Ayako Tanaka, the Japanese soprano known for her versatility and passion for music, has acted as the “fairy godmother” for the Sinfónica Juvenil Nacional Libertador San Martín. Through her tireless organizational efforts, she established a unique link between the Argentine orchestra and various organizations in Japan, culminating in a memorable tour for 86 young musicians. In this interview, Tanaka shares her experience with the orchestra, her view of Argentine culture, and the complex process that led to the realization of this tour.

By Virginia Chacon Dorr / Ph. Andrej Grilc

Since her first performance with the Sinfónica Juvenil Nacional Libertador San Martín in 2018 at the CCK, Ayako Tanaka has shown a deep interest in supporting the orchestra to expand its horizons. Her commitment led her to spearhead a tour of Japan, an effort that required years of planning and dedication.

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What was your impression of the Sinfónica Juvenil Nacional Libertador San Martín and what motivated you to initiate the tour of Japan?

When I first had the opportunity to meet and hear the Orquesta Juvenil Nacional Libertador San Martín, I was deeply impressed by the dynamic of the young musicians, their diverse backgrounds, and how they were united by such a high goal: to play and make music together!

Could you share with us how the organization of the tour was managed and how you managed to secure the support of sponsors?

The process took many years and was unimaginably difficult and complex. The first major obstacle was the pandemic, which occurred almost immediately after organizing a crowdfunding campaign in Japan to start this project. As if that weren’t enough, the tragic war that Russia initiated against Ukraine further complicated the situation and the distance to Japan. Securing sponsors was possibly the most challenging aspect. I believe I managed to convince the authorities because they saw in me the sincerity of someone speaking with passion about something wonderful and exceptional.

Ayako Tanaka in 2018, about her first performance with the Juvenil San Martín

“So many people in the audience were crying from emotion, and so many of the orchestra members also cried at the end of the concerts. It was very moving.” – Ayako Tanaka

What do you consider important for young musicians to learn from this experience, and what do you think is essential for them to offer the Japanese audience?

The Japanese audience, like in many parts of Europe, is accustomed to study, rules, and discipline. Much of this is present in musical education, which somewhat predisposes a positive context for organizational aspects. However, what enchanted me about the kids in Argentina is that the orchestra reaches straight to the heart, full of emotions and also of immense joy; which the Japanese audience received with tremendous emotion. So many people in the audience were crying from emotion, and so many of the orchestra members also cried at the end of the concerts. It was very moving. We must consider that these 86 kids, who are arriving in Japan for the first time, many of whom are boarding a plane for the first time and coming into contact with such a different culture, have seen many aspects of respect, a different work culture, and a different social mode in the streets and public spaces.

Reflecting on your first visit to Argentina, what was the most striking or interesting aspect culturally?

What surprised me about Argentina was its people and national pride; everyone knows how to sing the anthem, haha. Although it is very chaotic, things that need to be done get done in the end. The food is delicious and interesting; I really enjoy the “asado,” especially coming from Japan. Additionally, the cafés and architecture seemed very beautiful to me.

How was the repertoire for the tour selected? And, in relation to this, what do you think are the key aspects of Japanese musical taste?

The selection of the works was done together with Maestro Boggiano and Maestro Benzecry. They proposed works for each concert, and I adjusted them to Japanese tastes. The concert on the 30th was received so well that, after almost 10 minutes of applause and an encore, the orchestra had to leave because otherwise it would have been an endless series of encores requested by the very grateful audience!

“I believe that Argentine music has great potential.” – Ayako Tanaka

What place does Argentine and Latin American music occupy within your own repertoire?

I performed quite a bit of Argentine music, even singing the Argentine and Japanese anthems at a sports event. I debuted with the National Symphony Orchestra, premiering a cycle of songs by the renowned composer Esteban Benzecry. I also took part in the organization to record a disc for Naxos, along with Xavier Inchausti and Mariano Rey. I interpreted works by Ginastera, De Rogatis, and Martín Palmeri. I premiered the first opera of a Japanese story, Garascha, with music by Esteban Benzecry and a libretto that I edited myself. As a child, at just 9 years old, I won an organ competition playing Libertango by Piazzolla. I believe that Argentine music has great potential, and thanks to Pablo Boggiano, I have discovered many works that, although unknown to the large audience in Argentina, I consider very valuable.

Finally, we would like to know more about your current musical activities and what your plans are for the near future.

Soon I will begin my tour in Japan to commemorate the tenth anniversary of my debut, with 10 concerts throughout the country, starting in two weeks. Afterward, I will return to Vienna for a recital with works from this tour. Later in the year, I will perform with the National Youth Orchestra in Argentina, and we may also perform Garascha. I hope to meet with the dear Argentine audience next year in Buenos Aires!