FOR IMMEDIATE RELEASE
Shriftman Media, New York, New York 31 MAY 2016
Classical music and art connoisseurs alike in attendance at the premiere of Japanese conductor Reona Ito's New York Harmonic Band were witness to the birth of a cultural icon.
Maestro Ito's performance proved to be a major success with coverage by media mogul NHK World/ NHK Japan Broadcasting Corp. who aired excerpts from the concert over 4 time slots to over 50 million viewers and an article released by titan Kyodo News which in turn has been picked up by nearly a hundred publications. Maestro Ito has single handedly become responsible for the surge and reinvigoration of Japanese national pride.
The premise of the concert, to thank America and its supporters, went beyond expectations as one witnessed the transformative process of relative strangers becoming a unified front. The audience was allowed the rare opportunity to experience the act of creating in real time, being practically participatory.
Lamenting overtones of the first act ensued as the orchestra bobbed on waves of hope as tonality undulated from piques on high to baritone lows. Carefree and manic- inducing, Maestro Ito freed the imagination, opening the barn doors to frolic in the open fields of mortality. Cunning and self deceiving he mounted and charged with forceful military discipline. With omnipotent rule, the Maestro asserted his authority with stern dynamic intention.
He used his baton as a sorcerer's wand, meticulously plucking strands of mana from Shu, crafting delight. Textured layers unfolded effortlessly as dusk settled in for the night. As the night sky deepened and the stars grew truer, the heavens enveloped and caressed.
Paling in comparison were the melodic undertones permeating throughout, creating otherworldly emotional torrents. Transfiguration by Ulysses afforded an animated arsenal of color, mirroring and expounding on this very nature. The visual elements were syncopic as ethereal, acting as fuel to the Maestro’s fire.
Jockeying position and outpacing his rivals as if fleeting on wings borrowed, Maestro Ito raced feverishly to crescendo. Miraculously engaging the spirit, he heightened inspiration with jubilant spree. He became one with his orchestra. Spiritually interlocked and codependent this temporal and ephemeral entity materialized as gaseous musical wisps commingling and dissipating into the stratosphere with regular temerity.
Passion abounded as Pandora's Box was audaciously lifted open. As Mendelssohn's inner daemons were unleashed the skies darkened with dynamic zealous, barely contained within the walls of St. Paul and St. Andrew. Mendelssohn's Scottish Symphony, a work horse for the ages, was transformed into a relentless derby of Arabian stallions across emotionally windswept deserts. The sands danced gleefully as they were conjured and coaxed to majestical leaps and bounds beyond their most optimistic potential. The Maestro then transversed into violent oceans of turbulent upheaval. Thrown from side to side in dizzying frantic impatience, frenetic madness ensued until calm resolution offered sanctuary. This emotional outlash washed over the audience with epiphanic success.
The concert was an astounding accomplishment, especially taking into account the brief time that both musicians and conductor had to acquaint themselves with each other.