CARMEN | Tokyo Philharmonic Orchestra

Some operas are worth travelling across Europe for. Others are worth travelling across the world.

This was my very first visit to Tokyo, and before I even boarded the plane, I noticed that this performance of Carmen had been sold out for months. That alone said a lot about the excitement surrounding the evening.

Before talking about the music, I’d like to begin with something else.

A heartfelt thank you to Yui, who welcomed me with such kindness both by email and at the venue. I have always believed that first impressions matter, especially when you arrive in a country you’ve never visited before. The very first Japanese person I met during this trip was Yui, and if you’ve ever heard that Japanese people are kind, respectful, patient, thoughtful and incredibly welcoming… I can happily confirm that every single stereotype turned out to be true.

Founded in 1911, the Tokyo Philharmonic Orchestra is the oldest symphony orchestra in Japan and one of the country’s leading musical institutions. Over more than a century, it has worked with many of the world’s greatest conductors and soloists while playing a central role in Japan’s musical life. Experiencing such an institution in its home city made this evening feel even more special.

As for Carmen, presented in a semi-staged concert version, the atmosphere on stage was almost as hot as the temperatures outside. Tokyo was experiencing 36 to 38 degrees during the day, and I can assure you that neither the passion of Bizet’s score nor the intensity of the performance helped anyone cool down.

Only a few weeks after appearing together at La Scala, Stéphanie d’Oustrac and Matthew Polenzani reunited on the other side of the planet before an audience unlike any I had experienced before. Every aria was rewarded with thunderous applause that would have made any artist proud—and rightly so.

Then came Andrii Kymach.

From his very first entrance in the Toreador Song, he completely ignited the hall. His voice carried effortlessly, his stage presence was magnetic, and the audience responded with an enthusiasm that grew with every appearance. It was one of those performances where everything simply clicks.

Overseeing it all was Myung-Whun Chung, who will soon begin a new chapter as Music Director at La Scala. I have been counting the days until hearing him conduct Otello for the opening of the Milan season, and after this evening, my anticipation has only grown.

What he achieved with the Tokyo Philharmonic Orchestra was nothing short of remarkable. Everything felt natural, elegant and perfectly balanced, as if we were witnessing a live studio recording. Watching Maestro Chung conduct in front of his home audience reminded me of watching Roger Federer play in Basel or Ayrton Senna race in São Paulo. Some artists belong everywhere, but there is always something magical about seeing them perform where the connection with the audience runs deepest.

Slávka Zámečníková also delivered a beautiful Micaëla. Singing French convincingly is never an easy task, yet she combined elegance, sincerity and vocal warmth in a performance that was warmly celebrated by the audience.

Stéphanie d’Oustrac once again proved why she is one of today’s finest Carmens. Seeing a French mezzo-soprano embody this iconic role on a Japanese stage was a genuine pleasure. Matthew Polenzani, as always, brought remarkable musicality, refinement and consistency to Don José, delivering a performance of impressive quality from beginning to end.

One of the moments I will remember most, however, came from the youngest performers of the evening. The children of the Setagaya Junior Chorus, carefully lined up by height as they marched onto the stage like little soldiers during the Chorus of the Guards, brought smiles to everyone’s faces. Their energy, commitment and joy were absolutely contagious, and when they returned for the curtain calls, the wave of affection from the audience was unforgettable. Without question, it will remain one of my favourite opera memories of this year.

My sincere thanks once again to Yui, to the entire Tokyo Philharmonic Orchestra, the chorus, the production team and everyone working behind the scenes for making my first operatic experience in Tokyo such a memorable one.

If you happen to be in Japan next season, don’t miss their performances of La Bohème or La Forza del Destino. If this Carmen is any indication of what lies ahead, you are in for something truly special.

本当にありがとうございました。忘れられない思い出になりました。また東京でお会いできる日を楽しみにしています。
(Thank you from the bottom of my heart. This has become an unforgettable memory, and I look forward to returning to Tokyo someday.)

CAST

Conductor: Myung-Whun Chung
Carmen: Stéphanie d’Oustrac
Don José: Matthew Polenzani
Escamillo: Andrii Kymach
Micaëla: Slávka Zámečníková
Zuniga: Yoshiaki Kimura
Moralès: Hiromichi Kobayashi
Dancaïre: Tatsuhiko Kitagawa
Remendado: Kota Murakami
Frasquita: Airi Sunada
Mercédès: Asami Fujii

Chorus: New National Theatre Chorus, Setagaya Junior Chorus
Flamenco: Compañía de Ballet Español Kaori Haeno
Orchestra: Tokyo Philharmonic Orchestra