Latest news with #SuntoryHall
Scotsman
27-06-2025
- Business
- Scotsman
Why Dunard Centre means Edinburgh will soon join an elite group of global cities
Sign up to our daily newsletter – Regular news stories and round-ups from around Scotland direct to your inbox Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... As any master distiller will tell you, creating something of enduring quality takes time, patience and persistence – and a willingness to embrace failure along the way. In 1923, having already gambled and lost his fortune attempting to launch a new Spanish wine business in Japan, Shinjiro Torii invested his remaining life savings in Japan's first malt whisky distillery. Fourteen years later, Suntory whisky was born. Nearly 90 years on, its distinctive square bottle remains the number one best-selling whisky in Japan. All of which indicates that Torii embodied his motto, 'Yatte Minahare', which means 'dream big and never give up'. Advertisement Hide Ad Advertisement Hide Ad But what came next is more extraordinary still. In 1986, that same company – founded to produce whisky – opened Tokyo's first concert hall. And in the intervening years, Suntory Hall has led a global cultural revolution. Suntory Hall in Tokyo is highly regarded for the quality of its acoustics (Picture: Koichi Kamoshida) | Getty Images Ethos of generosity Designed to deliver 'the world's most beautiful sound' in a 'vineyard'-style space that is as immersive and democratic as they come, Suntory Hall became an exemplar of the company's and its founder's ethos of generosity, built on a commitment to give away a third of its profits each year for the betterment of society. Suntory Hall was also the first major project for Nagata Acoustics, now widely recognised as the world's leading specialists in concert hall sound. Paris, Hamburg, Munich, Los Angeles, Stockholm, Helsinki – they all have a concert hall designed by Nagata. And what Nagata has done for these cities is as transformative as what Shinjiro did for Japanese whisky. Advertisement Hide Ad Advertisement Hide Ad Within five years of its completion, Hamburg's Elbphilharmonie led to a 15 per cent increase in overnight stays and attracted more than 14.5 million visitors, three-quarters of whom went on to visit other cultural venues across the city. In Los Angeles, Disney Hall revitalised a forgotten downtown area, restoring population levels and local retail spending to the boom of the 1950s. And in Helsinki, the Music Centre is at the heart of a long-term city strategy to achieve sustainable growth that fosters social, economic, and cultural well-being. Advertisement Hide Ad Advertisement Hide Ad An artist's impression of what the Dunard Centre's Caledonia Hall will look like (Picture: David Chipperfield Architects) | David Chipperfield Architects 'A sense of oneness' Nagata's principles are founded upon the experience of the individual and, like Suntory, upon the betterment of society. Nagata puts people first, positioning the listener at the centre of the music in pursuit of a more immersive, and ultimately more profound, experience. The focus of Suntory Hall's design was 'to achieve a sense of oneness between musicians and audience', and to create an immediacy of sound, as pure for the listener as for the musicians themselves on stage. The unique flat floor design of their Blue Rose hall brings the audience into close proximity with the performers, allowing them to feel the music 'with their entire body'. This people-focused approach extends outside the auditorium too. Welcoming communal spaces and free 'open house' events invite visitors to gather and to linger, and a broad community engagement programme built around Suntory's principle of 'giving back' has nourished a whole new generation of musicians and concertgoers. Advertisement Hide Ad Advertisement Hide Ad Cultural transformation In 2029, Edinburgh will become the first city in the UK to host a Nagata hall. In doing so, it will join the list of global cities that have put people at the heart of their cultural ambitions. The Dunard Centre is already projected to bring in more than £8 million to the city every year, and to generate a return on investment of nearly £170m over its first 20 years of operations. These alluring numbers are only half of the story. The really tantalising part is the impact on people, and the cultural transformation that the UK's first Nagata hall will have on Scotland's festival city for generations to come. Built on a hidden plot just off the capital's bustling St Andrew Square – served by buses, trains and trams – the Dunard Centre will open up a new piece of the public realm that has been closed off to the public for more than 200 years. In doing so, it will create new lanes and thoroughfares through the heart of the city, adding an open and welcoming cultural space to Edinburgh's historic New Town. Advertisement Hide Ad Advertisement Hide Ad Every seat the best in the house Its 21st-century design was created with Nagata's acoustics front and centre: the brief to David Chipperfield Architects was to ensure there is no barrier between audience and performer, for the experience to be as intimate and as personal as possible. So, the audience seating wraps around the stage and, in certain small-scale formats, it even brings the audience within touching distance of the performers. There are no poor sightlines and no cold spots: every inch of the auditorium has been mapped with Nagata's acoustic precision, such that every single seat is the best in the house. Our vision? To be a 'Hall for all', a space which – like Suntory Hall – embeds culture in people's everyday lives, fostering togetherness, curiosity, and deep personal connections. It is a project that has taken more than 25 years to reach fruition. Like a fine single malt, Nagata halls tend to take time, patience and persistence to realise, but they are the embodiment of Yatte Minahare: dream big and never give up.
Scotsman
23-06-2025
- Business
- Scotsman
Why Dunard Centre means Edinburgh will soon join an elite group of global cities
Sign up to our daily newsletter – Regular news stories and round-ups from around Scotland direct to your inbox Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... As any master distiller will tell you, creating something of enduring quality takes time, patience and persistence – and a willingness to embrace failure along the way. In 1923, having already gambled and lost his fortune attempting to launch a new Spanish wine business in Japan, Shinjiro Torii invested his remaining life savings in Japan's first malt whisky distillery. Fourteen years later, Suntory whisky was born. Nearly 90 years on, its distinctive square bottle remains the number one best-selling whisky in Japan. All of which indicates that Torii embodied his motto, 'Yatte Minahare', which means 'dream big and never give up'. Advertisement Hide Ad Advertisement Hide Ad But what came next is more extraordinary still. In 1986, that same company – founded to produce whisky – opened Tokyo's first concert hall. And in the intervening years, Suntory Hall has led a global cultural revolution. Suntory Hall in Tokyo is highly regarded for the quality of its acoustics (Picture: Koichi Kamoshida) | Getty Images Ethos of generosity Designed to deliver 'the world's most beautiful sound' in a 'vineyard'-style space that is as immersive and democratic as they come, Suntory Hall became an exemplar of the company's and its founder's ethos of generosity, built on a commitment to give away a third of its profits each year for the betterment of society. Suntory Hall was also the first major project for Nagata Acoustics, now widely recognised as the world's leading specialists in concert hall sound. Paris, Hamburg, Munich, Los Angeles, Stockholm, Helsinki – they all have a concert hall designed by Nagata. And what Nagata has done for these cities is as transformative as what Shinjiro did for Japanese whisky. Advertisement Hide Ad Advertisement Hide Ad Within five years of its completion, Hamburg's Elbphilharmonie led to a 15 per cent increase in overnight stays and attracted more than 14.5 million visitors, three-quarters of whom went on to visit other cultural venues across the city. In Los Angeles, Disney Hall revitalised a forgotten downtown area, restoring population levels and local retail spending to the boom of the 1950s. And in Helsinki, the Music Centre is at the heart of a long-term city strategy to achieve sustainable growth that fosters social, economic, and cultural well-being. Advertisement Hide Ad Advertisement Hide Ad An artist's impression of what the Dunard Centre's Caledonia Hall will look like (Picture: David Chipperfield Architects) | David Chipperfield Architects 'A sense of oneness' Nagata's principles are founded upon the experience of the individual and, like Suntory, upon the betterment of society. Nagata puts people first, positioning the listener at the centre of the music in pursuit of a more immersive, and ultimately more profound, experience. The focus of Suntory Hall's design was 'to achieve a sense of oneness between musicians and audience', and to create an immediacy of sound, as pure for the listener as for the musicians themselves on stage. The unique flat floor design of their Blue Rose hall brings the audience into close proximity with the performers, allowing them to feel the music 'with their entire body'. This people-focused approach extends outside the auditorium too. Welcoming communal spaces and free 'open house' events invite visitors to gather and to linger, and a broad community engagement programme built around Suntory's principle of 'giving back' has nourished a whole new generation of musicians and concertgoers. Advertisement Hide Ad Advertisement Hide Ad Cultural transformation In 2029, Edinburgh will become the first city in the UK to host a Nagata hall. In doing so, it will join the list of global cities that have put people at the heart of their cultural ambitions. The Dunard Centre is already projected to bring in more than £8 million to the city every year, and to generate a return on investment of nearly £170m over its first 20 years of operations. These alluring numbers are only half of the story. The really tantalising part is the impact on people, and the cultural transformation that the UK's first Nagata hall will have on Scotland's festival city for generations to come. Built on a hidden plot just off the capital's bustling St Andrew Square – served by buses, trains and trams – the Dunard Centre will open up a new piece of the public realm that has been closed off to the public for more than 200 years. In doing so, it will create new lanes and thoroughfares through the heart of the city, adding an open and welcoming cultural space to Edinburgh's historic New Town. Advertisement Hide Ad Advertisement Hide Ad Every seat the best in the house Its 21st-century design was created with Nagata's acoustics front and centre: the brief to David Chipperfield Architects was to ensure there is no barrier between audience and performer, for the experience to be as intimate and as personal as possible. So, the audience seating wraps around the stage and, in certain small-scale formats, it even brings the audience within touching distance of the performers. There are no poor sightlines and no cold spots: every inch of the auditorium has been mapped with Nagata's acoustic precision, such that every single seat is the best in the house. Our vision? To be a 'Hall for all', a space which – like Suntory Hall – embeds culture in people's everyday lives, fostering togetherness, curiosity, and deep personal connections. It is a project that has taken more than 25 years to reach fruition. Like a fine single malt, Nagata halls tend to take time, patience and persistence to realise, but they are the embodiment of Yatte Minahare: dream big and never give up.
Korea Herald
18-06-2025
- Entertainment
- Korea Herald
Berlin Philharmonic to return to Seoul for three concerts
The Berlin Philharmonic will return to Korea after a two-year absence, this time under the leadership of Kirill Petrenko. For the first time, the orchestra will give three performances in Korea, Nov. 7-9. Korean pianist Kim Sun-wook, who debuted with the Berlin Philharmonic in 2021, will join the orchestra in performing Schumann's Piano Concerto on Nov. 7 and 9. Also on the program for the two dates are Wagner's "Siegfried Idyll," Schumann's "Manfred" Overture and Brahms' Symphony No. 1. The Nov. 8 program will feature Leos Janacek's "Lachian Dances," filled with lively Czech folk influences; Bela Bartok's "The Miraculous Mandarin Suite," driven by bold percussion rhythms; and Igor Stravinsky's "Petrushka," one of the composer's three great ballets. All three concerts will take place at the Seoul Arts Center. In 2023, returning to Korea for the first time since 2017, the Berlin Philharmonic's concerts in Seoul sold out in just 40 seconds, demonstrating the orchestra's immense popularity in Korea. At that time, celebrated pianist Cho Seong-Jin, the orchestra's artist in residence for the 2024/25 season, joined the orchestra as the soloist for the second concert, performing Beethoven's Piano Concerto No. 4. The November performances in Korea will mark the first leg of the orchestra's Asia tour, during which it will stop in major Asian cities such as Taipei, Shanghai and Tokyo. In Taipei, the orchestra will perform at the National Concert Hall on Nov. 12 and 13. On Nov. 15 and 16, the orchestra will take the stage at the Shanghai Oriental Art Center. In Japan, the orchestra will offer four concerts between Nov. 19 and 23 at Suntory Hall in Tokyo, Minato Mirai Hall in Yokohama, and Muza Kawasaki Symphony Hall in Kawasaki, before returning to Suntory Hall on Nov. 23 to wrap up the Asia tour. Ticket prices for the Korean concerts range from 110,000 won ($80.26) to 550,000 won.
Yomiuri Shimbun
05-06-2025
- Entertainment
- Yomiuri Shimbun
Tadaaki Otaka's Family Legacy Adds to a Fascinating Concert with YNSO; Venerable Conductor Performs Father's Composition and Bruckner Symphony
©Yomiuri Nippon Symphony Orchestra / Photographer: Takashi Fujimoto Tadaaki Otaka conducts the Yomiuri Nippon Symphony Orchestra at Suntory Hall in Akasaka, Tokyo, on May 27. Tadaaki Otaka conducted the Yomiuri Nippon Symphony Orchestra (YNSO) at Suntory Hall in Akasaka, Tokyo, on May 27, in a subscription concert with an intriguing program featuring a rarely performed gem by his father, composer-conductor Hisatada Otaka (1911-51), as well as Anton Bruckner's magnificent Symphony No. 9. Otaka, now the honorary guest conductor of the YNSO, served as the orchestra's principal conductor from 1992 to 1998. The internationally famous 77-year-old maestro is particularly loved in Britain, where he was the principal conductor of the BBC National Orchestra of Wales from 1987 to 1995; he is now its conductor laureate. He kicked off the concert by conducting, for the first time, his father's composition 'Eine symphonische Phantasie 'Steppe'' ('the steppe: a symphonic fantasy'). The elder Otaka studied music in Vienna and became one of the most sought-after composer-conductors in Japan in the 1930s. He completed 'Steppe' in June 1943, and it was first performed for the radio in May 1944, followed by a performance at Hibiya Kokaido hall in Tokyo three days later. The word 'Steppe' in the title refers to the vast grassland of Mongolia. The elder Otaka tried to mix East Asian sounds with Western music by using pentatonic melodies and subtly nuanced harmonies somewhat reminiscent of Impressionist music. Indeed, it is a fascinating little piece full of lyricism and orchestral magic. According to the concert's program, he made notes on the music at the beginning of the original copy of the score, which can be summarized as follows: The great wilderness sings the song of eternity in serenity even though the times change, then a huge cloud of dust paints the sky a yellow brown, a reminder of nomadic people making great migrations before becoming a major military force. Before long, they disappear in the distance, and the grassland regains its eternal serenity. The symphonic poem develops more or less in accordance with this text. The music solemnly starts with the cellos playing a low C. The strings gently portray the grassland at peace, before being joined by the woodwinds, then the brass section, adding motion. After several transitions into more lively sections, including a march-like movement, the music repeats the first section and ends in tranquility. The orchestration of the piece, which features solo parts by many instruments, is proof that the composer was a gifted colorist of orchestral sounds. The fact that it was composed at a time when World War II was raging, and that Mongolia was the scene of some of the fighting, spurs the listener to imagine the composer's fascination with the impressive landscape of this distant, exotic, independent grassland. The elder Otaka conducted Bruckner's Symphony No. 9 two months before his premature death at the age of 39, when Tadaaki, his second son, was only 3 years old. Thus there is a family connection between the two works in the program, which with Otaka Jr.'s conducting made for an artistically rewarding concert. From several different versions of the symphony, Otaka Jr. chose the Cohrs edition, by German conductor-musicologist Benjamin Gunner Cohrs, published in 2000. This time, Otaka opted not to conduct the fourth movement, which was left unfinished when Bruckner died in 1896. The YNSO responded well to the slightly built conductor's direction. He elicited from them sounds that were powerful but carefully controlled to keep them from becoming bombastic. The first movement was full of dynamism and a fine balance of orchestral sounds. The oboe solo in the middle section was beautiful. The rapid and rhythmical second movement scherzo was particularly exciting. And the third movement adagio, which is Bruckner's musical statement of faith in God and music, was sensibly handled by Otaka. The audience loved the performance and refused to stop applauding, even though Otaka let the musicians leave the stage after just one encore. The humble and popular conductor finally returned to stage, all smiles, and took a deep bow.
