁有一把古典嗓子，精煉細緻而充滿

能量，隨時伺機爆發。在羅馬大學進

修時，她已開始探索翁布利亞民間音

樂。1977 年至 1994 年，她是喬瓦納．

梅蘭里的四人合唱團成員，參與音樂

會演出，並灌錄唱片。

1982 年，她的

個人演唱會《這

個 夢 》， 是 向

六十年代的意

大利歌曲致敬。

她曾參與多個

羅 拔 圖． 德 西

蒙 的 製 作， 如

拿波里歌劇院

的《聖母悼歌》、

比薩歌劇院的

《牧羊人之歌》

和《 聖 女 貞 德

之殉道》、拿波里聖卡洛劇院的《柏索

里尼安魂曲》。

1987 年，加利亞齊夥同斯帕拉納和里

佐創辦了組合「顫音」。她也經常參與

當代音樂和爵士樂的演出；1991 年，

她參與斯特拉斯堡歐洲爵士樂團的獨

唱演出。

最近灌錄的唱片包括《大地之心》及《月

影》；此外，加利亞齊在法國和意大利

主持大師班。

Lucilla Galeazzi comes from Umbria with a classic voice; controlled, refined and yet so full of spirit it absolutely explodes. While studying at the University of Rome she started to explore Umbrian folk music. In 1977 she joined Giovanna Marini’s vocal quartet and collaborated with them in

numerous concer ts and on many discs until 1994.

In 1982 she created h e r o w n s h o w U n Sogno Cosi dedicated to Italian songs of the 1960s. She took part in several productions by Roberto de Simone, Stabat Mater for the Naples Opera, Carmina Viv ianea (Songs of

the Shepherds) and Processo e Martirio du Giovanni d’arco (The Procession and Martyrdom of Joan of Arc) for Pisa Opera and Requiem for Pier Paolo Pasolini for the San Carlo Theatre, Naples.

In 1987 Galeazzi founded her group Il Trillo with Ambrogio Sparagna and Carlo Rizzo. She has worked frequently in contemporary music as well as jazz. In 1991 she was the soloist with the European Jazz Orchestra in Strasbourg. Her latest recordings include Cuore di Terra and Lunario. She also gives masterclasses in France and Italy.

露西拉．加利亞齊

Lucilla Galeazzi

歌手 Singer

拉卡爾生於西班牙潘普洛納市，六嵗開始唱歌，後於潘普洛納市的帕布羅．薩拉沙泰高等音樂學校學習小提琴和聲樂，在市立音樂戲劇學校時還獲得了校際歌唱獎。2000 年，她結識了巴羅克大師理查德．利維特，後者一直擔任她的導師和推薦人。

拉卡爾經常與合 奏 團 合 作，包括琶音古樂團、 西 班 牙 樂團、 塞 維 利 亞巴羅克管弦樂團、「暴雨」樂團、「匿名」樂團、 馬 德 里 管弦合唱團以及比利時的「比洛克」管弦樂團。2003 年她成為憑四重唱團體

「歡鴿」的成員，同 年， 她 與 雙頸低音大琵琶手傑塞斯．費爾南迪斯．巴爾納成立二重唱奏組合，專研意大利十七世紀古樂。

她在歐洲的重要音樂節和音樂廳中擔任獨唱，2004 年在明尼亞波里斯推出首張美國唱片。與她合作過的指揮家包括威廉．克利斯迪、法比奧．彼翁迪、莫妮卡．休傑特、艾杜瓦多．洛佩玆班佐、理查德．艾加、克里斯蒂娜．普盧哈、克里斯臣．科寧及科林．戴維斯爵士等等。

她時常獲邀於馬德里皇家劇院和西班牙布爾戈斯大學音樂廳講授聲樂名師課程。她的音樂會及多張唱片均在歐洲各地廣泛播放。

Born in Pamplona, Andueza began singing at the age of six and later studied violin and voice at Conservatorio Superior de Música Pablo Sarasate, Pamplona and at the Guildhall School of Music and Drama, where she received the School Singing Prize. In 2000 she met Richard Levitt, who continues to be her current tutor and reference.

Andueza has regular col laborat ions wi th ensembles including L ' A r p e g g i a t a , E l Concier to Español, Orquesta Barroca de Sevilla, La Tempestad, Gli Incogniti, Orquesta y Coro de la Comunidad de Madrid and B'Rock. In 2003 she became a member of the vocal quartet La Colombina, and in the same year she founded, together with theorbo player

Jesús Fernández Baena, a duet specialized in the Italian music of the 17th Century.

She performs as a soloist at the main festivals and halls of Europe and made her American debut in 2004 in Minneapolis. She has been conducted by William Christie, Fabio Biondi, Monica Huggett, Eduardo López-Banzo, Richard Egarr, Christina Pluhar, Christian Curnyn and Sir Colin Davis.

She is regularly invited to give singing master-classes in Madrid's Teatro Real and to the Aula de Música de la Universidad de Burgos. Her concerts have been broadcast throughout Europe and released by various record labels.

拉卡爾．安杜爾查

Raquel Andueza

女高音 Soprano

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The Acknowledgement Ad (St-1).pdf 2012/1/6 6:21:17 PM

56

卡柏索圖是國際舞蹈家，也是歌唱家。

他曾與意大利音樂家吉多．莫里尼、「諧

和」樂團、意大利歌唱家馬可．比斯

利合作，兼任舞蹈員和演唱者；並曾

在莫扎特劇院出演奧地利薩爾斯堡音

樂節的表演節目《惡魔的誘惑》。他與

克里斯蒂娜．普盧哈帶領的琶音古樂

團 合 作， 參 與

樂團最新作品

《十字之路》的

錄 製。 他 還 為

著 名 歌 曲《 我

愛 你， 縱 使 我

不知道你是誰》

獻 聲， 一 同 參

與錄製的皆為

意大利最有聲

望 的 歌 手， 如

弗 朗 科． 巴 迪

亞托、魯齊奧．

達拉、馬西莫．

拉尼艾利、吉安尼．莫朗地及羅伯托．

費里等。2010 年 11 月，他受克里斯

蒂娜．普盧哈指揮的歐洲巴羅克管弦

樂團之邀，出任舞蹈員和演唱者，在

全歐巡迴演出傳統和巴羅克歌曲。

卡柏索圖與意大利導演克洛地奧．波

吉安尼一起創立了「意大利藝術共同

體」，這是一個囊括樂團、舞蹈公司及

戲劇公司的多元化平台藝術計劃。

除此之外，他亦曾經與「意大利藝術

共同體」一起於意大利阿拉鎮的巴羅

克音樂節及著名的威尼斯藝術雙年展

演出。

中譯：葛欣

Besides being an international dancer, Vincenzo Capezzuto is also a singer. He worked both as a dancer and a singer with Guido Morini and the Accordone Ensemble and with Marco Beasley in the show The Temptation of the Evil at the Mozarteum Theatre in the Salzburg Music Festival.

H e a l s o p e r f o r m s with L’ Arpeggiata, and features on the ensemble’s most recent recording Via Crucis. He also participated on the famous recording Ti amo anche se non so chi sei together with the most prestigious Italian singers such as Franco Battiato, Lucio Dalla, Massimo Ranieri, Gianni Morandi, Roberto Ferri.

In November 2010, he was invited as singer and dancer by the European Baroque Orchestra directed by Christina Pluhar, touring all across Europe, singing traditional and baroque songs.

Capezzuto created along with the Italian stage director Claudio Borgianni Soqquadro Italiano, a multi-platform arts project that stretches from being a music ensemble, a dance company to a theatre company.

With Soqquadro Italiano he performed at the Baroque Festival in Ala and in Venice for the prestigious Biennale di Venezia.

榮森佐．卡柏索圖

Vincenzo Capezzuto

次男高音 Contralto

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主席 Chairman查懋成先生 Mr Victor Cha

副主席 Vice Chairman梁靳羽珊女士 Mrs Leong Yu-san

委員 Members杜安娜女士 Mrs Igna Dedeu白碧儀女士 Ms Deborah Biber廖碧欣女士 Ms Peggy Liao黃慧玲女士 Ms Whang Hwee Leng

顧問 ADVISORS鮑　磊先生 Mr Martin Barrow, GBS CBE JP郭炳江先生 Mr Thomas Kwok, SBS JP李國寶博士 Dr The Hon David K P Li, GBM GBS JP梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP

名譽法律顧問 HONORARY SOLICITOR史蒂文生黃律師事務所 Stevenson, Wang & Co

核數師 AUDITOR羅兵咸永道會計師樓 PricewaterhouseCoopers

香港藝術節基金會 HONG KONG ARTS FESTIVAL TRUST

主席 Chairman霍　璽先生 Mr Angus H Forsyth

管理人 Trustees陳達文先生 Mr Darwin Chen, SBS ISO梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP陳祖澤博士 Dr John C C Chan, GBS JP

www.hk.artsfestival.org網上追蹤香港藝術節 Follow the HKArtsFestival on

奈吉爾．甘迺迪演奏會Nigel Kennedy Plays Bach

漢堡芭蕾舞團《 慾望號街車》The Hamburg Ballet - A Streetcar Named Desire

里昂歌劇院芭蕾舞團Lyon Opera Ballet

徹卡奧維《手塚》Sidi Larbi Cherkaoui TeZukA

《愛之初體驗》Journey to Home

《蜂》The Bee

節目1 Programme 1

節目2Programme 2

香港賽馬會當代舞蹈平台系列Hong Kong Jockey ClubContemporary Dance Series

香港賽馬會當代舞蹈平台系列Hong Kong Jockey ClubContemporary Dance Series

瑞信新晉藝術家系列CREDIT SUISSE EMERGING ARTISTS SERIES

琶音古樂團L'Arpeggiata / Christina Pluhar

京劇—馬連良紀念系列Beijing Opera -A Tribute to Laosheng Master Ma Lianliang

粵劇《搜書院》Cantonese Opera - Searching the Academy

香港小交響樂團《如夢逝水年華》Hong Kong Sinfonietta -La Valse Remembered

《六月戀人》June Lovers

《示範單位》Show Flat

《示範單位》Show Flat

《藝裳奇幻世界》World of WearableArt

《藝裳奇幻世界》World of WearableArt

《野豬》The Wild Boar

《野豬》The Wild Boar

《野豬》The Wild Boar

《4.48精神崩潰》TR Warszawa Theatre4.48 Psychosis

亞太舞蹈平台Asia Pacific Dance Platform

琶音古樂團L'Arpeggiata / Christina Pluhar

京士頓玫瑰劇院《不可兒戲》Rose Theatre -The Importance of Being Earnest

《山海經傳》Of Mountains and Seas

法國北方布夫劇場 - 彼得．布祿克的《魔笛》Theatre des Bouffes du Nord - A Magic Flute

《香港式離婚》（重演）The Truth About Lying (Re-run)

新民謠．中國風China Folk Rock

馬丁．史岱費爾德鋼琴獨奏會Martin Stadtfeld Piano Recital

巴維．哈斯四重奏Pavel Haas Quartet

石坂團十郎大提琴獨奏會Danjulo Ishizaka Cello Recital

粵劇 — 折子戲精選Cantonese Opera -Excerpts of selected repertoires

《機器人幻想曲》Sans Objet by Aurelien Bory

《布利斯托爾》老域劇團Bristol Old Vic Faith Healer

《布利斯托爾》老域劇團Bristol Old Vic Faith Healer

藝子與舞子The Geisha of Gion

白建宇 - 拉威爾鋼琴獨奏全集音樂會Kun Woo Paik Plays Ravel

卡麗塔．馬蒂娜女高音獨唱會Karita Mattila in Recital

約翰博士與Lower 911樂隊Dr John & The Lower 911

十六合唱團及古樂團 — 基斯杜化士The Sixteen - Harry Christophers

沙漠搖滾塔里溫Tinariwen

巴伐利亞電台交響樂團Bavarian Radio Symphony Orchestra

鄭明勳與皇家阿姆斯特丹音樂廳樂團Myung-whun Chung andthe Royal Concertgebouw Orchestra

巴伐利亞國立歌劇院《女人心》Bavarian State OperaCosì Fan Tutte

蒙地卡羅芭蕾舞團《仲夏夜之夢》Monte-Carlo Ballet - Le Songe

蒙地卡羅芭蕾舞團《仲夏夜之夢》Monte-Carlo Ballet - Le Songe

漢堡芭蕾舞團《馬勒第三交響曲》The Hamburg Ballet - Third Symphony of Gustav Mahler

香港中樂團「樂旅中國VI」Hong Kong Chinese Orchestra - Music About China VI

埃克森美孚新視野EXXONMOBILE VISION

周樂娉與周樂婷鋼琴二重奏音樂會Chau Lok-ping and Chau Lok-ting Piano Duo Recital邵俊傑與友人敲擊音樂會Louis Siu and Friends Percussion Recital

多米拿堤合唱團Dominante

《泰特斯》(2012)Titus Andronicus (2012)

香港藝術節委約及製作Commissioned and producedby the Hong Kong Arts Festival

多米拿堤合唱團 Chamber Choir Dominante周樂娉與周樂婷鋼琴二重奏音樂會 Chau Lok-ping and Chau Lok-ting Piano Duo Recital

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雜技 / 娛樂CIRCUS / ENTERTAINMENT

流行 / 爵士 / 世界 / 當代音樂POP/ JAZZ / WORLD/ CONTEMPORARY

戲劇THEATRE

歌劇OPERA

舞蹈DANCE

音樂CLASSICAL MUSIC

埃克森美孚新視野EXXONMOBIL SERIES

特別節目SPECIAL PROJECT

新銳舞台系列NEW STAGE SERIES

瑞信新晉藝術家系列CREDIT SUISSE EMERGING ARTISTS SERIE

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香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約Commissioned by the Hong Kong Arts Festival

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港文化中心音樂廳

Concert Hall,HK Cultural Centre

香港文化中心大劇院

Grand Theatre,HK Cultural Centre

香港文化中心劇場

Studio Theatre, HK Cultural Centre

香港大會堂音樂廳

Concert Hall,HK City Hall

香港大會堂劇院

Theatre,HK City Hall

香港演藝學院戲劇院Drama Theatre, HKAPA

葵青劇院黑盒劇場Black Box Theatre, Kwai Tsing Theatre

元朗劇院演藝廳Auditorium, Yuen Long Theatre

香港演藝學院香港賽馬會演藝劇院The Hong Kong Jockey Club Amphitheatre, HKAPA

沙田大會堂演藝廳Shatin Town Hall Auditorium

香港藝術中心壽臣劇院Shouson Theatre

九龍灣國際展貿中心匯星Star Hall, KITEC

葵青劇院演藝廳Auditorium, Kwai Tsing Theatre

香港演藝學院歌劇院Lyric Theatre, HKAPA

國際金融中心二期55樓 55/F, Two IFC

南蓮園池香海軒 Xiang Hai Xuan Multi-purpose Hall, Nan Lian Garden

藝術節加料節目 Festival PLUS

莫扎特歌劇全方位 All About Mozart’s Opera1-17/2 談談歌劇 Talk About Opera18/2 老師歌劇班 Opera for Teachers19/2 學生歌劇班 Opera for Students26/2 引入《女人心》 Before Così 26/2 「心」入後台 Backstage at Così26/12 費加羅的婚禮 Le Nozze di Figaro (The Marriage of Figaro)2/1 唐．喬望尼 Don Giovanni8/1 皇帝的慈悲 Mitridate, Re di Ponto (Mithridates, King of Pontus)15/1 魔笛 Die Zauberflöte (The Magic Flute)

舞蹈搜影 2 Dance on Screen 24/2 夢見巴別塔 Dreams of Babel5/2 零度複數 Zero Degrees5/2 縮影 Miniatures

舞蹈點滴 About Dance31/1 與約翰．紐邁亞對談 Meeting John Neumeier4/2 漢堡芭蕾舞團後台之旅 Backstage at The Hamburg Ballet9/2 里昂歌劇院芭蕾舞團的精髓 The Essence of Lyon Opera Ballet 3/3 蒙地卡羅芭蕾舞團後台之旅 Backstage at Les Ballets de Monte-Carlo11, 16/3 城市舞蹈 Urban Dance1/3 艾可．蘇布利陽托爪哇舞蹈工作坊 Eko Supriyanto Javanese Dance Workshop1/3 KENTARO!! Hip Hop 工作坊 Hip Hop Workshop2/3 亞太舞蹈平台演後藝人談 Asia Pacific Dance Platform — Meet-the-Artist (Post-Performance)

劇藝在校園 Theatre Into School10/12, 玩轉現實幻想曲: 2011 學校演出及2012公開演出25/2 Playing with Illusion and Reality: 2011 School Showcases & 2012 Public Showcase

香港劇場面面觀 Hong Kong Theatre Connection14/1 談野豬之道？ A Wild Talk10/2 《 野豬 》演後藝人談 The Wild Boar — Meet-the-Artist (Post-Performance)21/1 《示範單位》 不「是但」 The Making of Show Flat16/2 《示範單位》演後藝人談 Show Flat — Meet-the-Artist (Post-Performance)21/1 《愛之初體驗》公開圍讀 Journey to Home — A Play Reading12/3 黃詠詩新作圍讀展演 Wong Wing-sze’s New Work — A Play Reading

座談會 Symposium

大師班 Masterclasses17/2 卡麗塔．馬蒂娜歌唱大師班 Karita Mattila Voice Masterclass23/2 巴維．哈斯四重奏大師班 Pavel Haas Quartet Masterclass25/2 《彌賽亞》工作坊 Messiah — Workshop2/3 多米拿堤合唱團大師班 Dominante Choral Coaching Masterclass

藝術家全接觸 Artist Encounters14/1 百花：粵劇發展的黃金時代 Hundred Flowers – A Golden Era in the Development of Cantonese Opera21/1 藝裳奇幻之旅 A WOW Encounter30/1 邵俊傑敲擊樂示範講座及定音鼓槌製作工作坊 Louis Siu Percussion Lecture Demonstration & Timpani Mallet-making Workshop1/2 《不可兒戲》劇本誦讀 The Importance of Being Earnest — A Reading9/2 《六月戀人》演後藝人談 June Lovers — Meet-the-Artist (Post-Performance)12/2 京劇大師馬連良之藝術與人生 The Life and Artistry of Beijing Opera Grand Master Ma Lianliang12/2 談詩。談歌。談中國新民謠的一片天。 Chinese Folk Rock Music — An Artist Chat & Demonstration18/2 藝子與舞子演後藝人談 The Geisha of Gion — Meet-the-Artist (Post-Performance)25/2 《山海經傳》專家研討會 International Forum on Gao Xingjian’s Of Mountains and Seas25/2 高行健與林兆華 Meeting with Gao Xingjian & Lin Zhaohua2/3 跟布利斯托爾老域會面 Meeting Bristol Old Vic

展覽 : 香港藝術節四十年海報巡禮Exhibition: Showcasing 40 Years of Hong Kong Arts Festival Posters

電視特備節目 Festival on TV