BY STEPHANIE ESLAKE AND CHRISTOPHER LEON
CutCommon is the only publication to review this premiere Joe Hisaishi performance in Australia.
Joe Hisaishi Symphonic Concert: Music from the Studio Ghibli Films of Hayao Miyazaki
Melbourne Symphony Orchestra and Chorus, conducted by Joe Hisaishi
Hamer Hall, 28 April
“Do you realise Joe Hisaishi is somewhere in this BUILDING?!”
Yep. We were all thinking it.
But this spoken sentence from one anonymous (and unashamedly eager) concertgoer summed up the buzz in the room on this Saturday night.
This room, of course, being the so-packed-I-can-hardly-move Hamer Hall foyer in preparation for the event of a lifetime – the Australian premiere of Joe Hisaishi Symphonic Concert: Music from the Studio Ghibli Films of Hayao Miyazaki.
Hisaishi is an iconic composer of our generation, and his followers span the world over. His music is the lifeblood of Studio Ghibli – Japan’s leading animation studio responsible for the infamous tales of My Neighbour Totoro, Spirited Away, Princess Mononoke, and the like. The composer worked with Ghibli founder Hayao Miyazaki for more than three decades to craft their trademark combination of cinematic qualities: heart-warming, realistic, magical, and nostalgic.
The Studio Ghibli effect has saturated Japan and beyond. And here, Australian audiences welcomed the music to these films with open ears and hearts, across four sold-out performances in Hamer Hall.
The Melbourne Symphony Orchestra took to the stage, enveloped by the MSO Chorus that lined the balconies left and right. Overlooking us all was a screen poised to present footage from the films, accompanying Hisaishi’s own musical direction.
Hisaishi stepped on stage. The warmth of his welcome from wildly applauding concertgoers was almost deafening. He raised his arms to conduct the first work – a compilation of music from Nausicaä of the Valley of the Wind. The music, original orchestration, and direction of this event was all under the watch of Hisaishi – we could feel that this was truly his show tonight and a celebration of his life’s achievements.
Between moments of conducting, Hisaishi stepped off the podium and took to the piano to lay down some of the best chords ever written. He would continue to do this throughout the night; moving naturally between his two mediums of expression. His sheet music awaited him, laid out on the open piano, and he had no page turner.
The screen portrayed a visual montage of key film scenes to emphasise the feel of the musical works; as well as occasional snapshots of Hisaishi front-on as he led the musicians. Hisaishi could view this, too, through small devices placed at the piano and the podium.
At first, he appeared regimented and strict with his conducting – but it seemed this was only a reflection of the military mood of the opening work. Second on the list was Kiki’s Delivery Service – in which Hisaishi warmed into emotional cues through highly gestural conducting.
(As a Tasmanian, this film resonated – indeed, on the drive from Hobart to Melbourne to see this show, we had stopped into the very bakery that supposedly inspired this film: the rustic Ross Village Bakery!)
It was a true treat to hear the typically 20th Century luscious and romantic string lines, juxtaposed with a playful staccato theme that seems to express: This is what life is like; in its mystery, beauty, and imperfection. It’s a feeling that underpins most of the composer’s works, and the deeper themes and essence of the films.
Hands on his lap, Hisaishi bowed to great acclaim after each performance – humble and appreciative, he appeared genuinely to enjoy the experience without ego despite his status as a globally renowned, award-winning composer.
After Kiki, he presented Princess Mononoke and welcomed to the stage soprano Antoinette Halloran. Her smiling expression and pleasant stage presence conflicted with the war-like themes and droning requiem of this work, but her voice indeed did it justice.
The Wind Rises saw another guest artist – Ken Murray (mandolin) – join us in this performance; before Ponyo on the Cliff by the Sea closed the first half of the concert. This was one of the most surprising highlights of the evening – it is certainly not as serious a work or tale as those screened and performed previously. But its catchy theme song (and the ability to witness Hisaishi happily mouthing the words with the singers) sent us into a short break with delight, and a sure-to-be earworm.
After interval, we returned to the moving-yet-catchy theme of Laputa: Castle in the Sky, arguably one of Hisaishi’s most recognisable works from the Ghibli suite. Through this early Studio Ghibli film, this high-impact composition paved the way for the studio’s sound in the years to come.
Pompous mannerisms reflected his intention for Porco Rosso and its heavy-weight pig-in-a-suit protagonist; while personal-favourite Howl’s Moving Castle theme was next. It opened with the symphonic variation of Merry-go-round – an ever-romantic waltz that encompasses the love story and journey of Howl and Sophie. This eased into Spirited Away – one of Ghibli’s most popular films that took out Best Animated Feature in the 75th Academy Awards, and one of Hisaishi’s greatest masterpieces.
Its Reprise featured a special guest singer – Mai Fujisawa. The only time Hisaishi addressed the audience was after a duet on piano with this singer, which received vast applauds. Hushing us with his arms, he exclaimed: “That’s my daughter!” to which we unleashed our enthusiasm once again. A singer in her own right, Fujisawa’s screen debut was as a four-year-old when she sang Nausicaä Requiem for the film’s original soundtrack. (She has since gone on to sing the opening theme of Harry Potter and the Deathly Hallows – Part II, composed by Alexandre Desplat, among other film music.)
My Neighbour Totoro wrapped up the night, returning both Fujisawa and Halloran to the stage to join with the full orchestra, chorus, and Hisaishi. The timbres, musical style and approaches of these two women were vastly contrasting – though the spirit of the music was warmly shared by all.
Rarely does one get the chance to witness a performance heralding four standing ovations. But, after this joyous conclusion, this was one such experience. Hisaishi signalled the artists to stand with him to accept the house’s applauds; and returned for two encores: Madness from Porco Rosso, a high-spirited work with a mildly Latin feel for which Hisaishi returned to piano; and Ashitaka and San from Princess Mononoke.
The order of Hisaishi’s program was outstanding, placing the violent among the playful; romance among adventure. Musicians of the MSO made excellent use of the hall. Occasionally, brass players would stand in a row to showcase a theme at the front of the stage; at other moments, they were scattered throughout the venue to create an artificial soundscape. In some players’ faces, it was easy to see recognition and genuine enjoyment of this music and the rarity of its presentation here in Australia.
Notably, many of Hisaishi’s works draw on soaring and highly emotive string lines – extraordinarily well encapsulated by the MSO string sections. Similarly, another key feel of Hisaishi’s music is the distinction of the woodwinds as a separate section with its own nature; often one that’s more spiritual and mysterious than its richly romantic surrounds. There were several stand-out wind moments from MSO players throughout the concert that enabled this essential other-worldly feel to come to life.
As for the MSO Chorus, the changes in mood from solemn (to convey more dramatic narratives) to ridiculously uplifting (as in the still-an-earworm Ponyo theme) were executed with skill and ease.
As a whole, the scores were thoroughly explored, without leaving any key themes unheard. And the themes themselves flooded the concert hall with an aura of Ghibli’s highly crafted, unique, and inviting world. We left with a sense of complete satisfaction.
In the program, Consul-General of Japan, Melbourne, Kazuyoshi Matsunaga stated: “It is wonderful that the interpretation of Miyazaki’s films depends on the imagination of the individual”. So we thank you, Hisaishi, for stimulating the imagination of your loyal followers throughout the world.
We would like to acknowledge Ali Webb for her assistance in facilitating this live review. We would also like to extend our respects to the late Studio Ghibli co-founder Isao Takahata.
Images supplied. Enjoy the appropriate musical samples in this review when you are logged into Spotify.
