The Tohoku Youth Orchestra appeared as a special guest at “Yuzuru Hanyu notte stellata 2026,” held from March 7 to 9 at Sekisui Heim Super Arena (Grandi 21) in Miyagi.

In this report, we will introduce notte stellata as seen from the perspective of the TYO, along with impressions shared by participating members.

Preparations for notte stellata 2026 by the Tohoku Youth Orchestra began on March 5.
This was because instruments to be used in the rehearsal on the 6th at the Fukushima Minpo headquarters, as well as items such as the orchestra’s flag to be displayed in the sub-arena during the performance period, were scheduled to be loaded.

Several members worked together to complete the loading, and after a brief meeting to confirm the next day’s meeting time and other details, they disbanded for the day.

After a night had passed, members gathered at the venue from various locations.
This photo was taken while waiting for everyone to assemble.

After rehearsing on our own in the sub-arena, we moved to the actual rink where we would perform and had our first combined rehearsal with the skaters. Unlike the concert halls where we usually perform, the space was extremely large and had no acoustic shell, making it difficult to hear the sound we produced. As the performance approached, this left us feeling somewhat anxious.

After practicing all the pieces we would perform together, we were given the opportunity to take a group photo. At that time, the skaters kindly greeted us with warm smiles, which helped ease the anxiety we had been feeling.

At last, the day of the performance arrived.

For Tohoku Youth Orchestra concerts, the formal attire is a black short-sleeved polo shirt worn with a large TYO handkerchief. However, it was decided that performing in short sleeves on the ice rink would be too cold, so the notte stellata organizers kindly provided matching gray sweatshirts for us.

They were fleece-lined on the inside and kept us very warm.

The first piece we performed was “Merry Christmas Mr. Lawrence” from the film Merry Christmas, Mr. Lawrence. It is a favorite among many of our members, and for many attendees as well, it is probably the first piece that comes to mind when they hear the name Ryuichi Sakamoto.

We have performed this piece many times in Tohoku Youth Orchestra concerts, but we had never played it while imagining a starry sky. During this ice show, however, the blue glow of the penlights floating in the darkened venue looked just like a night sky, and it truly took our breath away. We had checked the venue lighting during the previous day’s dress rehearsal and rehearsals, but when combined with the lights brought by the audience, the scene perfectly embodied the title “notte stellata.” We felt deeply honored to be able to perform in such an atmosphere.

The next piece we performed was “Happy End.” It was first performed by the Tohoku Youth Orchestra at last year’s concert, and when it was announced as part of this program, it felt a little unexpected. As we prepared to perform this piece together with Yuzuru Hanyu, he shared his thoughts on the music during rehearsal. What left the strongest impression on me was when he said he envisioned “each individual fulfilling their role and gradually blending together.” Hearing this, I reflected on the meaning that Ryuichi Sakamoto may have embedded in each melody when he composed the piece. In this piece, instead of the percussion section—typically responsible for maintaining the rhythm—the woodwind section carried the rhythm by playing steady eighth notes. Because of this, we in the woodwind section felt that we had to perform like the steady ticking of a second hand, keeping precise time throughout.

After a 40-minute intermission, the first performance featured a collaboration between Shae-Lynn Bourne-Turok, Satoko Miyahara, Akiko Suzuki, Keiji Tanaka, Takahito Mura, and the Tohoku Youth Orchestra, performing “Little Buddha.” In this piece, we would normally switch to the alto flute partway through, but since participating members were unable to prepare the instrument, we adapted the part and performed it on the standard concert flute instead. Playing the lower register—something we don’t often do—and making it resonate fully was quite nerve-wracking.

Next, the Tohoku Youth Orchestra performed “Yae no Sakura Theme” from the taiga drama Yae no Sakura. This piece was another collaboration with Yuzuru Hanyu. In the middle of the piece, there is a technically complex flute solo, and since Hanyu’s jump was timed to that solo, the member in charge felt a great deal of pressure. I have performed this piece at another concert before, and at that time my hands gradually became so cold from nerves that they stopped moving. Considering that, the member who successfully performed it in the even colder environment of the ice rink did an outstanding job.

The final piece we performed was “Etude,” a familiar encore number at TYO concerts. The skaters incorporated this piece’s unique, slightly unusual clapping patterns and even mimed playing the trombone. When the audience clapped along, and we as performers, along with the skaters, became one, it created an exhilarating feeling unlike anything we had experienced before.

Although it was never explicitly planned, most of the members would, during intermissions or after each day’s performance, search social media using hashtags like “#TohokuYouthOrchestra” and “#nottestellata2026.” We read comments from audience members, as well as those who watched via live viewing or on Hulu, and shared the ones that made us happy with each other or saved screenshots of them—just between us.

From here, we would like to share impressions from the participating members.
The members we will introduce are:

・Violin: Miyu Takaki
・Cello: Haru Takahashi
・Flute: Ayamo Sakamoto
・Trombone: Kota Kaitsu
・Percussion: Rune Yamashita
・Piano: Akari Yusa

These are six members in total.

Miyu Takaki (Violin)
Memorable pieces
I cannot fully express in words the joy of being able to perform Yae no Sakura, my most beloved work by director Ryuichi Sakamoto, on such a special stage.
The highlight of this performance was the moment when the delicate flute solo overlapped with Yuzuru Hanyu’s powerful jump. During rehearsals, I still vividly remember the flute player repeatedly checking the tempo under unprecedented pressure, saying, “Hanyu’s jump depends on my sound…” I could feel that our music supported and elevated his expression, and that sense of responsibility and exhilaration brought the entire venue together as one.

The sound of the hyōshigi (wooden clappers), which can be considered the soul of this piece, pierced through the silence and resonated beautifully with Hanyu’s refined physical expression. In that moment when traditional Japanese sound and skating perfectly aligned, the image of cherry blossoms blooming through hardship vividly appeared across the rink.

At the end of the performance, Hanyu’s dignified appearance as he quietly sheathed his sword was breathtakingly cool and deeply etched in our hearts.

Impression of meeting Yuzuru Hanyu
On the day of rehearsal, I will never forget the excitement of meeting Yuzuru Hanyu—the very person I had seen on TV holding up a gold medal when I was in second grade.
What left a strong impression during the dress rehearsal was his explanation of Happy End:
He described imagining Professor Sakamoto on piano, Haruomi Hosono on bass, and Yukihiro Takahashi on drums, expressing the struggle of wanting to resist illness even as time inevitably passes.
Hearing how deeply he had studied and interpreted the music was truly moving. His way of speaking even reminded me of Sakamoto himself, creating the mysterious feeling that the composer was present with us.

Performing on the ice rink
The cold, which made our fingertips stiff, created a very challenging environment for playing instruments.
However, the moment I looked up and saw the penlights shining like a sky full of stars, I instantly forgot the cold. Guided by Shota Nakano’s piano, performing Merry Christmas Mr. Lawrence in that sea of light felt like being in a “place where lives gather.” It wasn’t lonely—we were united, as if offering a single prayer together.

Overall impression of the four days
Through participating in this ice show, I became strongly convinced that what we have been doing is not wrong. At 19 years old, we are the last generation with memories of the disaster. From here on, our mission is how to pass these feelings on to younger generations who do not know it. Moving from being “supported” to “supporting,” we will continue to connect these emotions through music.

Haru Takahashi (Cello)
Memorable pieces
"Yae no Sakura"
It was already one of my favorite works by Sakamoto, but combined with Hanyu’s world, it felt even more compelling. The moment when Hanyu’s double toe loop overlapped with the flute solo was especially memorable, as it was clearly something he paid great attention to. His precise synchronization with the hyōshigi was also incredibly satisfying to watch.

Impression of meeting Yuzuru Hanyu
To be honest, I didn’t know much about Hanyu beforehand and assumed he might not have strong attachments to the music. However, when we first rehearsed Happy end, he passionately explained the emotions and imagery behind his performance.
For the cello section, Happy end is honestly a bit of a scary piece (laughs), so we had tended to focus only on our own playing. But after hearing his perspective, our mindset completely changed, and by the third day, I think we delivered our best performance.

At the same time, he’s incredibly charismatic—his face is so small it’s almost surprising (laughs)—and he’s very friendly, even joking around with references like Dandy Sakano. But once on stage, surrounded by cheers unlike anything I’ve ever heard, he truly shines—you realize, “This is what the world calls a star.”

Performing on the ice rink
I had actually been a bit unwell beforehand and was overly worried about the cold (laughs). I even bought ¥4,500 worth of winter gear at Workman the day before rehearsals.
In reality, it was about as warm as a winter morning—warmer than expected—but I could still feel my body gradually getting cold, especially my extremities.
That said, for the final piece Etude, our goal was simply to “enjoy it to the fullest,” and by then I actually felt warm (laughs).

Overall impression of the four days
As non-professional musicians, we are incredibly grateful for this opportunity. Everything was new, and being able to connect with Hanyu’s view of music and life was a truly valuable experience.
We also had new encounters at the lodging—something unique to TYO. I feel nothing but gratitude toward all the adults who made this experience possible.

Ayamo Sakamoto (Flute)
Memorable pieces
Yae no Sakura left the strongest impression. Performing in a massive temporary rink with a capacity of 7,000 people and letting the shinobue resonate brought an unparalleled sense of exhilaration. At the same time, it made me deeply grateful that I had continued playing music.
The sight of Hanyu skating across the ice in harmony with the melody became an unforgettable scene—transforming memories of the disaster and prayers for recovery into music.

Impression of meeting Yuzuru Hanyu
During rehearsal, Hanyu spoke directly about his interpretation, saying he wanted to “perform until his soul felt completely torn apart.” That expression and atmosphere remain vivid in my mind.
His determination to express the memory of the disaster and hope for recovery with his entire being deeply moved us as performers and reminded us of our responsibility to face music sincerely.

Performing on the ice rink
The sight of penlights filling the venue was unlike anything I had ever seen, and it moved me deeply while performing. Hearing warm words from audience members and fellow performers made me realize once again that music can serve as a bridge—sharing memories of the disaster and supporting recovery together.

Overall impression of the four days
Participating as a special guest in notte stellata was an irreplaceable and invaluable experience. Everything was new and filled with wonder and emotion.
I feel honored to have contributed, even in a small way, to the show’s message of passing on the memory of the disaster and weaving hope for recovery into the future. I am deeply grateful to Hanyu and everyone involved, as well as all who attended. I hope to continue contributing to preserving these memories through music.

Kota Kaitsu (Trombone)
Memorable pieces
Merry Christmas Mr. Lawrence, Yae no Sakura
For Merry Christmas Mr. Lawrence, I was deeply moved while performing as I felt the world of the piece being created throughout the entire venue.
For Yae no Sakura, I was moved by the sound we built together with Yuzuru Hanyu.

Impression of meeting Yuzuru Hanyu
I was struck by how sincerely he poured emotion into every movement and sound.

Performing on the ice rink
It was my first time performing in such a setting. While there were things that didn’t go perfectly, the warm applause and cheers from the audience moved me deeply.

Overall impression of the four days
Fifteen years after the disaster, it hasn’t been all negative—meeting TYO is one of the positives. I feel that we were able to showcase the growth of these 15 years through this ice show.

Rune Yamashita(Percussion)

Akari Yusa (Piano)
Memorable pieces
“Etude” left the strongest impression on me. In particular, for the solo part, we received advice from pianist Shota Nakano during rehearsals in December, and the two of us in the piano section performed a four-hand arrangement that we developed together.
It was incredibly fun and fulfilling to see the skaters incorporate instrument-playing gestures into their performance and to feel the atmosphere of creating the finale together with the audience.

I had already decided that this ice show would mark my graduation from the orchestra. I was truly happy to be able to create music together with Yuzuru Hanyu and all the other skaters in this performance.
From now on, I hope to pass on the beauty of music to the next generation of children and share the idea that music holds infinite possibilities.

This report has been brought to you by Satoka Ishikawa of the flute section.

We would like to express our heartfelt gratitude to Yuzuru Hanyu and everyone involved in notte stellata for inviting TYO as a special guest.

At last, next week is the Tohoku Youth Orchestra Concert 2026. Starting yesterday, our final pre-performance training camp has begun. This time, all members will give their very best performance at Suntory Hall.

Thank you very much for reading to the end.
We look forward to seeing you at the venue on March 26.

The CD The Best of Tohoku Youth Orchestra 2025, featuring recordings from last year’s concert, will be released on March 25.

It includes “Merry Christmas Mr. Lawrence,” “Happy End,” “Little Buddha,” and “Etude,” all of which were also performed at notte stellata.

We look forward to your reservations here.

Tohoku Youth Orchestra Concert 2026

Thursday, March 26, 2026
Matinee: 15:00 (Doors open at 14:15)
Evening Concert: 19:00 (doors open at 18:15)　
Suntory Hall Main Hall

Conducted by: Toshio Yanagisawa
Performed by: Tohoku Youth Orchestra
Reading by: NON
MC by: Mari Watanabe

Program:
Ludwig van Beethoven: Symphony No. 5 in C Minor, Op. 67
Ryuichi Sakamoto + Dai Fujikura: Tong Poo
Ryuichi Sakamoto: Ballet Mecanique
The Last Emperor
Merry Christmas Mr. Lawrence
and more
Please note that the program is subject to change.

S seats: 6,000 yen
A seats: 5,000 yen
P seats: 4,000 yen
(tax included)
(including 2,000 yen donation to Tohoku Youth Orchestra)
＊Tickets required for ages 3 and up.

General tickets on sale: Saturday, January 17, 2026

Ticket:
eplus        http://eplus.jp
Lawson Ticket        https://l-tike.com/
Ticket Pia     https://t.pia.jp/
Suntory Hall Ticket Center
Tel: 0570-55-0017（except for closed days 10:00～18:00）
Suntory Hall Members Club　https://suntoryhall.pia.jp/

Inquiries: DISK GARAGE Inquiry Form　
http://www.diskgarage.com/form/info

Organizer: Tohoku Youth Orchestra

Supported by:    
Digital Garage, Inc.
Kakaku.com, Inc.
Yamada Bee Farm Co., Ltd.
Morinaga Angel Foundation

Cooperation:
Tokyo Philharmonic Orchestra
Yamaha Music Japan Co., Ltd.
PR Consulting Dentsu Inc.
General Incorporated Association Music Force

Production:
PROMAX Inc.
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