フロリダのDaytona Beachに行ってきました。とても美しい!ホテルの窓をあけるとそこには海が!! おもわず・・う~み~は~ひろい~な~おっき~い~な~あっ! 高校で3講義、大学で1講義、そしてメインのリサイタルをDeBary Hall(www.debaryhall.com)という歴史あるところで演奏させていただきました。この客席がプラネタリウムのように、ぐるぐる回せる作りになっていたので、あらっ、じゃあ途中から回しましょ~^0^(本気)。という私に、まったまたぁ~~~~(冗談と思ったらしい)と、担当者。で、私の真剣目線に気づき、お互い硬直。。。。なおこぉ~~、お客さんが回ってどうするんですかっ!(怒られた。。。*0*がっくり。。。) せっかく回るのに。。。。って思うのは私だけ??(ぐすん><泣!) 

これはその日の批評。マネージャーが喜んで事務所のみんなに回してくれていた。感激! 彼女は去年の私の5月のニューヨークタイムズの批評を待って朝4時から新聞屋さんを待っていてくれた。。。 タイトルはA Marimba Leading Way(マリンバが導く。。。みたいな)その批評は好評で喜んで事務所に寄った私に彼女は・・・なおこ、私は怒っている。あなたの特別性を全然表現しきれていない。、なんで直子は怒りを覚えないのっ!:?!?っていわれた。

びっくりしたなあ。本当に怒ってたなあ。私のためにです。私は喜んでたのに。。。あの後は、タクシーで帰るのはやめて、ニューヨークの町を四方八方(いや、軽く15方36方くらい^^)数時間泣いて歩いた。悲しいんじゃなくて、もちろん嬉しくって・・・。 じわじわじわじわ、嬉しかったのです。。。 できるだけ長くひたってたかったのです。。。^0^  

そして今日この批評を送ってくれた彼女はとても嬉しそうに、素敵な批評だよ^^ 直子のことをよく分かっている。あなたは本当に努力してるものね。私は知ってるから・・・。 彼女は本当に温かいな~。


April 06, 2006

Marimba artist makes magic

Fine Arts Writer, The Daytona Beach News-Journal

DEBARY -- Naoko Takada's dynamic recital at DeBary Hall Wednesday showed the excitement of listening to a young artist, and of bringing concerts to audiences rather than drawing listeners to a performing arts center.

It wasn't just the Japanese marimba artist's exquisite performance, shimmering and striking. It ranged from works with Latin and tango beats to her bouncy arrangement of the Gavotte in Rondo from J.S. Bach's Partita in E major, No. 3, and to the whimsical encore that summed it all up: a lilting "When You Wish Upon A Star."

The concert, the only public appearance Takada is making during three days of visits to area schools for Central Florida Cultural Endeavors, was especially satisfying because it so obviously did appeal to young audiences -- or, at least, to the boy sitting in the front of DeBary Hall's Visitors Center and watching her every move.

But the recital also appealed to more mature listeners, who gave the Tokyo native who now divides her time between Japan and Los Angeles a long, warm standing ovation She deserved every decibel of it.

Her performance on the large Yamaha marimba explored every tempo, tone, emotion and nuance imaginable, and her introduction of each piece added greatly to its enjoyment.

Most remarkable was the sensitivity she brought to her two classical pieces, the ringing Bach and her arrangement of the Adagio from Franz Joseph Hayden's Piano Sonata No. 38 in F major.

Still, it was more the contemporary works that were the most arresting. A piece written for her, John Anthony Lennon's "Let It Rain" was inspired by monks' chanting; it was meditative but hardly serene. And the marimbist was stunning in her performance of the piece Paul Fowler wrote for her North American debut, at the Kennedy Center for the Performing Arts in Washington, D.C., "Michiyuki (The Road to Death), from Chikamatsu's "Love Suicides at Sonezaki."

She played with fervor, sang and spoke in the Japanese tragedy, used her whole body for dramatic effect and used her mallets as dramatic props. In short, in the brilliant "Michiyuki," Takada brought all her artistic tools together, combining enormous power and subtlety in a virtuosic display that left her audience in silence for a long, respectful moment.

The master of her instrument, she owned every aspect of her recital too.

Eric Lariviere

General Manager/Cultural & Musical Director

Central Florida Cultural Endeavors, Inc. &

Florida International Festival
by naorimba | 2006-04-12 10:59 | 仕事