[2025] Notte Stellata 2025

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

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.

 

Spoiler

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'. 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.25

 

Source: AERA 2025 3/31 Enlarged Issue, pg 41-45

Info: https://www.amazon.co.jp/exec/obidos/ASIN/B00UG411Y4

 

The Circle of Bonds Continues to Expand
"Yuzuru Hanyu Notte Stellata 2025" Performance Report

 

Now in its third year, this ice show of remembrance and rebirth. Yuzuru Hanyu delivered an outstanding performance as a professional, showcasing both his exceptional skills and the heartfelt skating that remains unchanged.

Writer: Takaomi Matsubara Photography & Video: Takuya Matsunaga (Photography)

 

Spoiler

The third installment of this ice show surpassed the two remarkable performances that came before it. "Yuzuru Hanyu Notte Stellata 2025" was held from March 7 to 9 at the Sekisui Heim Super Arena in Miyagi Prefecture. It has been held since 2023 with the intention of remembering the Great East Japan Earthquake that occurred on March 11th, 2011.

 

The premiere performance began at 5:00 PM on March 7. Two large screens projected the night sky full of stars, with shooting stars occasionally tracing luminous lines across the darkness.

 

As showtime approached, the arena lights dimmed slightly past the scheduled start time. Applause erupted, followed by a brief moment of silence, then another wave of cheers and clapping.

 

Yuzuru Hanyu stepped onto the ice.

 

Just like in the previous two years, the show opened with "Notte Stellata". His performance was a fusion of fluid grace, quiet serenity that seemed to calm the soul, and an underlying strength—perhaps a form of prayer—that set the tone for the entire event. The audience was immediately captivated.

 

A Long-Awaited Collaboration Finally Realized

 

Following the opening performance, the guest skaters were introduced one by one. Then, Hanyu took the microphone.

 

"The words Notte Stellata mean 'a sky full of stars.' On March 11, 2011, in a day when so much was lost and destroyed, I remember looking up and seeing those stars shining so beautifully. I can’t simply say they gave me hope, but that memory of how beautiful they were has stayed with me, deeply precious. I hope that today, the skaters here can become stars for all of you. There may be times of loneliness, hardship, or sadness. But we are here. For those who have passed, for those who are still living, we will skate with all our souls."

 

Hanyu’s performance embodied these very words, not only in Notte Stellata, but throughout the entire show.

 

In its inaugural year, Notte Stellata featured a collaboration with gymnast Kohei Uchimura. Last year, it was with actress Mao Daichi. This year, the highly anticipated collaboration with Kyogen master Mansai Nomura came to life, and not just once, but twice.

 

The first collaboration took place at the end of the first part of the show, featuring "MANSAI Bolero", performed by Nomura, Hanyu, and the other skaters. The other was "SEIMEI" performed at the beginning of the second part.

 

Both performances carried a profound emotional significance, reflecting the deep meaning behind the show.

 

Hanyu previously revealed that he had been a fan of Nomura since he was a child. More than anything, SEIMEI holds special significance. It is the theme from the film Onmyoji, in which Nomura starred as the legendary onmyoji, Abe no Seimei. Hanyu incorporated Seimei’s iconic poses into his choreography and even drew inspiration from the film’s costumes. In 2015, the two had a conversation that deeply influenced Hanyu.

 

"From the very beginning, when Notte Stellata was first created, I had always wanted to collaborate with Mansai-san. One of those collaborations was 'Bolero,' which is a story of requiem and rebirth, so I definitely wanted to do it."

 

For a performance dedicated to reflecting on March 11, this collaboration was especially meaningful.

 

A True Test of Artistic Expression

 

At last, the long-awaited moment arrived.

 

"Ever since stepping firmly into the professional world of artistic expression, I’ve felt that I am still just a beginner. Collaborating with someone who carries on the legacy of Japan’s traditional performing arts—especially someone as exceptional as Mansai-san—felt like an incredible honor, but also a daunting challenge. I knew I had to deliver a level of skating and artistry truly worthy of this collaboration, and I approached every rehearsal with that strong resolve."

 

Since announcing his transition to professional skating in July 2022, Hanyu has taken on numerous challenges. This includes producing and structuring his own solo ice shows, and deepening his artistic expression through relentless effort.

 

His growth as a performer is evident on the ice, but this time, he was facing an artist with decades of experience in the world of expression. His collaboration with Nomura was not only essential to the show's purpose—it was, in a way, a test of his own artistic evolution.

 

Endless Cheers and Applause

And Hanyu responded with a breathtaking performance.

 

In "Bolero," a group dance unfolded around Mansai's stage. Amidst them, Hanyu delivered a powerful performance that echoed Mansai's powerful footsteps. This interplay added striking accents to the piece, enhancing its dramatic impact. Even without directly seeing Mansai's movements, Hanyu instinctively synchronized his steps with the beats of Mansai's footwork.

 

At the end, Nomura and Hanyu leaped into the air simultaneously. A wave of astonished cheers and applause erupted from the audience, continuing without end.

 

For SEIMEI, the stage belonged solely to Nomura and Hanyu.

 

Dressed as the onmyoji Abe no Seimei, Nomura’s commanding voice rang out: "Ten, Chi, Jin… (Heaven, Earth, Man). Appear, Yuzuru Hanyu!"—summoning Hanyu into the performance.

 

Nomura moved across various spots around the rink, and in perfect harmony, Hanyu danced on the ice, responding seamlessly to each shift. Their dynamic interaction was nothing short of extraordinary.

 

Reflecting on these two collaborations, Hanyu shared:

 

"I was incredibly nervous. Especially for SEIMEI, I constantly felt an overwhelming sense of dignity and responsibility pressing behind me. The pressure was immense. I couldn’t afford a single mistake. Honestly, it felt like competing in the Olympics all over again."

 

"Bolero was a completely new challenge for me. As a figure skater, I couldn’t ignore the legendary ice dance performances set to this music. Even Shae-Lynn Bourne, who choreographed the piece and also performed in the show, mentioned how difficult it was. But by incorporating Mansai-san’s Bolero, we blended various movements and gestures unique to this collaboration. I truly feel we created a Bolero that could only exist in this moment, in this performance."

 

A Sense of Fulfillment on the Ice

"Now that this collaboration with Nomura has become a reality, I still feel like I'm floating in a dream. But… I’d like to believe that, even just a little, I was able to create a skate performance and show composition worthy of embracing the presence of Mansai-san, of Nomura Mansai himself. That’s the sense of fulfillment I have."

 

Though spoken modestly, he repeated the word "sense of fulfillment" twice. Yet, what he had demonstrated on the ice was something even greater.

 

At the end of the second half, Hanyu performed Haru yo, Koi. After the show, he thanked the people who watched the show, including the live stream, and said the following:

 

"Seeing everyone standing, applauding, and cheering, I was reminded, in this very moment of Notte Stellata, that we are all here, alive. Just as we found the strength to rise again after the earthquake, I truly hope that this bond between us continues to grow and spread further and further."

 

Then, he took the microphone once more for a final message:

 

"There are still many people who are suffering, so please don’t forget them. If this show can even slightly serve as a starting point for support, I would be so, so grateful. Not only March 11th, but also the Noto Peninsula, and so many other places affected by heavy snowfall and other tragedies. If you could extend even a little support to those in need, it would mean the world to me. From the bottom of my heart, thank you so much for today."

 

During the event, there were also booths selling specialty products from Wajima City, which suffered great damage in Noto. It was like a way to encourage the "expanding of bonds."

 

An awe-inspiring performance on the ice, a deep empathy for disaster-stricken areas and those affected, and an unwavering commitment to remembrance—these elements all intertwined to shape the Notte Stellata ice show. Now in its third year, it concluded with an even greater brilliance and lasting impression than ever before.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.25

 

Source: S-style April 2025 issue, pg 82-91

Info: https://www.amazon.co.jp/せんだいタウン情報S-style-2025年4月号-S-style編集部/dp/B0DYDPWTT6

https://s-style.machico.mu/pickup/43628

 

Towa Pharmaceutical Presents: Yuzuru Hanyu Notte Stellata 2025
Notte Stellata [Special Report]

 

The ice show Yuzuru Hanyu Notte Stellata, led by Yuzuru Hanyu, was held from March 7 to 9, 2025, at Sekisui Heim Super Arena in Miyagi Prefecture. The performance was also broadcast live in movie theaters across the country, drawing a large crowd of enthusiastic fans to the venue. In this special report, we bring you exclusive photos and coverage from the opening night.

Photography: Kiyoshi Sakamoto  Reporting & Writing: S-Style Editorial Team

 

Spoiler

On the day of the Great East Japan Earthquake, Yuzuru Hanyu was in Sendai. That night, as his once-ordinary life crumbled around him, he looked up at the sky in the midst of a power outage—only to find it illuminated by a vast expanse of shining stars.

 

Seeing a "light of hope" in that sky, he began Notte Stellata in 2023 with a deep and special intention. Now in its third year, this time saw the realization of a long-awaited collaboration with the esteemed Mansai Nomura. The first act concluded with MANSAI Bolero, a collaborative program where Nomura stood at the center of the rink on a specially built stage, performing his powerful movements. One by one, skaters draped in black fabric entered, first lying down on the fabric before rising at Nomura’s signal. Finally, Hanyu, clad in a luminous kariginu-style costume, glided onto the ice, receiving Nomura’s intent like a creator guiding five skaters through the performance. Repeating the same musical phrases, accompanied by the sounds of birdsong and rainfall evoking the changing seasons, the program was rich with layered narratives of death and rebirth and the grand cycle of life.

 

Before the second act began, Hanyu repeatedly practiced his jumps in the bright white light, reminiscent of the "six-minute warm-up" from his competitive days. He landed his quadruple jumps flawlessly, earning enthusiastic applause from the audience each time.

 

The second act opened with a special version of SEIMEI, one of his signature performances, created exclusively for this event.

 

On stage, Mansai appeared as the onmyoji Abe no Seimei. Breathing life into a paper doll, he chanted, "Kyūkyū nyoritsuryō, appear—Yuzuru Hanyu!" In response, Hanyu, embodying Seimei’s shikigami (spirit servant), began to dance across the ice as Seimei’s alter ego. As Mansai performed ritual gestures in various spots around the rink, a luminous pentagram—formed by five glowing stars—gradually emerged on the ice.

Unlike the usual program where Hanyu himself plays Seimei, this unique collaboration placed him in the role of a shikigami, allowing for an innovative and unexpected interpretation. The audience reached a fever pitch, responding with a standing ovation and thunderous applause.

 

The first act evoked themes of requiem and sorrow, while the second act expressed hope for recovery and the joy of life. Every detail of the program reflected the significance of performing in Miyagi. Through this richly diverse performance, the audience could feel both Hanyu’s unwavering determination and the heartfelt passion of the cast who resonated with his vision.

 

After the show, both Mansai Nomura and Yuzuru Hanyu gave separate interviews. Below is the full transcript of Nomura’s Q&A session.

 

Mansai Nomura: Q&A Interview

--- This was your first ice show experience. How did it feel to participate?
Nomura: I could really feel the energy and excitement of the audience in this large venue. When so many living people gather in one place, the atmosphere becomes incredibly charged. This venue was once a temporary morgue in the aftermath of the disaster, and yet, here we are, turning this space into something meaningful. I think events like this are a way of embracing our history—both the good and the painful—and continuing forward as living beings. That shared experience made this a truly remarkable event.

 

--- What emotions did you have while performing "MANSAI Bolero" in this setting?
Nomura: I found myself overwhelmed at moments. At the beginning, just as the performance started, I felt—well, I wouldn’t say it was a supernatural presence—but it was as if I could sense the souls of those who had once been here. It felt like something was resting upon me, almost weighing on my shoulders. But that, too, is part of the duty of a Noh and Kyogen performer—to bear the unseen and give it form. This experience reaffirmed for me the meaning of my craft and my responsibility as a performer in such a significant space.

 

--- "SEIMEI" is a special piece for both you and Hanyu. How did it feel to perform together?
Nomura: Throughout the process of creating the performance, it was clear how much Hanyu loves Onmyoji. Honestly, I think he might be a bit of an otaku about it (laughs). He remembered details I had forgotten, sometimes he knew more than I did! Jokes aside, this is the piece that brought him Olympic gold, a monumental achievement. To be involved in something so precious to him was an immense honor for me. I wonder how the audience perceived our composition, especially the moment where the pentagram appeared on the ice. That moment carried a deep significance, tying back to the events of March 11. I feel incredibly privileged to have contributed to this program through both Bolero and SEIMEI.

 

--- Collaborating with figure skating must have presented some unique challenges. Was there anything unexpected?
Nomura: Yes, definitely. During rehearsals, when Hanyu and I alternated movements in sync with the music, I wanted to make each transition seamless. However, I realized that figure skating requires a preparatory movement—a slight push or glide—to initiate motion. Unlike on stage, where I can move instantly, skating requires an extra beat to gain momentum. That time lag was an interesting discovery for me.

 

--- How did you adapt to those differences?
Nomura: We used stage effects like smoke, and I also made my exit movements more dramatic to bridge the gaps. In SEIMEI, we started with the theme of "Heaven, Earth, and Man." This concept was something we had discussed in a past interview, about how a performer governs space and time, and "wears" the music. Watching Hanyu produce and direct these ice shows, I really felt that he embodies this idea—he orchestrates Heaven, Earth, and Man. Working with him, I saw firsthand how much he has grown, and I found that really reassuring.

 

--- It has been 10 years since your first conversation with Hanyu, and 10 years since "SEIMEI" debuted. How do you view his growth?
Nomura: I’m genuinely happy to see how far he has come. Back then, there were thoughts and ideas he held inside but had not yet put into words. Through experience, and maybe even through some of our past discussions, he has gradually broken out of his shell, and now his ideas are fully blooming. It’s wonderful to see.

 

As we age, we pass our knowledge to the next generation, and it brings me great joy to see someone like Hanyu carrying forward a legacy. Just as I inherited the traditions of Noh and Kyogen from my predecessors, Hanyu has taken what he has learned and transformed it into something extraordinary. Moreover, the central theme of this show—remembrance and mourning—adds even more depth.

 

At the start of my remarks today, I introduced him as “Profession: Yuzuru Hanyu.” That’s because I myself always introduce myself as “Profession: Mansai Nomura.” I see him not just as an individual but as someone who carries an immense responsibility. He’s not just a skater. His vision, creativity, and actions transcend the sport. This show was a culmination of everything he embodies. "Profession: Yuzuru Hanyu" is only going to continue achieving more, and I am grateful to witness that.

 

--- In a past conversation, you said, "Our culture is one of omission." How did you incorporate that into "MANSAI Bolero"?
Nomura: Yes, as we refined Bolero, we stripped away unnecessary elements, distilling it to its essence. The piece draws from the Noh-Kyogen Sanbasō tradition, but we reinterpreted it as a form of prayer, incorporating themes of March 11.

 

Originally, there were more concrete images—raising a child in distress, flowers blooming in hardship, rain falling, summer arriving. However, we abstracted these into broader, symbolic expressions. In the end, the piece reflects the human life cycle—glimpses of death, rebirth, and ultimately, flight into the next existence. The final jump in the performance ties into that theme. Though the performance may appear abstract, I believe that those who watch it with this understanding will see something profoundly special. I hope we can continue collaborating on Bolero in the future.

 

--- One last question. So in "SEIMEI," Hanyu was the shikigami?
Nomura: Ah, yes, in a way. When we were developing the piece, we considered what our relationship should be on stage. The moment I drop the paper shikigami at the start—that was deliberate. The idea of Hanyu waiting on the ice while I performed was actually conceived after we arrived at the venue. It just naturally came together that way.

 

--- Thank you very much.

 

 

Yuzuru Hanyu: Q&A Interview

 

— Thank you for your hard work. How do you feel now that you’ve finished your third "notte stellata" performance?
Hanyu: Honestly, I put all my physical and mental energy into today’s performance, to the point where it felt like a grand finale. I was completely focused, never letting my guard down for even a second. Together with all the skaters here, I performed while praying and hoping that our show could serve as a small step toward helping those affected by the 3/11 disaster and other tragedies.

 

— How was your collaboration with Mansai Nomura?
Hanyu: I was extremely nervous. Especially for "SEIMEI," I constantly felt a sense of dignity emanating from behind me, and I skated under the pressure that I absolutely could not make a mistake. It felt as nerve-wracking as the Olympics.

 

As for "Bolero," I had never used that piece before, but in the figure skating world, there’s already the legendary ice dance performance by Jayne Torvill and Christopher Dean at the 1984 Sarajevo Olympics. Choreographer Shae-Lynn Bourne also said it was a very difficult piece. However, we incorporated various movements and gestures unique to this collaboration, making it a "Bolero" that could only be created with Mansai-san. I feel that we achieved something special.

 

— It’s been about ten years since you last worked with Mansai-san. Has your impression of him changed through this collaboration?
Hanyu: I feel like he has opened up to me a little. About ten years ago, I was just overwhelmed with nerves, like a dry sponge that couldn’t absorb anything due to its limited capacity. I was simply in awe. But this time, after gaining various experiences as a professional skater, I was determined to stand on the same stage and face him as an equal professional. I kept that in mind during our discussions and rehearsals.

 

For "Bolero," the choreography was gradually developed after everyone, including Mansai-san, arrived at the venue. When he first saw it, it was still incomplete, and even he seemed unsure of how to proceed. However, through numerous rehearsals, he made efforts to adjust to us, and I also thought carefully about how to match my movements with his. That process led to the final version of "Bolero."

 

— When I asked Mansai-san about meeting you again after ten years, he said...
Hanyu: Did he say I’ve become arrogant? (laughs)

 

— He mentioned that he had forgotten a lot about "SEIMEI."
Hanyu: For me personally, now that I’ve fully stepped into the professional and artistic world, I still feel like a novice. Collaborating with someone who has inherited and mastered Japan’s traditional performing arts is truly an honor. I felt a strong responsibility to present skating that is worthy of such a collaboration, to express artistry as a professional. During rehearsals, I kept that in mind, but honestly, I’d rate my performance today only about 50 points (laughs). I was really nervous...

 

— Mansai-san also said he was happy to see how much you’ve grown.
Hanyu: No... I still have a long way to go. I’ll continue to improve.

 

— How did it feel to perform "SEIMEI" with Mansai-san at "notte stellata"?
Hanyu: Every guest I’ve collaborated with at "notte stellata" was chosen not just for the sake of collaboration itself but to elevate the show to a truly remarkable level. From the beginning of "notte stellata," I had always wanted to collaborate with Mansai-san. "Bolero" is a story of mourning and rebirth, so I felt strongly about performing it. Now that it has become reality, it still feels like a dream. But I hope the skating and show composition were able to reach a level that could embrace and reflect the presence of Mansai Nomura.

 

— How do you feel about being able to continue performing this show in Miyagi, your hometown, during this time of year? What are your thoughts on moving forward, including your message to those in the disaster-affected areas?
Hanyu: Some people may have bought tickets but couldn’t attend due to health issues or transportation difficulties. "Grande 21" in Rifu isn’t easily accessible, so I know it’s not easy for everyone to get here. But before anything else, I’m grateful that those who did attend were healthy, and even those who couldn’t make it watched via livestream. That alone makes us incredibly happy.

 

We put everything we have into our performances, to the point of exhaustion. And I’ve noticed that my level of commitment and energy is spreading to the other skaters as well. Seeing them give their all made me really happy. I don’t think many people have ever seen Mansai Nomura running out of breath from a performance, so I feel a bit guilty (laughs). But he also gave his all in portraying "SEIMEI."

 

To be honest, our energy levels are completely drained, and physically, we’re far from "healthy" right now (laughs). But seeing the audience stand up and applaud, cheering for us, makes me truly feel that they are "alive in this moment." It’s something unique to "notte stellata"—this sense of connection and resilience. Just like how we managed to stand up again after the disaster, I hope that our bonds will continue to grow and spread.

 

During rehearsals, Mansai Nomura was out of breath, and I thought, "I've really put him through something tough." Especially at the end of "SEIMEI," he was constantly sprinting. I felt really sorry about it, but at the same time, I was once again deeply impressed by his incredible ability and capacity to rise to the challenge.

 

— We’re out of time, so this will be the last question.
Hanyu: I tend to talk too much (laughs). Sorry about that.

 

— Regarding "SEIMEI," Nomura-san mentioned that while he had forgotten many details, you remembered them all like a true enthusiast. Could you tell us what aspects you focused on this time and how you interpreted the performance, which he called your "signature piece"?
Hanyu: Usually, when I perform "SEIMEI," I embody the figure of Abe no Seimei himself. But this time, the actual Seimei was there (laughs), so I imagined myself as a servant or a shikigami (a spirit summoned and controlled by Seimei). That was the concept we developed and directed.

 

Because Abe no Seimei is a flawless and mysterious presence, the shikigami had to act accordingly—not as a perfect being, but as one granted power. I kept that in mind throughout the performance, channeling full energy the entire time, even more than in my usual "SEIMEI" routine. I envisioned a story where the shikigami is given a role, fulfills it, then returns to being a paper doll, only to be summoned again and assigned a new task. This dynamic between the two of us shaped the performance. It felt different from my usual experience with "SEIMEI." In a way, it even made me reflect on my own role, what my purpose is in being part of this "notte stellata" ice show and what it means for me to be alive.

 

— Sorry, but we’re out of time, so we’ll have to end it here.
Hanyu: I’m really sorry for talking so much. Thank you very much. This reminds me of the NHK Trophy when I kept talking, and they had to cut me off (laughs). Thanks again for always listening to my long answers. I appreciate it. Looking forward to next time!

 

— Thank you very much.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://x.com/mansai_gozaru/status/1905211625373827123

https://radiotalk.jp/talk/1292623

 

Radiotalk: "Profession: Mansai Nomura" March 27 – Only 2 days left until broadcast!

 

On Saturday, March 29, from 9:00 PM to 10:30 PM on BS Nittele, the broadcast of "Notte Stellata 2025" is set to air. Be sure to set your reservations and tune in!
I had the honor of participating in "Mansai Bolero" and "Seimei", and the show received an overwhelmingly positive response. While it will only be available in video form, I highly recommend watching it to get a glimpse of its brilliance. I've heard that some people were a bit disappointed with the camera work in past video streams. I'm also curious to see how the editing turns out this time, so I'm looking forward to it.

 

Spoiler

I vividly remember the second day of open practice. After various training sessions, Shea gathered the performers, including Mura-san, and provided additional guidance on Bolero, explaining subtle adjustments to improve the performance. Over the course of three days, I could feel the strong desire to refine and elevate the piece beyond its previous execution. Their commitment to excellence was evident.

 

After practice, Hanyu-san addressed everyone with words that left a strong impression:

"We are honored to welcome someone as extraordinary as Mansai-san. We will give it our all, so I hope you all bring the same level of dedication."

 

While I may not recall his exact words, the sentiment was clear. Witnessing the synchronized rhythmic footwork alongside Hanyu-san, the beautiful precision in every movement, and the perfectly timed final leap was a privilege. Thank you.

 

It’s remarkable that such words could be overheard. I do recall hearing from Hanyu-san himself about his determination to push forward. Each performance is, of course, a moment of challenge, yet the true essence of artistry and sport lies in constant evolution—the drive to reach ever-greater heights with every repetition.

 

This applies equally to athletes and artists.

 

I found myself pondering, Does a tuna continue swimming through the vast ocean even at night without rest? It reminded me of when you recently compared yourself to a tuna, constantly swimming forward. After all, migratory fish must keep moving—if they stop, they won’t survive.

 

I also saw the overwhelming reactions on social media. Some attendees described Mansai’s portrayal of "Abe no Seimei" as a celestial presence, and his "Bolero" performance as that of a phoenix soaring across the vast universe. Hearing their impressions, I deeply regretted not being able to witness it in person. For those who couldn’t attend, I highly recommend watching the online streaming version when available.

 

One viewer described the stage as a microcosm of the universe, with the heavens and the earth merging through the divine performance. Their interpretation was fascinating—despite not seeing it firsthand, they envisioned the grandeur within their mind. This discussion brought forth the contrast between Eastern and Western cosmology.

 

In Abe no Seimei, fate and divine will are central, reflecting Eastern philosophical beliefs.
In Bolero, the performance revolves around the sun as the eternal source of life, resonating with Western cosmic imagery.

 

The relationship between fate (命運) and the source of life (生命の源) is an intriguing one. How were these elements interwoven into the performance? What was Hanyu Yuzuru’s role as a shaman-like figure in conveying this cosmic vision?

 

I can't possibly cover everything in this short time, so I'm sure I'll have another opportunity to talk about it in more detail at some point.

 

But in some way, I feel that I share this cosmic perspective with Hanyu-san. In that sense, Onmyoji is also deeply connected to the universe.

 

It embodies an Eastern cosmic view, and Boléro, set to a Western rhythm, expresses that very perspective of the universe. Focusing on the sun is not necessarily exclusive to the Western cosmology. In the mythology of Amaterasu, the Sun Goddess, there is a parallel in the Japanese performing arts history. The origins of sacred dance (kagura) can be traced back to the myth where Ame-no-Uzume danced before the cave to entice Amaterasu, who had hidden herself away.

 

The countless gods (Yaoyorozu no Kami) were so amused by Uzume's dance that they burst into laughter. Curious about the commotion, Amaterasu peeked out from the cave, allowing the concealed sunlight to shine upon their faces. This humorous and profound moment is said to be the origin of the Japanese word omoshiroi (meaning “interesting” or “amusing”).