閉幕節目Closing Programme

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南非 South Africa

南非 South Africa

17-18.11.2017 五 Fri - 六 Sat 8pm 19.11.2017 日 Sun 3pm

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

英語和科薩語演唱，附中英文字幕 In English and Xhosa with Chinese and English surtitles

節目全長約 2 小時 30 分鐘，包括 20 分鐘中場休息 Programme duration is approximately 2 hours 30 minutes with an intermission of 20 minutes

11 月 18 日設演後藝人談，由趙伯承主持 Meet-the-artist session after the performance on 18 November hosted by Patrick Chiu

歡迎觀眾留步參與 All are welcome to participate

場地規則 House Rules

各位觀眾：

為了令大家對今次演出留下美好印象，在節目開始前，請關掉手提電話、其他響鬧及發光的裝置。同時請勿在場內飲食或擅自攝影、錄音或錄影。多謝合作。

Dear Patrons,

In order to make this performance a pleasant experience for the artists and other members of the audience, please switch off your mobile phones and any other sound and light emitting devices before the performance. We also forbid eating and drinking, as well as unauthorised photography, audio and video recordings in the auditorium. Thank you for your co-operation.

歡迎你對所觀看的節目或「世界文化藝術節 2017 ─躍動非洲」發表意見，讓我們在未來安排節目時，能精益求精！請登入網址 www.worldfestival.gov.hk，在「意見表」一欄留言。我們非常重視你的寶貴意見。多謝！

You are welcome to send us your comments on the programme(s) attended or the ‘World Cultures Festival 2017-Vibrant Africa’ in general to enhance our future programming. Share your views with us by filling in our ‘Feedback’ form online at www.worldfestival.gov.hk. Your opinion is much appreciated. Thank you.

場刊回收 Recycling of House Programmes

閣下若不欲保留本節目場刊，請交到場地入口處，以作循環再用。多謝合作。If you do not wish to keep this house programme, please return it to the admission point after the performance for recycling. Thank you.

如遇特殊情況，主辦機構保留更換演出者及節目的權利。The presenter reserves the right to substitute artists and change the programme should unavoidable

circumstances make it necessary.

本節目及場刊所載的內容及資料由表演團體提供，不反映康樂及文化事務署的意見。The programme as well as the content and information contained in this house programme are provided by the arts group and do not represent the views of the Leisure and Cultural Services Department.

閉幕節目Closing Programme

與 開普敦愛樂樂團 和 開普敦歌劇院合唱團 聯合演出With Cape Town Philharmonic Orchestra and Cape Town Opera Chorus

威爾士千禧中心 聯合製作Co-produced by Wales Millennium Centre

三幕歌劇連序幕An Opera in Three Acts with a Prologue

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曼德拉 Mandela Trilogy

創作團隊 Creative Team作曲 Composers Péter Louis van Dijk ( 第一、三幕 Act 1, 3) Mike Campbell ( 第二幕 Act 2)導演 / 文本 Director / Librettist Michael Williams指揮 Conductor Tim Murray設計 Designer Michael Mitchell燈光設計 Lighting Designer Kobus Rossouw編舞 Choreographer Sibonakaliso Ndaba合唱團團長 Chorus Master Marvin Kernelle

演出 Cast曼德拉 Mandela 3 Mandla Mndebele白人 / 警察 Whiteman / Policeman Johannes Slabbert / Arthur Swan曼德拉 Mandela 1 Thato Machona 儀式歌者 Praise Singer Sandile Sikhosana 宙斯提斯 Justice Lukhanyo Moyake 母親 Mother Tina Mene 攝政王 Regent Mandisinde Mbuyazwe曼德拉 Mandela 2 Musanete Sakupwanya 侯德斯頓 Huddleston Brian Notcutt 守衛 Guard Niel Roux 多莉 Dolly Candida Mosoma / Zolina Ngejane伊芙蓮 Evelyn Pumza Mxinwa 雲妮 Winnie Siphamandla Yakupa / Philisa Sibeko宙斯提斯（後備）/ 群眾演員 Justice understudy / Ensemble Mlungiseleli Nqadini攝政王（後備）/ 群眾演員 Regent understudy / Ensemble Lindile Kula Jr記者 / 群眾演員 Journalist / Ensemble Mthunzi Mbombela

開普敦歌劇院合唱團 Cape Town Opera Chorus女高音 Soprano Bukelwa Velem Babongile Manga Jodi Khan女中音 Mezzo Soprano Jacqueline Manciya女低音 Alto Danielle Speckman男高音 Tenor Andile Tshoni Simphiwe Mayeke Xolane Madalane低音 Bass Nkosana Sitimela Paul Madibeng男中音 Baritone Luvo Tamba後備演員 Understudies曼德拉 Mandela 3 Mandisinde Mbuyazwe曼德拉 Mandela 2 Luvo Tamba曼德拉 Mandela 1 Thando Mpushe儀式歌者 Praise Singer Xolane Madalane母親 Mother Pumza Mxinwa侯德斯頓 Huddleston Alan Swerdlow

開普敦愛樂樂團 Cape Town Philharmonic Orchestra第一小提琴 First Violin Patrick Goodwin ( 樂團首席 Concertmaster) Emina Lukin Annien Shaw Maretha Uys第二小提琴 Second Violin Michéle Williams Milena Toma Renée Vd Westhuizen中提琴 Viola Azra Isaacs Radomir Cermak大提琴 Cello Eddie McLean Dane Coetzee 低音大提琴 Double Bass Zanelle Britz 低音大提琴及低音電結他 Double & Electric Bass Roxane Steffen長笛 Flute Louisa Theart 雙簧管 Oboe Carin Bam單簧管 Clarinet Annelize De Villiers巴松管 Bassoon Simon Ball 法國號 French Horn Lubomir Petic Mark Osman 小號 Trumpet Pierre Schuster Paul Chandler ( 樂團經理 Orchestra Manager)長號 Trombone Slavomir Mrazik 定音鼓 Timpani Christoph Müller敲擊樂 Percussion Eugene Trofimczyk Stephan Galvin主音結他 Lead Guitar Philip Vermeulen*鋼琴 / 鍵盤 Piano / Keyboard Samantha Riedel*

* 客席樂手 Guest Musicians

製作團隊 Production Team助理導演 Assistant Director Alan Swerdlow助理指揮 Assistant Conductor Marvin Kernelle製作經理 Production Manager Ivor Cloete音響設計 Sound Design Marcel Bezuidenhout, Maria Vermeulen舞台監督 Production Stage Manager Carine Bothma藝團經理 Company Manager Niel Roux助理舞台監督 Assistant Stage Manager Donovan Kleinhans服裝 Wardrobe Nasreen Nasiep琴師 Pianist Samantha Riedel

中文字幕翻譯 Chinese Translation of Surtitles 李正欣 Joanna Lee 梁麗瑜 Ciris Leung

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第二幕

1955 年。曼德拉和侯德斯頓神父在前往歐典影院途中被警方截查。侯德斯頓神父介入調停，警員最後同意放行。到達戲院後，曼德拉隨即就國民黨政府的嚴刑峻法發表演說。警察進場中止集會，並拘捕了一名參與者。

位於索菲亞鎮的 Jig 俱樂部人聲鼎沸。多莉向曼德拉講述自己即將被逐出索菲亞鎮的消息。多莉問曼德拉，面對驅逐令，社區居民可以做些什麼。無牌酒館裡的人大多希望與政府軍對抗，但曼德拉堅持他們應繼續和平抗爭。他們的對話被曼德拉的妻子伊芙蓮打斷。她斥責曼德拉長期不回家。

沒有人可阻止驅逐行動。Jig 俱樂部被關閉，人們被逐出索菲亞鎮。曼德拉向多莉保證，即使他們的關係經已告終，非洲人國民大會仍會照顧她。多莉堅稱曼德拉生命中的「新女人」不會長久。伊芙蓮離開曼德拉，對婚姻破裂感到遺憾；雲妮描述她與曼德拉首次約會的情景。

人們在克力普頓聚集，收聽審批《自由憲章》的消息。曼德拉呼籲大家以書面方式提交《自由憲章》。曼德拉向雲妮求婚，並提醒她在獲得自由之前，兩人需要作出很多犧牲。警察進場中止會議，並以嚴重叛國罪拘捕在場人士。

中場休息二十分鐘

第三幕

1960 年至 1994 年。曼德拉在利弗尼亞審判中發表辯辭。他被判處終身監禁。雲妮．曼德拉到羅本島探望他，告訴他自己正被保安部門監視。曼德拉收到母親和長子不幸離世的消息。政府不讓他出席兩人的喪禮。

曼德拉轉往波爾斯穆爾監獄服刑。六名囚犯質問曼德拉是否企圖與政府對話。他們告訴曼德拉，雲妮的受歡迎程度與日俱增，而她正呼籲發動武裝起義。曼德拉要求與妻子見面。雲妮到獄中探望，兩人對抗爭手段展開爭論。

曼德拉在保安警察陪同下到開普敦各處視察，為獲釋安排做好準備。被獨留車上期間，他考慮逃走。「白人」歡迎他來到維克托．韋斯特監獄，這個讓他重獲自由前的中轉站。曼德拉其後獲釋，並在開普敦舉行的大遊行中，以自由人的身份首次演說。

故事大綱

序幕

1976 年。「白人」（司法部長）到羅本島監獄探訪曼德拉，向他提出釋放條件，就是要求他退隱故鄉特蘭斯凱，成為剛成立的班圖斯坦黑人自治區公民。曼德拉拒絕了這項交易，並憶起自己年輕時離開家鄉的情景。

第一幕

1934 至 1941 年。年輕的曼德拉與童年玩伴兼堂兄弟宙斯提斯從象徵成年的割禮上回來，受到泰姆布族族人歡迎。曼德拉的母親憶述兒子小時候的情形。攝政王講述族中首位自由鬥士麥漢達的故事。麥漢達敗給英國人，被囚禁於羅本島。雖然他成功越獄，但卻在游往大陸的途中溺斃。攝政王告訴兩位年輕人，有朝一日，麥漢達的精神必將回歸，為科薩族帶來自由。

曼德拉被黑爾堡大學開除，攝政王按傳統分別為宙斯提斯和曼德拉安排婚姻大事。兩名少年決定逃離家鄉。他們偷走了攝政王的牛，向約翰內斯堡進發。

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Synopsis

Prologue

1976. The Whiteman (Minister of Justice) visits Mandela in his cell on Robben Island and offers him freedom if he will retire to the Transkei and accept citizenship of the recently formed Bantustan. Mandela refuses the offer and remembers how he left his village when he was a young man.

Act 1

1934-1941. The young Mandela and Justice, his cousin and childhood friend, return from their initiation rites and are welcomed by members of the Thembu tribe. Mandela’s mother remembers her son as a young boy. The regent recounts the story of the first freedom fighter, Makhanda, who was defeated by the British and imprisoned on Robben Island. Makhanda escaped from the island but drowned while swimming towards land. The chief reminds the boys that one day the spirit of Makhanda will return and bring freedom to the Xhosa nation.

Mandela is expelled from the University of Fort Hare and the regent arranges traditional marriages for Justice and Mandela. The two young men decide to run away from the village. They steal the regent’s cattle and go to Johannesburg.

Act 2

1955. Mandela and Father Huddleston are interrogated by the police en route to the Odin Cinema. Father Huddleston intervenes and the police allow them to proceed. Once inside the cinema, Mandela gives a speech about the draconian laws of the National Party government. The police disrupt the meeting and arrest an activist.

The Jig Club in Sophiatown is in full swing. Dolly confides in Mandela about her imminent forced removal from Sophiatown. Dolly asks Mandela what the community should do about their eviction notices. Many in the shebeen want to fight the government forces but Mandela insists that they continue with peaceful protest. Their conversation is interrupted by Evelyn, his wife, who berates Mandela for his absence in her life.

No one can stop the eviction. The Jig Club is closed down and the people are forced out of Sophiatown. Mandela assures Dolly that even though their relationship is over, the African National Congress will take care of her. Dolly insists that the “new woman” in Mandela’s life won’t last; Evelyn leaves Mandela and regrets the break-up of her marriage; Winnie describes her first date with Mandela.

People gather to hear the ratification of the Freedom Charter at Kliptown. Mandela calls for written submissions for the Freedom Charter. Mandela asks Winnie to marry him, reminding her that they will have to make sacrifices before freedom is achieved. The police move in to disrupt the proceedings and arrest those gathered on charges of High Treason.

Intermission of 20 minutes

Act 3

1960-1994. Mandela delivers his speech at the Rivonia treason trial and is sentenced to a lifetime in prison. Winnie visits him on Robben Island, telling him that she is being watched by the Security branch. Mandela receives news that his mother and his first-born son

have died. The government will not allow him to attend their funerals.

Mandela is moved to Pollsmoor Prison. Six fellow prisoners question him about his desire to talk to the government. They

tell him about Winnie’s growing popularity and her calls for a violent insurrection. He demands to see his wife. Winnie visits Mandela and they argue about her methods of resistance.

In preparation for his freedom, Mandela is shown around the Cape under the watchful presence of the security police. He is left alone in the car and contemplates escaping. The Whiteman welcomes him to Victor Verster Prison–halfway between prison and freedom. Mandela is released and makes his first speech as a free man on the Grand Parade in Cape Town.

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編劇的話

《曼德拉》是為開普敦歌劇院劇季所編撰的作品，當年適逢南非主辦 2010 年國際足協世界盃。可惜的是，雖然曼德拉先生曾收到這個製作的錄影光碟，但卻沒有到現場欣賞演出。如果他曾觀看演出，不知道他對我們用音樂劇 / 歌劇來演繹他的故事有什麼想法？曼德拉於 2013 年 12 月 5 日與世長辭。自此，這個製作便於世界各地巡演，包括德班、卡迪夫、約翰內斯堡、慕尼黑、拉文納、修咸頓、伯明翰、都柏林、曼徹斯特、杜拜和香港公演。節目繼續上演，他的精神長存。

過去二十年，我為多部歌劇和音樂劇場作品創作劇本。我從事創作的唯一目的，就是展現我們南非人的特質。我大部分的劇本都是回應後種族隔離時代的南非（1990-2010）所經歷的社會轉變。建立國民身份、平反錯誤歷史、黑人平權等，都是我聚焦的重要議題。這段時期，南非社會似乎著力於撥亂反正、為當下找尋出路，以及為長遠發展建立基礎。這些歌劇創作於南非風雨飄搖之際，既是一種回應，也是一種機緣。而黑人社區內傑出的歌唱人才，令我如虎添翼。但演員陣容由白人變成多以黑人為主，我們欠缺適合這些歌手演唱的南非歌劇曲目。

在細閱過無數關於尼爾遜．曼德拉生平的傳記後，我認為作品應分為三個部分。第一部分於特蘭斯凱發生，第二部分在索菲亞鎮，而第三部分則以他在羅本島、波爾斯摩爾和維克托．韋斯特三個監獄服刑的經歷為焦點，最後以他獲釋出獄作結。三部曲的每個部分都會聚焦於某個決定性時刻，以突顯這位偉人的性格，以及他如何在磨難中奮勇向前。

曼德拉在被囚禁期間與執政國民黨多位成員的對話，緊扣著這三個部分。他與「白人」之間的多段對話，前後相隔了二十七年，這些對話反映出曼德拉的種族和解理念如何逐漸成形，以及南非白人在看待「恐怖分子 / 共產主義者」這個議題上出現了什麼轉變。曼德拉從成年禮上回來後接受攝政王的訓話，攝政王指出「科薩民族精英」注定徒勞無功，因為他們永遠都會為白人打工，做些低下工作。聽到這番話，年輕的尼爾遜有如醍醐灌頂。想到鄉土生活在本質上的種種限制，他決定拒絕王室安排的婚姻，偷走了攝政王的兩頭牛，並向城市出發。在翻閱曼德拉 1930 年代在特蘭斯凱生活的資料時，知悉他視麥漢達為英雄。麥漢達是科薩人首位自由鬥士，也是第一批被囚於羅本島的政治犯。曼德拉與他心目中的英雄遭遇到同一命運，可說是一大諷刺。這一點也深深吸引著我。

1955 年清拆索菲亞鎮的行動令曼德拉意識到，國民黨政府的極權勢力終將扼殺所有抗議，而非洲人國民大會必須肩負起它對南非的使命。聽過美莉音．馬卡貝、非洲墨點、曉．馬塞克拉和托特．馬施奇扎的音樂後，我知道第二幕應該以爵士樂音樂劇來表達，背景設在驅逐前夕的索菲亞鎮市中心。米克．坎貝爾為幾首 1950 年代的流行民歌重新編曲，並為發生在電影院、無牌酒館和塵土飛揚的克力普頓一幕重新譜曲。感謝艾斯美．馬施奇扎對舊人舊事鉅細無遺的耐心描述，將我帶回索菲亞鎮昔日的繁華時光。三部曲的第三部分以歌劇形式表達。這一幕由利弗尼亞審訊展開，直至 1991 年獲釋前，講述曼德拉在南非三座監獄中度過的二十七年牢獄生涯。這一幕的重點，是他與妻子雲妮之間逐漸惡化的關係，以及他如何與孤寂角力。彼得．路易斯．梵迪克創作的歌唱部分和管弦伴奏令人印象深刻，為三部曲帶出了恰到好處的澎湃高潮。

曼德拉獲釋二十三年後，《曼德拉》在威爾士千禧中心完成了短暫的英國劇季演出，這時候我認為劇本有需要再作修改。重寫第一幕時，我加入了曼德拉和監獄守衛兩位敘述者，並著意縮減了演員和樂隊陣容，令作品少了大型歌劇的味道，更貼近音樂劇場作品。

曼德拉曾說過：「自由的用途，是為其他人締造自由。」雖然這位一代偉人已離我們而去，我們仍可透過這些雋語，追慕他的偉大精神。

米高．威廉斯

Writer’s Note

Mandela Trilogy was written to be part of Cape Town Opera’s season, which coincided with South Africa hosting the FIFA World Cup in 2010. Unfortunately Mr Mandela never attended a live performance, though he did receive a recording of the production. If he did indeed watch the show, I wonder what he might have thought of our efforts to create a musical/opera on aspects of his life? He passed away on 5th December 2013 and since then the production has toured to Durban, Cardiff, Johannesburg, Munich, Ravenna, the UK and Ireland, and now in Dubai and Hong Kong. The show goes on; his legacy endures.

Over the past two decades, I have created the libretti for numerous operas and musical theatre works with the single purpose of expressing our South Africaness. The writing of most of these libretti took place as a response to the social changes underway during the early years of post-apartheid South Africa (1990-2010). Issues of national identity, acknowledgement of history denied, and social acceptance of black people as fellow South Africans were all important concerns. During this period South African society seemed preoccupied with making peace with its troubled past, negotiating its way through the present and attempting to set foundations for a sustainable future. The timing of the creation of these operas, written during this emotionally charged crucible in our history, was both reactive and serendipitous. The existence of exceptional operatic vocal talent among the black community spurred me on. What was lacking, however, was a suitable South African operatic repertoire for these singers, given the sudden transformation of casts from being mostly white to casts being mostly black.

As I read the numerous biographies on Nelson Mandela’s life I felt the three-part structure of the work reveals itself. The first part would take place in the Transkei, the second part in Sophiatown and the final part would deal with his incarceration in three prisons: Robben Island, Pollsmoor and Victor Verster, and end with his release. Each part of the trilogy would highlight a defining moment that would reveal both the character of the man and the struggles of his life. The conversations Mandela had with various members of the ruling National Party during his incarceration became the glue that joined the three parts together. Conversations with the Whiteman, spaced over a period of 27 years, explores the development of Mandela’s philosophy of reconciliation and depicts the changing attitude of white South Africans towards the “terrorist/communist”.

On Mandela’s return from his initiation he was confronted by his regent who suggested that the “flowers of the Xhosa” nation would come to nothing as they would forever be doing the menial work required by white men. The young Nelson was so struck by this speech, and the limiting nature of his rural life, that he turned down the offer of an “arranged marriage”, stole two of the regent’s cattle and headed for the city. Reading about life in the 1930’s in the Transkei I was struck by Mandela’s hero-worship of Makhanda, the first freedom fighter of the Xhosa people who was also one of the first political prisoners incarcerated on Robben Island. That Mandela should suffer from the same fate as his hero, was an irony I could not resist.

The demolition of Sophiatown in 1955 made Mandela aware that the draconian powers of the National Party government would eventually stifle all protest and the African National Congress’ mission in South Africa had to be awakened. After listening to the music of Miriam Makeba, the African Inkspots, Hugh Masekela and Todd Matshikiza, I knew that

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Act 2 had to be a jazz musical set in the heart of Sophiatown on the eve of the removals. Mike Campbell arranged a few of the popular folk songs from the 1950s and was able to add several original compositions to an act that takes place in a movie house, a shebeen and the dusty field at Kliptown. I am indebted to Esme Matshikiza’s impeccable memory and her gentle guidance of my journey back to Sof’town. The third part of the trilogy finds its expression through the form of opera. The act begins with the Rivonia trial and explores Mandela’s 27-year journey through three South African prisons until his release in 1991. At the heart of this act is the deteriorating relationship with his wife Winnie and the battle he had with loneliness. Péter Louis van Dijk’s impressive vocal writing and orchestral accompaniment deliver a suitably powerful climax to the trilogy.

It has been 23 years since Nelson Mandela was released from prison and with the success of our short UK season at Wales Millennium Centre, I felt Mandela Trilogy needed to be revised one more time. The inclusion of two narrators–Mandela and the Prison Guard–a rewriting of Act 1 and the pairing down of both cast and orchestral forces meant that work is now less grand opera and more musical theatre.

Mandela said, “The purpose of freedom is to create it for others.” In a world which no longer benefits from his presence, may these words long remind us of his great spirit.

Michael Williams

作曲家的話

《曼德拉》是我作曲事業上引以為傲的作品。在學生時期創作首部歌劇起的四十年後，有機會創作一部以曼德拉為主角、歌頌這位民族英雄的舞台作品，令我非常興奮。他作為一個男人、一位丈夫和父親，內心的堅強和軟弱、喜樂和絕望，令我深感共鳴。當我創作他在獄中頌唱的詠嘆調時，我對他律己嚴明、真誠正直和寬宏大量，由衷折服，更為他所承受的不公義、長期監禁的錯判，堅忍不屈的尊嚴，以及他最終重獲自由而感觸落淚。

相對於第三幕和序幕充滿戲劇性的安排，第一幕充滿青春氣息：成年禮一幕（「我是個男人……我明白長矛鋒刃的痛楚」），結合了傳統科薩語成年禮的歌曲、鼓樂、舞蹈、棍技，還有曼德拉的夢想和失望，由「生命之旅開啟了……」，推進至這部動人歌劇的高潮：出獄丶在巿政廳發表演說的尾聲（「就是今天…」），以及他對民族和世界啟迪人心的願景：「我們統一！」

彼得．路易斯．梵迪克第一幕及第三幕

為《曼德拉》第二幕作曲是一段很有趣的經歷。我在裡面結合了一些重新編曲和改編的南非經典曲調，並加入我自己的創作，以當時的音樂和流行文化讓這部分故事活起來。

第二幕糅合了不同風格，展現了各主要表演者的獨有特質。我認為在為大都會的觀眾創作作品時，大可在歷史 / 理論準確性上留些空間，從而帶出更能代表當代的聲音，突顯劇團、獨奏家和管弦樂團的廣度。《曼德拉》各幕在聲音、觀感和感覺上都有著整體的多元性，所以這個方向似乎合適，我相信效果也是不錯的。爵士、原住民音樂，甚至一點點百老匯元素和舞蹈，都出現於我為第二幕創作的樂曲：所有元素都跑進南非音樂的「大熔爐」,在索菲亞鎮以至更早的時代，尼爾遜．曼德拉和他的同代人都應該曾享受過這種音樂。

雖然第二幕大部分情節都是輕鬆的，為這個課題撰文時，我的心情卻特別沉重。我很榮幸能夠參與創作這部作品，並見證它在藝術上的不斷演變和發展。

米克．坎貝爾第二幕

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Composers’ Notes

Composing the music for Mandela Trilogy has been a highlight of my creative career. Forty years after composing my first opera as a student, I was as excited as ever for the opportunity to create a stage work with Nelson Mandela as the hero–and indeed, he became my hero too. I have lived with his strengths and weaknesses, his joys and his despair–as a man, a husband and a father. As I wrote his prison aria, I wept for the injustice, the ridiculousness of being wrongfully incarcerated for so long, for his dignity–in awe of his self-discipline and single-mindedness, his ability to forgive those who had persecuted him and his eventual liberation.

Where Act 3 and the Prologue are more overtly dramatic, Act 1 is filled with youthful exuberance, through the rite of passage in the Initiation scene, (“I am a man… I know the pain of the blade of the assegai”), the integration of traditional Xhosa initiation songs, drumming, dancing, stick-fighting, the dreams and the disappointments of Madiba from “My journey has begun…” to the climax of this moving story with his release from prison and the City Hall speech Finale (“Time has come…”) and his inspirational vision for the nation and the world: “We are One!”

Péter Louis van DijkAct 1 and Act 3

Composing music for Act 2 of Mandela Trilogy has been an interesting experience because it has combined arrangements and adaptations of some iconic tunes from South Africa’s history with my own compositions, all bringing to life this part of the story in character with the music of that period and popular culture.

There are a few different styles in Act 2, highlighting the distinctive qualities of the principal performers. I felt that playing to a cosmopolitan audience, some latitude could be given to historical/theoretical accuracy in favour of a more contemporary sound that would feature the broad range of the company, soloists and orchestra. Mandela Trilogy has an overall diversity in sound, look and feel between the different acts, so this approach seemed appropriate, and I believe has worked well. Jazz, indigenous music and even a little Broadway and dance found its way into my score for Act 2: all have gone into the “melting pot” of South African music, certainly that which would have been enjoyed by Nelson Mandela and his contemporaries during the time of Sophiatown and beyond.

There is a particular gravity in writing on this subject, even in a light-hearted way as in much of Act 2. I am honoured to have been part of this production, which has continued to develop and grow creatively over time.

Mike CampbellAct 2

關於開普敦歌劇院 About Cape Town Opera

開普敦歌劇院是非洲首個歌劇團，過去十年除南非本國，足跡亦遍及英國、法國、德國、瑞典、瑞士、西班牙、肯尼亞、阿根廷、荷蘭、挪威、以色列、愛爾蘭、意大利、美國和澳洲，深受世界各地觀眾歡迎。歌劇團集合了南非最優秀的歌劇人才，合唱團榮獲英國國際歌劇大賽 2013「年度合唱團」榮譽。開普敦歌劇院亦是南非一個重要的歌劇人才培訓機構。在南非國內，歌劇院除了演出種類繁多的歌劇、輕歌劇和音樂劇選曲（由蒙台威爾第、揚納切克和蓋希文，以至本地委約新作），亦為鄉郊和年輕社群提供接觸歌劇的機會。自 2005 年以來，開普敦歌劇院已推出多部巡演作品，向世界各地的觀眾展示歌劇院一眾傑出的歌劇人才和該團的獨特藝術造詣。

Africa’s premiere opera company, Cape Town Opera, has thrilled audiences around the globe for the past decade, from its home soils in Southern Africa to countries including the UK, France, Germany, Sweden, Switzerland, Spain, Kenya, Argentina, The Netherlands, Norway, Israel, Ireland, Italy, the USA and Australia. The company boasts a talented core of singers who won the Best Chorus at the 2013 International Opera Awards. The company’s South African base is a key training ground for talented young African singers. Maintaining an impressively varied repertoire of opera, operetta and musicals at home (from Monteverdi to Janáček and Gershwin to new South African commissions), the company also engages widely with rural communities and young people around South Africa. Since 2005, the company has showcased its finest vocal talents in a roster of touring productions which have brought the art of this unique company to the world.

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米高．威廉斯 Michael Williams 導演 / 文本 Director / Librettist

米高．威廉斯是一位獲獎作家，先後於美國、歐洲和南非出版了十二部小說。他也是一位出色的歌劇導演，並創作多部原著歌劇並撰寫文本。威廉斯曾為特明赫的三部歌劇撰寫文本，包括開普敦歌劇院的《以諾，上帝的先知》和《聖骨》，以及由比勒陀利亞國家劇院委約的三幕歌劇《布朱蘭德》。其他作品包括《乳鳥》、《七頭蛇》、《月亮之子》、《愛與青葱》（以扎克斯．姆達的《死去的方法》為藍本），並與艾倫．史提芬遜合力創作《貢布孤兒》、《誰殺了占美．華倫天奴 ?》及《美妙的邪惡》，後三部作品均先後登上南非國家藝術節、各鄉鎮禮堂、學校和劇院等大大小小的舞台。威廉斯曾獲瑞典諾爾蘭歌劇院委約，為拉爾遜 - 歌德的《詩人與女先知》創作文本，作品於 2008 年在于默奧作世界首演，然後在南非巡迴演出。由諾爾蘭歌劇院委約的第二部作品《象人》（尤蘭達 - 沙林）2011年再於于默奧作世界首演，並於瑞典各地巡演。《曼德拉》由威廉斯一手包辦故事、文本及導演工作，該劇於 2011 年在德班及約翰內斯堡巡演，贏得娜妮迪戲劇獎最佳音樂劇榮譽。該歌劇 / 音樂劇於 2012 年在卡迪夫的威爾士千禧中心作歐洲首演。在本年度，他亦為在開普敦首演再移師威爾士千禧中心的音樂劇《老虎灣》創作文本。威廉斯在南非所有主要城市執導過多部歌劇作品，現為開普敦歌劇院總經理。

Michael Williams is a prize-winning author of twelve novels published in the USA, Europe and South Africa. He is an accomplished opera director and has written the book and lyrics for several indigenous operas. He wrote the libretti for three Temmingh operas, Enoch, Prophet of God and Sacred Bones, which were mounted by Cape Town Opera and the three-act Buchuland , commissioned by the State Theatre, Pretoria. He wrote the book and lyrics for The Milkbird, The Seven-Headed Snake, Child of the Moon, Love and Green Onions (based on Zakes Mda’s Ways of Dying ) and collaborated with Allan Stephenson on The Orphans of Qumbu, Who Killed Jimmy Valentine? and Wonderfully Wicked which have been variously performed at the National Arts Festival, in township halls, schools and theatres throughout Southern Africa. He was commissioned by NorrlandsOperan, in Sweden, to write the libretto for Poet & Prophetess (Larsson-Gothe) which had its world première in Umeå and toured to South Africa in 2008. His second commission from NorrlandsOperan–The Elephant Man (Unander-Scharin)–had its world première in Umeå 2011 before touring Sweden. He wrote the book and lyrics and directed Mandela Trilogy which toured to Durban and Johannesburg in 2011 and won the Naledi Award for Best Musical. The opera/musical had its European première at the Wales Millennium Centre in Cardiff in 2012. He also wrote the libretti for Tiger Bay The Musical , which premièred in Cape Town and opened at the Wales Millennium Centre this year.Williams has directed many operas in all the major cities in South Africa and is currently the Managing Director of Cape Town Opera.

彼得．路易斯．梵迪克 Péter Louis van Dijk

彼得．路易斯．梵迪克是一位指揮家、教育家和作曲家，筆下合唱作品獲世界各地選演，包括《視野》（英皇合唱團）、《鐘》（芝加哥兒童合唱團）、《戰車》（德州合唱團及NMMU 合唱團）、《因音貝茲》（弦樂四重奏）、六部歌劇、兩部芭蕾舞劇、配樂，當中合唱與管弦樂團作品包括《畢來梅的音樂家》、《自私的巨人》、《跟著笛子！》、《青春安魂曲》、《林居人啟發的聖歌莉亞》以及《風城之歌》（由芝加哥兒童合唱團為慶祝創團五十周年委約，為獨奏家、混聲合唱團、兒童合唱團和管弦樂團創作的作品，於芝加哥抒情歌劇院演出）。梵迪克並曾為多首非洲歌曲編寫管弦樂版本。2010 年 11 月，其以探討排外為主題的歌劇《時間不足》（開普敦大學創校一百五十周年誌慶委約作品）在

開普敦享負盛名的百克斯德劇院首演。關於曼德拉生平的歌劇《曼德拉》則分別於 2011年 7 月和 8 月在德班戲劇院劇院及約翰內斯堡蒙地賭場首演。近期參與項目包括為德州州立大學舉行的音樂會以及灌錄其主要作品的工作提供指導；在於京國際合唱聯盟世界合唱節，以其合唱作品舉辦工作坊。另為大主教德斯蒙德．杜圖在其清唱劇《自私的巨人》中擔任旁白的工作提供協助（該劇於 2013 年在斯泰倫博斯國際室內樂音樂節上亮相）。梵迪克音樂專輯多達十多張，目前在伊莉莎白港尼爾遜曼德拉都市大學任作曲及配器導師。

Péter Louis van Dijk is a conductor, educator and internationally performed composer with choral works such as Horizons (for the King’s Singers), Bells (Chicago Children’s Choir), Chariots (Texas State Chorale and NMMU Choir), iinyembezi (string quartet), six operas, two ballets, incidental music, choral-orchestral works including The Musicians of Bremen, The Selfish Giant, Follow that Flute!, Youth Requiem, the Bushman-inspired San Gloria and Windy City Songs for soloists, mixed choir, children’s choir and orchestra, commissioned by the Chicago Children’s Choir for their 50th Anniversary at the Lyric Opera, Chicago. He has also done numerous orchestral arrangements of African songs. In November 2010 his opera on xenophobia, Out of Time (commissioned for the University of Cape Town’s 150th anniversary) was premièred to great acclaim at the Baxter Theatre in Cape Town. This was immediately followed by Mandela Trilogy, an opera on the life of Nelson Mandela which premièred at The Playhouse, Durban and Montecasino, Johannesburg in July/August 2011. Recent projects include overseeing concerts and major recordings of his works by Texas State University and in Beijing, China where he presented a workshop on his choral works at the IFCM World Choral Summit. He assisted Archbishop Desmond Tutu who appeared as narrator in his cantata, The Selfish Giant, at the Stellenbosch International Chamber Music Festival in 2013. Van Dijk has more than a dozen CDs to his credit and currently teaches Composition and Orchestration at the Nelson Mandela Metropolitan University in Port Elizabeth.

米克．坎貝爾 Mike Campbell Composer 作曲（第二幕 Act 2）

米克．坎貝爾是南非其中一位最多產和最富經驗的爵士樂作曲家。他的大樂隊和交響樂團編曲作品在多個舞台、電台及電視的現場演奏及錄音中演奏。曾先後於南非、歐洲和美國擔任作曲、編曲、指揮和樂隊領班，並於開普敦大學音樂學院創辦了爵士樂研究課程。坎貝爾現任開普敦大學的副教授及爵士樂課程主任。

Mike Campbell is one of South Africa’s most prolific and experienced music writers in the jazz idiom. His arrangements for big band and symphony orchestra have featured in many live and recorded productions for stage, radio and television. He has worked as a composer, arranger, conductor and bandleader in South Africa, Europe and the USA, and established the Jazz Studies Programme at the University of Cape Town’s College of Music, where he holds the position of Associate Professor and Head of Jazz.作曲 Composer（第一、三幕 Act 1 & 3）

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門德拉．伍德貝拉 Mandla Mndebele 飾 曼德拉 Mandela 3

門德拉．伍德貝拉生於普馬蘭加省塞昆達，十三歲展開歌唱事業。他 2009 年在 Thomas Nhlabathi See 中學畢業後，在 SASCE 比賽上勇奪全國冠軍。2009 年在茨瓦尼科技大學修讀歌劇文憑課程，師承皮埃爾．杜托德。曾以黑領帶樂團和非洲歌劇團的合唱團成員身份參與多場音樂會演出，並參演《鄉村騎士》、《卡門》、《歌劇喝彩》和《雲妮歌劇》（布簡尼．奈杜丹娜．布蓮）等歌劇作品。2013 年參與了開普敦愛樂樂團的演出，為觀眾呈獻海頓的《尼爾遜彌撒曲》、貝多芬的《第九交響曲》，以及約翰．波塔與友人音樂盛會。曾擔演的主要角色包括《波基與貝絲》的皇冠、《唐．喬望尼》的唐．喬望尼、《卡門》的唐卡羅、《弄臣》的馬拉羅、《魔笛》的帕帕基諾、與開普敦歌劇院及開普敦大學合作的《摩洛哥的名信片》中拿著鞋子樣本的男人、《茶花女》的傑蒙、《馬拉維的快樂寡婦》的子鐸酋長，以及《曼德拉》中的曼德拉 3 等。伍德貝拉現為開普敦歌劇院的合唱團成員，師從歌唱指導家佐治．史蒂芬斯。伍德貝拉曾先後於 ATKV 音樂大賽以及 2017 年的漢斯．加布爾國際歌唱大賽中贏得季軍。

Mndebele was born in Secunda Mpumalanga and started singing at 13. He completed high school training at Thomas Nhlabathi See School in 2009 and became national champion at the SASCE Competition. He studied for his Diploma in Opera at Tshwane University of Technology under Pierre du Toi and then worked with Black Tie Ensemble and Opera Africa as chorus member doing concerts and the operas such as Cavalleria rusticana, Carmen, Opera Bravo and Winnie the Opera (Bongani Ndodana Breen). In 2013, he performed in Haydn’s Nelson Mass, Beethoven’s Symphony 9 and Gala Concert with Johan Botha and Friends with the Cape Town Philharmonic Orchestra. His principal roles include Crown in Porgy and Bess , Don Giovanni in Don Giovanni , Doncaire in Carmen, Marallo in Rigoletto and Papageno in Die Zauberflöte, Man with Shoe Samples in Postcard from Morocco with Cape Town Opera in collaboration with University of Cape Town, Giorgio Germont in La Traviata, Chief l’Zitho in The Merry Widow of Malagawi and Mandela 3 in Mandela Trilogy. Mandla is currently part of the Cape Town Opera Studio under vocal coach George Stevens. He won the third prize in both the ATKV Muziqanto Competition and the 2017 International Hans Gabor Belvedere Singing Competition.

穆桑納特．薩古班雅 Musanete Sakupwanya 飾 曼德拉 Mandela 2

穆桑納特．薩古班雅於津巴布韋出生及成長，後因熱愛歌唱而前往南非學習爵士樂演唱。曾於南非各地演出，與查爾．杜佩里斯三重唱合演《蓋希文的歌書》，作品並灌錄成唱片。薩古班雅亦曾與首都交響樂團以及尼坦尼爾、科利亞和瑪德．美娜等藝人同台演出，合演流行曲、爵士樂及古典音樂作品。現為「搖滾比利烏雅」和「現代派」兩個機構樂團的成員，演出的音樂包羅萬有。薩古班雅也是音樂劇《喚我回家》演出班底的一分子，為該部於 2017 年 8 月上演的原創音樂劇擔任主角。

Born and bred in Zimbabwe, Musanete Sakupwanya came to South Africa to study Jazz vocals after discovering his passion for singing. He has performed across South Africa in Gershwin Songbook with Charl Du Plessis’ Trio, an album was also recorded. He has shared the stage with the Capital Symphony Orchestra and artists like Nataniel, Corlea, & Magdalene Minnaar to sing popular, jazz, and classical music. Sakupwanya is currently a member of two corporate bands, The Rockabilly Ravens and The Modernettes, singing a vast array of music. He is also part of the original Calling Me Home musical cast, and plays a lead role in his musical début in August 2017.

薩圖．馬兆那 Thato Machona 飾 曼德拉 Mandela 1

薩圖．馬兆那持有開普敦大學深造文憑，師承維珍尼亞．戴維斯及卡默爾．漢，並繼續隨佐治．史蒂芬斯學藝。曾參演開普敦歌劇院多部製作，主要角色包括唐尼采蒂《愛情靈藥》的杜卡馬拉、威爾第《奧賽羅》的蒙泰諾、莫扎特《費加羅的婚禮》的巴以托洛、比才《卡門》的莫拉萊斯、伯恩斯坦《大溪地風雲》的森、《蓋希文的波基與貝絲》的占、費雷沙律師和禮儀師，先後於英國倫敦大劇院、威斯巴登、波爾多和馬德里等地演出。曾擔演的其他角色包括浦契尼《波希米亞生涯》的舒奥納和《曼德拉》的曼德拉 1，並曾與西奧多．庫查爾和菲臘．布洛尼爾等指揮家合作。

Thato Machona obtained his post graduate diploma from the University of Cape Town under the tutelage of Virginia Davids and Kamal Khan and continues his coaching with George Stevens. He performed in Cape Town Opera’s productions as Dulcamara in Donizetti’s L’elisir d'amore , Montano in Verdi’s Otello , Bartolo in Mozart’s Le nozze di Figaro , Morales in Bizet’s Carmen , Sam in Bernstein’s Trouble in Tahiti , Jim, Lawyer Frazer and Undertaker in The Gershwins’ Porgy and Bess , at the Coliseum in the UK, Wiesbaden, Bordeaux and Madrid. Other roles include Shaunard in Puccini’s La bohème, Mandela 1 in Mandela Trilogy , working with conductors including Theodore Kuchar and Philip Brunelle.

（中文翻譯由語文翻譯服務提供）

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