HIMIKO:
MEMORIES OF THE SUN GODDESS
A Suntory
Hall Production
Esplanade
Concert Hall
Friday
(20 May 2016 )
This review was published in The Straits Times on 23 May 2016 with the title "Stirring celebration of the human spirit".
Himiko: Memories Of The Sun Goddess was the centrepiece and
climax of the Super Japan Festival of Arts, organised in collaboration with
Esplanade and celebrating 50 years of diplomatic ties between Japan Singapore Tokyo
The monumental 90-minute work unfolded in
two parts, first a Japanese version of the earth's creation, and second the
legend of Himiko herself. The ensemble conducted by the composer comprised a
central koto ensemble with percussion, flanked by another traditional
Japanese group (plucked strings and winds) and a Western suite of cellos and
basses. Fronting these were soloists violinist Yasuko Ohtani and cellist
Tsuyoshi Tsutsumi who had vital parts in the narrative.
Given the religious nature of Japanese
cosmology, a chorus of sixteen monks (or shomyo) from Daihonzan Zozoji
Sikisikai provided the show's ritual elements, including unison chants within
two rousing processions, both imposing and festive. The troupe of nine buyo
(dancers) were led by Kotaro Nakamura and Umeya Nakamura, who shared the role
of Himiko. This duality hence androgynous nature of the kabuki goddess
meant she possessed both masculine strength and feminine grace.
Kanno's starkly beautiful music was a
fusion of East and West with modern 20th century elements. Tonal and
ruggedly hewn, the harmonic austerity of Britten, tonal radiance of Messiaen
and ethereal spirituality of Takemitsu were recalled. An unusual opulence
emanated from this heady combination. Ohtani's virtuosity was kept in the
forefront, while Tsutsumi's deeper hues and his band of low strings (with
mostly Singaporean musicians) provided a stirring backdrop. Even Hanako
Nakamura's sho (the Japanese sheng) and Evelyn Lim's pipe organ
shared a timbral kinship that was cannily planned.
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| Kotaro Nakamura, Umeya Nakamura & Tatsuma Hanayagi. |
The work's eleven movements were
well-contrasted in feel and movement, and even when stillness and stasis were
key, there was neither the feeling of drag nor the action outstaying its welcome.
Some movements were particularly effective, such as the harrowing percussive
beat in Yomi No Kuni (Hades), when forces of darkness threatened
to overwhelm those of light. In Nisshoku (Eclipse), the white and
gilded trimmings of Himiko's costume were similarly shadowed by apparitions
cloaked in dark blue.
Momentous but transient events such as
solar eclipses were sources of fear and uncertainty for early man, for which
faith and religious convictions served as a panacea. The shomyo's unison
Tsuki Ni Inoru (Prayer To The Moon), a statement of conviction,
was to bring the darkened hall back to glorious light. A final apotheosis in Fukkatsu
(Resurrection) was equally emphatic and elicited a standing ovation.
The legend of Himiko, with rebirth and
renaissance as a constant theme, was also rich in symbolism. It represented the
resilience of the Japanese people, who have had to overcome the horrors of
nuclear catastrophe and natural disasters over the years. The unquenchable
human spirit was clearly its universal and abiding message.
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| The duality of Himiko was displayed by buyo Umeya Nakamura and Kotaro Nakamura. |
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