2015年9月アーカイブ
2015年9月30日
2015年9月29日
Introduction
A Rare Opportunity to Hear the Chicago Symphony Orchestra outside Its Home City!
The Chicago Symphony Orchestra (CSO) is celebrating its 125th anniversary in 2016. The glorious history of the CSO was forged under the direction of many famous conductors. During its first 60 years, the CSO came to be known as America's premier orchestra, and in one fell swoop in the 1970s, it rocketed to the level of a world-class orchestra. Sir Georg Solti, appointed as music director in 1969, was a driving force in this success. Solti added an additional layer of polish to the already potent ensemble and powerful sound of the CSO, displayed in the CSO's ability to outstrip even the Berlin and Vienna Philharmonics. Solti also organized its first European and Japanese tours. More than a few nostalgic Japanese fans will well remember the popularity of Solti and the CSO during that period. One of Solti's merits was actively welcoming conductors with styles different from his own, such as Claudio Abbado and Carlo Maria Giulini. Each member of the CSO possessed soloist-level abilities, and this led to its supple and elegant beauty. Daniel Barenboim followed Solti as musical director, further succeeding in enhancing the CSO's presence as one of the three major orchestras in the world.
Riccardo Muti currently holds the position of CSO music director. The CSO is one of the three major orchestras in the world, and among those three is considered the most fruitful and stable. During the five years since Muti's inauguration, the CSO has captivated fans around the world through its many performances, and it has undertaken several world tours, including a performance in Russia, as well as live broadcasts that bring the CSO into the digital age. In the past, citizens of Chicago celebrated the triumphant return of the CSO under Solti's direction with a great parade. Now, Muti's CSO is planning a Japan/Asia tour that is sure to eclipse even the great age of Solti's CSO.
Photo:Todd Rosenberg
â Program
Monday, 18 January 2016, 7:00pm
Ludwig van Beethoven: Symphony No.5 in C Minor, Op.67
Gustav Mahler: Symphony No.1 in D Major "The Titan"
Tuesday, 19 January 2016, 7:00pm
Sergei Prokofiev: Symphony no.1 in D Major "Classical" Op.25
Paul Hindemith: Konzertmusik für Stteichorchester und Blechbläser Op.50
Peter Tschaikovsky: Symphony No.4 in F Minor, Op.36
2015年9月24日
2015年9月22日
Program
Photoï¼Bill Cooper
Bye
| Choreographyï¼ | Mats Ek |
| Musicï¼ | Ludwig van Beethoven Piano Sonata No.32 In C Minor Op.111Arietta |
Sylvie Guillem
First performed in Stockholm in 2010, then in Tokyo the following year, AJÃ (Bye) is a solo dance created for Guillem and choreographed by modern ballet wunderkind Mats Ek. Guillem amazes the audience with superhuman movements too numerous to count as she appears to toy on stage with video images of herself. The dance depicts one woman's spiritual development through a personal dialectic, concluding with uplifting emotional revelation. The title overlaps with Guillem's own farewell, suggesting that there will be hardly a dry eye in the theater.
Photoï¼Bill Cooper
Here & After
| Choreographyï¼ | Russell Maliphant |
| Musicï¼ | Andy Cowton |
Sylvie Guillem, Emanuela Montanari
Guillem commissioned choreographer Russell Maliphant to collaborate on this new dance in the Life in Progress program--the first time for them to work together since Laurence Olivier Award-winning Broken Fall. The pas de deux between two female dancers is a first for Guillem. Maliphant's exemplary dances are energetic, yet leave an impression of tranquility. Here & After is no different, starting from the delicate movements of two female dancers, then gradually growing more dynamic by turns.
Photoï¼Bill Cooper
Technê
| Choreographyï¼ | Akram Khan |
| Musicï¼ | Alies Sluiter |
Sylvie Guillem
It was little surprise that Guillem chose Akram Khan, her collaborator from Sacred Monsters, to create a new work for her farewell tour. Khan has garnered international acclaim for his unique dances based on classical Indian Kathak dance, known for its nimble turns. The up and coming Khan was also the choreographer for the London Olympics' Opening Ceremony. With technê, Khan's characteristic movements are utilized, while Guillem's ecological concerns were the motivation behind creating the work. The opening scene illuminates a lone tree, bereft of life. Guillem dances around the tree, imploring over an unnamed subject.
Duo (new 2015 version)
| Choreographyï¼ | William Forsythe |
| Musicï¼ | Thom Willems |
Brigel Gjoka, Riley Watts
A duet with male dancers, choreographed by Forsythe. The pair dance in silence with similar, yet subtly different movements.
Photoï¼Dominik Mentzos
In the Middle, Somewhat Elevated
| Choreographyï¼ | William Forsythe |
| Musicï¼ | Thom Willems ((in collaboration with Les Stuck) |
The Tokyo Ballet Premiere
First staged by the Paris Opera Ballet in 1987, then incorporated as one of the discrete parts of the four-act Impressing the Czar the following year, the work showcases poses with impact and power, sharp lines stretching to their limit, bold and scintillating technique from classical dance, and ferocious energy switching directions instantly. This will be the first staging by the Tokyo Ballet, motivated by Guillem's advice that the Tokyo Ballet include works by Forsythe. The illustration is from the staging by Ballet Frankfurt.
Photoï¼Kiyonori Hasegawa
Dreamtime
| Choreographyï¼ | Jiri Kylian |
| Musicï¼ | Toru Takemitsu |
The Tokyo Ballet
For Dreamtime's music, Kylian turned to Toru Takemitsu, a composer he has deeply respected from some time. Attending an Aboriginal music ceremony on Groote Eylandt in Australia's Northern Territory left the two artists with a sacred experience that produced this work, whose title refers to folklore handed down by the Aborigines from generation to generation. This will be the first performance of Dreamtime in 15 years.
Riccardo Muti
Riccardo Muti is Free from the Title "Emperor"
Riccardo Muti served as music director of Milan's La Scala from 1986 - 2005, and it was probably then he came to be known as the "Emperor." During his time at La Scala, he pushed for strong reforms that saw La Scala become the "Palace of Italian opera halls," and in both name and reality, Muti's rejuvenating achievements were a great part of that. In the 10 years since Muti left La Scala, he has found a pure love of music and now pours all his energy into creating and enjoying music, unlike when he reigned as the Emperor. This may be because he is trying to communicate things he heard while he was with the Philharmonia and Philadelphia Orchestras, such as dynamism, pleasant tension, and propulsive power. Muti's fundamental talent and storied career blended to produce a fertile and pure music after he threw off the shackles of being the Emperor.
Currently, the CSO is following the maestro's thinking and is pursuing a pure sound. There is no doubt that it has become a great orchestra.
It is said that Muti's decision to serve as music director of the CSO resulted from his receiving a great number of letters and signatures from its members. There was great anticipation for Muti's inauguration in the autumn of 2010. In January 2009, the Verdi Requiem concert was completely sold out, and not even sponsors were able to obtain tickets. As a result, they attended a specially held public rehearsal; if a Verdi specialist such as Muti conducted, that would be enough. Muti's repertoire with the CSO is extensive. The 2015/16 season celebrating the CSO's 125th year will see performances from French Baroque to contemporary American, including Charpentier, Mozart, Beethoven, Brahms, Tchaikovsky, Prokofiev, Ginastera, Bruckner, Ligeti, and Coriano. In addition, in 2016, a concert performance of Falstaff, associated with the 400th anniversary of Shakespeare's death, will also be held. In continuation of the 2011 performance of Othello and the 2013 performance of Macbeth, Verdi specialist Ricardo Muti's plan is to complete the project of presenting Verdi's Shakespearean operas.
Since he's been free of the pressure of being the Emperor, Muti has effortlessly directed America's prestigious orchestra and released one tour de force in the history of the CSO after another, similar to the frontier that Verdi reached in his later years. Muti's flexibility, scale of magnitude, and glorious power of expression reminds one of the words of John Cocteau, "Beauty appears easy."
Photo:Todd Rosenberg
2015年9月21日
Schedule
Date
Wednesday 16 December 2015, 7:00p.m. (Additional Performance)
Thursday 17 December 2015, 7:00p.m.
Friday 18 December 2015, 7:00p.m.
Saturday 19 December 2015, 2:00p.m.
Sunday 20 December 2015, 2:00p.m.
Program
Bye
Choreographer:Mats Ek
Silvie Guillem
Technê
Choreographer:Akram Khan
Silvie Guillem
Here & After
Choreographer:Russell Malifant
Emanuela Montanari
Duo
Choreographer:Willam Forsythe
Brigel Gjoka
Rily Watts
In The Middle, Somewhat Elevated
Choreographer:Willam Forsythe
The Tokyo Ballet
DREAMTIME
Choreographer: Jiri Kylian
The Tokyo Ballet
Cast
Sylvie Guillem
Emanuela Montanari
Brigel Gjoka
Rily Watts
The Tokyo Ballet
Venue
Tokyo Bunka Kaikan (Ueno)
Admission (tax inclusive)
| Category S | S=Â¥19,000 |
| Category A | A=Â¥17,000 |
| Category B | B=Â¥15,000 |
| Category C | C=Â¥10,000 |
| Category D | D=Â¥8,000 |
| Category E | E=Â¥6,000 |
All tickets go on sale at 10:00 AM on September 26! SOLD OUT
- Please note that children under elementary school age cannot be permitted in the theatre.
- Once tickets have been paid for, tickets cannot be cancelled or exchanged.
Sylvie Guillem Final Tour in Japan
Schedule
Date
Monday 18 January 2016, 7:00p.m.
Tuesday 19 January 2016, 7:00p.m.
Program
Monday 18 January 2016, 7:00pm
Ludwig van Beethoven: Symphony No.5 in C Minor, Op.67
Gustav Mahler: Symphony No.1 in D Major "The Titan"
Tuesday 19 January 2016, 7:00pm
Sergei Prokofiev: Symphony no.1 in D Major "Classical" Op.25
Paul Hindemith: Konzertmusik für Stteichorchester und Blechbläser Op.50
Peter Tschaikovsky: Symphony No.4 in F Minor, Op.36
Venue
Tokyo Bunka Kaikan (Ueno)
Admission (tax inclusive)
| Category S | S=Â¥39,000 |
| Category A | A=Â¥35,000 |
| Category B | B=Â¥28,000 |
| Category C | C=Â¥22,000 |
| Category D | D=Â¥16,000 |
| Category E | E=Â¥14,000 |
All tickets go on sale at 10:00 AM on October 3! Book now
- Please note that children under elementary school age cannot be permitted in the theatre.
- Once tickets have been paid for, tickets cannot be cancelled or exchanged.