Award-Winning Debut Concert Report by Tsutomu Shiroma (Music Writer)

The 2024 Tokyo International Conducting Competition brought together 291 young talented conductors from 37 countries and regions around the world to compete in their skills. On July 10, the competition's Prize Winners Debut Concert was held at Suntory Hall, where the three prizewinners performed with the NHK Symphony Orchestra, revealing the brilliance of a new generation of conductors.

At the outset of the concert, Chairman of the Panel of Judges of the Conducting Competition, Tadaaki Otaka took the stage and gave a speech. Referring to the intense thunderstorm outside, he lightened the mood with a joke saying, “perhaps we should have performed the Pastoral Symphony.”

He also shared a humorous anecdote, saying, "I was invited by Maestro Takashi Asahina for a beef curry meal, and before I knew it, I was appointed as the Chairman of the Panel of Judges. " In addition, he paid tribute to the late Kazuyoshi Akiyama and spoke about the achievements of Japanese conductors such as Kazuki Yamada and Nodoka Okisawa.

Referring to the NHK Symphony Orchestra, known for its uncompromising stance toward young conductors, was also mentioned with a touch of humor: "Don’t worry, the orchestra is not going to scare you today" he said, prompting laughter from the audience.

 

Three people, three styles; Each shouldering the future of music, showcasing their unique musicality

Ayano Yoshizaki (3rd Prize and Hideo Saito Award winner)

Stravinsky: Ballet Suite The Firebird (1919 version)

The first to go on stage was Yoshizaki, who carefully and meticulously crafted the piece, making it a pleasant listening experience. Yoshizaki studied under Ken Takaseki and Kazufumi Yamashita at the Tokyo University of the Arts, Graduate School—making her, so to say, a “grand-disciple” of Seiji Ozawa and Kazuyoshi Akiyama.

In her performance of The Firebird, the ensemble was especially meticulous in the first half, with a beautiful blend of tones with the lower strings exhibiting a natural and effortless expression. Just when one thinks the approach will continue to focus on stability, it boldly shifts to a dynamic and assertive expression in the second half. The excellence of the well-balanced and contrasting tempo choices also stood out.

The powerful brass, soaring as if piercing the sky, and the precisely calculated violin crescendos revealed the conductor’s artistry in skillfully building toward the climax—showcasing her charm.

In the fifth movement, Infernal Dance of King Kashchei, one might have wished for a wilder, more unrestrained expression. However, it’s likely that her true strength lies in her ability to view the work as a whole and maintain unwavering structural coherence throughout the piece. The refined sensitivity with which she handled the wind instruments and her balanced tempos were particularly striking, making me look forward to hear her interpretation of Ravel's music someday, if given the opportunity.

 

Riley Court-Wood (2nd Prize and Audience Award winner)

Gershwin: An American in Paris

Next to go on stage was Court-Wood, who won the Audience Prize. He initially studied violin at the Guildhall School of Music and Drama, and later pursued conducting at the Royal Northern College of Music.

He currently serves as an assistant conductor at the BBC Scottish Symphony Orchestra. In the program, he wrote, “I hope the audience enjoys the wonderful orchestral colors that Gershwin offers us in his An American in Paris. It is a piece that I hold very close to my heart.” True to his words, he delivered a spirited interpretation, and whether it was the nature of the piece or her approach, the vivid sound was an absolute delight.

He also excelled at bringing out the jazz idioms so characteristic of Gershwin, with a richly jazzy atmosphere that, at times, evoked not the colors of Paris but rather the spirit of New York, which was interesting. Whether this impression stemmed from the piece itself or the conductor’s artistic sensibility is hard to say.

Like the aforementioned Yoshizaki, his control of the wind instruments was exquisite, expressing both liveliness and a subtly dark tone that kept the audience engaged. He seems to be the type who truly shines in modern and contemporary works, and his future endeavors will be something to look forward to.

 

 

Kornilios Michailidis  (1st Prize and Orchestra Award winner)

Brahms:Symphony No. 1 in C Minor Op. 68

Born in Greece in 1989, Michailidis is a conductor and pianist. After serving as an assistant, he now conducts various orchestras across Europe.

He has also conducted renowned operas at the Teatro Real in Madrid, and it is clearly evident from his performance that he is already working professionally, steadily building his career.

In Brahms’ Symphony No. 1, interpretations often tend to be imposing and forceful, but Michailidis’ approach places emphasis on the suppleness of the melody lines.

That said, he never indulges in excessive lyricism; instead, his music consistently maintains a strong sense of form and refined dignity. This is especially evident in the second movement, where the rich, gently expressive sound of the strings leaves a lasting impression.

In the final movement, the flowing melodic lines, the majestic expansiveness of the coda, and the consistent musical tempo—neither too fast nor too heavy—were all superb, revealing the excellence of his remarkable talent.

Stoic and rigidly structured beauty is not the only hallmark of Brahms' music. The poised yet flowing musicality demonstrated by Mihalidis is sure to be welcomed by many fans. Given his distinctive qualities, one can expect an equally superb performance of Brahms' Symphony No. 2 from him.