This time, we will have a lecture from Tetsu Taoshita, who has worked on numerous opera productions both in Japan and overseas as a director, on the joys and enjoyment of theater abroad. Listening to Taoshita say that "the audience is also a part that makes up the world of opera," a yearning for theater that makes overseas travel experiences many times more dramatic begins to well up inside of us.
Text: Hajime Oishi Photo: Keita Tamamura
For opera beginners, New York is recommended, as it offers plenty of other things to enjoy besides the theatre.
JAL: You have visited theaters all over the world, but which one is the one you are most fond of?
Taoshita: It has to be the Zurich Opera House in Switzerland. It's the theater where I participated in my first overseas performance as co-director.
Zurich Opera House
JAL: It's a historic theater that was built in 1834.
Taoshita: The Zurich Opera House doesn't have many seats. Therefore, the distance between the audience and the theater is very close, and the acoustics are beautifully distributed throughout the theater. It is a historic theater, and it is also the theater that produces the most ambitious new productions in the world. I think it was built to be the perfect size for staging opera, without any commercial considerations.
It's also nice that there is a big lake, Lake Zurich, right next to the theater. I sometimes go to the lakeside during rehearsals to relax and think. Also, although it is not visible to the general public, behind the dressing rooms of the theater are a row of autographed photos of famous performers from the past and present, which is quite a sight. Looking at them makes me go from being an opera director back to being a fan (laughs).
JAL: What theater would you recommend for someone new to opera?
Taoshita: I'd say the Metropolitan Opera House in New York. The subway runs until late at night, so it's convenient, and the language in the city is English, which is relatively easy for tourists to understand, so Japanese people have less anxiety than in Europe. On the first floor, there are plenty of shops selling goods such as CDs and DVDs, and photos of the performers are on display, so no matter how early you arrive at the venue, you'll be able to enjoy yourself without feeling bored.
The Metropolitan Opera House's lobby, with its beautiful red carpet staircase
Taoshita: There are many other things to enjoy in New York besides opera. My personal favorite area is Inwood, at the northernmost tip of Manhattan. There is a large park called Inwood Hill Park, which is covered with a lush primeval forest and overlooks the Hudson River. It's wonderful to see such a natural landscape that you would never imagine from the hustle and bustle of the city so close by.
If you dress formally, even the audience can become part of the opera world. Enjoy the extraordinary.
JAL: I think there are many people who think that going to see an opera overseas is intimidating. Do you have any advice for those people?
Taoshita: Speaking as a warning to myself, I would like to go to the theater as early as possible before the start time and enjoy the extraordinary space and time. It would be good to turn off your smartphone, get away from reality, and enjoy the opera as a reward for yourself for working hard every day.
JAL: How should I be aware of the dress code?
Taoshita: There are inexpensive seats available, so some people enjoy themselves in casual clothes like jeans. But in order to concentrate and enjoy the opera without worrying about whether or not you're wearing the right clothes or not, I still recommend dressing appropriately.
If you dress formally, even if you are a customer, you can become a member of the opera world. I hope that you will enjoy dressing up, such as "I'm going to see a tragedy today, so I'll wear this outfit," and participate in the extraordinary world of opera. If you think about being able to participate in a world that has been depicted in films such as "The Godfather" and "Pretty Woman," it is a very special experience.
A European town with horse-drawn carriages running along cobblestone streets. Take a leisurely walk to the theater and enjoy a luxurious time.
JAL: There's no need to worry about not understanding the language, and there are plenty of things to enjoy, including the atmosphere.
Taoshita: That's right. For those who want to enjoy it more deeply, I recommend doing some basic research, such as the story outline and a character relationship chart. Recently, even in overseas theaters, Japanese is still rare, but English subtitles are always available. Furthermore, once you start to enjoy opera, it's also good to prepare yourself by watching videos of the performance you're going to see, and enjoy the different direction, singing style, conductor's tempo, etc. on the day. Opera is always a once-in-a-lifetime experience. I hope you will enjoy this one-off performance that can only be seen in that era, with that cast, and at that theater.
JAL: Is going to the theater overseas, especially in a country that has nurtured the culture of opera, something special?
Taoshita: That's right. In European cities, the cobblestone streets still remain, and horse-drawn carriages still run along them. Just walking to the theater with this thought in mind makes the theater experience even more special. Not only before the show, but also after the show, audience members can be found sharing their impressions in bars near the theater, and sometimes the performers will pop in.
A charming alleyway in Rome, Italy
Taoshita: Nowadays, you can easily watch overseas performances on live viewing or DVDs, and overseas opera companies such as La Scala in Milan come to Japan to perform. But still, watching an opera overseas is a special experience. Why not try enjoying a relaxing, luxurious time?
Satoshi Taoshita
Born in 1972, he studied under German director Michael Hampe and began his work as a director in 2000. In 2003, he joined the New National Theatre, Tokyo, and participated in over 70 productions as the opera chief directing staff member. He has collaborated with world-renowned directors such as Andreas Homoki, Jonathan Miller, and Grisha Asagalov. In 2009, he received the 20th Goto Memorial Culture Award for New Opera Artists. In June of the same year, he made his European debut as co-director and choreographer for Cavalleria Rusticana/Pagliacci at the Zurich Opera House. His previous works include Ie Capuleti and Ie Montecchi at the Nissay Theatre, Pelléas and Mélisande at the New Japan Philharmonic, Cavalleria/Pagliacci for the 60th anniversary of the Nikikai Foundation, Madame Butterfly for the Aichi Triennale, and The Temple of the Golden Pavilion for the 40th anniversary of the opening of the Kanagawa Prefectural Hall. In recent years, he has not only directed operas, but has also been involved in a wide variety of productions, including musicals, straight plays, and video works.
European tour with JAL
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