Seiji Ozawa Music Academy
Opera Project XIX
G. Puccini: La Bohème
March 17, 2023 (Fri) 18:30
March 19, 2023 (Sun) 15:00
ROHM Theatre Kyoto, Main Hall
March 23, 2023 (Thu) 15:00
Tokyo Bunka Kaikan, Main Hall
March 26, 2023 (Sun) 15:00
Aichi Prefectural Art Theater, Main Theatre
Mimì: Elizabeth Caballero
Rodolfo: Jean-François Borras
Musetta: Anna Christy
Marcello: David Bizic
Schaunard: David Crawford
Colline: William Thomas
Benoit / Alcindoro: Philip Cokorinos
Music Director: Seiji Ozawa
Conductor: Diego Matheuz(Seiji Ozawa Music Academy Principal Conductor)
Director: David Kneuss
Set & Costume Designer: Robert Perdziola
Lighting Designer: Tatsuo Taksawa
Orchestra: Seiji Ozawa Music Academy Orchestra
Chorus: Seiji Ozawa Music Academy Choir, Kyoto City Junior Children’s Choir
Presented by: Seiji Ozawa Music Academy / VEROZA Japan /
Kyoto City, ROHM Theatre Kyoto (Kyoto City music art cultural Promoting Foundation) *Kyoto Performances /
Tokai Television Broadcasting Co., Ltd.*Aichi Performance
Co-presented by: Rohm Music Foundation
Sponsored by: ROHM Co., Ltd
Produced by: VEROZA Japan
Seiji Ozawa [Artistic Director]
Born 1935 in Shenyang, China. Seiji Ozawa studied piano from a young age, and after graduating from Seijo Junior High School, went on to study conducting under Hideo Saito at the Toho School of Music.
In 1959, he won first prize at the International Competition for Young Conductors held in Besançon, France, and was invited the next summer to Tanglewood by Charles Munch, who was a judge at the competition and music director of the Boston Symphony Orchestra at the time. He later studied under Karajan and Bernstein and went on to serve as assistant conductor of the New York Philharmonic, music director of the Chicago Symphony Orchestra’s Ravinia Festival, music director of the Toronto Symphony Orchestra, and music director of the San Francisco Symphony. In 1973, he became the thirteenth music director of the Boston Symphony Orchestra, where his tenure of twenty-nine years was the longest in the history of American orchestras.
As music director of BSO, he built the orchestra’s reputation internationally, with successful concerts in Europe in 1976 and Japan in 1978. In 1981, BSO toured fourteen cities in America to commemorate its centennial and then executed a worldwide tour in the same year, with stops in Japan, France, Germany, Austria, and the United Kingdom. It went on to perform in Europe in 1984, 1988, and 1991, and Japan in 1986 and 1989, all to great acclaim. In 1978, Ozawa was officially invited by the Chinese government to work with the China Central Symphony Orchestra for a week. A year later in 1979, Ozawa brought the BSO to become the first American orchestra ever to visit China, facilitating significant cultural and musical exchanges. He has since continued to build a strong relationship with China. He has also taken the San Francisco Symphony to Moscow (the USSR at the time) in 1973 to perform with Mstislav Rostropovich.
In autumn 2002, Ozawa became the first Asian music director at Wiener Staatsoper, a position he held until spring 2010. His reputation and popularity are enormous in the West, where he has conducted many orchestras including the Berlin and Vienna Philharmonics. He has also appeared in prominent opera houses such as L’Opéra in Paris, Teatro alla Scala in Milan, Opera di Firenze, and the Metropolitan Opera in New York.
In Japan, Ozawa conceived the Saito Kinen Orchestra to commemorate his late mentor, Hideo Saito. Formed with Kazuyoshi Akiyama and other colleagues, the orchestra held greatly successful concerts in Tokyo and Osaka in 1984 and went on to tour Europe in 1987, 1989, and 1990, and in Europe and America in 1991, all to great accolades. These activities led to the inception of Ozawa’s artistic dream in 1992: the Saito Kinen Festival Matsumoto. Ozawa became director of this international music festival, a role that continues to this day. SKO continued to tour, with overseas concerts in 1994, 1997 and 2004. In 2015, the festival entered a new stage to become the “Seiji Ozawa Matsumoto Festival.”
Ozawa has been particularly focused on education. The Chamber Music Academy Okushiga evolved from the Saito Kinen chamber music study group sessions that started in 1996, and in 2011, became the non-profit organization Ozawa International Chamber Music Academy Okushiga, to provide opportunities to outstanding students from countries in the Asian region. Ozawa also founded the Seiji Ozawa Music Academy Opera Project in 2000 and the Seiji Ozawa Music Academy Orchestra Project in 2009 with the support of the Rohm Music Foundation, working actively to cultivate young musicians through performance. In 2005, he established the Seiji Ozawa International Academy Switzerland to educate European music students. Ozawa has also worked closely with the Mito Chamber Orchestra since its founding in 1990, serving as general director of the orchestra as well as director general of Art Tower Mito from 2013. He was also involved in the founding of the New Japan Philharmonic and worked with them for many years.
Ozawa has won many awards in Japan and abroad, including: the Asahi Prize (1985); an Honorary Doctorate from Harvard University (2000); the Austrian Cross of Honour for Science and Art, First Class (2002); the Mainichi Art Award (2003); the Suntory Music Prize (2003); an Honorary Doctorate from the Sorbonne University of France (2004); Honorary Membership from the Wiener Staatsoper (2007); France’s Officier de la Légion d’Honneur (2008); Foreign Associated Member in the Académie des Beaux-Arts de l’Institut de France (2008); the Order of Culture, which is the highest honor in Japan (2008); Giglio D’Oro by Premio Galileo 2000 Foundation of Italy (2008); the first Japanese national to be bestowed honorary membership to the Vienna Philharmonic (2010); the Praemium Imperiale from the Japan Art Association (2011); the Akeo Watanabe Foundation Music Award (2011); and the Kennedy Center Honors (2015). In 2016, the Ravel L’enfant et les sortilèges album conducted by Seiji Ozawa and performed by the Saito Kinen Orchestra that was recorded at the 2013 Saito Kinen Festival Matsumoto won the 58th Grammy Award for Best Opera Recording. In the same year, he was named Honorary Member by the Berlin Philharmonic and Honorary Citizen of Tokyo. In March 2022, he was chosen to be a member of the Japan Art Academy.
Diego Matheuz [Conductor]
Diego Matheuz belongs to the first generation of outstanding musicians emerging from Venezuela’s El Sistema. At age 37 he can look back at fruitful periods as principal conductor of La Fenice in Venice, principal guest conductor—upon Claudio Abbado’s invitation—of the Orchestra Mozart Bologna, and as principal guest conductor of the Melbourne Symphony Orchestra.
A particularly significant moment in his career was the “Special Gala Concert” celebrating the 120th anniversary of Deutsche Grammophon at Suntory Hall in December 2018, where he exchanged the baton with Seiji Ozawa to conduct the Saito Kinen Orchestra with soloist Anne-Sophie Mutter.
Upon Seiji Ozawa’s invitation, Mr. Matheuz toured through Asia with the SKO, and worked with it at the Seiji Ozawa Matsumoto Festival.
Other concerts he conducted with Santa Cecilia, Rome, La Scala Orchestra, Milan, Mahler Chamber Orchestra, Orchestre Philharmonique de Radio France, Spanish National Orchestra, the BBC, Philharmonia, Royal Philharmonic and Royal Liverpool Philharmonic Orchestras, Prague Philharmonic, Borusan Istanbul Philharmonic, Svetlanov Symphony Orchestra, Israel Philharmonic, Los Angeles Philharmonic, OSESP São Paulo, and NHK Symphony Orchestra.
In opera, Mr. Matheuz worked at the Deutsche Oper and Staatsoper Berlin, the Liceu in Barcelona, Maggio Musicale Fiorentino, Rossini Festival Pesaro and Teatro Regio, Torino. In June 2021 he scored a major personal success with his first Aida at the Arena di Verona. Important debuts are foreseen at the Paris Opera and the Met in New York. Another project of major significance is Bernstein’s Mass staged by Damiano Michieletto for Rome Opera at the Baths of Caracalla in July 2022.
In Venezuela, Mr. Matheuz carries out intense periods of formation and expands the repertoire of the Sistema orchestras. He also works with the Simón Bolívar Symphony Orchestra, of which he is principal conductor. At the Seiji Ozawa Music Academy, he conducted Die Fledermaus in 2022. In recognitioin of his exemplary performance, he was appointed as the first-ever principal conductor of the Music Academy in the same year.
David Kneuss [Director]
David Kneuss has recently completed his tenure at the Metropolitan Opera where he served as Executive Stage Director for 25 years and directed nearly 100 productions. In addition to the Met, Mr. Kneuss has also directed productions for the opera companies of: Chicago; San Francisco; Washington, DC; Boston; Portland (Oregon); Bonn (Germany); the Maggio Musicale Fiorentino; the English National Opera; and Hyogo Performing Arts Center in Nishinomiya, Japan.
Having a career-long association with Seiji Ozawa, Mr. Kneuss first staged opera for Ozawa and the Boston Symphony Orchestra at Tanglewood, Boston’s Symphony Hall, and Carnegie Hall. In Japan, he has directed more than 30 productions for Ozawa’s music festivals and continues to create productions for the Seiji Ozawa Matsumoto Festival and the Seiji Ozawa Music Academy, where Mr. Kneuss also serves as Artistic Director.
Mr. Kneuss created a production of La damnation de Faust at Matsumoto Castle, which was the first outdoor production ever presented by the Saito Kinen Festival and was seen by an audience of 5000. His Peter Grimes, a joint venture between the Maggio Musicale Fiorentino and the Saito Kinen Festival, began at the Tanglewood Music Center to celebrate the 50th anniversary of the opera’s American premiere and was featured in a film entitled A Tale of Tanglewood.
Robert Perdziola [Set & Costume Designer]
Mr. Perdziola has designed sets and costumes for the Metropolitan Opera, Lyric Opera of Chicago, Stratford Shakespeare Festival, San Francisco Opera, Santa Fe Opera, Opera Theatre of Saint Louis, Fort Worth Opera, Opera Boston, Glimmerglass Opera, Manhattan School of Music, and the Juilliard School of Drama. Among these designs are Capriccio and Il Pirata for the Met, The Merry Wives of Windsor for Stratford, and Giulio Cesare for Fort Worth. In 2014, he designed Così fan tutte for the Hyogo Performing Arts Center and Falstaff for the Saito Kinen Festival Matsumoto in Japan. Most recently he designed The Nutcracker and Swan Lake (sets and costumes) for the Boston Ballet.
Mr. Perdziola received a 2008 Helpmann Award nomination in costume design for Arabella at the Sydney Opera House. In 2006, he designed costumes for the world premiere of David Carlson and Colin Graham’s new opera, Anna Karenina, performed at the Florida Grand Opera and Opera Theatre of Saint Louis. In the UK, he has designed Le Nozze di Figaro and Così fan tutte at the Garsington Opera. Other works in Europe include Così fan tutte (Opera Monte Carlo) and Gounod’s Faust (Niedersachsische Staatsoper Hannover). His designs for theatre are frequently featured at the Shakespeare Theatre in Washington, DC.
Mr. Perdziola is the recipient of three Helen Hayes Awards for costume design (The Country Wife, Don Carlos, and Lady Windermere’s Fan) and the Irene Sharaff Young Master Award. Ballet designs include works for American Ballet Theatre, San Francisco Ballet, and Miami City Ballet. He is on the board of directors for the Tobin Foundation for Theatre Arts.
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Elizabeth Caballero [Soprano]
The New York Times describes Elizabeth Caballero as a “plush-toned, expressive soprano” and the Wall Street Journal exclaims that “Ms. Caballero is a find: her opulent soprano rings freely and lyrically throughout her range.” Ms. Caballero’s dramatically compelling interpretation of her signature role, Violetta in La traviata, led to recent engagements to perform the role for houses across the country, such as the Metropolitan Opera, Opera Carolina, la Compañía Lírica Nacional in Costa Rica, Florentine Opera, Madison Opera, Pacific Symphony, and the Orlando Philharmonic.
Ms. Caballero recently made a series of house debuts including her Staatsoper Stuttgart debut as Mimi in La Bohème, her debut with the Palacio de Bellas Artes in Mexico City as Desdemona in Otello, and her Madrid debut at Teatro de la Zarzuela singing the title role of the European premiere of Cecilia Valdés based on the Cuban novel of the same name. 2020 engagements were to include a return to Staatsoper Stuttgart for Boito’s Mefistofele, Mahler’s Symphony No. 8 for Pacific Symphony, Verdi’s Requiem for Portland Symphony, the Metropolitan Opera for their production of La Traviata, and her role debut as Tosca.
This season, Caballero joins Stadttheater Klagenfurt as Amelia in Un ballo in Maschera, and the Countess in Madison Opera’s Le nozze di Figaro. Last season’s engagements included returns to Staatsoper Stuttgart as Cio-Cio San in Madama Butterfly, Florida Grand Opera as Blanche in A Streetcar Named Desire, and Madison Symphony for their Christmas Gala Concerts. Further concert engagements were as the soprano soloist in Bruckner’s Te Deum and Beethoven’s Symphony No. 9 for the Colorado Symphony.
Jean-François Borras [Tenor]
Jean-François Borras is considered one of the best tenors of his generation. He currently performs in the biggest international theaters.
In recent years, Mr. Borras has interpreted Chavalier Des Grieux with great success at the Opéra de Paris, Montecarlo, Valencia and at Staatsoper in Vienna, and also Raimbaut in Robert le Diable and Nabucco at Covent Garden, Alfredo in Montecarlo, Chevalier de la Force in Les dialogues des Carmélites at Santa Cecilia, Cinna in La Vestale, and Macduff at Théâtre des Champs Elysées. He performs at Staatsoper in Vienna in La traviata, La Bohème, Faust, and Werther, and also Lakmé in Toulon, Un ballo in maschera in Munich and Metz, Thaïs in Sao Paulo, Béatrice et Bénédict at the Seiji Ozawa Matsumoto Festival, Lucia di Lammermoor at Avignon, Florence, and Palermo.
Mr. Borras has replaced Jonas Kaufman in Werther at the Metropolitan Opera in New York in 2014. He has returned there for Rigoletto, La Bohème, Werther, and Thaïs.
He recently sang Carmen at Opéra de Paris, Oper Frankfurt, and Teatro Regio in Turin, La damnation de Faust and Werther at Opéra di Montecarlo, his debut in Eugene Onegin at Théâtre des Champs Elysées, Carmen at Opéra de Toulouse.
He sings under the baton of Alain Guingal, Evelino Pidò, Daniel Oren, Patrick Fournillier, Daniele Callegari, Fabrizio Carminati, Michel Plasson, Alain Altinoglu, Stéphane Denève, Roberto Abbado, Daniele Gatti, Roberto Rizzi Brignoli, Riccardo Frizza, Emmanuel Villaume, Dan Ettinger.
Future engagements: Jean in a concert form of Hérodiade at Opera National de Lyon, Carmen at Teatro Calderon de Valladolid, Mefistofele at Opéra de Toulouse.
Anna Christy [Soprano]
Praised by the New York Times as “nimble of voice, body and spirit,” Grammy Award-winning soprano Anna Christy continues to impress and delight audiences with an extraordinary blend of sparkling voice, powerful stage presence, and innate musicality.
In the 2022/23 season, Ms. Christy debuts at the inaugural Sag Harbor Song Festival and with the Savannah Philharmonic for Poulenc’s Gloria. Last season, she returned to the Seiji Ozawa Music Academy for Die Fledermaus (Adele) and the Colorado Symphony for performances of Mahler’s Symphony No. 2 with Peter Oundjian.
Recent engagements include a return to Carnegie Hall for the US premiere of Joe Hisaishi’s East Land Symphony, conducted by the composer and accompanied by the American Symphony Orchestra, followed by returns to the Colorado Symphony for Messiah, and Central City Opera for Julie Jordan in Carousel. Additional engagements include a debut with the Philadelphia Orchestra in L’enfant et les sortilèges conducted by Stéphane Denève.
She was seen as Tytania in Robert Carsen’s production of A Midsummer Night’s Dream with Opera Philadelphia, debuted with the Colorado Symphony Orchestra in Finzi’s In Terra Pax conducted by Brett Mitchell, and returned to the San Francisco Symphony for L’enfant et les sortilèges conducted by Michael Tilson Thomas. Other recent engagements include Gilda in Rigoletto at the Canadian Opera Company, the title role in Lucia di Lammermoor with Florida Grand Opera, Marzelline in Fidelio with Boston Baroque, and Adele in Die Fledermaus with Des Moines Metro Opera. She also returned to Japan for performances of Lauretta in Gianni Schicchi with Seiji Ozawa.
Ms. Christy was born in Chicago, Illinois and raised in Pasadena, California. She spent her summers in Tokyo, Japan, at her mother’s family home, and is fluent in Japanese.
David Bizic [Baritone]
Serbian baritone David Bizic studied at the New Israeli Opera Young Artist Studio and won second prize at the 2007 Plácido Domingo Operalia Competition.
This season, he sings Leporello (Don Giovanni) in Japan, Escamillo (Carmen) at the Opéra de Toulon and Franck’s Béatitudes with the Orchestre Philharmonique Royal de Liège.
Last season saw his returns to the Metropolitan as Sharpless (Madama Butterfly), to Bordeaux as Belcore (L’elisir d’amore), and his debut with the Hallé Orchestra in Manchester as Sharpless.
Recent engagements include Belcore and Lord Ashton (Lucia di Lammermoor) in Toulon, Escamillo at the Macerata Festival in Italy and in Tel-Aviv, Marcello at the Metropolitan Opera, the title role of Eugene Onegin in Metz and Reims, Lescaut (Manon Lescaut) at the Liceu in Barcelona.
He was invited at the Paris Opera studio as a guest to sing Masetto in Don Giovanni and several times as Leporello in the same production.
Praised for his interpretation of Mozartien characters, he sang: Figaro (Le nozze di Figaro) in Angers, Nantes, Strasbourg, Monte-Carlo, Bordeaux, Geneva; Publio (La clemenza di Tito) in Avignon, Strasbourg, Montpellier; Masetto in Paris, Madrid and at the Festival d’Aix-en-Provence; Leporello (Don Giovanni) in Moscow, Berlin, Valencia, Paris Opera, Los Angeles, Chicago and at the Wiener Staatsoper; Don Giovanni in Maribor and Rouen; and Il Conte Almaviva (Le nozze di Figaro) in Saint-Étienne.
Concert appearances include Fauré’s Requiem, Schubert’s A-flat Mass, and Haydn’s Nelson Mass with the Jerusalem Symphony Orchestra, La vida breve in a concert version with the Orchestre de Paris conducted by Rafael Frübeck de Burgos, Beethoven’s Symphony No. 9 with the Orchestre de Montpellier and the Orchestre de Bordeaux, Fauré’s Requiem with the Ensemble Orchestral de Paris / Accentus Choir for the Saint Denis Festival conducted by Laurence Equilbey, and Ein Deutsches Requiem with the Serbian Radio TV Symphony Orchestra.
David Crawford [Bass-Baritone]
American bass-baritone David Crawford has been hailed as a “standout” by the New York Times and celebrated for his “thunderous bass-baritone” by New York Classical Review. Recent seasons included an Opera Outdoors concert with Opera Omaha as well as postponed or cancelled performances with the Atlanta Opera for Il barbiere di Siviglia and productions of Les contes d’Hoffmann and Billy Budd with the Metropolitan Opera. The 2021/22 season saw him as Achilla in Giulio Cesare and Don Basilio in Il barbiere di Siviglia with the Atlanta Opera, Monterone in Rigoletto with Nashville Opera, a return to the Metropolitan Opera for Turandot, and Zuniga in Carmen with Santa Fe Opera.
Since making his debut with the Metropolitan Opera in 2007 as The Warrior Apparition in Macbeth, Mr. Crawford has taken part in over 300 performances and covered roles in over 200 performances with the company. In the 2017/18 season, he returned to the Metropolitan Opera for Les contes d’Hoffmann and in the 2016/17 season, he appeared in over 50 performances in seven different operas, highlights of which included Paris in the new production of Roméo et Juliette, the Sergeant in Manon Lescaut, Lord Walton in I puritani, and the Captain in Eugene Onegin. In the 2015/16 season, he appeared as Rochefort in Anna Bolena, Count Ceprano in Rigoletto, a Mandarin in Turandot, and the Commissioner in Madama Butterfly. Other highlights with the Met include Hermann/Schlemiel in Les contes d’Hoffmann, Count Horn in Un ballo in maschera, Schmidt in Andrea Chénier, Hector’s Ghost in Les Troyens, the High Priest of Baal in Nabucco, Happy in La fanciulla del West, Astarotte in Armida, the Wigmaker in Ariadne auf Naxos, and Angelotti and the Jailer in Tosca.
William Thomas [Bass]
A recent graduate of the Opera Course at the Guildhall School of Music and Drama, British bass William Thomas is one of today’s most promising young singers. He is a BBC New Generation Artist 2021–23. The 2022/23 season sees him sing Colline La Bohème for Théâtre des Champs Elysées and Glyndebourne on Tour and Snug A Midsummer Night’s Dream in his debut for Opéra de Rouen Normandie.
On the concert platform, he sings Handel’s Messiah with the Academy of Ancient Music, Mozart’s Requiem with Glyndebourne on Tour, Handel’s St John Passion with the Antwerp Symphony Orchestra and Narbal Les Troyens with the Monteverdi Orchestra.
In future seasons, Mr. Thomas debuts at the Royal Opera House and Teatro alla Scala. He also returns to the Opéra national de Paris. Recent engagements include Colline La Bohème for the English National Opera, Gralsritter Parsifal with Opéra national de Paris, Nicholas in the British premiere of Samuel Barber’s Vanessa at the Glyndebourne Festival, Shepherd Pelléas et Mélisande for Garsington Opera, Snug A Midsummer Night’s Dream for Vienna State Opera, Zweiter Priester/Zweiter Geharnischter Die Zauberflöte for Glyndebourne and Parsi Rustomji Satyagraha for the English National Opera.
Concert engagements have included Beethoven’s Missa Solemnis at the BBC Proms with the Monteverdi Orchestra; Mozart’s Requiem at the BBC Proms with the Britten Sinfonia; St John Passion with the Orchestre Révolutionnaire et Romantique; Priest/Badger/Harašta in concert performances of The Cunning Little Vixen with the CBSO; Handel’s Messiah with the Orchestra of the English National Opera; Cantata Profana with the London Symphony Orchestra and Beethoven’s Symphony No. 9 with the Orchestre national de Lyon.
He is winner of major prizes, including the Kathleen Ferrier Award and John Christie Award in 2018, the Critics Circle Young Talent (voice) award 2021 and the Veronica Dunne International Singing Competition in 2019.
Philip Cokorinos [Bass-Baritone]
Hailed by Opera News for his “comedic high jinks” and “first-rate singing,” Philip Cokorinos was winner of the Metropolitan Opera National Council Auditions in 1985 and went on to sing his debut during the Met’s 1987/88 season. Since then, he appeared in more than 400 performances of 40 operas at the Met, including “Live from The Met” telecasts of Don Giovanni; the world premiere of The Ghosts of Versailles; and the Met’s premieres of Sly, Cyrano de Bergerac, The Gambler, and Shostakovich’s verismo expressionist opera Lady Macbeth of Mtsensk, to name a few. He appeared many times in their productions of the standard repertoire, including Tosca, La Bohème, La fanciulla del West, La traviata, Adriana Lecouvreur, La rondine, Die Meistersinger von Nürnberg, Macbeth, Manon, Don Carlo, Tosca, Il barbiere di Siviglia, Gianni Schicchi, Manon Lescaut, and Le nozze di Figaro, under the baton of Maestro James Levine. The Metropolitan Opera Live in HD broadcasts have included Manon, La fanciulla del West, The Nose, Werther, Manon Lescaut, Le nozze di Figaro, La Bohème, and Lady Macbeth of Mtsensk.
Mr. Cokorinos’s tenure at the Metropolitan Opera continues this season with engagements such as Lady Macbeth of Mtsensk, La Bohème, and Tosca. He will also perform Tosca at the Los Angeles Opera in the role of Sacristan, in addition to joining San Diego Opera’s long-awaited Gianni Schicchi as Simone. Last season, his engagements at the Metropolitan Opera comprised La Bohème, Le nozze di Figaro, Elektra, and Ariadne auf Naxos, whilst also assisting the opera house in a workshop of a new opera. He returned to the Los Angeles Opera for Tannhäuser in the role of Biterolf, and Il trovatore.
- Profile »
Seiji Ozawa Music Academy
Opera Project XIX
G. Puccini: La Bohème
Ticket Sales：December 10, 2022 (Sat) 10:00
Ticket Price (all tickets reserved/tax included)：
S ¥25,000 A ¥21,000 B ¥17,000 C ¥13,000 D ￥8,000
（For those age 39 and under. Available in limited quantities for S and A seat types. Designated seating not available. Sold at ticket windows only. Proof of age required at the venue. One ticket per person only.）
（For those age 25 and under. Designated seating not available. Sold at ticket windows only. Proof of age required at the venue. One ticket per person only.）
*Artists are subject to change without prior notice. All ticket sales are final and there are no refunds or exchanges. Refunds are issued only in the case of cancellation or postponement of the performances. Please carefully review these conditions before purchasing your tickets.