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Special notice


The Hong Kong Philharmonic Orchestra, Music Director Jaap van Zweden, our Board of Governors as well as the administration put the health and well-being of our audiences, players and staff at the forefront of our priorities. Like most cultural organisations, we have made major adjustments to our regular activities in order to accommodate these exceptional circumstances. 

We continue to liaise closely with our performance partners and venues to ensure appropriate arrangements for the remainder of our 2019/20 season. Please visit our website and Facebook page for relevant announcements. 

We very much look forward to seeing you in our concert hall in the near future, sharing our exceptional music-making and the energy that you, our audience, brings to each performance. In the meantime, stay home and stay well.



“(Die Walküre, Beijing Music Festival) This co-production of Die Walküre was certainly one of the most memorable ones in my life as intendant. 50 years after the original premiere in Salzburg you [Jaap van Zweden] conveyed Karajan‘s spirit to Beijing in a deeply moving way. Thank you for joining this project with the wonderful Hong Kong Philharmonic Orchestra. Your conducting was so energetic, idiomatic and transparent and you really deserve this triumph!”

Professor Peter Ruzicka, Managing Director and Intendant of the Salzburg Easter Festival
Oct 2017

“(Die Walküre, Beijing Music Festival) The Hong Kong Philharmonic Orchestra’s intense, five-hour rendition of Richard Wagner’s Die Walküre (“The Valkyrie”) left classical-music lovers breathless, but yearning for more during Tuesday’s performance at the Beijing Poly Theater… Conductor Jaap Van Zweden’s sense of pacing and drama never falters.”

Poornima Weerasekara, Caixin Global News
Oct 2017

“(Bruckner 8, Beijing Music Festival) Throughout the symphony, conductor and orchestra kept their poise, moving from one passage to the next with fluidity and great care. The highlight of the evening was the brass playing, where van Zweden exerted a panoply of expressive tone colours, vivid dynamics and bright contrasts to make his points. It drew comparisons to the landmark performance of the Vienna Philharmonic Orchestra under Carlo Maria Giulini or, more recently, that of the Montreal Metropolitan Orchestra under Yannick Nézet–Séguin. In Beijing’s Poly Theatre, orchestral sounds had to be calibrated as much as possible to counter the dry, sub-optimal acoustics. In the famous Adagio, the dryness of sound was exacerbated by the string sections delivering a timid, lukewarm performance; van Zweden regularly signalled the strings for greater vibration but the outcome varied. The Finale, with its magnetic buoyancy and brassy statements pointing to the wide-open gates of the Almighty, provokes an imagery of limitless boundaries.”

Lam Pak Ling, Seen and Heard International
Nov 2017