【A Rounded Sense of Unity Born from Psychological Safety】 Nodoka Okisawa Conducting, Frank Braley (Pf) × Keigo Mukawa (Pf) × Tokyo Metropolitan Symphony Orchestra_June 14, 2025

Last weekend, I went to Suntory Hall to hear the "Tokyo Metropolitan Symphony Orchestra Promenade Concert No. 412" conducted by Nodoka Okisawa.

The first piece performed at this matinee, Debussy's "Prélude à l'après-midi d'un faune," drew me in with its opening flute, and the moment the harp's timbre layered over it, I got goosebumps and tears welled up in my eyes.

The world stood up in three dimensions before my eyes, and rather than the sensation of "listening to sound," I felt as if I were "in a forest in the early afternoon."

When the main melody shifted from the flute to the oboe, it felt as if the angle of the sunlight filtering through the forest had changed, and as the sounds of the string section, led by the violins, spread across the stage, I felt the wind passing through the trees against my cheeks.
Also, at times, I could see small birds chirping as they flew by.

I like the sound that Ms. Okisawa creates, so perhaps I am a bit biased, but I got the impression that psychological safety within the group had been established in her conducting, and that every member of the orchestra was freely and fully demonstrating their talents.

Of course, this is an orchestra that already possesses high technical skill, but I felt that the rounded sense of unity, rooted in a conviction of psychological safety rather than performance drawn out by intimidation, permeated the foundation of the performance.
(It goes without saying, but I believe there is no right or wrong, or superiority or inferiority, in either approach; there is only the difference and the compatibility with the listener.)

Next was Poulenc's "Concerto for Two Pianos in D Minor," joined by the two pianists, Frank Braley and Keigo Mukawa.
I often listen with the perception that the orchestra is supporting the soloist's performance from behind, but this time, with the orchestra surrounding us in 360 degrees centered on Ms. Okisawa, I felt that music was resonating from the whole, even during the piano solo parts.

The second half, Stravinsky's ballet music "The Rite of Spring" ("The Adoration of the Earth" and "The Sacrifice"), was also intense and enjoyable!