Junichi Hirokami & Japan Philharmonic Orchestra "Opera Journey" Vol.1 Verdi: Opera "Un Ballo in Maschera" Press Conference Report
Junichi Hirokami & Japan Philharmonic Orchestra "Opera Journey" Vol.1 "Masquerade Ball"
Press Conference Report
A press conference was held at Tokyo College of Music on October 24, 2024. We would like to take this opportunity to thank the many people from the music and media industries who attended. Below is a report on the contents of the press conference.
Performance information here
https://japanphil.or.jp/japanphil_wp/opera-no-tabivol1
Toshikuni Hirai (Chairman of the Japan Philharmonic Orchestra)
Next April, the Japan Philharmonic Orchestra will begin a new project, "Opera Journey," in collaboration with Junichi Hirokami, Friend of the JPO (Artistic Advisor).
Inspired by Hirokami's passion for opera and his support for young musicians as an educator, this series will feature productions by Isao Takashima, presented in a semi-staged format that takes advantage of Suntory Hall's stage space and incorporates costumes and other elements. The first production will be Verdi's Un Ballo in Maschera, a memorable opera for Hirokami, as it was his first time conducting at the Sydney Opera House in 1989. We hope that orchestra fans will listen to this production as if it were a Verdi symphony for voices.
Looking back at the history of the Japan Philharmonic Orchestra's involvement with opera, we see the Japan premiere of Debussy's Pelléas et Mélisande (Fournet) in 1958, Salome (Gergiev) at the 485th Tokyo Regular Concert in 1996, and Les Swallows (Gelmetti) at the 555th Tokyo Regular Concert in 2003. In 2016, marking the orchestra's 60th anniversary, I was in the pit for the Fujiwara Opera Company's Carmen under the direction of then-Principal Conductor Kazuki Yamada. This was my first time in 28 years in the pit for a grand opera, and in May of the same year, then-Principal Conductor Pietari Inkinen performed the complete Das Rheingold at the Tokyo Bunka Kaikan, featuring the Bayreuth Singers. I was captivated by the allure of opera as a comprehensive art form, a genre that greatly expands the possibilities of the orchestra. However, due to the enormous amount of time and money required, we have not been able to continue with the independently managed orchestra, which performs 150 concerts per year, but we have decided to take on this new challenge once again ahead of our 70th anniversary in 2026. This would not have been possible without the ideas, connections, and passion of Junichi Hirokami and Isao Takashima.
Conductor Junichi Hirokami was formerly the Japan Philharmonic's Principal Conductor (September 1991 - August 2000), and has maintained a continuous and close relationship with the orchestra, appearing at its regular concerts every year since then. In 2021, he was appointed Friend of the JPO (Artistic Advisor). While he has provided us with great support in many ways, we discussed tackling a new project that would enable the Japan Philharmonic to take a major leap forward, and we have decided to take on this major challenge of an "opera journey" on our own.
Its predecessor was the opera "Pagliacci" at the Tokyo Subscription Concert in July 2023. With a lineup of world-renowned Japanese singers, I believe everyone was able to see the considerable power of the current Japan Philharmonic. Although they have only been in the pit a few times, I believe the sound of the Japan Philharmonic is actually well-suited for opera. The young, energetic wind instruments are also stable, making this one of the orchestras that best expresses its individuality. Together with Maestro Hirokami, I hope that through this project we can grow even further as an orchestra. Please keep an eye out.
Orchestras and opera companies have been putting on a string of noteworthy performances, and interest in opera is on the rise among classical music fans. In this context, Junichi Hirokami's "Opera Journey" represents a new challenge for the Japan Philharmonic Orchestra, and we hope to provide audiences with more opportunities to experience the joy of opera up close. Through this project, the orchestra will be able to experience director Takashima's artistic sensibility, receive great inspiration from the world-renowned singers, and, through the maestro and chorus, we are truly grateful to the Tokyo College of Music for providing us with the venue today. We are also fortunate to have the opportunity to gain valuable experience interacting with so many people, far more than we would with a symphony concert. While we are still starting from a relatively limited level of experience as an orchestra, we are determined to make this project a success with your support. We appreciate your continued support.
Junichi Hirokami [Friend of the JPO (Artistic Advisor)]
Thank you for joining us today.
As Chairman Hirai mentioned earlier, I am turning 66 this year, and while I have been involved with various orchestras, I feel that I have reached an age of responsibility. Looking back, I recall that when I won the Kirill Kondrashin International Competition held in the Netherlands in 1984, the chairman of the jury, Professor Bernard Haitink, said the following to me after the award ceremony:
He asked me, "How old are you now?" and I answered, "I'm 26." At the time, I couldn't speak much English, so we communicated in broken English, but he said to me, "I've been nurtured by the Concertgebouw Orchestra for 37 years. The time will soon come for me to leave this orchestra. However, as you grow as a conductor, there will surely come a time when you will feel grateful for having been nurtured by the orchestra. Keep that in mind. You don't know what kind of orchestra you will meet, but you are sure to meet such an orchestra."
Looking back, my debut at a regular concert with the Japan Philharmonic Orchestra was in 1988, but my encounter with them dates back even further, to 1982. The Tokyo International Conductors' Competition, held two weeks ago, was called the Japan Competition at the time, and the orchestra that performed in the final round was the Japan Philharmonic Orchestra. After that, I trained for a year with the Nagoya Philharmonic Orchestra under my mentor, the late Yuzo Toyama, before embarking on a life abroad. In 1988, after a five- or six-year hiatus, I made my debut at the Tokyo Bunka Kaikan, and I remember this as the beginning of my long history with the Japan Philharmonic Orchestra.
Since then, I have had connections with orchestras around the world and Japan, and even today, I continue to work with many orchestras, including those in Kanazawa. The Japan Philharmonic Orchestra is the orchestra that nurtured me, and now, at age 66, I am truly grateful for its existence. In my younger years, I sometimes acted imperfectly due to my inexperience, struggled to build strong bonds with the orchestra, and made several mistakes due to a lack of ability and experience. However, even through those times, this orchestra was the only one in the world that never forgot to invite me to perform with them every year. During our 42-year relationship, I have had the opportunity to perform with them every year for approximately 36 of those years. After my time as principal conductor, I was now named a "Friend of the JPO," which is a testament to my deep gratitude.
Now, with the remaining time as conductor, I am thinking about how I can give back to this orchestra in some way. One of those ways is to create an opera series that can be enjoyed casually in the wonderful acoustics of Suntory Hall, together with young talent and Japan's leading singers, which is a dream I have cherished for many years. I wanted to create a series that would be different from a grand stage, where you can feel the sincerity of the music in a casual atmosphere.
So, I began thinking about the idea for about 10 years ago, wondering if I could collaborate with my trusted teacher, Isao Takashima, and do something about it. Then, with the cooperation of the Japan Philharmonic Orchestra, we were able to realize "Pagliacci" (concert version) at their Tokyo subscription concert two years ago. As you mentioned, the Japan Philharmonic Orchestra is primarily a symphony orchestra, but the strength of their spirit when they perform operas, and the musical element of their unity with the singers, are imbued with the resilience that allowed them to survive despite financial difficulties and the warmth of their desire to nurture young conductors that I remember from when I first met them in 1982. I was deeply moved by this realization while conducting "Pagliacci."
If that's the case, then the next step is the stage.
This project is based on the conviction that we can showcase the orchestra's new talent and operatic expressiveness together with some of Japan's leading singers, creating a wonderful musical picture scroll. We hope that many people will take this opportunity to experience its charm.
I had the opportunity to meet Professor Takashima when I made my Tokyo opera debut at the Nissay Theatre, and he is a great mentor to me as an opera conductor. The Tokyo College of Music Choir, my alma mater, is now the only music university in Japan that can perform with a professional orchestra. Previously, the National University of Music and Musashino Academia Musicae also performed the Ninth Symphony with professional orchestras at the end of the year, a tradition that became a winter tradition in Japan, but this is no longer possible. However, Tokyo College of Music has continued to perform with the Japan Philharmonic Orchestra for 50 years, this year marking its 50th anniversary. When I enrolled in 1979, the late Professor Akio Watanabe suggested that the Tokyo College of Music Choir and the Japan Philharmonic Orchestra perform the Ninth Symphony.
This time, we once again invited the Tokyo College of Music Choir to participate, providing young students with the joy and opportunity to experience the sound of a professional orchestra and listen to the voices of some of Japan's leading singers. While Suntory Hall has excellent acoustics, it is not an opera house. Therefore, to ensure that regular concert-goers can enjoy the performance in a relaxed atmosphere, we have created a semi-staged production, incorporating costumes to create an operatic atmosphere. The goal of this project is to present a heartfelt, handcrafted opera within a limited budget. We hope that this project will mark a new step in the history of the Japan Philharmonic Orchestra.
On February 25th, Professor Takashima and I, who am also faculty members, will be giving a lecture on opera in collaboration with the Japan Philharmonic Orchestra at the Tokyo College of Music campus (Nakameguro). We hope you will enjoy this opportunity to learn about the background and highlights of the opera before attending the performance.*A lecture will also be held at the Asahi Culture Center on March 26th. Details will be announced as soon as they are decided.）
Thinking back, I recall something Professor Haitink said. He mentioned that the Concertgebouw symphony orchestra began performing an opera once a year at the Dutch National Opera House. This has continued since 1986. The Japan Philharmonic Orchestra is also expected to demonstrate high quality in both symphony and opera, and to be an orchestra that can convey the charm of these works to everyone. I hope you will take an interest in this opera project and participate.
Isao Takashima (director)
I am extremely honored to have been asked by Mr. Hirokami to direct the Japan Philharmonic's new project, "Opera Journey."
My first collaboration with Hirokami-san was after his return to the stage in Absconding from the Seraglio at Nissay Theatre, and we later performed together in The Clever Little Vixen. As I served as an artistic advisor at Nissay Theatre for many years, I asked Hirokami-san to conduct my subsequent Da Ponte trilogy and Ainadamar, and we have enjoyed a very long relationship. Since the New National Theatre opened, many activities have been carried out as part of efforts to popularize opera in Japan, and as Hirokami-san suggested, I feel it would be good to have a space where people can enjoy opera more casually, so I am delighted to be able to participate in this project.
As this performance will be an opera in a hall with good acoustics rather than an opera theater, I would like to focus on the sound and explore the possibilities of how far I can convey the image the composer intended. I have experience directing semi-staged operas organized by orchestras at NHK Hall and Tokyo Bunka Kaikan. I have also been involved in the New Year's Eve and New Year's concerts at Suntory Hall, but this will be my first time directing an opera. I would like to explore, together with Hirokami's suggestions, how far I can take directorial solutions in a space without stage equipment.
This time, we will also be incorporating costumes and lighting. With regard to the costumes in particular, we considered some that were conscious of the historical setting, but we were unsure whether there would be any meaning in simply putting costumes on an empty space, so we would like to explore new directions together with Sakurai-san, who is in charge of costumes. We will also be involving a choir, but there is limited space on stage for the choir to move freely. Therefore, we have asked Hirosaki Uran to choreograph the piece, and together we would like to explore what kind of expression is possible through movement.
Regarding the work Un Ballo in Mascherano, I was in charge of directing it in 2002 for the Aichi Arts Theatre's 10th anniversary, borrowing the stage sets and costumes from Italy. I think many people imagine a magnificent ball from the title of this work, and many productions have narrowed their focus too much to elements such as trust and betrayal, loyalty and rebellion, from the perspective of "human nature behind the masks," but I feel that this alone does not reach the deeper themes that Verdi wanted to portray.
I believe that another major theme that Verdi wanted to convey was "forgiveness." The development in which the protagonist, Riccardo, forgives his enemy at the final moment of his death depicts human destiny and the power of "forgiveness." In this hall, I aim to create a production that allows audiences to feel the depth of this destiny and the world of forgiveness.
Verdi himself was at the mercy of a difficult fate in his family life, losing his wife and children and leading an unhappy marriage. As a result, his works tend to reflect a darker side, but in Un Ballo in Maschera I have distanced myself from this sadness and taken the form of a love story. I would also like the audience to feel the love scene between the two leading actors participating today. I would also like to consider how I can present the final theme of "forgiveness" and create a work that will resonate with the audience.
This work also deals with the theme of assassination as a means of political change. Similar incidents have actually occurred in Japan and around the world in recent years, making it a timeless issue that is close to home for us today. Viewed as a historical drama, it may seem like a tale from the distant past, but the theme is actually directly relevant to the present day. I hope to be able to present a production in which "Masquerade Ball" is not simply a historical tale, but also depicts elements of fate that are relevant to the present day.
As Hirokami-san mentioned, Nissay Theatre has also been incorporating side programs. We hope to utilize these side programs to enable people to enjoy opera in a multifaceted way. We look forward to your continued support.
Eri Nakamura (role of Amelia)
My name is Eri Nakamura, and I will be playing the role of Amelia in Un Ballo in Maschera. I have previously performed with the Japan Philharmonic Orchestra in the Ninth Symphony, but this will be my first time performing with them in an opera production.
I am extremely honored and delighted to have been asked to play the lead role in the memorable first production of "Opera Journey." In reality, the lead role goes to Miyazato as Riccardo, and Amelia, though the heroine, is a supporting character. Political themes intertwine with domestic conflicts in the work, and Amelia's personal troubles lead to a major political drama, making it a highly dramatic piece. As Takashima mentioned, the work depicts themes that are relevant to us today, and I am working on it with great interest as a piece I can empathize with both musically and in terms of the characters.
As an opera singer active overseas, I have been asked in advance, "How is it performing in Japan?" My stance remains the same no matter where I am. I am proud to be performing at Suntory Hall, a place Japan is proud of. My colleagues overseas often praise Suntory Hall, and many also praise Japanese orchestras. However, I have also heard people say, "Even though Japan has excellent orchestras, there are few opportunities to see Japanese singers overseas." With so many halls and orchestras, I hope to further promote Japanese music from Japan. For example, with the increasing number of inbound tourists, providing English subtitles in the halls would help deepen understanding among overseas visitors interested in Japanese opera and classical music. I myself am a part-time lecturer at the Tokyo College of Music, where I occasionally teach international students. I hope that more foreigners will be able to enjoy opera in Japan. It can be difficult to understand an Italian performance with only Japanese subtitles. I would be happy if there were more opportunities to share the appeal of opera and music with people who happen to be in Japan for sightseeing. We believe it is important to continue to reach out to not only opera and orchestra fans in Japan, but also audiences from overseas, so we would appreciate the cooperation of members of the media.
We hope that the first instalment of the "Opera Journey" series will be a success and that it will continue to be a platform for young people to shine. We will do our best for the performance of "Un Ballo in Masquerade" in April, so we hope you will support us.
Naoki Miyazato (Riccardo)
I'm Naoki Miyazato, who will be playing the role of Riccardo. Last year, when I performed "Un Ballo in Mascherano" in Miyazaki with Professor Hirokami and Mr. Nakamura, I was reminded of the difficulty of the role. When asked what the highlight of the role was, I wanted to answer "everything." It's a role that requires constant singing, and it's a very challenging role for me. I remember singing desperately during last year's performance, encouraged by Professor Miyazato. He had said, "I'll do it again in two years," and now that we've confirmed our return with the Japan Philharmonic Orchestra in April, I feel a sense of urgency. At the same time, I'm also feeling a little bit of fear about the role, but I plan to approach it with a sense of joy and nervousness.
I've been given the opportunity to play bigger roles little by little, but I'm still not at the level of my seniors. I've heard that this performance is not in the format of a stage opera, but there are costumes and some movement, so I want to approach it seriously as an opera itself. This work is truly wonderful, with many moving scenes, so I want to do my best to convey its charm to the audience.
As this is Vol. 1 of the "Opera Journey," I believe it is our role to ensure that this performance is a success, so that we can move on to the next one, Vol. 2. We will do our best together with Professor Hirokami, Ms. Takashima, the Japan Philharmonic Orchestra, and the wonderful singers, so please support us.
-Q&A session
■Do you always feature Verdi, or does it change?
→Of course it changes.
■A question for Miyazato-san: Your parents are orchestra players, so how would you explain to an audience the difference in the listening experience between a performance with an orchestra in the pit and a semi-staged opera hosted by an orchestra?
→First of all, when the orchestra is onstage, I think it's great that you can see with your eyes which instruments are playing what. When an opera is performed in a concert hall like Suntory Hall, the sound that resonates throughout the hall is completely different. For that reason, as a singer, when the orchestra is onstage, I honestly sometimes worry about whether I can sing above the volume, but even so, in terms of a sense of unity, I feel that having the orchestra onstage is overwhelmingly better than having it in the pit. If you value the visual effect of the play, a pit may be better, but in terms of musical unity, I feel that having the orchestra upstage is superior.
■A question for Maestro Hirokami. Earlier, you mentioned the strength of the Japan Philharmonic Orchestra's spirit and its resilience to survive. I think opera has a very big presence.In our interview last month, we talked about the disaster-stricken areas of Noto, but this time I'd like to ask you about the impact your efforts have on the soul.
→Noto has experienced two major natural disasters in a row. The earthquake that occurred on New Year's Day caused heavy rain to be concentrated in areas that were particularly hard hit, which can only be described as a prank by the gods.
My role in Kanazawa and the work I should be working on with the Japan Philharmonic Orchestra are not the same. As an independently run orchestra that has warmly nurtured musicians and conductors in Japan, I am grateful that we have managed to survive resiliently even in these difficult circumstances. As someone who has been nurtured by this orchestra, I would like to give back.
Through this opera journey, I hope to help the Japan Philharmonic Orchestra demonstrate its incredible capabilities in the field of opera. The orchestra continues to provide support to the areas affected by the Great East Japan Earthquake. I believe that as an organization rooted in the local community, the consideration we musicians have for people's pain is important.
We need an attitude of "Let's join hands and help each other." As a symbolic attempt to help each other, I hope that this "Mascher Ball" will not only be a new operatic challenge for the Japan Philharmonic Orchestra, but also a major starting point for reaffirming the orchestra's incredible capabilities.
■A question for Takashima-san: Did you ever consider setting the story in modern-day Tokyo?
→In fact, I think that such a reinterpretation is possible. However, in order to fully understand the theme of this story, I believe that if we were to reinterpret it, we would need to give the clothing a different level of recognition. For that reason, we decided not to go in that direction this time.
However, the costumes have not yet been finalized, but we will not simply bring in historical items. We would like to reflect historical elements and symbolic aspects that represent social status in the costumes, but we also want them to be somewhat fashionable, and we would like to pursue the perspective of "Wouldn't it be nice to have people like this in Tokyo today?"
Photo: Hotta Rikimaru
