[2024-2025] Compilation of translated interview articles with Yuzu

[yuzurujenn]

2025.02.05

 

Source: https://hochi.news/articles/20250204-OHT1T51148.html?page=1

Archived: https://web.archive.org/web/20250204212212/https://hochi.news/articles/20250204-OHT1T51148.html?page=1

 

Yuzuru Hanyu: "Ballade No. 1" is the "sound of destiny" - the second half of the performance is a determined effort... Exclusive interview 3

 

This is the third exclusive interview with professional figure skater Yuzuru Hanyu (30). The final performance of the "Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR" will be in Chiba (7th and 9th, Lala Arena Tokyo Bay), where he will perform "Ballade No. 1," his short program from the 2018 Pyeongchang Olympics. He is executing the same high-difficulty routine as back then, layering it with the 'Sound of Destiny.' (Interview and composition by Takagi Megumi)

 

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After performing a 10-minute "Piano Collection," composed of five pieces of music, Yuzuru Hanyu skates his short program (SP) "Ballade No. 1" from the 2018 PyeongChang Olympics. As he had said, "It's all tough!" the routine includes not only jumps like the quadruples and triple axels, but also parts expressed with spins and steps, making the physical demand extraordinarily high.

 

"My feet were strained in the previous piece, 'Mass Dis'[Note 1]. Also, the costume change from 'Mass Dis' is quite difficult. While frantically changing into the 'Ballade 1' costume, I quickly put on my shoes and head out to the ice. I was panting and thinking, "I need to concentrate," when Brahms started. I recently made a mistake on the triple loop (the first jump)...I think I made a mistake once and it became a trauma. I couldn't get the loop right, so I was feeling anxious about the loop in the (next) Bach part. And after that comes the toe loop."

 

Scarlatti plays as soon as Hanyu landed the quadruple toe loop.

 

"That toe loop is extremely nerve-wracking. The following (triple) axel is also nerve-wracking, and it's tiring. It's like doing anaerobic exercise the whole time. It felt like I was getting ready, then doing anaerobic exercise again, then catching my breath and doing anaerobic exercise again, and so on and so forth."

 

Then comes "Ballade No. 1," a high-difficulty routine starting with a quadruple Salchow and featuring two jumps in the second half: a triple axel and a quadruple-triple toe loop combination.

 

"Well, it’s tough. At first, I thought I could do it just fine. I thought it would work (laughs). But it turned out to be more difficult than I thought. Initially, I thought maybe I could just use the structure from the 2020 Four Continents Championship [Note 2], not the one from PyeongChang. I thought that was the final form, so I figured that would be fine. But when it came to 'the Sound of Destiny,' if I was told to 'play the sound of your own destiny,' I realized that it had to be the PyeongChang version."

 

This Ice Story has "sound" as one of its key themes. Right before taking his starting position for "Ballade No. 1," a narration is played: "Now, please play the 'sound' of your word 'destiny'."

 

"The destiny I have reached is of course "SEIMEI" (from my free program at the PyeongChang Olympics), but I think I was able to win because I was able to perform "Bara 1" without any mistakes there. There was a ritual (the piano collection) to get to that point, and I wanted to show that I had followed the path of destiny to reach it. It’s difficult, but I’m determined to stick with the two jumps in the second half."

 

He performs this after skating for over 30 minutes since the start of the show, on a smaller rink compared to a competition, in a dimly lit show venue.

 

"The trajectory has changed quite a bit, and I’ve had to change the choreography. The sharper the curve, the harder it was on my legs. I was experimenting with different things, and I did feel it was tough. But, I managed to do it once without any mistakes (at the Saitama performance), so I’m going to do my best."

 

 

Notes:

1. 'Mass Destruction' - A track from the role-playing game Persona 3.
2. After the Pyeongchang Olympics, the rule that multiplied the base points of all jumps in the second half of a performance by 1.1 was revised, limiting it to the last one in the short program and the last three in the free program. After the revision, the composition of the Four Continents Championships was a quadruple salchow, a quadruple-triple toe loop combo, and a triple axel in the second half. Hanyu achieved a world-record score of 111.82 points in that competition.

 

 

 

2025.02.06

 

Source: https://hochi.news/articles/20250205-OHT1T51134.html?page=1

Archived: https://web.archive.org/web/20250206073446/https://hochi.news/articles/20250205-OHT1T51134.html?page=1

 

Yuzuru Hanyu: "Because I want to get better" Training research and dance basics... Exclusive interview 4

 

This is the fourth exclusive interview with professional figure skater Yuzuru Hanyu (30). Since turning professional in July 2022, he has been taking on the unprecedented challenge of performing a two-and-a-half-hour ice show all by himself. The final performance of the "Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR" will be in Chiba (7th and 9th, Lala Arena Tokyo Bay). While interacting with his body and researching training methods, he is focusing on building a body that balances endurance and explosive power. He has started gym training and also taking dance lessons. With an endless desire to improve, he is on the path to evolution. (Interview and composition by Takagi Megumi)

 

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Training to build up the stamina needed to skate for two and a half hours while also mastering the explosive movements unique to figure skating is hard work.

 

"Explosive movements need to be practiced specifically for explosiveness, and for slow-twitch muscles [Note 1], it depends on how much practice I can do in full runs. I always feel like I have to think of them separately and train for them individually. For high-difficulty jumps, I approach them with techniques suited to their difficulty. Then, there's the stamina needed to skate for over two hours, as well as the grip strength required to tie my skate laces."

 

He changes costumes for each program and takes off his shoes each time. The laces of his skates need to be tied very tightly. Including encores, there are 15 songs in total. There are many moments, other than skating, that drain his physical energy.

 

"I’ve been pulling continuously for so long. Like in “Utai” (the third performance), if I keep stretching my hands all the time (in choreography), I lose arm muscles. Of course, jumping also requires grip strength. So, I guess my grip strength is getting stronger as I go along. I have been lifting barbells recently. I do deadlifts and high cleans."

 

While interacting with his body and conducting further research, he has also started new machine-based training.

 

"That’s really to make sure I can maintain high output no matter how tired I am and also to make sure I can use my body effectively."

 

His physical condition is better than during his competitive days. He says he is currently at his leanest, and this is intentional. "For what purpose?" He immediately answered.

 

"I just want to get better. As I continue training to improve, I naturally get leaner. I feel like any excess has been eliminated. It’s close to the balance I had during the Helsinki World Championships in 2017. I’ve gained muscle mass since then, so I’m about 1.5 kg heavier, but I think the fat balance is the same as it was back then. I think it's ideal for myself."

 

He turned 30 in December last year. His physical strength and technique are evolving. "I’m amazed at how much more I can still do." He feels the possibilities for his future. His desire to improve knows no bounds. After completing "RE_PRAY" last April, he started taking dance lessons, which he had taught himself until then.

 

"I took a little lesson with MIKIKO (the choreographer). MIKIKO originally works in hip hop, and also jazz, or rather contemporary, so it's a variety of genres. When it comes to hip hop in particular, I've always said that I really don't have a solid foundation. I told her, 'I want to work on the basics.' She sent me a lot of videos and I worked on it."

 

Hanyu, who has the ability to effortlessly control his body in everything from classical music to intense pop tunes, gives himself a harsh self-evaluation which also reflects the potential for his growth.

 

"No, I realized I can’t do this much. There were really simple things that I couldn’t do at all. I practiced those simple things for about three months, and I wonder if I’ve gotten a little better, but I still feel like I have a long way to go."

 

 

[Note 1] Slow-twitch muscles are related to endurance, and fast-twitch muscles are related to explosiveness.

 

 

 

2025.02.07

 

Source: https://hochi.news/articles/20250206-OHT1T51158.html?page=1

Archived: https://web.archive.org/web/20250207061300/https://hochi.news/articles/20250206-OHT1T51158.html?page=1

 

Yuzuru Hanyu: From "full marathon" to "ekiden", increasing output to 2.5 hours... Final part of exclusive interview

 

This is the final installment of an exclusive interview with professional figure skater Yuzuru Hanyu (30). He is both a performer and executive producer of "Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR," which will kick off its Chiba performance at Lala Arena Tokyo Bay on the 7th. The two-and-a-half-hour solo show will reach its final series with some changes only possible with a tour. The pace distribution will change from a "marathon" to an "ekiden". He will pour his soul into every performance, keep his output high from the start, and fulfill his "expression" beyond his limits. (Interview and composition by Takagi Megumi)

 

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In the January performance in Hiroshima, he left an impression by using his body more expansively. What happened after the Saitama performance in December?

 

"After Saitama, I received criticism from (director) MIKIKO-sensei."

 

He shared this with a laugh.

 

"She told me, 'You had more power in "First Pulse" (the first piece), didn't you?' and I said, 'Ah, yes, that's right.' There were also some things like, 'Let's fix this here, let's fix that there.' I just said 'yes.' When I watched the video, I definitely agreed with her. The hardest part for me was recovering from the fatigue of the Saitama performance. After that, focusing and practicing the full run-through was also difficult because of time constraints. But I’ve been doing training to expand my own physical range of motion and mobility."

 

A two-and-a-half-hour solo performance, connecting each piece with full energy.

 

"I’m doing it with the momentum of an 800-meter sprint or a full marathon (laughs). In "RE_PRAY" (from the previous Ice Story), I felt like I was doing it with the breathing and exhaustion of a full marathon, but this time it's probably closer to a relay race (ekiden). Fans have said, 'It's like an ekiden,' which left an impression on me. For example, they said, 'The section of Ballade No. 1 is like a hill, right?' Each program can cover for each other even if one of them falters, so it's like a relay race. That made sense to me."

 

While the Saitama performance was more of a full marathon type, the pacing was changed for the Hiroshima performance.

 

"In Saitama, I kept a steady pace throughout, not varying much, but still consciously putting in effort where necessary. That was something I learned from RE_PRAY, and it was a success because of the practice I had done. In Hiroshima, I increased my output significantly, including for the new program. As a result, there were parts that didn’t go well, but I believe the expressive quality improved tremendously."

 

There was something to be gained from the two shows in Hiroshima, where the performances were performed with full power from the very start.

 

"I had never used my body in such a full range of motion before, like in “Poem” (“Eclipse/blue”) and "GATE OF STEINER. From start to finish, I was able to skate while immersing myself emotionally, which was a successful experience for me."

 

Through the cycle of questioning and reproduction, the tour will reach its final performance in Chiba.

 

"Right now, I’m trying out new knowledge and training methods. I've made some big updates between Saitama and Hiroshima. I’m still in the process, and my body is changing as I go. Like with RE_PRAY and GIFT, there were times when I sacrificed expression for the more intense parts, like Introduction and Rondo Capriccioso or Dark Messenger or Ballade No. 1. I want to continue training my body so that I can give my all without sacrificing expression."

 

[yuzurujenn]

2025.02.09

 

Source: https://digital.kyodonews.jp/deepedge/ice-show/94275/
Archived: https://web.archive.org/web/20250209162536/https://digital.kyodonews.jp/deepedge/ice-show/94275/

 

[Full Comment - Free Access] Yuzuru Hanyu, Tears at the Final Performance of the Tour: "Skated with All My Soul" - Successfully Landed Two Types of Quadruple Jumps, Delivered a Passionate Performance of 15 Songs for Over 2 and a Half Hours

 

Yuzuru Hanyu, the two-time Winter Olympic gold medalist in men's figure skating, performed in the ice show "Echoes of Life" on the 9th at Lala Arena Tokyo Bay in Funabashi, Chiba. The solo tour, for which he served as the executive producer, concluded with a passionate performance of 15 songs over more than two and a half hours. After skating, Hanyu, deeply moved, thanked the audience, saying he "skated with all my soul," while his eyes welled up with tears.

 

Hanyu completed all seven performances, including those in Saitama last December and Hiroshima this January. In the short program from the 2018 Pyeongchang Olympics, to Chopin’s "Ballade No. 1," he executed the quadruple salchow, triple axel (a 3.5-revolution jump), and a flawless quad-triple loop combination. His performance was breathtaking, thrilling the audience of approximately 8,300 people. "I was able to end it with a performance that couldn’t have been better. I’m a bit in a daze right now," he said, soaking in the sense of accomplishment.

 

The full comment from Hanyu after the performance is as follows. (Interviewer: Fujiwara Shinya)

 

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"I couldn't have ended it any better."

 

 

Q: Now that the "Echoes of Life" tour has come to an end, how do you feel right now?

A: I just feel like I really gave it my all. Also, the scale of the people involved in this ICE STORY is something unparalleled. So many people have been a part of this. I am filled with gratitude for how many people have moved and worked for me.

 

Q: This was your final performance, and you wrote the script and performed. How would you rate your own sense of completion in terms of this project?

A: I was able to finish with a performance that couldn’t have been better. I’m a bit in a daze right now. I can’t fully express it with just words or text, and I think that this ICE STORY is something that can’t even be fully expressed by skating alone, it’s something one-of-a-kind. It really makes me happy that today’s performance, direction, and story will be preserved in footage and remain in the memories of the people who came to see it.

 

Q: You presented a variety of programs, but your "Ballade No. 1" was particularly remarkable. The rink for the show was a bit narrow and dark. How did you approach performing "Ballade No. 1" today?

A: TV Asahi (who asked the question) has been following me all along, so I think you know, but I’ve really struggled with it from the very beginning. Looking back at the short program, it was a short program under the old judging rules, and in the second half I did two jumps. They were a triple axel and a quadruple-triple (two consecutive toe loops), and I really felt how difficult the jumps are. There's a different kind of tension to the free program, and unlike the free program, there's no room to recover (from stamina). That's what makes the short program so difficult, and I felt that again throughout this tour. And on top of that, I had already done four pieces before during 'Piano Collection,' so I was already thinking, 'This is tough,' before going out to do the 'Ballade.' Also, performing with show lighting was something I wanted, but it was also challenging, especially since the rink size changes depending on the venue. It was difficult, but thanks to the efforts of everyone involved, including the ice crew, I was able to make it work.

 

 

"No one knows what the future holds. I want to live in the present, believe in my own heart and my own sense of justice, and move forward."

 

 

Q: It’s just finished, but do you have any plans or ideas for the future?

A: (immediate answer) No. Zero. (laughs) Honestly, I’m kind of in a daze right now, and my mind might not be working as clearly as usual. But more than anything, I’m just reflecting on how special it is that so many people gathered together, and I’m taking in this moment deeply, appreciating the present as it is.

 

Q: Previously, you said that skating = living. As you look toward the future, what kind of way of living do you want to show?

A: One thing I’ve realized and reflected on while writing this story and completing this tour is that 'the future is something no one can know.' That’s the biggest thing that stayed with me during this tour. It was the same with the (2022) Beijing Olympics, but there are times when you feel like no matter how hard you try, it won't be rewarded, and no matter how many good things you do a day, and no matter how many good things you repeat, something unfortunate is bound to happen in the future. That's why I can't easily say that this is the way I should live my life, but for now, I want to live the present, believing in my heart and my own sense of justice and moving forward.

 

 

"At the end he said, 'May everyone live.'"

 

 

Q: What was your mindset as Nova (yourself in a virtual space) during the fourth song, "Mass Destruction -Reload-"?

A: That song itself is a battle song. So, I'm fighting with some kind of sound, using sound as a weapon, or rather, with sound, well, how can I put it, persona. In the Persona game, there is an enemy called Shadow, and I'm using sound to summon my own persona and fight. I wonder how to explain that to the general public (laughs). Essentially, I felt like I was enveloped in sound, dancing, and using positive emotions like joy and fun to crush negative emotions like hatred.

 

Q: For today’s "Danny Boy," during the Saitama performance, I felt a sense of relief. Today, there was a feeling of calm. What was your mindset while skating?

A: (pauses for a few seconds) "I’m thinking back on it now, trying to remember what kind of feeling I had. At that moment, I was just focused, doing everything I could. I was skating with the image of praying with my whole body. That prayer was something that is at the origin of Danny Boy, a prayer for the deceased, but it's also a prayer for the hopes of everyone here, for my own personal happiness, and for the staff who helped create this show. There were many different prayers all mixed together, and in the end, I was just praying through the music, with the intention to express it all as one."

 

Q: Was there also a prayer for the purification of hatred, in terms of the story?

A: That scene is when Nova finally begins to realize that life has sprouts again in a world where it has almost completely disappeared. It's like a prayer for life to grow around him, or rather, that each and every life will grow, and that everyone will live. At the end, he says, 'May everyone live.'

 

 

"I expressed it with the feeling of 'It's okay' towards the little loneliness that exists within all of you, the loneliness that no one else notices."

 

 

Q: Looking back at the progression from the first to the third installment of 'ICE STORY,' loneliness has been a consistent source of inspiration throughout. In every work, there is always an answer provided to the concept of loneliness. What does loneliness mean to you now, having had these experiences?

A: I don’t really think of it as loneliness. There are times when we have to fight alone, and of course, everyone has these moments. But we can't share everything with others. It's a very sad thing, but we can't share all our suffering or joy with others. In that sense, I feel like everyone experiences loneliness. But that's also why humans use words, write, and express themselves. What I wanted to convey in Nova was that even if you're alone in that world, as long as there are words, records, or sounds, you're not truly alone. I don't really think of myself as lonely, these days. But I wanted to express the feeling of 'It’s okay' to the little loneliness that exists within everyone, the kind of loneliness that no one else notices.

 

 

"I have the feeling that I can continue to evolve and improve from here on out"

 

 

Q: Just like in competitions during the season, the performance kept getting better and better as the shows progressed. After these 7 performances, is there anything you feel you’ve surpassed or achieved?

A: I've also started new training, not just increasing my range of motion or improving flexibility, but focusing on how to move my body more effectively and how quickly I can recover. I've been working on refining my movements, as well as enhancing the fluidity and beauty that are my strengths. I started practicing this around the time of the Hiroshima performance in January, and now I finally feel that it's coming together. So, I truly feel that I can continue to evolve and improve from here on out.

 

[yuzurujenn]

2025.02.16

 

Source: https://goetheweb.jp/person/article/20250216-yuzuru
https://x.com/GOETHE_magazine/status/1890930299132883180

Archived: https://web.archive.org/web/20250216022738/https://goetheweb.jp/person/article/20250216-yuzuru

 

 

[Yuzuru Hanyu] Pursuing the "True Flame of Life"… A message he wants to convey to people living in modern society

 

Athletes who challenge the limits of human potential—there is a world that can only be seen because they continue to push their bodies and minds to the very edge. Beyond competition, there are untold stories of their lives behind the scenes. This is an irregular series, "The Moving Spirit of Athletes," which delves into these moments. What is the essence of Yuzuru Hanyu?

 

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Why Does Hanyu Keep Raising the Bar for Himself?

 

 

Japan’s national figure skater, Yuzuru Hanyu, continues to break new barriers one after another. Beginning with GIFT at the Tokyo Dome in February 2023, he took on the role of executive producer for his ice stories, successfully completing RE_PRAY as the second installment in 2023, and most recently, Echoes of Life this month. At the heart of his performances lies a profound theme—a prayer for life, shaped by his own extraordinary journey. Through various artistic techniques, he challenges audiences with deep, philosophical questions.

 

Whenever you step into his performances, you find Hanyu skating with all his heart and soul. His latest work, Echoes of Life, just completed its seven-show run, with a script written entirely by Hanyu himself. Set in a virtual world, the story explores the meaning of life through a protagonist encountering various "sounds."

 

"This time, the performance is quite serious, and the message itself is quite strong. The script is quite complex, and to be honest, you can't understand it just by listening to it once," he admits. The overarching theme is philosophical, suggesting that what seems like a series of coincidences is actually fate. To convey such a heavy theme, the most essential element isn’t elaborate stage props but his own body and technique. That determination infuses his performance with intensity.

 

"You can’t fully absorb the script just by reading it once. It might only convey a vague impression at first. That’s why the tension in my performance is absolutely necessary. If I had simply pursued an entertaining, crowd-pleasing approach, the structure of this ice story would have completely fallen apart," he reflects.

 

One of the show’s highlights was his performance of Ballade No.1, with the same technical layout as his short program from the 2018 PyeongChang Olympics, where he won his second Olympic gold. It was a very challenging performance composition, with a triple axel jump and a quadruple-triple toe loop jump in the second half of the performance. He skated with his whole being, matching his movements to classical piano and various musical genres. But why does Hanyu continue to set his own bar so high?

 

"Even when I give my all, Ballade No.1 is nearly out of reach. It’s incredibly difficult, and back at the PyeongChang Olympics, I managed to pull it off in that one crucial performance. But performing such a difficult program after already skating for about 30 minutes (from the start of the show) was, to be honest, even for me it was almost impossible, or rather quite difficult."

 

Even when he feels like giving in, he believes that only by confronting his limits head-on can he create something truly compelling.

 

"But when I reach for it with everything I have, focusing completely and putting my whole heart into it, I feel like that’s where the true flame of life exists. I think that is something essential to my Ice Story, as an expression of art x sports," he states with conviction.

 

Even after stepping away from competitive skating and entering the professional world, Hanyu remains as uncompromising as ever. Because he pursues his present with such sincerity, he continues to inspire people. In a world overflowing with information, where it’s easy to fall into the illusion that answers are readily available, listening honestly to one’s own heart is more difficult than ever. The message Hanyu wants to convey to people living in modern society is simple.

 

"If you're engrossed in something, time will pass before you know it. If you do nothing, time will also pass before you know it. Don’t have regrets. The things that you think of, the ideas that come to you in the moment, act on them. Cherish the present."

 

Make the most of this once-in-a-lifetime opportunity. What seems simple is, in truth, one of life’s greatest challenges. But in that challenge lies the key to living life the way we want to.

 

[yuzurujenn]

2025.02.21

 

Info: https://www.amazon.co.jp/dp/B0DWNK1B9V

Source: https://weibo.com/5437806211/PfrQjopCc

 

 

 

●Exclusive photo spread and interview:

Yuzuru Hanyu's "Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR"
Chiba performance special report

 

In July 2022, Yuzuru Hanyu held a press conference to officially announce the beginning of a new journey as a professional figure skater. Since then, he has continuously challenged himself, showcasing an awe-inspiring presence on the ice.

 

Now entering the third season of his professional skating career, during 2024–2025, Hanyu launched the third installment of his personal ice show series, ICE STORY, titled "Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR."

 

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Last December, the show had its grand opening at Saitama Super Arena. As the new year began, it traveled to Hiroshima in January and then to Chiba in February, with performances held across three cities in total. Every performance was packed with applause and cheers, creating an electrifying atmosphere.

 

From start to finish, ICE STORY features only Yuzuru Hanyu performing on the ice, which is an innovative concept in itself. In addition, Hanyu personally planned and directed the entire ice show, infusing it with a unique narrative structure. This unprecedented form of ice performance has garnered widespread acclaim.

 

Echoes of Life is one such production. Set against the backdrop of a desolate, near-futuristic world, the show follows the journey of the protagonist, Nova, portrayed by Hanyu himself. As Nova explores the 'meaning of life' on the ice, the story gradually unfolds. The blueprint for this narrative was also created by Hanyu. How did he craft such a creatively charged work centered around such a fundamental theme?

 

"To be honest, I’ve always felt that I have limited knowledge and experience. I’m not the kind of person who reads a lot of books. I don’t often engage with artistic forms like movies or musicals. So, when I’m coming up with a story, I’m always in a state of exploration. But I’ve always known that I must prioritize the things I genuinely recognize as beautiful and cherish the things that truly move me and touch my heart. That’s why I often draw inspiration from past experiences, people, and emotions that have touched me deeply. I absorb them, transform them, and express them in my own way," Hanyu said.

 

His inspiration doesn’t simply come from books but rather from things that have deeply moved him on a personal level. These are rooted in his own experiences and genuine feelings. It’s precisely because of this sincere approach, building on authentic emotions, that he’s able to create works that resonate with the hearts of his audience.

 

Looking back on this year, Yuzuru Hanyu has released yet another outstanding work. Reflecting on his achievements, he said:

 

"This year, I’ve gained a lot and encountered many new things. I took about three months of ballet lessons before, but I had never received formal training. When it came to dance, I used to just watch dances I liked and try to imitate them, or I would learn movements from a choreographer and do my best to replicate what the teacher showed me. You could say that, until now, I was someone who only danced based on feeling. During the preparation for Echoes of Life, MIKIKO-sensei, who was in charge of the choreography, taught me the basics of dance performance step by step. That’s when I realized that all those movements I had been doing by instinct actually had a solid theoretical foundation behind them. Because of that, I feel I’ve gained new understanding and growth in terms of physical expression this year."

 

Yuzuru Hanyu spent the year fully engaged in meaningful work, and now, after concluding Echoes of Life, he is preparing for his next performance, notte stellata 2025. This series of shows, which began two years ago in his hometown, carries the beautiful vision of "bringing hope to the disaster-stricken areas."

 

Beyond notte stellata, Hanyu has also actively participated in volunteer activities. Last year, he joined a charity performance to support the recovery of the Noto Peninsula.

 

"I can genuinely feel the support everyone has given me, and I’ve had the chance to truly connect with the thoughts and feelings of those who are working so hard to move forward," Hanyu said. "Through this process, I’ve come to realize that figure skating alone can’t directly solve any problems. So I have been thinking hard about what I can do to help, and I feel that I am doing my best in every moment to support the activities."

 

Now, notte stellata 2025 has entered its third edition, and we eagerly await the chance to witness his breathtaking performances with deep emotions on the ice once again.

 

Towa Pharmaceutical Presents Yuzuru Hanyu notte stellata 2025
March 7 (Friday) – Show starts at 17:00
March 8 (Saturday) – Show starts at 18:30
March 9 (Sunday) – Show starts at 16:00

This year marks the third edition of Yuzuru Hanyu notte stellata. Hanyu has always kept the victims of the Great East Japan Earthquake close to his heart. This time, he will gather with top figure skaters to perform at the Sekisui Heim Super Arena (GRANDI·21) in Miyagi, one of the areas affected by the disaster. Additionally, this year’s show will feature a special guest appearance by Mansai Nomura, who will collaborate with Hanyu in crafting a truly special performance.

 

[PRESENT]
Complete the survey included with this publication for a chance to win a Yuzuru Hanyu autographed photo—one lucky reader will be selected at random.

 

 

[Text/Takaomi Matsubara]

·Photography/Takeshi Okamoto
·Styling/Minako Orihara
·Hair&Makeup/Tomomi Kakizaki

 

[yuzurujenn]

2025.02.25

 

Source: GOETHE Apr 2025 issue, pg 15, pg 87-101
Info: https://www.amazon.co.jp/dp/B0DRNR4BX6?tag=goetheweb-22

Sample: https://digi2.fujisan.co.jp/digital/ebook-html-viewer/index.html?bid=2630011_sample&dhost=2&e_vt=3&mhost=3&uid=0&z_cry=0&z_dgmg=6f016744989122a9a4246ac8e6c187fd

 

 

GOETHE Apr 2025 issue - Yuzuru Hanyu Special 30th Birthday Edition

 

Cover Story

The cover shoot took place at a studio in Sendai, Yuzuru Hanyu’s hometown. That day, he had multiple media shoots, with ours scheduled last. Despite how tired he must have been, Hanyu entered the studio with a deep bow, saying, “Thank you for waiting! I look forward to working with you!” His thoughtfulness instantly captured everyone’s hearts.

 

The shoot spanned 20 pages and lasted for quite some time. Yet what left the editorial team in awe was his unwavering focus and astonishing ability to adapt to the photographer’s requests. He effortlessly absorbed each instruction and transformed it into expressions that far exceeded our expectations. In one of the most memorable shots, Hanyu holds his own pair of skates—a reflection of his deep love and passion for figure skating.

 

At the end of the shoot, he once again bowed deeply and said, “Thank you very much! Thank you for your hard work!” before swiftly leaving the studio. The entire team couldn’t help but burst into spontaneous applause.

 

 

Interview: Challenging a New Self

On December 7, 2024, professional figure skater Yuzuru Hanyu turned 30.
Even now, he continues to train with greater intensity than when he won his Olympic gold medals.
We delve into the mindset, beliefs, and unwavering determination at the core of a man who constantly strives to evolve and surpass himself.

 

 

  Reveal hidden contents

Special Interview Part 1:

"I Decided to Stick to What I Believe Is Right"

 

The Current State of Yuzuru Hanyu at 30

 

For Yuzuru Hanyu, Japan’s national skating treasure, there’s no need for empty flattery. It has been about two and a half years since he announced his professional transition in July 2022. As the executive producer of his own ice shows, he has completed three major productions: GIFT at the Tokyo Dome, followed by RE_PRAY and ECHOES OF LIFE. These monumental achievements brought him a sense of fulfillment that could only come from overcoming such grand challenges. Reflecting on his journey, Hanyu speaks calmly:

 

"It was both tough and fulfilling. Being thrown into a world of freedom also brought its own kind of restrictions and made me realize my own limitations. It’s been a journey of searching, reaching out, and finally starting to understand many things by my third year as a professional. My connection to visuals, projections, and how the stories link to the programs has deepened significantly. It feels like all the efforts I’ve made beyond skating—branching out, absorbing inspiration—are finally starting to grow into a solid trunk."

 

Stepping into a space where Hanyu performs feels almost reverent. Through his ice stories, he tackles the profound theme of the meaning of life itself. His wholehearted performances pose philosophical questions to modern society:

 

"I’ve always wondered about the meaning of my own life since I was young. By the time I became aware of myself, I already had a name and was already ‘living.’ My earliest memory is realizing I could blink on my own. That night, I wondered: What if I fall asleep and wake up as a baby again? Life is so intangible—you can’t even prove your own existence. Because life is so fleeting, I hope my performances can inspire people to reflect on life and what it means to be alive."

 

The right thing to do is to leave it to each and every once-in-a-lifetime encounter.

Hanyu’s pride in his method of expression is clear. Rather than conforming to expectations, he listens to his inner voice and translates that honesty into his performances. One example he mentions is his 2023 show RE_PRAY, which drew on video game worlds to portray the destiny that lies beyond the choices we make in life.

 

"Honestly, if I were choosing music just for those who supported me during my competitive career, I think I should have stuck with classical pieces. But I deliberately chose game music because I decided to stick to what I believe is good. As a result, game fans and people who hadn’t been interested in figure skating started to watch my performances, expanding the audience. Every time I create something, I want it to be something I genuinely love, something that resonates with me. I’d be happy if fans of those original works see my respect for them while also enjoying my performance as Yuzuru Hanyu’s unique form of entertainment."

 

His most recent show, ECHOES OF LIFE, combined piano compositions with contemporary dance and hip-hop to convey the idea that what seems like coincidence might actually be destiny.

 

"I’ve recently realized that with the right skills and creativity, a lot can be done even on ice. This time, I worked hard to bring movements I learned off the ice onto it. I constantly think about what I want to express at its core and try to translate that through figure skating."

 

When asked about future performances, Hanyu candidly admits to the uncertainties and evolving passions in his journey:

 

"Over time, my creative ideas may dwindle. There aren’t many things in life you can dedicate yourself to with complete passion. For me, it’s been figure skating, games, manga, and anime. But who knows? Maybe turning 30 will lead me to discover new interests. I think trusting in those chance encounters is the right approach for now."

 

Special Interview Part 2
"I Take Pride in the Fact That What I’ve Been Doing Is a Sport"

 

Being an Athlete Is My Foundation: The Profession of Yuzuru Hanyu

When breaking down what it means to be “Professional: Yuzuru Hanyu,” one thing becomes clear—he never cuts corners in creating captivating performances. His unwavering belief in figure skating as a sport underpins every intense and powerful routine.

 

"When I turned pro, I made it clear from the start: I am an athlete. Figure skating, while inherently an artistic sport, is a discipline in which the athletic aspect makes up about 80 percent. Without physical strength, you can't skate properly, and without technical skill, landing a quad is impossible. In Ice Story, doing two quads after skating for 30 minutes was nearly impossible. The most important thing for me as a pro is not to lean too heavily into the artistic side just because I’m no longer competing. I take great pride in the fact that what I have dedicated myself to is a sport. As an athlete, I strive for strength and the ability to inspire. I believe that my professional pride now lies in continuing to merge the inspiration drawn from the power of sports with the emotional impact of art."

 

When thinking of Yuzuru Hanyu during his competitive days, one imagines his hunger for victory and raw instincts on full display. While that aspect remains unchanged, what has evolved is his definition of "victory."

 

“Every time I create a program, I build it with the mindset that it’s impossible to complete. In a good way. Before, winning and becoming a champion was my main goal. Now, executing this program perfectly has become my challenge and my goal. If I can’t do it flawlessly, that’s my defeat. If I can, that’s my victory. Since an Ice Story performance doesn’t end in just one day, it motivates me to aim for perfection in every subsequent performance. It's like turning what I once thought was impossible into something possible within myself.”

 

How does he maintain such a consistently high level of motivation? The way he sets his goals reveals the essence of a truly exceptional athlete.

 

"Setting goals in life is very difficult. The closer the goal is, the easier it is to achieve, but the sense of accomplishment doesn't really generate a sense of self-efficacy. But if the goal is too far away, it feels unattainable, and every day just becomes a struggle. But for me, setting distant goals is more enjoyable in a sense, even if it means struggling along the way."

 

Searching Earnestly, Finding Value Within Himself

Despite his illustrious records, including two Olympic gold medals, behind those achievements lie countless failures and relentless trial and error. His fighting spirit, the ability to keep standing up after every setback, is rooted in witnessing the resilience of people rebuilding after the Great East Japan Earthquake—an event he experienced firsthand.

 

“Humans tend to remember negative experiences much more vividly, so forgetting failure is impossible. But every failure has a reason behind it. Maybe it’s because the goal-setting was wrong. But instead of giving up, I search for solutions—whether it's a lack of effort on my part, the wrong method of practicing, or even focusing on the wrong technical aspects. If I keep searching without giving up, I believe I can achieve it. It is really difficult to have the strength to believe. But like the people rebuilding from the Noto Earthquake or the Hibakusha who received the Nobel Peace Prize, I'm sure they are where they are today because they have continued to believe for so long. I experienced 3/11 firsthand, so I have a deep understanding of how powerful human belief can be. It sounds idealistic, but if you don’t give up, things will somehow work out. However, if you half-heartedly try without full commitment, nothing will change. That’s why it’s important to seriously search for what’s valuable to you and keep working on it steadily.”

 

I have more muscle, technique and knowledge now than I did when I was competing.

 

The daily routine to remain a top athlete. It was self-training six days a week, an average of more than five hours a day.

 

“I practice on the ice and train off-ice for about three hours every day. After a quick break, I sometimes train for another three hours, focusing on weightlifting—lifting barbells, swinging dumbbells, the typical weight training exercises. There is no time to relax. Sometimes, my exhaustion shows in my attitude. But I’ve learned to recognize when I’m pushing too hard and try to rest intentionally.”

 

While he was a fierce competitor during his active career, as a professional now, he’s also a solitary artist. His commitment has become second nature, and through it, he constantly transforms himself into a higher version of who he is.

 

“In figure skating, even sleeping needs to be considered part of your training. It wasn’t just about being a professional athlete; even during my competitive days, I had to structure my entire life around winning Olympic gold. That hasn’t changed. To be honest, I definitely practice more now than I did back then, I'm more toned, I have more muscle, and I have more technique and knowledge. It's fun to keep improving myself like that."

 

Valuing Every Small Moment Each Day

At 19, Hanyu won gold at the Sochi Olympics, and at 23, he achieved back-to-back victories at the PyeongChang Olympics. In his late 20s, he attempted the unprecedented quadruple Axel and made a fresh start as a professional skater. The 30 years of his life so far, marked by legendary achievements, are simply a continuation of his present, where he continues to live life to the fullest.

 

“I think I’ve always been fully focused on the present. From the outside, people probably think I’m someone with an incredibly strong core. But in reality, the thoughts and ideas surrounding that core can be quite fragile. When something bad happens, when I see something unpleasant, when someone says something hurtful… I waver easily. It’s easy for me to lose motivation for practice. But looking back on my 30 years,  I think I’ve always managed to live through those wavering moments with care and keep going.”

 

Now at a pivotal age of 30, Hanyu describes himself as being "in his prime." His widened experience and perspective bring a deep sense of fulfillment.

 

“I finally feel like my knowledge, imagination, and physical ability are reaching a new level. There are still many times when my body doesn’t fully align with what I envision, but I've finally begun to grasp how to train in a way that moves me closer to that goal. When I set a goal, I think I have a pretty good understanding of the path to achieving it. But I'm sure when I'm 40, I'll realize that I still didn't understand anything back then. It feels like I’ll keep repeating that process forever.”

 

“I Probably Have a Stronger Sense of Anticipation for Tomorrow Than Most People"

How does he see himself as a professional skater moving forward? Aware of the ever-present risk of injury, his eyes remain fixed on the future.

 

“I think I probably have a stronger sense of anticipation for tomorrow than most people. That’s why I feel that if I don’t take responsibility for my actions today, tomorrow will only become more difficult. For example, I think my physical condition today is a direct result of what I did yesterday. I don’t know if this mindset comes from being an athlete. Honestly, in figure skating, even if I go to practice tomorrow, there’s no guarantee I’ll be able to practice the day after. So, it's not that easy to draw a blueprint for the future. But, just as I’ve worked hard for the past 30 years, I want to keep valuing the little moments of each day. I hope that when I look back tomorrow, I can think, ‘I gave it my all today.’”

 

A life rich in experiences has shaped his intricate way of thinking. Yet, he still leaves room for the unexpected. For Yuzuru Hanyu, a one-of-a-kind skater, walking his own path with unwavering composure is, in itself, a continuous challenge.

 

 

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Author: Hiroaki Yamato
Born in 1985 in Gunma Prefecture. Graduated from Keio University with a degree in economics. Since joining Sports Nippon newspaper, he has been covering Yuzuru Hanyu as an Olympic correspondent for over six years since October 2018.

 

 

Model: Yuzuru Hanyu

Photograph: Hiro Kimura (W)

Styling: Ryo Kuroda

Hair & Make-up: Tomomi Kakizaki

 

 

Born in December 1994 in Sendai City, Yuzuru Hanyu graduated from Waseda University’s School of Human Sciences through its distance learning program. As a figure skater, he achieved back-to-back Olympic gold medals at the 2014 Sochi and 2018 PyeongChang Winter Games. Overcoming the hardships of the Great East Japan Earthquake and multiple injuries, he was honored with the People’s Honor Award in July 2018, becoming the youngest individual recipient of the award. In 2020, he became the first male skater to complete the Super Slam, winning all major international competitions at both the junior and senior levels. Hanyu was also the first in history to successfully land a quadruple loop jump. At the 2022 Beijing Winter Olympics, he challenged the most difficult jump under current rules—the quadruple Axel (4A).

In July 2022, he turned professional, and in February 2023, he made history again by holding “GIFT”—the first-ever solo performance by a skater at the Tokyo Dome, drawing a crowd of 35,000 spectators.

 

[yuzurujenn]

2025.03.06

 

Source: https://hochi.news/articles/20250305-OHT1T51268.html?page=1

Archived: https://web.archive.org/web/20250306012226/https://hochi.news/articles/20250305-OHT1T51268.html?page=1

 

The encounter that "SEIMEI" gave birth to: From "Profession, Mansai Nomura" to "Profession, Yuzuru Hanyu" Interview Part 1

 

Kyogen performer Mansai Nomura (58), who will be appearing as a special guest in the ice show "Yuzuru Hanyu Notete Stellata 2025" (7th to 9th) featuring professional figure skater Yuzuru Hanyu, gave an interview to Sports Hochi on the 5th. The article was published on two consecutive days, and in the first part he talked about "SEIMEI", which led to the two meeting, and "His Occupation, Yuzuru Hanyu". (Interview and composition by Megumi Takagi)

 

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Mansai and Hanyu first met in 2015. In the 2015-16 season, Hanyu performed his free program "SEIMEI," which used a song from the movie "Onmyoji," starring Mansai. Mansai, who is someone Hanyu looks up to, vividly remembers their conversation at the time.

 

　"Hanyu was a young man of 20 at the time, but I remember that he reacted very strongly to what I was saying. I put into words the things that he had been thinking, wondering about, and feeling on a daily basis but found difficult to put into words. When I said, 'It's like this, isn't it?' I remember him nodding deeply."

 

　During the conversation, he gave advice such as, "Be aware of all directions - heaven, earth, and man - and surround yourself with sound," and, "Use your body after swinging it in the opposite direction of the direction you want to move."

 

　"It's about using space and time. Controlling the venue. I remember when he came to see my performance, the first thing he said to me was, 'You have incredible control over the venue.' How do you control the venue? It's the same on the ice, as on our Noh stage, and on our cypress stage. I think it's about how you manipulate the space and time to give the audience a good experience."

 

　Hanyu performed "SEIMEI" at the 2018 Pyeongchang Olympics, winning his second consecutive gold medal. Immediately afterwards, Mansai sent him an email to congratulate him.

 

　"He was injured at the PyeongChang Olympics. I remember sending him a message saying, 'You gave it your all and won the fierce battle.'"

 

This first joint performance was made possible after an offer from Hanyu himself. They met for the first time in nine years in October last year to discuss plans for the show.

 

　"He became a professional skater. He was very good at putting his ideas into words and communicating to others how he wanted to do things. He's had a varied career. He seemed to me to be not only an athlete, but also an artist."

 

　Immediately after Hanyu turned professional in July 2022, he gave him the name "Occupation, Hanyu Yuzuru" on his radio talk show "Occupation, Nomura Mansai" (an audio distribution service) and sent him his encouragement.

 

　“I remember hearing that Hanyu was worried about his title. I remember him saying something like, ‘Profession: Hanyu Yuzuru.’ I think he’s going to walk the path of that from now on. It’s not just being an athlete, it’s something that only he can do, like contributing to the community, and it’s his own artistic view of the universe, and things like that.”

 

　As Mansai continued to take on new challenges, he came to be known as "Profession: Nomura Mansai."

 

　"I myself have been doing various directing and trying various genres, and there was a time when I thought there was no one else like me, and I wondered what to do. I took "Profession, Nomura Mansai" from the name of Shuji Terayama, who calls himself "Profession, Terayama Shuji." I wanted Hanyu to achieve a world that only he could achieve, so I asked him, "Profession, Hanyu Yuzuru?" (Continued in the second part)

 

 

 

◆Nomura Mansai Born April 5, 1966. 58 years old. Originally from Tokyo. Studied under his grandfather, the late Nomura Manzo VI, and his father, Nomura Mansaku. Debuted on stage at the age of three. Active as an actor in films such as "Onmyoji" (2001), "Seven Conferences" (2019), and the drama "Promise with Death" (2021). Head of Kyogen Gozaru Noza. Designated as an Important Intangible Cultural Property.

 

 

 

 

 

2025.03.07

 

Source: https://hochi.news/articles/20250306-OHT1T51206.html?page=1

Archived: https://web.archive.org/web/20250307035820/https://hochi.news/articles/20250306-OHT1T51206.html?page=1

 

Mansai Nomura and Yuzuru Hanyu "share the same DNA" - Today marks their first joint ice show interview (Part 2)

 

This is the second part of a two-day interview with Kyogen performer Mansai Nomura (58), who will be appearing as a special guest at the ice show "Yuzuru Hanyu Notete Stellata 2025" (7-9, Sekisui Heim Super Arena, Miyagi) by professional figure skater Yuzuru Hanyu (30). The two, who have both mastered their own paths, talk about the DNA they share as performers. (Interview and composition by Megumi Takagi)

 

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　In order to perfect his profession, 'Mansai Nomura', he makes an uncompromising effort every day. He continues to fascinate audiences with his diverse expressions that go beyond the boundaries of Kyogen.

 

　"Of course, one's own specialty is the core of one's work, but at the same time, one must have a broader perspective. Human life and death. The venue for Notte Stellata (Grande 21) is also a place of great significance [Note 1]. In that sense, Hanyu himself is contemplating the issue of human life and death, and giving great thought to what he can do in the midst of this."

 

He also touched on Hanyu's "determination."

 

　"I think he has gone beyond the framework of a mere individual or an athlete. He has something to carry on his shoulders. This may be a little self-serving, but I would like to use Kyogen as my core, and while carrying the weight of Kyogen, I would also like to carry Japanese culture somewhere. Hanyu is also someone who takes on such a broader perspective, challenging himself to do things that include broad genres, and I believe he is someone who is able to do so."

 

　"Profession: Mansai Nomura" and "Profession: Yuzuru Hanyu." As fellow artists, how does he view Hanyu?

 

　"He himself is a fan of my work 'Onmyoji', so he included 'SEIMEI' in his performance. I think it's about how you express something like a view of the universe. I think he would think that the skating rink is also a universe. I spoke at length about it in our interview (in 2015), including the idea of controlling heaven, earth and man. It seemed to really resonate with him. In that sense too, I get the impression that we share the same DNA."

 

　I asked Mansai about what "expression" means to him. He said that it involves sharing "life" with the audience.

 

　"From the performer's perspective, I think it's a pursuit of a certain beauty, but ultimately it only exists because of the audience. When the audience sees living people performing, they feel glad to be alive, and the performers are glad to be alive too. After all, it is live performing arts. What's wonderful is what happens on the spot - 'live' and 'alive'. It's like 'I'm glad I went to see it', and on top of sharing that time and space, and the emotions, it makes you feel 'I'm glad to be alive'. I think that's what it means."

 

　This show will be performed in a different space than usual. Before rehearsing at the skating rink, the group first practiced in a gymnasium to get a feel for the spaciousness.

 

　"I realized it was very big (laughs). I was a little surprised. It was a distance you could cover while wearing skates, but if I were to walk, it would be a considerable distance in a straight line, so I was a little taken aback. But I was prepared for it from the training stage onwards."

 

　In addition to performing in the collaborative performance, he also serves as the director.

 

　"I have my own thoughts about the disaster. I would like to share those thoughts with Hanyu and create a worldview together."

 

　The collaboration between these two top-class performers transcends genres to create new chemical reactions.

 

　"We have exchanged emails since our conversation in 2015. I sent him a congratulatory message on his second consecutive Olympic victory, and in return he sent me flowers at my performance in Sendai. So we have a connection, and this time we have a direct collaboration, you could say. We are able to combine the art of skating with the art of Kyogen. I am happy that we can concretely express ourselves together this time."

 

 

　[Note 1] The place where many victims of the Great East Japan Earthquake in March 2011 were laid to rest.

 

[yuzurujenn]

 2025.03.07

 

Source: https://www.tokyo-sports.co.jp/articles/-/336351?page=1

Archived: https://web.archive.org/web/20250307043510/https://www.tokyo-sports.co.jp/articles/-/336351?page=1

 

Yuzuru Hanyu's commitment to 3/11 in his ice show: "Bringing hope is my mission"

 

What lies ahead after overcoming the "conflict"? Yuzuru Hanyu (30), a professional skater who won two consecutive Olympic gold medals in men's figure skating, will host "Yuzuru Hanyu Notete Stellata" on the 7th at Sekisui Heim Super Arena in Miyagi. It has been 14 years since the Great East Japan Earthquake, which he was also affected by. This ice show, which has long been a message of "prayers" and "hopes" for the recovery, will be held for the third time this year. In an exclusive interview with this newspaper, the one-of-a-kind skater revealed his thoughts about this special ice show.

 

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— How did you prepare for this collaboration?
Hanyu: Since last year, I’ve been discussing what direction to take in 2025. As for my collaboration with Kyogen actor Mansai Nomura, the organizers had actually extended the offer much earlier.

 

— Have you always had a strong desire to collaborate?
Hanyu: Yes, absolutely. Mansai-san stands at the pinnacle of Japan’s traditional performing arts and continues to challenge himself by integrating new expressions beyond traditional Japanese culture.We first connected through my PyeongChang 2018 free skate program, "SEIMEI," and as I transitioned from competitive skating to professional performance, I wanted to push artistic boundaries just like he does. I’ve always hoped to collaborate with someone who embodies such a strong artistic spirit.

 

— Is this also an opportunity for you to learn something new?
Hanyu: Rather than focusing on learning, my priority is simply creating the best possible performance.

 

— What aspects are you most focused on?
Hanyu: I want to create a show filled with bonds and hope, so I’ve carefully crafted the concept and selected the programs accordingly. Since the earthquake, a lot of time has passed, and some places and events have started to fade from people’s memories. Most recently, there was the Noto Peninsula earthquake in January 2024, and I want this performance to offer prayers and hope for all those affected by various disasters.

 

— This is your third time holding this event. What is the core message you continue to uphold?
Hanyu: At the core of it all, there is always March 11. My commitment to offering support and prayers for 3.11 has never wavered.

 

— The Sekisui Heim Super Arena served as the largest temporary morgue in Miyagi during the disaster.
Hanyu: Of course, when I held the first show here, those feelings were incredibly strong. I questioned whether it was really okay for me to perform in this place.

Even though the theme is recovery support, at the end of the day, an ice show is still entertainment. Holding an event like this during the anniversary of 3.11—in a place with such a heavy past—brought a lot of inner conflict and hesitation. But instead of just dwelling on those thoughts and doing nothing, I believe it’s more important to take action. If my performance can offer even a small sense of prayer to those who are still living, to those who carry unresolved emotions and memories, then that’s what truly matters.

 

— There are things that only Hanyu can do.
Hanyu: In the first year, my emotions were overwhelming. I felt such a strong sense of responsibility to connect with the experiences of those in the disaster-stricken areas and to stand beside them in their pain... Honestly, it got harder with each performance. But now, rather than letting my own sorrow affect others and making them feel even heavier, I want to keep moving forward and deliver a little bit of brightness, with a prayerful hope. I feel that this is the mission that I have shouldered.

 

— What can you do now that it's your third time?
Hanyu: When I first performed here, it was incredibly difficult for me. Knowing that this venue had once been a temporary morgue only added to the weight of it all. I constantly questioned whether it was really okay for me to be doing this here. I also worried that my own pain might be unintentionally spreading through my performance. But after the show, I heard people say, "I'm glad I came," and "I felt a sense of hope." Because of those words, I was able to return for the second year, and now, for the third time, my wish is that this circle of hope can expand even further, even if just a little.

 

 

 

 

☆ Hanyu Yuzuru Born December 7, 1994. Originally from Sendai, Miyagi. He was the first Asian male to win a gold medal at the 2014 Sochi Olympics. At the 2018 Pyeongchang Olympics, he won his second consecutive gold medal for the first time in 66 years, and was the youngest individual to receive the People's Honor Award at the age of 23. He also won the World Championships in 2014 and 2017. He won the Grand Prix Final four times in a row from 2013 to 2016. In 2020, he also won the Four Continents Championships, becoming the only male to achieve the Super Slam (six major international championships). He turned professional in July 2022, and in February 2023, he successfully performed a solo concert at the Tokyo Dome, the first time in skater history that he has ever done so.

 

[yuzurujenn]

 2025.03.08

 

Source: https://hochi.news/articles/20250308-OHT1T51011.html?page=1

Archived: https://web.archive.org/web/20250308203943/https://hochi.news/articles/20250308-OHT1T51011.html?page=1

 

Yuzuru Hanyu skates with prayer and soul, 14 years after the Great East Japan Earthquake "Notte Stellata" opens in Miyagi

 

The ice show "Yuzuru Hanyu Notete Stellata 2025", hosted by professional figure skater Yuzuru Hanyu (30), opened on the 7th at the Sekisui Heim Super Arena (Grandi 21) in Miyagi. The 11th marks 14 years since the Great East Japan Earthquake. He sent out a message of hope from his hometown of Miyagi.

 

"Notte sellata" means a sky full of stars. At the opening, he took the microphone on the ice. "We skaters here will shine and perform to become stars for all of you. Sometimes it may be lonely, sometimes it may be hard, and you may feel sad as you remember all sorts of things. However, we are here, and we will skate with prayers from our souls for all those who have passed away and those who are still alive," he said to the 6,256 spectators.

 

 

 

Source: https://hochi.news/articles/20250308-OHT1T51012.html?page=1

Archived: https://web.archive.org/web/20250308014238/https://hochi.news/articles/20250308-OHT1T51012.html?page=1

 

The Chemical Reaction of Yuzuru Hanyu and Mansai Nomura: Their Masterpiece "SEIMEI" and "Bolero" of "Requiem" and "Rebirth"

 

The ice show "Yuzuru Hanyu Notete Stellata 2025," hosted by professional figure skater Yuzuru Hanyu (30), opened on the 7th at the Sekisui Heim Super Arena (Grande 21) in Miyagi.

 

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The chemistry between the two left the venue filled with excitement and excitement for a while. At the ice show "Yuzuru Hanyu Notete Stellata 2025," a dream collaboration between Hanyu and Kyogen performer Mansai Nomura (58) was realized.

 

　"I used up all my energy and willpower, to the point that I wondered if today was the final performance. I never lost my spirit for even a moment, and I skated with hope and prayer."

 

　Right from the very first day, Hanyu delivered his usual full-power skate.

 

　It was a clash of two serious acts. The second half started with Hanyu's six-minute practice, and then he went straight into "SEIMEI," the gold medal performance from the 2018 Pyeongchang Olympics. The free program used the music from the movie "Onmyoji" starring Mansai, and skating skills and Kyogen art were combined in a new way. He thrilled the audience with two types of quadruple jumps, the Salchow and the Toe Loop, and created a worldview to the fullest.

 

"I was just incredibly nervous. I felt a certain dignity from behind me, and the pressure of not being able to make any mistakes. I was so nervous that I really wondered if I was in the Olympics."

 

　He turned professional in July 2022. That was also a source of tension.

 

　"Since I stepped firmly into the professional world, the world of expression, I feel that I am really just a novice," he said modestly. As for his idol, Mansai, he said, "He is someone who has inherited the traditional Japanese arts from generation to generation, and he is particularly outstanding among them. I need to have the skating that is appropriate for him, the artistry of a professional," and he was full of spirit from the rehearsal.

 

　At the end of the first half, they performed another collaborative program, "Bolero." Mansai performed his signature piece with six skaters - Hanyu, Miyahara Satoko, Suzuki Akiko, Tanaka Keiji, Mura Takahito, and Shae-Lynn Bourne - with great enthusiasm. Mansai danced on a special stage in the center of the rink, and the skaters danced on the ice. "MANSAI Bolero," which combines Kyogen with Ravel's dance music, premiered in 2011. The piece, which is imbued with the meanings of "requiem" and "rebirth," was a ray of hope for Tohoku, with many emotions thrown in. (Takagi Megumi)

 

 

 

 

Source: https://hochi.news/articles/20250308-OHT1T51014.html?page=1

Archived: https://web.archive.org/web/20250314091839/https://hochi.news/articles/20250308-OHT1T51014.html?page=1

 

Yuzuru Hanyu and Mansai Nomura's "SEIMEI" was "so nerve-wracking I thought it was the Olympics" - full Q&A

 

The ice show "Yuzuru Hanyu Notete Stellata 2025", led by professional figure skater Yuzuru Hanyu, opened on the 7th at Sekisui Heim Super Arena (Grandi 21) in Miyagi. It has been 14 years since the Great East Japan Earthquake on the 11th. He sent out a message of hope from his hometown of Miyagi. He performed two collaborative pieces, "Bolero" and "SEIMEI", with special guest Kyogen performer Mansai Nomura, who he performed with for the first time. Below is a Q&A with Hanyu after the show.

 

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-After the first day of the third "Notte Stellata".

　"Anyway, I used up all my energy and willpower, to the point that today felt like the final performance. I never lost my spirit for even a moment, and I skated while praying that all the members skating at this venue would be able to do something, even if just a little, in response to the 3/11 disaster and other disasters, and that this would become a catalyst for something."

 

　-Co-starring with Nomura Mansai.

　"I was incredibly nervous. Especially when it came to 'SEIMEI', I always felt a certain dignity behind me, and with the pressure of not being able to make any mistakes, I was so nervous that I really did skate to the Olympics. Also, 'Bolero' is a piece I have never used before, and as a figure skater, there is a legendary ice dance performance to it. Shae, who choreographed it, said that it was very difficult, but as Mansai's Bolero, we also included various moves and gestures, and I felt that it was a 'Bolero' that could only be done by this collaboration."

 

--It's been 10 years since you last spoke with Mansai in 2015. Has your image of Mansai changed?

　"Somehow, I feel like he opened up to me a little bit (laughs). About 10 years ago, I felt so intimidated and just nervous. I was like a dry sponge, like I couldn't absorb anything because I didn't have the capacity to do so. I was just completely overwhelmed. But this time, because I have gained a lot of experience and been a professional, I want to stand on the same stage as him, speak from the same perspective, and be on the same level as him, and be fully alert and take on him as a professional skater. We had meetings with that in mind. Of course, the choreography for "Bolero" itself was gradually completed after the other skaters arrived. When Mansai saw it, it wasn't completely finished and he seemed unsure of what to do. But as we took our time going through it over and over again at this venue, Mansai often helped us out with the movements, and I think that "Bolero" was completed while thinking a lot about what kind of movements I should use to coordinate with Mansai."

 

　-Mansai mentioned that he had forgotten many details about SEIMEI.

　"For us skaters, and more specifically speaking for myself, I feel that since I stepped firmly into this professional world, this world of expression, I am still a novice. I felt it was an honor to collaborate with someone who has continued this traditional Japanese art form for generations, and who is particularly outstanding in that art, and I felt very strongly from the rehearsals that I needed to have the skating appropriate for this, the artistry of a professional. For now, I'd say my performance today was about 50 points. I was really nervous."

 

　-Mansai said, "I'm happy to see you growing up."

　"No, it's far from it. I'll keep on working hard."

 

　-At this venue, you will be performing your signature piece "SEIMEI" at "notte stellata" together with Mansai.

"Of course, this is true of the people I have collaborated with in 'notte sellata' up until now, but I don't just think about collaborating in figure skating. I always think about who would be a great collaborator or guest, and discuss guests with the planners. From the beginning of the launch of 'notte sellata', I have been talking about wanting to collaborate with Mansai someday. Also, I really wanted to do it, including the fact that 'Bolero' is a story of requiem and rebirth. Now that it has become a reality, it still feels a bit like a dream, but I feel like I have come a little closer to creating a skating and show that is worthy of accepting Mansai, Nomura Mansai. That is the sense of fulfillment I have."

 

　-How are you feeling about being able to continue performing in your hometown, which was hit by the disaster, and staying healthy at this time? What are your thoughts about moving forward? Please also share your feelings for the affected areas.

"There may have been people who bought tickets but couldn’t make it due to illness, or those who faced difficulties traveling, perhaps because of the Shinkansen issues. Grande, in Rifu, isn’t the most accessible location, so I know it must have been challenging.

 

But more than anything, before even considering our own performance, I want to say that the most important thing is for those who planned to come to be in good health. And even if they couldn’t attend, there are people watching through Hulu and other streaming platforms—that alone fills us with gratitude and happiness.

Of course, we push ourselves to the limit, exhausting every bit of energy we have in our performances. And this time, I feel like that energy, the determination to give everything in an ice show, has spread to the other skaters as well. Seeing how much effort everyone is putting in, giving their all, has been really inspiring.

 

Honestly, I don’t think many people have ever made Nomura Mansai run to the point of being out of breath. It feels almost too audacious, but still, Mansai-san threw himself fully into performing SEIMEI. Watching him commit so completely was truly incredible. Physically, we’re all beyond exhausted—probably far from being ‘healthy’ at this point. But seeing the audience standing, clapping, and cheering reminds us that they are truly present in this moment. That feeling—of being alive together in this space—is something I was able to experience again because of notte stellata.

 

Just as we found the strength to rise after the earthquake, I hope that sense of connection and unity continues to grow and spread.

 

During rehearsals, I saw Mansai-san completely out of breath, and I thought, ‘Oh no, I’ve really done something terrible here.’ He’s sprinting non-stop at the end of SEIMEI, and while I feel guilty about it, at the same time, I can’t help but deeply respect the sheer ability and generosity he brings to this performance. He truly has an incredible presence, and I admire him even more because of it."

 

　--What did you focus on in this production of "SEIMEI" and how were you able to perform the pieces that are considered your signature?

　

"Yes, normally when I perform SEIMEI, I embody the motif of Abe no Seimei myself as I skate. But this time, the actual Abe no Seimei appeared on the ice, and I was positioned more as his servant or shikigami. The composition and direction were designed with that in mind.

 

Because Seimei is a perfect and mysterious being, the shikigami must act as one—imperfect, in a sense, and moving as a being granted power rather than possessing it inherently. I kept that in mind as I skated, pouring in all my energy. Compared to my usual SEIMEI program, I felt like I was skating at full power the entire time.

It was as if I had been assigned a role, carried it out, then returned to being a paper doll, only to be reanimated again with another incantation—this cycle of being given and fulfilling a purpose. That was the story we imagined as we worked on the composition.

 

This SEIMEI felt very different from what I had performed before. In a way, it made me reflect on roles—not just within the performance, but on my own role in this notte stellata ice show and even in life itself. It felt as though I was being asked, once again, ‘What is the purpose of my existence?’"

 

　

(As the interview wrapped up)

 

"Sorry, I talked for so long! Thank you so much. This kind of reminded me of NHK Trophy, when I just kept talking and talking until they finally said, ‘That’s all the time we have.’ (laughs) Thank you for always listening to my long talks. I look forward to working with you again. Thank you very much."

 

 

 

 

Source: https://hochi.news/articles/20250308-OHT1T51015.html?page=1

Archived: https://web.archive.org/web/20250314092504/https://hochi.news/articles/20250308-OHT1T51015.html?page=1

 

Mansai Nomura: "My profession, Yuzuru Hanyu, is becoming more and more accomplished" "Bolero" seems to be "overwhelming with emotion" Full Q&A

 

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- Participating in your first ice show.

"You could really feel the energy and enthusiasm of everyone in this large venue. When so many living, breathing people gather like this, the atmosphere becomes incredibly powerful. This place (Grande 21) was once a temporary morgue, and yet, here we are—carrying forward so many things, both good and bad, as a kind of legacy. I think it’s truly meaningful that we were able to share this experience while being aware of that history. It was a remarkable event."

 

- "MANSAI Bolero" was performed at this venue.

　"Yes, I was a little overwhelmed with emotion at first. When it started, for a moment, I felt, well, it wasn't a spiritual inspiration, but I felt something like the souls of everyone, or some kind of emotion coming over me. I felt like it was the mission of those involved in Kyogen to somehow shoulder such feelings, and it gave me a renewed sense of the place and my own mission."

 

　-The two of you performed "SEIMEI."　

"As we worked on this together, I really felt just how much Hanyu-san loves Onmyoji. He might be a bit of an otaku about it—he actually knows more than I do! (laughs) There were even details I had forgotten that he still remembered. He would suggest, ‘Wouldn’t it feel more like SEIMEI if we did it this way?’

Jokes aside, this is the program that earned him his historic gold medal, and I feel truly honored to have been involved with such an important piece. I’m also curious to see how the overall composition was received by everyone.

Drawing the pentagram on the ice carried a deeper meaning as well, connecting to something beyond just the performance itself. In that sense, I believe it became a program that also resonates with 3.11. Being part of not just one, but two works within this show has been a great honor for me."

 

― What did you discover through the collaboration with figure skating?
"Well, during the process of structuring the performance, when Hanyu-san and I took turns performing alternately, there were moments when I wanted to hit the exact timing with the music, but I realized that in skating, a performer can’t start moving instantly. Unlike on solid ground, where you can move right away, on ice, you need to take a stroke first to gain initial speed. That slight time lag was something new and interesting for me."

 

― How did you adjust for that difference?
"We used effects like smoke or made our exits more dramatic to smooth over those transitions. But really, working with Yuzuru Hanyu this time reminded me of something from a conversation we had before. Today, he started ‘SEIMEI’ with the theme of ‘Tenchi-jin’ (Heaven, Earth, and Man), which took me back to our past discussion where I talked about the control of heaven, earth, and man—about controlling space and time, and wearing music like a cloak. Seeing Hanyu-san now producing and directing ice shows, I truly feel that he has taken on the role of governing Tenchi-jin himself. In that sense, it’s incredibly reassuring to see how much he has grown."

 

― ‘SEIMEI’ is now in its 10th year. How do you see Hanyu-san’s growth?
"It makes me very happy. Back then (when we spoke in 2015), he already had so much within him, but it wasn’t fully verbalized yet. Over time, through various experiences—including, perhaps, some influence from my words—he gradually broke out of his shell, sprouted, and has now fully blossomed.

 

We all inevitably grow older, and the next generation carries on various wills and aspirations. That’s something I find truly wonderful. I, too, received knowledge and experiences from those before me in Noh and Kyogen, and I had my own thoughts on these arts. Hanyu-san has taken in those ideas and transformed them into a magnificent show, one that also carries the profound theme of remembrance and repose for souls. That, I believe, is truly remarkable.

 

Listening to his final remarks today, I recalled that at the beginning, I introduced him as ‘Profession: Yuzuru Hanyu.’ I say ‘Profession: Mansai Nomura’ for myself, as I see my life as one dedicated to carrying the weight of Japan’s traditional culture. And now, I see that he, too, carries something immense in his own way.

 

He is not just an individual performer—he is a public figure, someone who transcends personal endeavors. That is what makes him so extraordinary. His vision, determination, and actions extend far beyond skating, and they were all concentrated into this incredible show. I truly believe that ‘Profession: Yuzuru Hanyu’ will continue to accomplish great things. That is something I am deeply grateful for."

 

― In a past conversation with Hanyu-san, you mentioned that Japanese culture is one of "abbreviation." How did you apply this concept to "Boléro"?

"It's true that 'Bolero' was gradually stripped away as we tried various ways of creating it. It was originally based on the Sanbaso dance from Noh and Kyogen, but in the process of transforming it into a prayer for the Great East Japan Earthquake, I took concrete images such as lifting up a child and asking for help, or saying that flowers will bloom even in times of hardship, that rain will fall, and that summer will come, but I also made them more abstract concepts, and ultimately I think it gives the impression of a glimpse into the life of a human being, soaring from death to the next life, which leads to the final jump. So, when you watch it, it may seem very abstract, but if you watch it with that in mind, I think you'll see something special, so I hope we can continue performing 'Bolero' together again."

 

― Hanyu-san interpreted his role as a shikigami.

"As we developed ‘SEIMEI’ this time, we explored the nature of our relationship within the performance. It begins with me gently dropping a human-shaped paper talisman, which of course represents a shikigami. Even the moment when Hanyu-san remained poised in the background while I performed was an idea that emerged only after we arrived at the venue. That interpretation and execution evolved organically as we worked through the process."

 

[yuzurujenn]

 2025.03.11

 

Source: https://digital.kyodonews.jp/deepedge/feature/hanyu-yuzuru-interview-14yrs-since311/

Archived: https://web.archive.org/web/20250311055219/https://digital.kyodonews.jp/deepedge/feature/hanyu-yuzuru-interview-14yrs-since311/

 

[Interview with Yuzuru Hanyu] 14 years after the disaster: "I want to continue to be a catalyst to ensure that the disaster is not forgotten" - Bonds, connections, and relationships... "A form of support that will continue forever" that he discovered during a visit to the disaster-stricken area of Noto - The experience of 3/11 "made him think deeply about life"

 

Yuzuru Hanyu (30), a two-time Olympic champion in men's figure skating, sat down for an interview with Kyodo News in his hometown of Sendai ahead of the 14th anniversary of the Great East Japan Earthquake on March 11. Reflecting on the time he experienced the disaster while training at a rink in Sendai, he spoke with determination: "Because I am someone who brings people together, I want to continue being a catalyst for support activities while valuing the power of each individual even more." (Interviewer: Fujiwara Shinya)

 

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The earthquake, which he has faced for half his life, is "an event that changed him"

 

--It's been 14 years since the disaster. What are your honest thoughts now?
　"I feel like so much time has passed, but I can still remember the scenes from back then, the emotions I felt, and the fear as if it were yesterday. Both coexist."

 

— At 30 years old, you've spent half your life facing the aftermath of the disaster.
"I feel that I’ve done what I could. That applies not only to how I’ve approached my skating career but also to how I’ve faced the disaster and other calamities beyond 3/11. Over these 14 years, I believe I’ve continuously done everything I could."

 

— In the past, you mentioned that facing the disaster was 'one of the missions of your skating career.' How has 3/11 been a starting point for you and a driving force in your journey?
"It’s difficult to simply say that what happened became my motivation. It would have been better if it had never happened—there’s no doubt about that. I truly wish it hadn’t. But since it did happen, and I’ve moved forward from that day 14 years ago, I think that experience made me reflect more deeply on the value of life. Because I encountered so much sorrow, I developed a stronger desire to stand beside those who are grieving. I can't easily call it a driving force, but it was an incident that changed me."

 

— As both a competitor and a professional, you've never compromised in your performances. Do you feel a responsibility to always give your best because you've continued to face the disaster?

"It's nothing too grand, but since people have high expectations of me, I want to live up to them and exceed their expectations. It's like a sense of pride as a professional, a sense of pride in my skating, it's something that comes naturally," he said. "However, I'm not exaggerating when I say that for each and every performance, there are surely people for whom this performance was their last in their lifetime. There could be illness, a sudden disaster, an accident, financial problems, opportunities. There are so many possible factors. But if there are people for whom this performance, this performance of Yuzuru Hanyu, will be the last they see live, then I believe it would be insincere not to give everything I have in that moment."

 

Continuing to Explore Ways to Support Reconstruction: "The Cooperation of Those Who Support Me Is the Most Important"

 

-- During your solo tour and the ice show "notte stellata" until the 9th, you addressed the audience with the words "the preciousness of life." Is this a theme that you want to continue to focus on as part of your mission as a skater?
　"Well, rather than saying it’s something I’m particularly fixated on, I think it's more about the fact that, fundamentally, I am that kind of person, so it naturally becomes a theme in my expression. If you asked me what it was like before 14 years ago, I’d say that, of course, I had thought a lot about life, but I didn’t think about birth and death this deeply, or maybe I didn’t feel the need to think about them that much."

　"The fact is, because of the earthquake, I started to tie my expression more closely to my skating and its meaning, connecting it more with things like support and assistance. How should I put this? It’s not necessarily about being fixated on something, but more about it being rooted in me. Yeah, I think it's that fundamental. I continue to want to think about life, and the earthquake definitely shaped this thinking and the kind of person I became."

　--You have talked about your ongoing search for how to offer support. Could you share your thoughts on how you now approach the idea of support?

"This year's 'notte stellata'  (held in Miyagi Prefecture from the 7th to the 9th) was not just about wanting to convey something through my performance. There were also local vendors, like those from the Wajima morning market, who set up booths at the venue. The people who came to see me perform, the ones who came to the ice show, ended up buying from these vendors. That, I thought, was the most meaningful form of support I could offer."

 

"Of course, I will continue doing donations and supporting causes, but I realized that, in the end, a temporary event where I create a fund or ask for donations isn’t sustainable. Even if it becomes news for a moment, people often think, 'I can't do that, but they’re doing it, so it’s fine.' That’s something I realized. What I’ve come to understand is that the best way to continue supporting is through the cooperation of the people who support me."

 

"That ties in with something I’ve said all along—that I want to be a catalyst. By facing the earthquake and thinking about it, or by holding events as part of my support activities, I was able to bring people to Sendai. This time, people bought goods from Wajima, and I realized that this kind of support, where I help bring people together, is the most sustainable way to keep expanding the support network."

 

--Is this something you’ve come to realize this year?

"When I spoke with the people from the Wajima morning market, they said they were happy that people bought their products. They also expressed that they felt the strength of support from everyone. Honestly, I was just the catalyst for that, but it made me realize that this is the form of support that will continue. At the same time, it made me realize once again how many people I should be grateful to."

 

I went to Wajima last June. "Interactions between people are powerful."

 

--Hanyu has made large donations, including royalties from your books.

"However, when it comes to royalties or donations, I feel like the act of donating can be done in a single moment, but the feelings behind it don't tend to last. I’ve realized that it’s hard for the sentiment to continue in the long term. That’s why, in situations like this, where I am the catalyst and people are able to broaden their perspectives because of me, I’m really grateful for the cooperation I’ve received. At the same time, it made me want to keep encouraging others to get involved."

 

--It’s not just about Hanyu's personal efforts; you’ve found a form of support by expanding the circle.

"I think it’s one form of support. But it only has meaning if the people who came actually cooperate. It’s because so many people came that it’s truly becoming a catalyst. First and foremost, I have a really strong sense of gratitude toward those people. Plus, I want to continue responding to their expectations, so that they will want to go see my ice shows in the future and that I can continue to function as a real catalyst."

 

--When did you visit Wajima City in Ishikawa Prefecture?

"Last June."

 

--The vendors at the market were people you met at that time?

"Yes, they were people I had interacted with. But I also heard in the news that the morning market stopped functioning, so they’ve been holding something like a traveling morning market at other stores. When I talked to them, they mentioned that they really want to hold it at the original location. But as the circle of interactions grows, just like with the 3/11 disaster, human connection becomes a real source of strength, especially in tough times. I’d be happy if this could offer even a little bit of support. I know it’s a lot of effort for people to come, but I’d be really glad if this kind of activity could serve as a catalyst for continuing efforts like this."

 

"I want to keep the memory of the disaster from fading," he said, using his fame to his advantage. "The hardships remain, so I want to keep spreading the word."

 

--What was impressive was when you said you wanted to use your high level of recognition in a positive way during the Noto reconstruction ice show. You want to continue facing various issues as a symbol for recovery from the disaster and other crises.

"Yes, I think I’m really a unique person. I’m an athlete who has been reported on to some extent while actively working in the disaster-stricken areas. And among the people who have been watching and supporting me, there are many who have seen the efforts of the victims and those from the affected areas. I truly think that’s a very unique situation. And the fact that so many people continue to support me in real time is, once again, something extremely special. So, since I’m fortunate enough to have so much manpower gathered around me, I want to continue cherishing the power of each individual, not focusing on numbers, but respecting and valuing the strength that each person holds. I want to continue being a catalyst for support and a reason for people to not forget."

 

--You previously said that you were encouraged more than anyone by the words "do your best." In return, you said last year that you want to continue supporting others. Do you still hold onto that feeling?

"Yes, it’s been 14 years since 3/11, but there are still people who haven’t been able to go home, there are houses and land that remain the same as they were back then, and there are still many unresolved issues—not just with the nuclear plant but also in other regions. There are definitely still scars, not just on the land but also in people's hearts. I really want to continue standing by them. That’s how I feel right now."

 

"It's difficult, but to be honest, there are people who don't want to remember it, and there are also people who say that everything is fine now. If we were to focus only on 3/11, there are still disasters in other areas, and there are still many places where they are occurring in clusters, and the Ofunato forest fire was only just put out recently, so it's difficult to express the situation in one word, but there are still many painful things remaining regarding 3/11, so I want to continue to convey that, and I want people to keep it in their hearts. "

 

--Last year, you mentioned that you poured all your feelings about 3/11 into the "notte stellata" ice show. Do you want to continue doing this in the coming years?

"I can't say for sure because I’m not the organizer, so it’s difficult. But to put it another way, I have a strong desire to keep my thoughts about 3/11 and my support activities strong at heart and continue them forever."

 

First visit to disaster-stricken areas since the Sochi Olympics: "It's important to continue to stand by each other"

 

--The first time you visited a disaster-stricken area was after the 2014 Sochi Winter Olympics, where you won your first gold medal.
　"Yes."

　--You went to Ishinomaki City, Miyagi Prefecture. At the time, you were hesitant to go. Has anything changed since then?

"There are things that haven't changed. Honestly, I still feel the same way about whether it's okay for an outsider to step in and interfere. When it comes to the painful reality of a situation, if someone who isn't suffering steps in, I feel like if they pointed at me and said, 'You're not really empathizing, are you?' I wouldn’t be able to say anything in response. That feeling hasn’t changed since then. Perhaps it’s something that’s stayed with me since the press conference before the Sochi Olympics. But what has changed since then is that I can now proudly say that the results I achieved, like winning two Olympic gold medals, along with the programs I’ve performed and the various activities I’ve done, have become a catalyst for those people to smile."

 

― What thoughts come to mind when you visit the disaster-stricken areas?

"It's a difficult question, really. This might be somewhat related to what I was talking about earlier, about wanting to expand the circle of support, but even if one person moves debris, there are still limits to what can be done. However, what I really felt during the 3/11 disaster was just how much faster the recovery process became because of the bonds formed by so many people. I truly felt that back then. Those connections originally began with people who came to help after the 1995 Hanshin-Awaji Earthquake, when people from Miyagi Prefecture went to volunteer. And now, people from Kansai, who came as a way to pay back that kindness, and many others from different countries, have joined in, and that support has kept expanding and growing into more and more connections, turning into an ongoing legacy of bonds. I witnessed all of that."

 

"In fact, with the current situation in Noto, there are many people who have volunteered because they wanted to go there after receiving the care we received, and I vaguely think that if we could cherish not just one person, but the connections between each individual, and if we could all move forward together, the world would definitely become a better place. I don't just mean disaster-stricken areas, I think it applies to a lot of things, like companies, probably human relationships, and I think it's probably true of the world situation as well. I think that if we cherish the hearts and connections of each individual, and not just family, but all kinds of connections, and cherish and support each other, the world would become a much better place. That's why I feel that ultimately, the most important thing is for people to connect with each other and be able to empathize with each other, and that it's really important that this continues."

 

"I was planning my strategy one year before the Winter Olympics" "Once you become a professional, it's a given"

 

― Changing the topic, after completing your third year as a professional, have you felt any evolution in yourself?

"Every performance, every single time, I’ve been learning different things, facing new challenges, and feeling growth. So it's hard to pinpoint one specific thing and say, 'This is it.' However, this time, the opportunity to collaborate with someone as significant as Mr. Mansai Nomura really allowed me to feel that I’ve stepped onto the stage of professional expression. I feel like I’ve started to stand on that platform, even if just a little."

 

― You already seem to have a sense of standing on the stage with the stature of a Yokozuna, but you still feel there’s more to refine within yourself.

"Yes, definitely. When you experience the presence and stature of someone like Mr. Mansai Nomura, being right there in front of him, you truly feel that. And in that moment, I realized, ‘I’m still young.’ I still have a long way to go. Of course, in the case of SEIMEI, I believe that youthfulness allowed me to express certain things, but I also felt that there are so many things I still need to learn, evolve in, and understand."

 

― Would you say he dominates the atmosphere?

"Well, Mr. Nomura’s very presence itself, just him standing there, expands the space, the world around him. I think that’s how it feels. If you asked whether a figure skater can achieve that, maybe not, because that’s not what we’re about. But in the world of expression, there is something like that. And in order to reach that, I need to absorb and learn from it, constantly improving and making it my own. That’s something I truly feel."

 

― Finally, the Milan-Cortina Olympics is less than a year away. You've experienced the year leading up to the Olympics three times — in Sochi, Pyeongchang, and Beijing, each time in a different role. Looking back, what do you think is the importance of the year before the Olympics?

"One year before the Olympics. I was just making a strategy. I thought a lot about how to peak for the Olympics, how to deepen my thoughts for the Olympics, how to schedule to improve my skills, and so on. But now that I'm away from the Olympics, I feel like I'm doing it every year, or rather, every week, and now that I'm in a world where that's the norm once you become a professional, I feel like I've finally reached the point where I can stand on the same stage as Mansai. Until now, it was fine to just do it over a four-year span, but now I really have to do it every performance, and I have to grow every week, so I think that's what I'm thinking now, looking back."

 

 

 

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Yuzuru Hanyu: In his first appearance at the Winter Olympics in Sochi in 2014, he became the first Asian man to win, and in Pyeongchang in 2018, he became the first man to win back-to-back titles in 66 years. He placed 4th in Beijing in 2022. He won the World Championships in 2014 and 2017, and won the Grand Prix Final four times in a row from 2013 to 2016. He has won the All Japan Championships six times. In 2016, he became the first person in the world to successfully perform a quadruple loop. He announced that he would turn professional in July 2022. A graduate of Waseda University. Born on December 7, 1994, he is 30 years old. He is from Sendai City.

 

[yuzurujenn]

2025.03.11

 

Source: https://hochi.news/articles/20250311-OHT1T51168.html?page=1

Archived: https://web.archive.org/web/20250314140039/https://hochi.news/articles/20250311-OHT1T51168.html?page=1

 

Yuzuru Hanyu: "I will continue to skate with prayer" - 14 years since the Great East Japan Earthquake, he writes on social media

 

Yuzuru Hanyu, the back-to-back Olympic gold medalist in men's figure skating, wrote about his feelings in his official SNS account on the 11th, 14 years after the Great East Japan Earthquake.

 

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"The pain from the wounds I sustained 14 years ago on March 11, 2011 will never go away, and they will remain with me forever. There are still areas that have not healed. What I have lost will never return to the way it was. But I will continue to pray. I will continue to seek out what I can do. I will continue to cherish the changing scenery and the unchanging memories. I will continue to skate with prayer," he said.

 

　Hanyu, who was a first-year student at Tohoku High School in Miyagi, was practicing at a rink in Sendai when the disaster struck and he also lived in an evacuation shelter. He has continued to support the disaster-stricken areas, donating all of the gold medal prize money he won at the 2014 Sochi Olympics and the 2018 Pyeongchang Olympics to Miyagi Prefecture and Sendai City. In October last year, he donated 20,641,590 yen to the Sendai Ice Rink, where he is based. His ongoing support since his competitive days has brought his total donations to the rink to 107,971,996 yen.

 

　Since turning professional in 2022, he has had even more opportunities to reach out to the public. For three days from the 7th, he hosted the ice show "Yuzuru Hanyu Notete Stellata 2025" at the Sekisui Heim Super Arena (Grande 21) in Miyagi, an area affected by the disaster. In September last year, he appeared in the "Noto Peninsula Reconstruction Support Charity Performance" and donated all of the proceeds of 43,878,649 yen, showing that his reconstruction support activities are not limited to his local area.

 

 

 

 

Source: https://hochi.news/articles/20250310-OHT1T51202.html?page=1

Archived: https://web.archive.org/web/20250311025749/https://hochi.news/articles/20250310-OHT1T51202.html?page=1

 

Yuzuru Hanyu: Accepting and Carrying the Responsibility 14 Years After the Great East Japan Earthquake - Part 1 of an Exclusive Interview

 

On the 10th, professional figure skater Yuzuru Hanyu (30) gave an exclusive interview to Sports Hochi in his hometown of Sendai, where he spoke about his thoughts on the Great East Japan Earthquake, which will mark 14 years since the disaster on the 11th. He will continue to support the disaster-stricken areas in a way that only he can, such as hosting the ice show "Yuzuru Hanyu Notete Stellata" in Miyagi. (Interview and composition by Megumi Takagi)

 

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Hanyu was 16 years old at the time of the disaster. It has been 14 years since March 11, when he was hit by the disaster at an ice rink in Sendai.

 

　"I want to remember that there are areas, including Fukushima, where the scars are still visible, and that there are people who are still suffering and feeling sadness. I consider myself a victim of the disaster, but more than that, I want to keep in my heart the fact that even 14 years later, there are still people who say they can't go back home, or don't know what to do with their homes."

 

When he was a teenager, he struggled with being treated by the media as if he was a representative of the disaster-stricken areas. He achieved back-to-back Olympic victories in Sochi in 2014 and Pyeongchang in 2018, and with that came more responsibility. Over these 14 years, he’ have gradually walked this path, accepting it little by little.

 

　"It's not something I can say was always smooth sailing. But I feel like I've been accepting things one by one, little by little, for the past 14 years. I feel like I've been continuously accepting and carrying the burden of these things."

 

　In September of last year, he performed at the Noto Peninsula Reconstruction Support Charity Performance and donated the entire proceeds of 43,878,649 yen. What is at the heart of his support activities?

 

　"I believe it's because I've been supported by many people."

 

　At his first appearance at the World Championships in Nice in March 2012, he won a bronze medal.

 

　"In the 2011–2012 season, I did face many struggles, but at the World Championships at the end of that season, I realized just how much the support of others had an impact on me. From that point on, I was able to feel that I was being supported so much, and that made me want to support others in return. As someone from the disaster-stricken area, I felt so supported, and because I could feel the disaster more closely, it made me want to be in a position to support others even more. I believe that’s at the core of my actions."

 

　In addition to Tohoku, he has also visited the disaster-stricken areas of Ishikawa, Kumamoto, and Hokkaido.

 

　"Some people go to Noto as volunteers as a way of giving back to those who came from Ishikawa to volunteer during the Great East Japan Earthquake. I feel the same way. After all, so many people had all kinds of feelings about 3/11 and gave us their support, so when disasters strike in other regions, we feel a strong desire to support them and give back."

 

　He will continue to skate with thoughts of the disaster-stricken areas in my heart.

 

　"I think that there is no longer any performance that doesn't include that. Whatever program I perform, even if it's something like "Utai" (which I performed in the ice story "Echoes of Life"), I always include some kind of - not a dialogue with the soul, but prayer, empathy with the soul, empathy with some kind of sorrow."

 

 

 

 

 

Source: https://hochi.news/articles/20250310-OHT1T51219.html?page=1

Archived: https://web.archive.org/web/20250310215808/https://hochi.news/articles/20250310-OHT1T51219.html?page=1

 

Yuzuru Hanyu thanks his fellow skaters, expresses his "soul" at the show - Part 2 of the exclusive interview

 

On the 10th, professional figure skater Yuzuru Hanyu (30) gave an exclusive interview to Sports Hochi in his hometown of Sendai, where he spoke about his thoughts on the Great East Japan Earthquake, which will mark 14 years since the disaster on the 11th. He will continue to support the disaster-stricken areas in a way that only he can, such as hosting the ice show "Yuzuru Hanyu Notete Stellata" in Miyagi. (Interview and composition by Megumi Takagi)

 

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After turning professional, Hanyu held an ice show titled Notte Stellata, which conveyed his feelings about the earthquake, in Miyagi for three consecutive years. Compared to his competitive years, when competition was the top priority, the opportunity to express himself has increased. His approach to the show he directs has also evolved.

 

"In terms of the way I carried it, in the first year I was carrying a heavy burden. In terms of what it means to empathize, I empathized in a way that was similar to sadness. But in the second year, because I was empathizing with those in sadness, I felt that I had to be the one smiling, and I did my best."

 

This year, the special guest was Kyogen actor Mansai Nomura (58). One of the collaborative performances was Boléro. Mansai Boléro, which blends Noh and Ravel’s dance music, was first performed in 2011, the year of the earthquake, and contains the themes of "repose" and "rebirth."

 

"(This year) the third year was almost like a sacred ritual. My connection with the soul and my approach to prayer became much stronger. I believe my way of bearing the burden, facing it, and accepting it has changed."

 

He created the show for the third time with nine skaters and the person he admires.

 

"I think it’s definitely true that things tightened up because of Mansai-san’s presence. I also believe that my teammates thought, 'We have to do this.' When we went through the rehearsal for the performance with Mansai-san present, we saw 'MANSai Bolero' up close for the first time. It felt like the level of our determination and prayer, or the resolve when skating, was elevated to another stage."

 

The show ended with its final performance on the 9th. Hanyu expressed his gratitude for the teammates who shared the same energy.

 

"I put a lot of effort into skating, expression, and especially in relation to the earthquake. I have a strong desire to skate with all my soul. I’m really happy that this time, the team worked with me on this. They gave everything, pouring their soul and energy into creating something, expressing something, and performing. I’m really grateful for what everyone did, and I’m glad that it created a stronger sense of unity."

 

 

◆Postscript to the interview　

 

The day after his performance in "Yuzuru Hanyu Notte Stellata 2025," which ran until March 9, Yuzuru Hanyu set aside time for an interview. Just after giving his all in the ice show for three days, he was visibly fatigued, yet he carefully chose his words and expressed his deep thoughts for the disaster-stricken areas. I could feel his strong resolve to prevent these memories from fading.

 

Supporting and being supported by his team, he successfully completed his third show. In 2023, during the first year of the show, Hanyu had often displayed expressions of anguish, describing his approach as "being close to sadness." Last year, there were more smiles. This year, the sense of unity as a team had increased, likely because Hanyu's full-hearted engagement with the show inspired the other skaters.

 

Each year, local restaurants and businesses set up booths at the venue. This year, Hanyu also reached out to businesses in Wajima City, Ishikawa, and Naraha Town, Fukushima, and the number of booths doubled to 19 compared to last year. Visitors from all over the country lined up to buy local specialties from the disaster-affected areas. "The people who came to see the show bought Wajima products and supported us. I could really feel the expansion of the support network," Hanyu said. Beyond the ice rink, he continues to use his platform to send out messages of support. 

 

[yuzurujenn]

2025.03.13

 

Source: https://x.com/mansai_gozaru/status/1900127988257001722

https://radiotalk.jp/talk/1287686 

 

 

Radiotalk: "Profession: Mansai Nomura" March 13 – Notte Stellata 2025 is the Best! 

 

This time, I had the honor of participating as a special guest in Yuzuru Hanyu’s Notte Stellata 2025. Today, I’d like to share my thoughts and some behind-the-scenes stories. So, instead of introducing each message one by one, I’ll just talk about my experiences.

 

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Since I’m recording this outdoors, there might be some background noise. Sorry about that.
•    April 5: Mansaku no Kai viewing event in Nagoya—tickets are now on sale.
•    March 17 - April 17, 18: The 110th Nomura Kyogenza—ticket sales begin. Tickets are available via Ticket Pia, Confetti, and other play guides, as well as by phone through Mansaku no Kai.
•    March 29 (Saturday), 21:00 - 22:30: Notte Stellata 2025 will be broadcast on BS Nippon TV and later on CS broadcast BS Nittere Plus.

For more details, check our official website—this is per my manager’s instructions. So, for those who missed it, you’ll have a chance to watch it again.
 

Well, the show has ended, and I’ve received a flood of messages about it. I think it's something that the producers at Nippon Television (NTV) had been planning, and it gradually became a reality, of course with Hanyu's involvement. From the very beginning, it seems there was a thought of "one day, this will happen." The first time, it was Kohei Uchimura, the second was Mao Daichi, and this time, it was my turn. The first guest was a gymnast, then an actress, and now me, a classical performing arts actor. In a way, I think the concept of the performance evolved through these stages.

Without a doubt, the conversation we had from ten years ago became the catalyst for various things. While recalling that experience, I thought about what I could do with Hanyu-san this time, what I could remember, and what I could convey. With all these thoughts in mind, I directed this collaboration.

Since it was my first time performing on an ice skating rink, I wasn’t entirely familiar with how things worked. But after watching the previous two shows, I felt that it would be best not to be too far away, and I also wanted to be as close to the audience as possible, so I made an effort to close that gap. That’s one of the key points. 
In Bolero, the stage was built at the center, while in SEIMEI, I ran along the rinkside. Well, I didn’t just run, I walked properly as well. The staff referred to the small protruding stages as ‘debeso’, and I believe there were four... No, actually, three of them. Small, island-like stages were set up on both the long and short sides of the rink, where I could perform. I carefully considered my performance space and how to integrate it into the skating show, drawing on the wisdom of everyone involved.

I have always performed Bolero as a solo dance, sometimes accompanied by an orchestra and at other times with the support of 40 members from a Japanese dance company. However, this time, with the strong collaboration of Hanyu Yuzuru-san, as well as Shae-Lynn Bourne-san, Tanaka-san, Mura-san, Miyahara-san, and Suzuki-san, I truly feel that something entirely new was created. Shae-san’s choreography was also highly innovative, and Hanyu-san’s presence played a significant role in bringing everything together.

Speaking of Bolero, I think that Béjart's choreography is influenced by traditional Japanese performing arts, particularly the Bon Odori style. The idea of having a yagura (raised platform) at the center with people dancing in a circular motion around it was something I specifically wanted to incorporate this time.
Then, there was the question of how to position Hanyu-san’s presence. I wanted to incorporate the idea of utsushimi (manifestation or embodiment of a spirit or deity in a physical form) while ensuring that it did not overlap too much with the SEIMEI and Shikigami (spirit familiar) concept. To me, it felt like a god and its messenger bird—a phoenix itself. The kariginu I wore also featured a phoenix motif, embodying that immortal bird. In that sense, the phoenix and its 'manifestation' coexisted—that was what Bolero became for me.

The original piece was about 17 minutes long, but we condensed it to roughly half that length. More than anything, this performance carried a strong theme of requiem, so it was necessary to evoke scenes representing the deceased. With that in mind, the other performers—aside from Hanyu-san and myself—incorporated scenes depicting the sudden transition from life to death. I asked whether it was possible to lie down on the ice and for how long they could stay there. We used a black cloth like a blanket, but staying in that position for too long would be uncomfortable, so we significantly shortened the duration this time. I thought it could have been a bit longer, but I believe it turned out well in the end.

From there, we aimed for "rebirth". Since representing the four seasons is a major theme of Bolero, I wondered if we could make confetti fall like snow. In traditional theater, snow is often represented by white paper falling, but since scattering paper on an ice rink wouldn’t be ideal, we looked for an alternative. The staff suggested a solution—something like foam, which could be considered artificial snow, but perhaps it’s better described as foam. Since it would disappear quickly, it wouldn’t affect the rink, making it a perfect choice. 

That snow was really wonderful. When I first saw it, I thought it was beautiful. On opening night, when Bolero began, I’m sure some people in the audience may have anticipated it, while others were completely surprised, but the collective gasp when it started was immense. And when the snow fell, there was yet another huge reaction from the audience. I’ll never forget that moment.

We also incorporated various sound effects, such as birds chirping and the sound of rain, while making extensive use of lighting. Day by day, my collaboration with Hanyu-san deepened, so did my synergy with the other five performers, creating the piece together. I took a rather provocative approach, fostering communication through mutual engagement, and I felt that everyone responded to that energy.

As for my costume, we had various discussions, and this time, I chose a red Okuchi-hangiri hakama. Since the performance space was vast, I also added some red highlights to my hair to complement the look.

Now, SEIMEI is the piece from Hanyu-san’s gold medal performance, so I didn’t want to interfere with it too much. However, I also wanted to recall the film (Onmyoji) and our past discussion. Considering that, I used the keyword Tenchi-jin (Heaven, Earth, and Man) and had him appear as a Shikigami. And so, by having him appear as a shikigami, we decided to use human-shaped paper figures as the motif. When those paper figures were cast into the air, Hanyu-senshu appeared, and in the final moment, a large number of these human-shaped papers rained down in a visually striking effect.

Additionally, the four guardian beasts of Onmyōdō—Seiryu (Azure Dragon), Suzaku (Vermilion Bird), Byakko (White Tiger), and Genbu (Black Tortoise)— which also appeared in the film, were incorporated into the performance. I thoroughly enjoyed the process.

 

I'll continue this talk in some form or another. This was 'Profession: Nomura Mansai'.