MEMETERIA by Thomas May

Music & the Arts

Toshio Hosokawa’s ‘Natasha’

Hiroka Yamashita and Ilse Eerens in Toshio Hosokawa’s Natasha; photo: Rikimaru Hotta

The New National Theatre Tokyo (NNTT) presents Toshio Hosokawa‘s new opera Natasha, conducted by Kazushi Ono and directed by Christian Räth, via global streaming. Premiered in August 2025, the production drew wide acclaim and was named a finalist in the World Premiere category of the International Opera Awards 2025.

From Friday, 12 December 2025 at 7:00 p.m. (CET) to Friday, 12 June 2026 at 12:00 p.m. (CET), audiences can experience Natasha for free on OperaVision and NNTT Stream. Running time: Approx. 2 hours 35 minutes.

Natasha is the first opera by Hosokawa to be staged at the NNTT since Matsukaze in 2018, as well as his second opera to be premiered by Ono Kazushi.

“Reconsidering the relationship between humans and nature, Hosokawa Toshio’s music is a kind of prayer or requiem. Especially after the 2011 Great Eastern Japan Earthquake, his works address humans’ repetitive history of destruction, drawing particular attention to nature’s fearsomeness and to the human arrogance of forgetting the awe nature deserves. Globally acclaimed author Tawada Yoko, who writes novels in both Japanese and German that examine the world from a German base and highlight themes of national borders and languages, is working on the libretto for the new work. The story focuses on an encounter between Natasha, a wandering immigrant driven out of her hometown, and a young man named Arato, as well as a Mephistopheles-like figure who shows and leads the pair through various scenes of human hells. Multilingual with Japanese, German and Ukrainian languages, the opera compares and contrasts the origins of modern civilization and humanity. The groans of the endangered earth resonate deeply throughout this opera that depicts destruction and hope with multiculturalism as the key to finding a path forward.

Hosokawa’s music resonates with meditative power—at once ritualistic and deeply human—evoking the cries of a wounded planet while offering a glimpse of hope.”

Creative Team
Libretto by Yoko Tawada
Composed by Toshio Hosokawa
Conductor: Kazushi Ono
Production: Christian Räth
Set Design: Christian Räth, Daniel Unger
Costume Design: Mattie Ullrich
Lighting Design: Rick Fisher
Video Design: Clemens Walter
Electronic Sound Design: Sumihisa Arima
Choreographer: Catherine Galasso
Cast
Natasha — Ilse Eerens
Arato — Hiroka Yamashita
Mephistos Enkel — Christian Miedl
Frau A — Mari Moriya
Frau B — Akiko Tomihira
Businessman A — Tang Jun Bo
Businessman B — Timothy Harris
Saxophonist — Masanori Oishi
Electric Guitarist — Gaku Yamada
Chorus Master — Kyohei Tomihira
Chorus — New National Theatre Chorus
Orchestra — Tokyo Philharmonic Orchestra

Filed under: music news, new opera, Toshio Hosokawa

‘Something Deeply Human and Expressive Breaks Through’: Leila Josefowicz on Thomas Adès’s Violin Concerto

Leila Josefowicz; photo: Tom Zimberoff

Leila Josefowicz reflects on her long relationship with Thomas Adès’s violin concerto, now out in her live recording with the Minnesota Orchestra and Thomas Søndergård. My interview for The Strad:

Leila Josefowicz has made contemporary music central to her career, performing new scores with the same conviction others reserve for the classics. Over the past two decades, she has built lasting partnerships with composers who expand the violin’s expressive language, and has inspired concertos from composers ranging from John Adams and  Esa-Pekka Salonen to Luca Francesconi…

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Filed under: The Strad, Thomas Adès, violinists

A New Sound Takes Shape: Leonard Fu on Joining the Juilliard Quartet

Leonard Fu; photo: Eric Tsai

UPDATE: The concert on December 4 will be livestreamed here at 7.30pm EST.

The Juilliard String Quartet gives its first New York performance with new violinist Leonard Fu on Thursday. I interviewed him for The Strad about joining the storied ensemble and about the program they will perform:

As the Juilliard Quartet makes its New York debut in its new formation, newly appointed second violinist Leonard Fu reflects on tradition, renewal and shaping the ensemble’s evolving voice…
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Filed under: Juilliard, music news, string quartet, The Strad

Reflecting on the 2025 Honens International Piano Competition

Élisabeth Pion was named Gold Laureate at the 2025 Honens International Piano Competition in Calgary (Tim Nguyen)

My report on the 2025 edition of the Honens Competition, which I attended in Calgary in October, has been published here by International Piano magazine.

For a few days in October two leading piano competitions overlapped. In Calgary, gateway to the Canadian Rockies, the 2025 Honens International Piano Competition reached its finale just days after the Chopin Competition in Warsaw had announced its winners. North American pianists took the top prize at both. At Honens, the spotlight fell on 29-year-old Élisabeth Pion from Quebec, who was named Gold Laureate and also took the Audience Choice Award, ahead of fellow Canadian Carter Johnson and Russia’s Anastasia Vorotnaya, who respectively took Silver and Bronze….
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Filed under: Honens International Piano Competition, International Piano, piano

Gathering around the Hearth: Inside the Miró Quartet’s New Holiday Album

Miró Quartet: Daniel Ching (violin), Joshua Gindele (cello), John Largess (viola) and William Fedkenheuer (violin); photo: Barry Carlton

I interviewed John Largess, violist of the Miró Quartet, about the ensemble’s new holiday album:

Celebrating 30 years together, the Miró Quartet swaps concert halls for the fireside with Hearth, a collection of festive songs newly arranged by fifteen leading composers. Violist John Largess talks about collaboration, nostalgia and what togetherness means after three decades on the road….

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Filed under: holiday, string quartet, The Strad

Richard O’Neill and Jeremy Denk in Recital

Jeremy Denk and Richard O’Neill; photo: Jorge Gustavo Elias

Seattle Chamber Music Society presented Richard O’Neill and Jeremy Denk in a sold-out recital Sunday. Here’s my review for The Strad:

Seattle Chamber Music Society brought the inaugural season of its new Signature Series to a compelling close with this sold-out recital by violist Richard O’Neill – best known as a member of the Takács Quartet – and pianist Jeremy Denk.

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Filed under: Beethoven, review, Seattle Chamber Music Society, The Strad, viola

Music For Saxophone Evokes Emotional Swirl Summoned By The Wind

Saxophonist Timothy McAllister, composer Steven Mackey, and conductor Lawrence Renes take bows; photo: Jon Pendleton

A wonderful new saxophone concerto by Steven Mackey featuring Timothy McAllister and some classic John Adams from Seattle Symphony – my review for Classical Voice North America:

SEATTLE – Rather than propose a grand narrative of American music, the Seattle Symphony’s all-American program on Nov. 20 with guest conductor Lawrence Renes set three sharply contrasting voices side by side: Copland’s atmospheric Quiet CitySteven Mackey’s brand-new saxophone concerto Anemology, and John Adams’ ever-astonishing Harmonielehre — a lineup that underscored how differently American composers have approached the orchestra over the past century….
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Filed under: American music, commissions, John Adams, review, Seattle Symphony

‘The Monkey King’: Opera Now Review

Jusung Gabriel Park as Master Subhuti and Kang Wang as the title role in Huang Ruo and David Henry Hwang’s The Monkey King; photo: Cory Weaver/San Francisco Opera

Huang Ruo and David Henry Hwang’s The Monkey King is a very palpable hit at San Francisco Opera. The rest of the run appears to be already sold out, but a livestream of tonight’s performance at 7.30 PT will be available here starting at 7.30 pm PT ($25); the stream will also be available on demand from 23 Nov at 10am PT to 25 Nov at 10am PT.

My review for Opera Now:

Just after singing what may be the most beautiful music in The Monkey King, the opera’s irrepressible hero promptly marks his territory with a triumphant stream of urine. It’s an indelible assertion of Monkey’s contradictions – and a characteristic example of Huang Ruo’s assured pacing. His underlying musical control gives this sweeping, adventure-driven tale cohesion, navigating its comic and sublime registers with unforced confidence. The transitions are so natural they scarcely call attention to themselves. …

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Filed under: new opera, review, San Francisco Opera

A Shape-Shifting Hero for a ‘Third Culture’ Opera

Huang Ruo and a Monkey King puppet at the War Memorial Opera House in San Francisco; Cayce Clifford

My New York Times feature on Huang Ruo and his brand-new opera “The Monkey King,” with a libretto by David Henry Hwang – opening tonight at San Francisco Opera.

Inside a cavernous rehearsal space near the War Memorial Opera House in San Francisco, the singer portraying the monk-like sage Subhuti was wielding a golden kung fu staff with serene precision. “Power alone is not enough” he intoned to the trickster hero of “The Monkey King,” Huang Ruo’s opera, which premieres this month at San Francisco Opera.

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Filed under: new opera, New York Times, San Francisco Opera

Breath and Soul: Bach’s Eloquent Oboe at the Seattle Bach Festival

Debra Nagy, Tekla Cunningham, Hannah De Priest and Tyler Duncan

The second of this past weekend’s wonderful Baroque programs, courtesy of Seattle Bach Festival – my review of Tekla Cunningham and friends’ ‘The Eloquent Oboe’ for the aptly named Bachtrack:

Launched as recently as January, the Seattle Bach Festival is already becoming a force in the Pacific Northwest’s Early Music landscape…

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Filed under: Bach, review

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