"Silence, Love and Death - A creative stage production that combines Noh and opera" Enjoy the fusion of stories that transcend genres at Kanagawa Art Hall
"Silence, Love and Death - A creative stage performance that combines Noh and Opera" Performance Details
[Date and Time] Saturday, August 7, 2021, 3:00 PM - 5:00 PM (live streaming)
[Streaming URL] https://www.youtube.com/watch?v=ykdgnhWYbTY (Archived streaming)
[Cast]
Part 1
Kamakura Noh Stage Public Interest Foundation
Nakamori Kanta (shite), Tomisaka Kara (child actor), Fukuo Kazuyuki (waki)
Shintaro Sugi (Noh flute), Yotaro Uzawa (small drum), Hirotada Kamei (large drum), Akiyoshi Sawada (taiko drum)
Kanze Yoshimasa (Jigashira)
Part 2
Singers affiliated with the Japan Opera Association
Ryoko Sunagawa (Sop. Shizuka), Yumiko Mukaino (M.Sop. Zen Master of Iso), Ryoichi Nakai (Ten. Yoshitsune),
Kenji Moriguchi (Br. Yoritomo) Akemi Yamada (20-string koto)
Akiko Sakurai (Satsuma Biwa), Kaho Tosha (small drum), Yuko Tanaka (conductor)
Kanagawa Philharmonic Orchestra (Public Interest Incorporated Foundation)
Regarding sold tickets
Regarding refunds for purchased tickets, please contact the contracted operator of this project,
The Kanagawa Philharmonic Orchestra, a public interest incorporated foundation, will contact you individually.
[Planned event method]
Held at the Kanagawa Prefectural Civic Hall (3-1 Yamashita-cho, Naka-ku, Yokohama) with paid audience.
[Changed holding method]
The event will be live-streamed free of charge on the day. The streaming schedule is subject to change.
Please check this page for the latest distribution information.
In the run-up to the Tokyo 2020 Games, the Tokyo Organising Committee of the Olympic and Paralympic Games, a public interest incorporated foundation, is collaborating with national and local governments, cultural organizations and others to hold the Tokyo 2020 NIPPON Festival across the country, which will promote the power of Japanese culture and art both domestically and internationally.
Kanagawa Prefecture is also taking part in the co-sponsored program of the Tokyo 2020 NIPPON Festival, and on August 7th, a performance will be held, planned and produced by the Kanagawa Philharmonic Orchestra, where visitors can enjoy the charm of a comprehensive art form that combines the classical Japanese performing art of Noh with the Western performing art of opera.
The story, based on the legend of Minamoto no Yoshitsune, will be performed in two parts, set in the charming ancient capital of Kamakura, one of Kanagawa Prefecture's most popular tourist areas.
The first part is a digest version of the Noh play "Funabenkei," and the second part is a digest version of the opera "Shizuka and Yoshitsune."
The biggest highlight is that the time between the Noh performance in the first half and the opera in the second half is connected.
The first half of the Noh performance depicts the separation between Shizuka Gozen and Yoshitsune, and then the story develops into the opera "Shizuka and Yoshitsune."
Noh and opera, two completely different genres, come together on one stage, with the protagonist weaving the story...it is no exaggeration to say that this is the entire reason why this production is considered a "fusion."
"Noh is a pure performing art that dislikes mixing, making it a noble world where it is difficult to perform with other genres. This time, we have performed together with the shite actor Nakamori Kanta in the past, and we carefully discussed the fusion parts so as not to violate the taboos of Noh, and as a result, we were able to make this performance a reality."
Toru Sakakibara, Music Director of the Kanagawa Philharmonic Orchestra and producer of this project, said:
"Funabenkei" is a story created about 500 years ago based on the Tale of the Heike and Azuma Kagami.
"Shizuka and Yoshitsune" is a Japanese opera produced and performed in 1993 as the opening work of the Kamakura Performing Arts Center, by the collaboration of Japan's proud lyricist Nakanishi Rei and the internationally acclaimed composer Miki Minoru, who represents not only Japan but Asia as well.
These two stories will truly be "connected" in this performance, and I would like to convey to everyone as much as possible how precious and valuable this is, including the highlights.
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First, let me tell you the story behind the creation of the Japanese opera "Shizuka and Yoshitsune."
Even if you're not particularly a history buff, I think most Japanese people know the tragic love story of Shizuka Gozen. In 1993, Nakanishi decided to create the opera "Shizuka and Yoshitsune," bringing this story to life as a stage production, commissioned to commemorate the opening of the Kamakura Performing Arts Center, the setting of this tragic love story. At the time, Nakanishi said, "My intention was to give it life, voice and movement, make snow fall and bells ring, and imagine a world so real it could be mistaken for reality." And to compose the work, which was essential in literally breathing life into it, Nakanishi chose Minoru Miki, with whom he had worked the previous year on the epic opera "Wakahime," based on ancient Japan, and whose talent he had admired.
Based on his belief that Japanese history and culture themselves have international relevance and deserve to be recognized overseas, Miki has declared the creation of operas set in Japan to be his "life's work," and has continued to lead the way in Japanese opera. As his "life's work," Miki spent 37 years tracing back Japan's history spanning over one thousand years, exploring the spirit of each era and completing a magnificent series of nine operas depicting the history of Japan that beautifully express the unique beauty of each era.
Among these are "Shunkin Sho," which was his debut work with the Japan Opera Association, and "Ada" and "Joruri," which he produced in collaboration with a famous British director and which made Japanese opera well-known and established around the world.These works are widely screened as part of his early modern trilogy, and are still loved and highly acclaimed around the world today.
His subsequent overseas commission, Ai-en, which is popular in English-speaking countries, was performed at the New National Theatre, achieving the remarkable feat of being the first Japanese opera performed by a foreigner at the Heidelberg Opera House in Germany in the 110-year history of Japanese opera.
In 1964, Mr. Miki participated in the formation of the Japanese Music Group, an ensemble of traditional Japanese instruments, and composed many pieces for these instruments, becoming a pioneer in reviving the appeal of so-called folk instruments in modern Japanese music.
His focus on Japanese musical instruments extended beyond composition to the development of the 20-string koto, which expanded from 13 strings to 20 (later to the new 21-string koto), a koto with the expressive power suitable for modern music.
This development was a groundbreaking event that brought a new trend to the history of Japanese music and brought innovation to the techniques of playing Japanese instruments.
Miki's works are not limited to Western sounds; they also skillfully incorporate Japanese sounds from the koto and various other Japanese instruments, earning him high praise both at home and abroad for his unique and established style.
What do you think of the opera "Shizuka and Yoshitsune" created by these two great masters of traditional Japanese theatre? It is a work of such grandeur that it makes you shiver just thinking about it.
And finally, 26 years after its premiere in 1993, this long-awaited revival of this masterpiece was finally realized in 2019 by General Director Aiko Gun. Gun, who played the role of Zen Master Iso in the premiere, successfully realised the revival of this beloved masterpiece two years ago.
The three characters in the main performance in August, Yoshitsune, Zen Master Iso, and Yoritomo, are a repeat performance from two years ago.
Ryoichi Nakai as Minamoto no Yoshitsune and Kenji Moriguchi as Minamoto no Yoritomo
The lead role of Shizuka is played by Kyoko Sunagawa, a prima ballerina of the Japan Opera Association and one of Japan's leading sopranos. Her dramatic dancing and singing portrayal of a Shirabyoshi dancer, a woman, and someone who continues to yearn for her beloved is a must-see.
Akemi Yamada, who plays the 20-stringed koto, has also been a performer since the premiere. Her koto performance beautifully blends and blends in with the Western instruments, creating a uniquely Japanese worldview.
Soprano Ryoko Sunagawa as Shizu
As Nakanishi mentioned above, the love story of Shizuka and Yoshitsune is told through beautiful, refined Japanese and music, resulting in a work that is extremely tragic yet very delicate and full of life.
This is a creative stage production that weaves together two stories on the themes of "love and death" between two people.
In the first half of the piece, "Funabenkei," Yoshitsune embarks on a romantic escapade with his concubine Shizuka Gozen in order to get away from his estranged brother, Minamoto no Yoritomo. The journey is filled with difficulties, but they are unable to overcome them and the two finally face the threat of separation at Omonoura. This powerful yet fleeting farewell dance expresses the love and sadness of the two who must be separated. This dance connects time to the second part, and this is the highlight. What kind of direction is used to connect them?
At the beginning, I mentioned that this connection, or "fusion," as it were, is the greatest attraction of this performance. If I were to tell you all about its charms here, it would take half the fun away, so let me just give you a hint.
The link between the two worlds is the Shirabyoshi dance, which Shizuka inherited from her mother, the Zen priest Iso, and which was the catalyst for her falling in love with Yoshitsune. This is Shizuka's identity in the other world.
We hope you will enjoy the entire performance, from the final farewell dance in the first half to the second part, Hachiman Shrine Shizuka's Dance.
Another attraction of this production is that it is packed with ingenious ideas that anyone can enjoy, such as the inclusion of a biwa player who plays the role of a "storyteller," a person who effectively carries the scenes in the digest version, and who plays the lute.
Even the highlight performances in the large hall are designed to be easy to watch, with the performers displayed on a sub-screen and subtitles supplementing the story to make the protagonist's emotional changes easier to understand.
Twenty-stringed koto (koto) by Akemi Yamada; small drum by Kaho Tosha
And finally, lighting. It is a very important element that gives time and light to the stage, and expresses the space and characters more emotionally.
"The lighting, which is fully installed from the first act onwards, is not of the classical solemn style of Noh, but is modern and witty, designed to suit the drama. In particular, the second act depicts the beauty of Shizuka, who ascends to heaven with Yoshitsune once again in fulfillment, from the wintery Mount Yoshino to the spring-like Tsurugaoka Hachimangu Shrine, amid falling snow," said Sakakibara.
This play transcends genres, countries, and even eras, and is based on the theme of "love and death," which is the most universal and eternal theme for humans, and especially for those of us living today.
In times like these, why not visit and nourish your soul with some wonderful food?
Regarding the press conference announced on Tuesday, June 1, 2021, "Shizuka, Love and Death - A Creative Stage Performance Combining Noh and Opera" (scheduled to be held on August 7, 2021), in order to prevent the spread of COVID-19 within the prefecture and to ensure a safe and secure environment, the event will be held without an audience and will be live-streamed (free of charge).
