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While opera and ballet trace their roots back to Europe and the West, Japan has embraced these art forms since their introduction, making them a regular part of its cultural landscape. Tokyo, in particular, has emerged as a hub for top-notch performances, bringing high-quality shows to the forefront of cultural experiences. In this article, we'll delve into two remarkable opera productions/events from this past autumn. And, if you find yourself in Japan, consider immersing yourself in the world of contemporary performing arts as well.

In October of 2023, the Tokyo Nikikai Opera Foundation brought a fresh vibe to the scene with their inaugural event, "Tokyo Opera Days," centered around the theme of Tokyo and Opera. The primary venue for this exciting initiative was the Tokyo Bunka Kaikan in Ueno. The event hosted a range of activities in the surrounding area, creating a fantastic opportunity for everyone to dive into the enchanting world of opera.

Among the events, Director Amon Miyamoto's lecture provided a captivating insight into the charm of opera from a director's perspective, drawing extensively from his own experiences. Additionally, during the event period, the Tokyo Bunka Kaikan Main Hall Foyer hosted the "L'AMORE – Maria Callas 100th Anniversary Exhibition," featuring rare garments, jewelry, posters, and more from the legendary soprano Maria Callas.

A standout moment was the opera spectacle Jikukan Emaki🄬, featuring Madama Butterfly, hosted on the outdoor stage beneath the canopy of Tokyo Bunka Kaikan. Commencing at sunset, this enchanting event showcased the exceptional vocalists of Tokyo Nikikai against a backdrop of carefully illuminated stage lights and thoughtfully curated audio tracks. The vocalists treated the audience to renowned opera arias in the first half and selected highlights from Puccini's Madama Butterfly in the second half. The performance garnered a substantial crowd, with many attendees pausing in front of the stage, contributing to a vibrant and lively atmosphere.
In addition to the array of events throughout the week, such as masterclasses conducted by directors and conductors, there were also opportunities to immerse oneself in Noh theatre with the collaboration of the National Noh Theatre. These offerings appealed to a diverse audience, captivating both opera enthusiasts and newcomers to the genre alike.

The highlight of this year was the Tokyo Nikikai Opera Theatre's new production of Giuseppe Verdi's Don Carlo. In cooperation with the Staatsoper Stuttgart, this production, under the direction of Lotte de Beer, the artistic director of the Vienna Volksoper, and conducted by the rising star Leonardo Sini, showcased exceptional talent. Sini's conducting skills brought out the musical motifs, perfectly aligning with the singers. Drawing delicate nuances from the Tokyo Philharmonic Orchestra, Sini vividly colored each scene of the opera.

De Beer's direction, which removed the historical context, extracted the essence of the work and reconstructed it, delivering the drama of Don Carlo in a compelling manner. Particularly noteworthy was the clever use of a large wall as a prominent set piece, stimulating the audience's imagination. This performance was presented in the Italian five-act version (while in Stuttgart, it was the French five-act version), including the first act not found in the four-act version, emphasizing the protagonist Don Carlo's torment and enhancing the narrative drive.
In the third act, an idea from Stuttgart's conductor Cornelius Meister led to the insertion of Gerhard E. Winkler’s composition, Pussy-(r)-polka. By a parody of the original ballet scene, the vivid portrayal of Don Carlo's mental derangement was intensified by the contrasting and unconventional music. (At the curtain call of the premiere, there was an uncommonly substantial amount of booing directed at the production team, but such controversial challenges are commendable.) Of course, the Tokyo Nikikai's soloists and choir played a crucial role in the success of this performance, showcasing their high-level proficiency.

Tokyo Nikikai plans its second Tokyo Opera Days in October 2024, featuring the world premiere of Die Frau ohne Schatten directed by globally acclaimed Peter Konwitschny. This production will spark excitement among opera fans worldwide.

Nestled in Tokyo's Hatsudai district, the New National Theatre, Tokyo (NNTT) consistently delivers top-tier contemporary performances, spanning opera, ballet, and drama throughout the year.

A standout in this year's opera lineup was Giuseppe Verdi's Simon Boccanegra. To elevate the experience, the NNTT organized a special event that brought together Opera and Japanese Whisky Tasting. This unique venture aimed to blend Japanese whisky with the country's opera and culinary culture. With the global recognition of Japanese whisky on the rise, some of the labels are becoming even more difficult to obtain. Before the performance, participants enjoyed a VR Distillery Tour, virtually exploring the Suntory Hakushu Distillery to deepen their understanding of whisky. During intermission, participants had the opportunity to taste and savor Japanese whisky, truly immersing themselves in the essence of Japan's whisky culture.

The main show of Simon Boccanegra was brought to life through the collaborative efforts of Pierre Audi, a prominent figure in the contemporary opera scene, and the contemporary artist Anish Kapoor. Kapoor's stage design, dominated by black and red hues, created a remarkable atmosphere. The use of black, accentuated by lighting effects, conveyed a sense of profound darkness, adding an impressive touch. Particularly noteworthy was the unconventional presence of an upside-down suspended volcano that loomed throughout the production. The meticulous attention to detail, such as the transformation of magma into lava, also contributed to the overall intricacy. At the climax of the opera, a gigantic black sun illuminated by white lighting, appeared above the stage and radiated a divine aura, ensuring a consistently captivating performance. Audi's direction seamlessly navigated the complex plot of Simon Boccanegra, offering clarity without sacrificing the intricacies of the story and effortlessly drawing the audience into the narrative.

Conducting the performance was Kazushi Ono, the Artistic Director of the New National Theatre Opera Division. Under Ono's baton, the Tokyo Philharmonic Orchestra displayed remarkable cohesion, capturing the essence of Verdi's music—from the dynamic swells in the instrumental passages to the nuanced whispers of pianissimo. This rendition allowed the audience to fully savor the allure of Verdi's compositions, even in the absence of vocal elements. In this staging, the evocative theme of the "sea" in Simon Boccanegra became palpable through Ono's musical direction. Though the sea itself remained unseen, Ono's conducting skillfully painted the auditory landscape, conjuring the imagery of the sea through the music.

The cast boasted world-renowned Verdi baritone Roberto Frontali in the title role, joined by accomplished singers including Riccardo Zanellato, Simone Alberghini, Irina Lungu, and the debut of the highly regarded Luciano Ganci at the NNTT. This stellar lineup made every scene a standout, creating a stage production that was flawlessly executed. The New National Theatre Chorus, as always, showcased their extraordinary refined and vibrantly resonant vocals at pivotal moments, contributing to the overall excellence of the production. Together, these exceptional vocalists crafted a stage performance of remarkable quality.

After the performance, the NNTT occasionally offers backstage tours. During the run of Simon Boccanegra, participants enjoyed a behind-the-scenes exploration led by the theatre manager and stage director. Stepping onto the stage provided a sense of the theatre's impressive depth (the Opera Palace boasts a four-sided stage), allowing attendees to experience the spatial relationships from the singers' positions to the conductor in the orchestra pit. Viewing the audience seats from the stage side offered a unique and refreshing perspective.
The volcano designed by Kapoor mentioned earlier, turned out to be crafted from fabric rather than the expected solid material, altering the audience's perception. Additionally, participants had the chance to closely inspect the recently used stage equipment, set pieces, and props, sparking numerous questions from the engaged audience. The tour's rich content left many, even repeat attendees, thoroughly satisfied.

In the near future, this production will embark on a journey to Helsinki and Madrid, symbolizing a thrilling milestone as a Japan-born opera spreads its wings to captivate audiences on the global stage.