Sakamoto, Ryuichi

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    ‘Ryuichi Sakamoto: Opus’: A Parting Gift From a Master Musician

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    The final concert of the Japanese virtuoso is captured in an aching meditation on mortality and legacy.The twin themes of “Ryuichi Sakamoto: Opus” are art and mortality, and they’re twisted so tightly together that they become inextricable. Shot in black and white to match the keys of the piano, the film entirely consists of the influential Japanese musician’s final concert. One might say it was a performance for nobody — Sakamoto filmed alone in a studio, with only the crew there as audience. But it’s more correct to say it’s for us, a gift from a master.Sakamoto’s long career covered techno-pop, scores for movies like “The Last Emperor” and “The Revenant,” and experimental and instrumental albums that stretch and play with the full range of sound. The songs he plays in “Opus” — 20 in all — span his career. For the fan, it’s an intensely moving experience.But even for the viewer without much knowledge of Sakamoto’s work, “Opus” holds its own as the rare cinematic space for contemplation. There’s no context given, no attempt to create a narrative. Instead, the visual space is carefully filmed and the lighting manipulated to subtly shift the mood. Light and shadow are equally important. Everything from the panels on the studio wall to the inside of the piano to the leg of the stool on which the musician is perched becomes significant, all part of the performance. Sakamoto plays like a dancer, or a conductor; his hands shape the sound on the keys, but also take flight at times, as if he’s coaxing a tone out of the instrument, or himself.Sakamoto filmed the concert over a week in September 2022. He and the film’s director, his son, Neo Sora, meticulously designed the look of the movie, including storyboards to show how the lighting would change. It is a kind of monochromatic take on the shifting of light as morning turns to afternoon, then evening. By the end, Sakamoto appears to be playing in inky blackness, with one light standing in for the moon shining over his left shoulder.The reason for this interest in invoking the passage of time is simple: Sakamoto knew his days were numbered. In 2014, he was diagnosed with throat cancer. His recovery was documented in the 2018 film “Ryuichi Sakamoto: Coda,” but in 2021 he was diagnosed with rectal cancer. He died in March 2023, about six months after filming “Opus,” at age 71.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Oscars’ In Memoriam: Academy Honors Aleksei Navalny and Andrea Bocelli Performs

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      The in memoriam segment at the Academy Awards opened not with a Hollywood star, but with a clip of Aleksei A. Navalny from “Navalny,” the Oscar-winning 2022 documentary about the Russian opposition leader who died last month in a Russian prison.“The only thing necessary for the triumph of evil is for good people to do nothing,” read a quote of Navalny’s on the screen.Taking a moment to recognize those in the film industry who have died since the previous Oscars ceremony, the telecast also paid tribute to stars such as Harry Belafonte, the barrier-breaking performer and activist, and Chita Rivera, the Broadway star who also appeared in films, as well as filmmakers such as Norman Jewison, the lauded director behind “In the Heat of the Night,” “Fiddler on the Roof” and “Moonstruck.”To accompany the tributes, the superstar tenor Andrea Bocelli sang “Time to Say Goodbye” — with a new orchestration by Hans Zimmer — alongside his son, Matteo Bocelli.Chita Rivera, the Broadway star who also appeared in films, was honored in the Oscars’ in memoriam segment.Amir Hamja/The New York TimesHere are some of figures the Academy honored:Alan Arkin, the acclaimed actor who won an Oscar for his role in “Little Miss Sunshine”Andre Braugher, a film, TV and theater actor who had roles in Spike Lee and Edward Zwick filmsMichael Gambon, the acclaimed Irish-born actor who played Albus Dumbledore in the “Harry Potter” moviesWilliam Friedkin, director of the box office hits “The French Connection” and “The Exorcist”Bo Goldman, the admired Hollywood screenwriter who took home Oscars for his work on “One Flew Over the Cuckoo’s Nest” and “Melvin and Howard”Glenda Jackson, the two-time Oscar winner who turned to politics in her 50sPiper Laurie, a respected actress with three Oscar nominations, including for her role in “Carrie”Bill Lee, a jazz bassist and composer who scored the early films of his son Spike LeeRichard Lewis, the acerbic stand-up comic who became a regular in movies and TVRyan O’Neal, who became an instant movie star in the 1970 hit film “Love Story”Matthew Perry, the “Friends” star who had roles in movies such as “The Whole Nine Yards”Paul Reubens, the comic actor behind Pee-wee Herman who had scores of movie and TV creditsRichard Roundtree, one of the first Black action heroes who was catapulted to fame in the movie “Shaft”Ryuichi Sakamoto, one of Japan’s most prominent composers, who scored the films “The Last Emperor,” “The Sheltering Sky” and “The Revenant”Tina Turner, the pop sensation who appeared in films such as “Tommy” and “Mad Max Beyond Thunderdome”Carl Weathers, a former pro linebacker, who played Apollo Creed in the “Rocky” movies More

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      in Music

      A Playlist to Remember the Musicians We Lost in 2023

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      A playlist honoring David Crosby, Wayne Shorter, Sinead O’Connor, Jimmy Buffett and other musicians who died this year.David Crosby, a founding member of the Byrds and Crosby, Stills, Nash & Young, died in January.Sulfiati Magnuson/Getty ImagesDear listeners,Doesn’t it seem like the “In Memoriam” segments on awards shows get longer with each passing year? It can sometimes feel like we’re in a perpetual state of mourning, saying goodbye to one brilliant musician after the next. Social media, the 24-hour news cycle and an aging population of era-defining artists all contribute to the perception that we’re constantly suffering huge losses.Even by that light, 2023 was a year of exceptional grief in the music world. We bid farewell to some absolute titans (Harry Belafonte, Tina Turner, Tony Bennett), countercultural icons (David Crosby, Robbie Robertson, Jeff Beck), and beloved rebels (Sinead O’Connor, Tom Verlaine, Shane MacGowan), among many others.For today’s newsletter — the final Amplifier of 2023 — I thought it would be fitting to compile my own “In Memoriam” segment, in the form of a playlist honoring those we lost throughout the year. It’s an eclectic collection in terms of genre, generation and geography; Japanese electro-pop legends sit alongside American jazz greats and Canadian folk revivalists. This may be cold comfort, but we’ll take any silver lining we can get: The magnitude of those we lost this year means this is a very, very good playlist.Like any “In Memoriam” tribute, this one inevitably omits a few names. But I hope it honors some of the musicians who meant something to you and that it introduces a few unfamiliar artists whose discographies are ripe for posthumous discovery.One programming note: As I mentioned, this is the last Amplifier of the year, as we’re taking a one-week break over the holidays. We’ll be back the first week of January with a roundup of the best older songs you discovered in 2023. I’m loving all the submissions we’ve received so far; keep them coming! We may use your response in an upcoming edition of The Amplifier.As ever, thanks to each and every one of you for reading and listening this year. Happy 2024.Listen along on Spotify as you read.1. Jeff Beck: “Over the Rainbow”Let’s start off with a classic, reimagined as a soaring, wordless aria by the guitar legend Jeff Beck, who died on Jan. 10 at 78. “For all his speed and dexterity,” my colleague Jon Pareles wrote in an appreciation of this performance, “Beck never underestimated the beauty of a sustained melody.” (Listen on YouTube)2. David Crosby: “Laughing”On Jan. 19, the world lost the irascible, angel-voiced David Crosby, who defined the sound of folk-rock in the 1960s and ’70s as a founding member of the Byrds and Crosby, Stills, Nash & Young. I’m a fan of his meanderingly beautiful 1971 solo album “If I Could Only Remember My Name,” and this track in particular. I also count myself absurdly lucky to have interviewed Crosby over the phone about a year and a half before he died; he called beforehand to ask if he could push back our conversation a few minutes because his hotel breakfast had just arrived. I said of course, and he called back maybe half an hour later, still grateful, easefully friendly and very forthcoming. Rest in peace to a man who appreciated a good breakfast. (Listen on YouTube)3. Television: “See No Evil”There’s a rare pantheon of records that, regardless of passing trends, will always sound effortlessly and undeniably cool to each new generation that discovers them. Television’s “Marquee Moon” is one of those albums, in large part because of the frontman Tom Verlaine, who died on Jan. 28 at 73. As a guitarist, Verlaine had chops to spare, but it took a certain attitude — heard on this leadoff track of “Marquee Moon” — to make virtuosity sound punk. (Listen on YouTube)4. Dusty Springfield: “(They Long to Be) Close to You”Burt Bacharach, who died on Feb. 8 at age 94, wrote a seemingly infinite number of perfect pop songs, like this one that the Carpenters made a No. 1 smash in 1970. Dusty Springfield’s earlier version, recorded in 1964, isn’t as well known, but it’s every bit as stirring, thanks in large part to the emotional acuity of Bacharach’s timeless composition. (Listen on YouTube)5. Wayne Shorter: “Fee-Fi-Fo-Fum”Until his death on March 2 at 89, the saxophonist Wayne Shorter was considered by many to be the greatest living jazz composer. His singular, expressive playing on this highlight from his 1966 album, “Speak No Evil,” is one of many recordings that suggest why. (Listen on YouTube)6. Yellow Magic Orchestra: “Technopolis”The pioneering Japanese electronic group Yellow Magic Orchestra lost two of its three principal members this year: the drummer and vocalist Yukihiro Takahashi on Jan. 11 and, a little over two months later, the keyboardist Ryuichi Sakamoto. Both had long and varied solo careers as well, but their work in Y.M.O., like on this leadoff track from the 1979 album “Solid State Survivor,” is still enduringly influential and instantly recognizable. (Listen on YouTube)7. Harry Belafonte: “Jamaica Farewell”“Calypso,” the blockbuster 1956 release by the Jamaican American singer, actor and activist Harry Belafonte, helped bring Caribbean sounds to the masses: It is said to be the first LP by a solo artist to sell over a million copies. This wistful West Indian folk tune was the album’s lead single, and it long remained a signature song for Belafonte, who died on April 25 at 96. (Listen on YouTube)8. Gordon Lightfoot: “Sundown”The Canadian singer-songwriter Gordon Lightfoot, who died on May 1 at 84, was a familiar presence on AM radio in the early 1970s, when he scored hit after unlikely hit. None charted higher than the infectious “Sundown,” the title track off his 1974 album and his only song to hit No. 1 in the United States. The track’s buoyant rhythm and lush harmonies contrast with its lyrical preoccupation with jealousy, inebriation and mistrust, creating an alluringly dark pop song. (Listen on YouTube)9. Tina Turner: “What’s Love Got to Do With It”Talk about a comeback. The mighty Tina Turner hadn’t had a Top 10 hit in the U.S. in more than a decade when in 1984 she returned with a vengeance, belting out this anthem and strutting down the streets of New York in its unforgettable music video. “What’s Love Got to Do With It,” released when Turner was 44, was her long-awaited liberation, and the force of her vocal delivery tells you how much life — and rock-star attitude — she had in her. She died May 24 at 83. (Listen on YouTube)10. Astrud Gilberto: “Berimbau”The 83-year-old Brazilian bossa nova singer Astrud Gilberto, who died on June 5, was best known as the serenely stylish vocalist who sang Stan Getz’s “The Girl From Ipanema.” But her discography is full of other treasures, like her lovely 1966 album of songs arranged by Gil Evans, “Look to the Rainbow,” on which this elegant, atmospheric track named for a one-stringed Brazilian instrument appears. (Listen on YouTube)11. The Band: “The Night They Drove Old Dixie Down”Robbie Robertson’s music had an almost eerie way of fusing the past and the present, creating compositions that sound at once rooted and untethered to linear time. This song — a Canadian musician’s evocation of Civil War-era America, with a little help from his then-Bandmate, the Arkansas-born Levon Helm — is an ambiguous document, still sparking fresh debate more than 50 years after its release. But above all it is a testament to the slippery songwriting power of Robertson, who died on Aug. 9 at 80. (Listen on YouTube)12. Jane Birkin: “Jane B.”The iconic Jane Birkin — perhaps the most quintessentially French person ever to be born outside of France — was so much more than just the namesake of a coveted Hermès bag. As a musician, too, she was more than just a coquettish co-conspirator with her onetime husband Serge Gainsbourg; she forged a long solo career that continued after they split in 1980. This orchestral, Chopin-inspired ballad is from one of their greatest collaborations, the 1969 album “Jane Birkin/Serge Gainsbourg,” but here it’s Birkin, who died on July 16 at 76, who takes the lead. (Listen on YouTube)13. Tony Bennett: “(I Left My Heart) In San Francisco”Tony Bennett was a New Yorker through and through, but for the three-minute span of this classic, you could have sworn he was a Frisco kid. Bennett, who died on July 21 at 96, showed off both the crystalline purity of his voice and his ample lung power on the song that became his most recognizable standard. (Listen on YouTube)14. Sinead O’Connor: “Black Boys on Mopeds”On July 26, music lost one of its great and most uncompromising truth tellers. The piercing voice, moral courage and fierce compassion of Sinead O’Connor are all front and center on this acoustic ballad from her second album, “I Do Not Want What I Haven’t Got,” a track as devastatingly relevant today as it was when she wrote it in 1990. (Listen on YouTube)15. Rodriguez: “Crucify Your Mind”The final decade of the folk singer Sixto Rodriguez’s life was a prolonged and deserved victory lap, thanks to the Oscar-winning 2012 documentary “Searching for Sugar Man,” which introduced his once-obscure music to a whole new audience. His performance of this song on “The Late Show With David Letterman,” 42 years after its release, still haunts me. (Listen on YouTube)16. Jimmy Buffett: “A Pirate Looks at Forty”The Mayor of Margaritaville left us on Sept. 1 at 76. Though best known for his party anthems, this meditation on mortality, “A Pirate Looks at Forty,” proves that Buffet was no stranger to the introspective ballad — albeit one seasoned with his own special salt. (Listen on YouTube)17. The Isley Brothers: “Livin’ in the Life”Though his brother Ronald usually sang lead, Rudolph Isley, who died on Oct. 11 at 84, provides a memorable assist on this sublimely funky single from their group’s 1977 album “Go for Your Guns.” (Listen on YouTube)18. The Pogues: “If I Should Fall From Grace With God”Music lost one of its most cantankerous poets on Nov. 30, when Shane MacGowan, the lead singer and songwriter of the Celtic punk band the Pogues, died at 65. This defiantly rousing title track from the band’s 1988 album should serve as an appropriately unsentimental requiem: “If I’m buried ’neath the sod, but the angels won’t receive me/Let me go, boys/Let me go, boys/Let me go down in the mud where the rivers all run dry.” (Listen on YouTube)To be where little cable cars climb halfway to the stars,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“In Memoriam: Musicians We Lost in 2023” track listTrack 1: Jeff Beck, “Over the Rainbow”Track 2: David Crosby, “Laughing”Track 3: Television, “See No Evil”Track 4: Dusty Springfield, “(They Long to Be) Close to You”Track 5: Wayne Shorter, “Fee-Fi-Fo-Fum”Track 6: Yellow Magic Orchestra, “Technopolis”Track 7: Harry Belafonte, “Jamaica Farewell”Track 8: Gordon Lightfoot, “Sundown”Track 9: Tina Turner, “What’s Love Got to Do with It”Track 10: Astrud Gilberto, “Berimbau”Track 11: The Band, “The Night They Drove Old Dixie Down”Track 12: Jane Birkin, “Jane B.”Track 13: Tony Bennett, “(I Left My Heart) In San Francisco”Track 14: Sinead O’Connor, “Black Boys on Mopeds”Track 15: Rodriguez, “Crucify Your Mind”Track 16: Jimmy Buffett, “A Pirate Looks at Forty”Track 17: The Isley Brothers, “Livin’ in the Life”Track 18: The Pogues, “If I Should Fall from Grace with God” More

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      in Theater

      The Artists We Lost in 2023, in Their Words

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      The many creative people who died this year built their wisdom over lives generously long or much too short, through times of peace and periods of conflict. Their ideas, perspectives and humanity helped shape our own: in language spoken, written or left unsaid; in notes hit, lines delivered, boundaries pushed. Here is a tribute to just some of them, in their voices.“I never considered giving up on my dreams. You could say I had an invincible optimism.”— Tina Turner, musician, born 1939 (Read the obituary.)“Hang on to your fantasies, whatever they are and however dimly you may hear them, because that’s what you’re worth.”— David Del Tredici, composer, born 1937 (Read the obituary.)“Ever since I can remember, I have danced for the sheer joy of moving.”— Rena Gluck, dancer and choreographer, born 1933 (Read the obituary.)“The stage is not magic for me. It never was. I always felt the audience was waiting to see that first drop of blood.”— Lynn Seymour, dancer, born 1939 (Read the obituary.)Paul Reubens.Michael Ochs Archives/Getty Images“Most questions that are asked of me about Pee-wee Herman I don’t have a clue on. I’ve always been very careful not to dissect it too much for myself.”— Paul Reubens, actor, born 1952 (Read the obituary.)“If you know your voice really well, if you’ve become friends with your vocal apparatus, you know which roles you can sing and which you shouldn’t even touch.”— Grace Bumbry, opera singer, born 1937 (Read the obituary.)“Actors should approach an audition (and indeed, their careers) with the firm belief that they have something to offer that is unique. Treasure who you are and what you bring to the audition.”— Joanna Merlin, actress, born 1931 (Read the obituary.)Glenda Jackson.Evening Standard/Hulton Archive, via Getty Images“If I have my health and strength, I’m going to be the most appalling old lady. I’m going to boss everyone about, make people stand up for me when I come into a room, and generally capitalize on all the hypocrisy that society shows towards the old.”— Glenda Jackson, actress and politician, born 1936 (Read the obituary.)“I don’t see myself as a pioneer. I see myself as a working guy and that’s all, and that is enough.”— William Friedkin, filmmaker, born 1935 (Read the obituary.)“Some people, every day you get up and chop wood, and some people write songs.”— Robbie Robertson, musician, born 1943 (Read the obituary.)“I wasn’t brought up in Hollywood. I was brought up in a kibbutz.”— Topol, actor, born 1935 (Read the obituary.)Jimmy Buffett.Michael Putland/Getty Images“I don’t play at my audience. I play for my audience.”— Jimmy Buffett, musician, born 1946 (Read the obituary.)“I’m still not a natural in front of people. I’m shy. I’m a hermit. But I’m learning a little more.”— Andre Braugher, actor, born 1962 (Read the obituary.)“Some poets do not see reaching many in spatial terms, as in the filled auditorium. They see reaching many temporally, sequentially, many over time, into the future, but in some profound way these readers always come singly, one by one.”— Louise Glück, poet, born 1943 (Read the obituary.)“I paint because I believe it’s the best way that I can pass my time as a human being. I paint for myself. I paint for my wife. And I paint for anybody that’s willing to look at it.”— Brice Marden, artist, born 1938 (Read the obituary.)“Writing is about generosity, passing on to other people what you’ve had the misfortune of having to find out for yourself.”— Fay Weldon, author, born 1931 (Read the obituary.)Ryuichi Sakamoto.Ian Dickson/Redferns, via Getty Images“I went to see one of those pianos drowned in tsunami water near Fukushima, and recorded it. Of course, it was totally out of tune, but I thought it was beautiful. I thought, ‘Nature tuned it.’”— Ryuichi Sakamoto, composer, born 1952 (Read the obituary.)“I hate everything that is natural, and I love the artificial.”— Vera Molnar, artist, born 1924 (Read the obituary.)“A roof could be a roof, but it also could be a little garden.”— Rafael Viñoly, architect, born 1944 (Read the obituary.)“True architecture is life.”— Balkrishna Doshi, architect, born 1927 (Read the obituary.)Sinead O’Connor.Duane Braley/Star Tribune, via Getty Images“Words are dreadfully powerful, and words uttered are 10 times more powerful. The spoken word is the science on which the entire universe is built.”— Sinead O’Connor, musician, born 1966 (Read the obituary.)“Before I can put anything in the world, I have to wait at least a couple of years and edit them. Nothing is going out that hasn’t been edited a dozen times.”— Robert Irwin, artist, born 1928 (Read the obituary.)“An editor is a reader who edits.”— Robert Gottlieb, editor and author, born 1931 (Read the obituary.)Matthew Perry.Reisig & Taylor/NBCUniversal, via Getty Images“Sometimes I think I went through the addiction, alcoholism and fame all to be doing what I’m doing right now, which is helping people.”— Matthew Perry, actor, born 1969 (Read the obituary.)“It was the period of apartheid. You know, it was very hard, very difficult and very painful — and many a time I felt, ‘Shall I continue with this life or shall I go on?’ But I continued. I wanted to dance.”— Johaar Mosaval, dancer, born 1928 (Read the obituary.)“God would like us to be joyful / Even when our hearts lie panting on the floor.” (“Fiddler on the Roof”)— Sheldon Harnick, lyricist, born 1924 (Read the obituary.)“I remember back in the day, saying it’s so cool that the Beatles, Stevie Wonder, David Bowie are still played. That’s what we wanted hip-hop to be.”— David Jolicoeur, musician, born 1968 (Read the obituary.)“Civilization cannot last or advance without culture.”— Ahmad Jamal, musician, born 1930 (Read the obituary.)Harry Belafonte. Phil Burchman/Hulton Archive, via Getty Images“Movements don’t die because struggle doesn’t die.”— Harry Belafonte, singer and actor, born 1927 (Read the obituary.)“Some people say to artists that they should change. Change what? It’s like saying, ‘Why don’t you walk differently or talk differently?’ I can’t change my voice. That’s the way I am.”— Fernando Botero, artist, born 1932 (Read the obituary.)“Performing is my way of being part of humanity — of sharing.”— André Watts, pianist, born 1946 (Read the obituary.)Renata Scotto.Evening Standard/Hulton Archive, via Getty Images“Singing isn’t my whole life.”— Renata Scotto, opera singer, born 1934 (Read the obituary.)“It’s through working on characters in plays that I’ve learned about myself, about how people operate.”— Frances Sternhagen, actress, born 1930 (Read the obituary.)David Crosby.Mick Gold/Redferns, via Getty Images“I don’t know if I’ve found my way, but I do know I feel happy.”— David Crosby, musician, born 1941 (Read the obituary.)“I’m very abstract. Once it becomes narrative, it’s all over. Let the audience decide what it’s about.”— Rudy Perez, choreographer, born 1929 (Read the obituary.)“I don’t have a driven desire actually to be in the act of writing. But my response to any form of excitement about reading is to want to write.”— A.S. Byatt, author, born 1936 (Read the obituary.)“I don’t think I ever wrote music to react to other music — I really had a very strong need to express myself.”— Kaija Saariaho, composer, born 1952 (Read the obituary.)Richard Roundtree.Celeste Sloman for The New York Times“Narrow-mindedness is alien to me.”— Richard Roundtree, actor, born 1942, though some sources say 1937 (Read the obituary.)“The reason I’ve been able to dance for so long is absolute willpower.”— Gus Solomons Jr., dancer and choreographer, born 1938 (Read the obituary.)“My practice is a resistance to the glamorous art object.”— Phyllida Barlow, artist, born 1944 (Read the obituary.)“My lifetime ambition has been to unite the utmost seriousness of question with the utmost lightness of form.”— Milan Kundera, author, born 1929 (Read the obituary.)Mary Quant.Hulton Archive/Getty Images“The most extreme fashion should be very, very cheap. First, because only the young are daring enough to wear it; second, because the young look better in it; and third, because if it’s extreme enough, it shouldn’t last.”— Mary Quant, fashion designer, born 1930 (Read the obituary.)“I spontaneously enter the unknown.”— Vivan Sundaram, artist, born 1943 (Read the obituary.)“The goal is to wander, wander through the unknown in search of the unknown, all the while leaving your mark.”— Richard Hunt, artist, born 1935 (Read the obituary.)Angus Cloud.Pat Martin for The New York Times“Style is how you hold yourself.”— Angus Cloud, actor, born 1998 (Read the obituary.)“I have an aura.”— Barry Humphries, actor, born 1934 (Read the obituary.)“Intensity is not something I try to do. It’s just kind of the way that I am.”— Lance Reddick, actor, born 1962 (Read the obituary.)Alan Arkin.Jerry Mosey/Associated Press“There was a time when I had so little sense of myself that getting out of my skin and being anybody else was a sigh of relief. But I kind of like myself now, a lot of the times.”— Alan Arkin, actor, born 1934 (Read the obituary.)“I have always thought of myself as a kind of vessel through which the work might flow.”— Valda Setterfield, dancer, born 1934 (Read the obituary.)“You spend a lot of time thinking about how to write a book, you probably shouldn’t be talking about it. You probably should be doing it.”— Cormac McCarthy, author, born 1933 (Read the obituary.)Elliott Erwitt.Steven Siewert/Fairfax Media, via Getty Images“In general, I don’t think too much. I certainly don’t use those funny words museum people and art critics like.”— Elliott Erwitt, photographer, born 1928 (Read the obituary.)“Every morning we leave more in the bed: certainty, vigor, past loves. And hair, and skin: dead cells. This ancient detritus was nonetheless one move ahead of you, making its humorless own arrangements to rejoin the cosmos.” (“The Information”)— Martin Amis, author, born 1949 (Read the obituary.)Magda Saleh.Vincent Tullo for The New York Times“I did not do it on my own.”— Magda Saleh, ballerina, born 1944 (Read the obituary.)“The word ‘jazz,’ to me, only means, ‘I dare you.’”— Wayne Shorter, musician, born 1933 (Read the obituary.)“What is a jazz singer? Somebody who improvises? But I don’t: I prefer simplicity.”— Astrud Gilberto, singer, born 1940 (Read the obituary.)“It’s who you are when time’s up that matters.”— Anne Perry, author, born 1938 (Read the obituary.)“When I think about my daughter and the day that I move on — there is a piece of me that will remain with her.”— Ron Cephas Jones, actor, born 1957 (Read the obituary.)“Let us encourage one another with visions of a shared future. And let us bring all the grit and openheartedness and creative spirit we can muster to gather together and build that future.”— Norman Lear, television writer and producer, born 1922 (Read the obituary.)Tony Bennett.Michael Ochs Archives/Getty Images“Life teaches you how to live it if you live long enough.”— Tony Bennett, musician, born 1926 (Read the obituary.)Photographs at top via Getty Images. More

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      in Music

      China Ramps Up Culture Crackdown, Canceling Music and Comedy Shows

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      Performances across the country were canceled last week after Beijing began investigating a stand-up comedian.The cancellations rippled across the country: A Japanese choral band touring China, stand-up comedy shows in several cities, jazz shows in Beijing. In the span of a few days, the performances were among more than a dozen that were abruptly called off — some just minutes before they were supposed to begin — with virtually no explanation.Just before the performances were scrapped, the authorities in Beijing had fined a Chinese comedy studio around $2 million, after one of its stand-up performers was accused of insulting the Chinese military in a joke; the police in northern China also detained a woman who had defended the comedian online.Those penalties, and the sudden spate of cancellations that followed, point to the growing scrutiny of China’s already heavily censored creative landscape. China’s top leader, Xi Jinping, has made arts and culture a central arena for ideological crackdowns, demanding that artists align their creative ambitions with Chinese Communist Party goals and promote a nationalist vision of Chinese identity. Performers must submit scripts or set lists for vetting, and publications are closely monitored.On Tuesday, Mr. Xi sent a letter to the National Art Museum of China for its 60th anniversary, reminding staff to “adhere to the correct political orientation.”Mr. Xi’s emphasis on the arts is also part of a broader preoccupation with national security and eliminating supposedly malign foreign influence. The authorities in recent weeks have raided the corporate offices of several Western consulting or advisory companies based in China, and broadened the range of behaviors covered under counterespionage laws. Xi Jinping, China’s top leader, sent a letter to the National Art Museum of China on Tuesday reminding staff there to “adhere to the correct political orientation.”Pool photo by Florence LoMany of the canceled events were supposed to feature foreign performers or speakers.It was only to be expected that Beijing would also look to the cultural realm, as its deteriorating relationship with the West has made it more fixated on maintaining its grip on power at home, said Zhang Ping, a former journalist and political commentator in China who now lives in Germany.“One way to respond to anxiety about power is to increase control,” said Mr. Zhang, who writes under the pen name Chang Ping. “Dictatorships have always sought to control people’s entertainment, speech, laughter and tears.”While the party has long regulated the arts — one target of the Cultural Revolution was creative work deemed insufficiently “revolutionary” — the intensity has increased sharply under Mr. Xi. In 2021, a state-backed performing arts association published a list of morality guidelines for artists, which included prescriptions for patriotism. The same year, the government banned “sissy men” from appearing on television, accusing them of weakening the nation.A bookstore in Zibo, China. Literature is closely regulated by the authorities.Qilai Shen for The New York TimesOfficials have also taken notice of stand-up comedy, which has gained popularity in recent years and offered a rare medium for limited barbs about life in contemporary China. The government fined a comedian for making jokes about last year’s coronavirus lockdown in Shanghai. People’s Daily, the Communist Party mouthpiece, published a commentary in November that said jokes had to be “moderate” and noted that stand-up as an art form was a foreign import; the Chinese name for stand-up, “tuo kou xiu,” is itself a transliteration from “talk show.”The recent crackdown began after an anonymous social media user complained about a set that a popular stand-up comedian, Li Haoshi, performed in Beijing on May 13. Mr. Li, who uses the stage name House, had said that watching his two adopted stray dogs chase a squirrel reminded him of a Chinese military slogan: “Maintain exemplary conduct, fight to win.” The user suggested that Mr. Li had slanderously compared soldiers to wild dogs.Outrage grew among nationalist social media users, and the authorities quickly piled on. In addition to fining Xiaoguo Culture Media, the firm that manages Mr. Li, the authorities — who said the joke had a “vile societal impact” — indefinitely suspended the company’s performances in Beijing and Shanghai. Xiaoguo fired Mr. Li, and the Beijing police said they were investigating him.Within hours of the penalty being announced on Wednesday, organizers of stand-up shows in Shanghai, Beijing, Shenzhen and eastern Shandong Province canceled their performances. A few days later, Chinese social media platforms suspended the accounts of Uncle Roger, a Britain-based Malaysian comic whose real name is Nigel Ng; Mr. Ng had posted a video poking fun at the Chinese government on Twitter (which is banned in mainland China).But the apparent fallout was not limited to comedy. Scheduled musical performances began disappearing, too, including a stop in southern China by a Shanghai rock band that includes foreign members, a Beijing folk music festival and several jazz performances, and a Canadian rapper’s show in the southern city of Changsha.The frontman of a Buddhist-influenced Japanese chorus group, Kissaquo, said last Wednesday that his concert that night in the southern city of Guangzhou had been canceled. Hours later, the frontman, Kanho Yakushiji, said a performance in Hangzhou, in eastern China, had been canceled, too. And the next day, he announced that Beijing and Shanghai shows had also been called off.“I was writing a set list, but I stopped in the middle,” Mr. Yakushiji, whose management company did not respond to a request for comment, wrote on his Facebook page. “I still don’t understand what the meaning of all this is. I have nothing but regrets.”Organizers’ announcements for nearly all of the canceled events cited “force majeure,” a term that means circumstances beyond one’s control — and, in China, has often been used as shorthand for government pressure.Stand-up show organizers did not return requests for comment. Several organizers of canceled musical performances denied that they had been told not to feature foreigners. An employee at a Nanjing music venue that canceled a tribute to the Japanese composer Ryuichi Sakamoto said not enough tickets had been sold. A Chinese rock band concert in Qinhuangdao, China, last year. Scheduled musical performances have been canceled, with organizers citing “force majeure.”Wu Hao/EPA, via ShutterstockSome of the foreign musicians whose shows were canceled have since been able to perform in other cities or at other venues.But a foreign musician in Beijing, who asked to remain anonymous for fear of retaliation, said his band was scheduled to play at a bar on Sunday and was told by the venue several days before that the gig was canceled because featuring foreigners would bring trouble.Lynette Ong, a professor of Chinese politics at the University of Toronto, said it was unlikely that the central government had issued direct instructions to spur the recent cultural crackdowns. Local governments or venue owners, conscious of how the political environment had changed, were likely being especially cautious, she said.“In Xi’s China, people are so scared and fearful that they become extremely risk-averse,” she said. “Overall, it’s a very paranoid party.”In the past, when nationalism has gone to extremes, or local officials overzealously enforced the rules, the central government would eventually step in to cool down the rhetoric, in part to preserve economic or diplomatic relationships. But Professor Ong said Beijing’s current emphasis on security above all would give it no reason to intervene here.“If people don’t watch comedy, there’s no loss for the party,” she said.Joy Dong More

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      Ryuichi Sakamoto, Oscar-Winning Composer, Dies at 71

      by

      Mr. Sakamoto, whose work with Yellow Magic Orchestra influenced electronic music, composed scores for “The Last Emperor” and “The Revenant.”Ryuichi Sakamoto, one of Japan’s most prominent composers, who scored the films “The Last Emperor,” “The Sheltering Sky” and “The Revenant” and was a founder of the influential Yellow Magic Orchestra techno-pop band, died on Tuesday. He was 71.His Instagram page announced the date of his death, but it did not provide further details. Mr. Sakamoto said in 2021 that he had received a diagnosis of rectal cancer and was undergoing treatment.Equally comfortable in futuristic techno, orchestral works, video game tracks and intimate piano solos, Mr. Sakamoto created music that was catchy, emotive and deeply attuned to the sounds around him. Along with issuing numerous solo albums, he collaborated with a wide range of musicians across genres, and received an Oscar, a BAFTA, a Grammy and two Golden Globes.His Yellow Magic Orchestra, which swept the charts in the late 1970s and early ’80s, produced catchy hits like “Computer Game” on synthesizers and sequencers, while also satirizing Western ideas of Japanese music.“The big theme of him is curiosity,” the musician Carsten Nicolai, a longtime collaborator, said in a phone interview in 2021. “Ryuichi understood, very early, that not necessarily one specific genre will be the future of music — that the conversation between different styles, and unusual styles, may be the future.”Mr. Sakamoto was beginning to achieve wide recognition in the early 1980s when the director Nagisa Oshima asked him to co-star, alongside David Bowie, in “Merry Christmas, Mr. Lawrence,” a 1983 film about a Japanese P.O.W. camp. Mr. Sakamoto, having no background in acting, agreed under the condition that he could also score the film.The movie’s synth-heavy title track remained one of Mr. Sakamoto’s most famous compositions. He often adapted it, including for “Forbidden Colors,” a vocal version with the singer David Sylvian, as well as piano renditions and sweeping orchestral arrangements.Mr. Sakamoto in 1988. He won an Oscar for his work on “The Last Emperor.”Kyodo News, via Associated PressThen came music for films by the director Bernardo Bertolucci, including “The Last Emperor” (1987) “The Sheltering Sky” (1990) and “Little Buddha (1993). Mr. Bertolucci was demanding — he would shout “More emotional, more emotional!” at the composer, and made him rewrite music on the fly during recording sessions with a 40-person orchestra — but “The Last Emperor” won Mr. Sakamoto an Oscar in 1988. Mr. Sakamoto returned to his classical roots in the late 1990s with the album “BTTB,” or “Back to the Basics,” a collection of sentimental, delicate piano arrangements that evoked Claude Debussy, alongside more experimental wanderings into the innards of the piano in the spirit of John Cage.That release included “Energy Flow,” originally written for a commercial for a vitamin drink and released as a single after television viewers called in en masse to ask how they could find of the music. Amid Japan’s Lost Decade — a term for the economic stagnation that followed years of technology-driven growth — the tender piano ballad seemed to offer solace.“Perhaps it’s because people are looking for healing, for some answer to the stress of their country’s recession,” Mr. Sakamoto speculated, when “Energy Flow” became the first instrumental track to reach No. 1, in 1999, on Japan’s Oricon charts.After the nuclear disaster at the Fukushima Daiichi Nuclear Power Station in 2011, Mr. Sakamoto became an activist in Japan’s antinuclear movement, organizing a No Nukes concert in 2012 at which a reunited Yellow Magic Orchestra, and the band Kraftwerk, one of Yellow Magic’s major influences, performed.The day before the concert, he spoke at a protest outside the residence of Japan’s prime minister. “I come here as a citizen,” he said. “It’s important that we all do what we can and raise our voices.”Mr. Sakamoto learned he had throat cancer in 2014. During treatment, he halted work but made an exception when the director Alejandro G. Iñárritu asked him to write music for his film “The Revenant.” With Mr. Nicolai, who performs under the name Alva Noto, Mr. Sakamoto produced a score of luminous dread that was widely acclaimed.He conceived a new project in homage to Andrei Tarkovsky, one of his abiding influences, which became the 2017 “async,” his first solo album in eight years and a summation of his career, with haunting chorales, ethereally synthesized soundscapes, and a recording of the writer Paul Bowles reciting a passage on mortality from “The Sheltering Sky.”Mr. Sakamoto, second from left, had a role in the film “Merry Christmas, Mr. Lawrence” and also wrote the music. With him, from left, are Jack Thomas, the film’s. producer; David Bowie, who starred, and Nagisa Oshima, the director.Jacques Langevin/Associated PressIn later years, Mr. Sakamoto’s music became increasingly spacious and ambient, attuned to the flow of time. In an interview with The Creative Independent website, he described why he played his older music so much slower than he used to. “I wanted to hear the resonance,” he said. “I want to have less notes and more spaces. Spaces, not silence. Space is resonant, is still ringing. I want to enjoy that resonance, to hear it growing.”Ryuichi Sakamoto was born on Jan. 17, 1952, in Tokyo. His father, Kazuki Sakamoto, was a well-known literary editor, and his mother, Keiko (Shimomura) Sakamoto, designed women’s hats.He began piano lessons at age 6, and started to compose soon after. Early influences included Bach and Debussy — whom he once called “the door to all 20th century music” — and he discovered modern jazz as he fell in with a crowd of hipster rebels as a teenager. (At the height of the student protest movement, he and his classmates shut down their high school for several weeks.)Mr. Sakamoto was drawn to modern art and especially the avant-garde work of Cage. He studied composition and ethnomusicology at Tokyo University of the Arts and began playing around with synthesizers and performing in the local pop scene.In 1978, Mr. Sakamoto released his debut solo album, “Thousand Knives,” a trippy amalgam that opens with the musician reciting a poem by Mao through a vocoder, followed by a reggae beat and a procession of Herbie Hancock-inspired improvisations. That year, the bassist Haruomi Hosono invited him and the drummer Yukihiro Takahashi to form a trio that became Yellow Magic Orchestra. (Mr. Takahashi died in January.)The band’s self-titled 1978 album was a huge hit, and influenced numerous electronic music genres, from synth pop to techno. The group broke up in 1984, in part because Mr. Sakamoto wanted to pursue solo work. (They have periodically reunited since the 1990s.) Mr. Sakamoto continued tinkering with outré, high-tech approaches in his 1980 album “B-2 Unit,” which included the otherworldly electro single “Riot in Lagos.”Mr. Sakamoto performing in Rome in 2009.Domenico Stinellis/Associated PressAfter the Bertolucci films, Mr. Sakamoto was seemingly everywhere — appearing in a Madonna music video, modeling for Gap, and writing music for the 1992 Barcelona Olympics. His collaborators for the eclectic albums “Neo Geo” (1987) and “Beauty” (1989) included Iggy Pop, Youssou N’Dour, and Brian Wilson, and he toured with a world-fusion band from five continents. By the mid-1990s, Mr. Sakamoto had refashioned himself as a classical composer, touring arrangements of his earlier music in a piano trio. His work simultaneously became grandiose in scale and themes: he wrote a symphony, “Discord,” exploring grief and salvation (with spoken word contributions by David Byrne and Patti Smith), and an opera, “LIFE,” a meditation on 20th century history that received mixed reviews.Along with writing music for video games and designing ringtones for the Nokia 8800 phone, Mr. Sakamoto oversaw live streams of his concerts that featured a “remote clap” function, in which online viewers could press their keyboard’s F key to applaud. The strokes would be registered on a screen in the auditorium.In the 21st century, he began to focus again on more experimental work, inspired by a new generation of collaborators including the producer Fennesz and Mr. Nicolai, who layered glitchy electronics over Mr. Sakamoto’s piano.“He taught me that I should not be afraid of melody,” Mr. Nicolai said, “that melody has the possibility of experimentation as well.”Mr. Sakamoto became outspoken as an environmentalist, recording the sounds of a melting glacier for his 2009 record “Out of Noise.” For portions of “async,” he performed on an out-of-tune piano that had been partly submerged in the 2011 Tohoku tsunami. He recorded what became his final album, “12,” as a kind of diary of sketches, following a lengthy hospitalization, through 2021 and 2022. “I just wanted to be showered in sound,” he said of the record. “I had a feeling that it’d have a small healing effect on my damaged body and soul.”In December, he gave a career-spanning, livestreamed solo piano concert at Tokyo’s 509 Studio.Mr. Sakamoto married Natsuko Sakamoto in 1972, and they divorced 10 years later. His second marriage, to the musician Akiko Yano in 1982, ended in divorce in 2006. His partner was Norika Sora, who served as his manager. Information about his survivors was not immediately available.Mr. Sakamoto greets fans after a performance in New York in 2010.Hiroko Masuike for The New York TimesMr. Sakamoto’s attention to sound suffused his daily life. After many years of eating at the Manhattan restaurant Kajitsu, he recalled in a 2018 interview with The New York Times, he wrote an email to the chef saying, “I love your food, I respect you and I love this restaurant, but I hate the music.” Then, without fanfare or pay, he designed subtle, tasteful playlists for the restaurant.He simply wanted better sounds to accompany his meals. More

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      in Movies

      Ryuichi Sakamoto, Oscar-Winning Japanese Composer, Dies at 71

      by

      Mr. Sakamoto, whose work with Yellow Magic Orchestra influenced electronic music, composed scores for “The Last Emperor” and “The Revenant.”Ryuichi Sakamoto, one of Japan’s most prominent composers and a founder of the influential Yellow Magic Orchestra techno-pop band who scored films including “The Last Emperor,” “The Sheltering Sky” and “The Revenant,” died on Tuesday. He was 71.His Instagram page announced the date of his death, but it did not provide further details. Mr. Sakamoto said in January 2021 that he had received a diagnosis of rectal cancer and was undergoing treatment.Equally comfortable in futuristic techno, orchestral works, video game tracks and intimate piano solos, Mr. Sakamoto created music that was catchy, emotive and deeply attuned to the sounds around him. Along with issuing numerous solo albums, he collaborated with a wide range of musicians across genres, and received an Oscar, a BAFTA, a Grammy and two Golden Globes.His Yellow Magic Orchestra, which swept the charts in the late 1970s and early ’80s, produced catchy hits like “Computer Game” on synthesizers and sequencers, while also satirizing Western ideas of Japanese music.“The big theme of him is curiosity,” the musician Carsten Nicolai, a longtime collaborator, said in a phone interview in 2021. “Ryuichi understood, very early, that not necessarily one specific genre will be the future of music — that the conversation between different styles, and unusual styles, may be the future.”Mr. Sakamoto was beginning to achieve wide recognition in the early 1980s when the director Nagisa Oshima asked him to co-star, alongside David Bowie, in “Merry Christmas, Mr. Lawrence,” a 1983 film about a Japanese P.O.W. camp. Mr. Sakamoto, having no background in acting, agreed under the condition that he could also score the film.The movie’s synth-heavy title track remained one of Mr. Sakamoto’s most famous compositions. He often adapted it, including for “Forbidden Colors,” a vocal version with the singer David Sylvian, as well as piano renditions and sweeping orchestral arrangements.Mr. Sakamoto in 1988. He won an Oscar for his work on “The Last Emperor.” Kyodo News, via Associated PressThen came music for films by the director Bernardo Bertolucci, including “The Last Emperor” (1987) “The Sheltering Sky” (1990) and “Little Buddha (1993). Mr. Bertolucci was demanding — he would shout “More emotional, more emotional!” at the composer, and made him rewrite music on the fly during recording sessions with a 40-person orchestra — but “The Last Emperor” won Mr. Sakamoto an Oscar in 1988. Mr. Sakamoto returned to his classical roots in the late 1990s with the album “BTTB,” or “Back to the Basics,” a collection of sentimental, delicate piano arrangements that evoked Claude Debussy, alongside more experimental wanderings into the innards of the piano in the spirit of John Cage.That release included “Energy Flow,” originally written for a commercial for a vitamin drink and released as a single after television viewers called in en masse to ask how they could find of the music. Amid Japan’s Lost Decade — a term for the economic stagnation that followed years of technology-driven growth — the tender piano ballad seemed to offer solace. “Perhaps it’s because people are looking for healing, for some answer to the stress of their country’s recession,” Mr. Sakamoto speculated, when “Energy Flow” became the first instrumental track to reach No. 1, in 1999, on Japan’s Oricon charts.After the nuclear disaster at the Fukushima Daiichi Nuclear Power Station in 2011, Mr. Sakamoto became an activist in Japan’s antinuclear movement, organizing a No Nukes concert in 2012 at which a reunited Yellow Magic Orchestra, and the band Kraftwerk, one of Yellow Magic’s major influences, performed. The day before the concert, he spoke at a protest outside the residence of Japan’s prime minister. “I come here as a citizen,” he said. “It’s important that we all do what we can and raise our voices.”Mr. Sakamoto learned he had throat cancer in 2014. During treatment, he halted work but made an exception when the director Alejandro G. Iñárritu asked him to write music for his film “The Revenant.” With Mr. Nicolai, who performs under the name Alva Noto, Mr. Sakamoto produced a score of luminous dread that was widely acclaimed.He conceived a new project in homage to Andrei Tarkovsky, one of his abiding influences, which became the 2017 “async,” his first solo album in eight years and a summation of his career, with haunting chorales, ethereally synthesized soundscapes, and a recording of the writer Paul Bowles reciting a passage on mortality from “The Sheltering Sky.”Mr. Sakamoto, second from left, had a role in the film “Merry Christmas, Mr. Lawrence” and also wrote the music. With him, from left, are Jack Thomas, the film’s. producer; David Bowie, who starred, and Nagisa Oshima, the director.Jacques Langevin/Associated PressIn later years, Mr. Sakamoto’s music became increasingly spacious and ambient, attuned to the flow of time. In an interview with The Creative Independent website, he described why he played his older music so much slower than he used to. “I wanted to hear the resonance,” he said. “I want to have less notes and more spaces. Spaces, not silence. Space is resonant, is still ringing. I want to enjoy that resonance, to hear it growing.”Ryuichi Sakamoto was born on Jan. 17, 1952, in Tokyo. His father, Kazuki Sakamoto, was a well-known literary editor, and his mother, Keiko (Shimomura) Sakamoto, designed women’s hats. He began piano lessons at age 6, and started to compose soon after. Early influences included Bach and Debussy — whom he once called “the door to all 20th century music” — and he discovered modern jazz as he fell in with a crowd of hipster rebels as a teenager. (At the height of the student protest movement, he and his classmates shut down their high school for several weeks.)Mr. Sakamoto was drawn to modern art and especially the avant-garde work of Cage. He studied composition and ethnomusicology at Tokyo University of the Arts and began playing around with synthesizers and performing in the local pop scene.In 1978, Mr. Sakamoto released his debut solo album, “Thousand Knives,” a trippy amalgam that opens with the musician reciting a poem by Mao through a vocoder, followed by a reggae beat and a procession of Herbie Hancock-inspired improvisations. That year, the bassist Haruomi Hosono invited him and the drummer Yukihiro Takahashi to form a trio that became Yellow Magic Orchestra. (Mr. Takahashi died in January.)The band’s self-titled 1978 album was a huge hit, and influenced numerous electronic music genres, from synth pop to techno. The group broke up in 1984, in part because Mr. Sakamoto wanted to pursue solo work. (They have periodically reunited since the 1990s.) Mr. Sakamoto continued tinkering with outré, high-tech approaches in his 1980 album “B-2 Unit,” which included the otherworldly electro single “Riot in Lagos.”Mr. Sakamoto performing in Rome in 2009.Domenico Stinellis/Associated PressAfter the Bertolucci films, Mr. Sakamoto was seemingly everywhere — appearing in a Madonna music video, modeling for Gap, and writing music for the 1992 Barcelona Olympics. His collaborators for the eclectic albums “Neo Geo” (1987) and “Beauty” (1989) included Iggy Pop, Youssou N’Dour, and Brian Wilson, and he toured with a world-fusion band from five continents. By the mid-1990s, Mr. Sakamoto had refashioned himself as a classical composer, touring arrangements of his earlier music in a piano trio. His work simultaneously became grandiose in scale and themes: he wrote a symphony, “Discord,” exploring grief and salvation (with spoken word contributions by David Byrne and Patti Smith), and an opera, “LIFE,” a meditation on 20th century history that received mixed reviews.Along with writing music for video games and designing ringtones for the Nokia 8800 phone, Mr. Sakamoto oversaw live streams of his concerts that featured a “remote clap” function, in which online viewers could press their keyboard’s F key to applaud. The strokes would be registered on a screen in the auditorium.In the 21st century, he began to focus again on more experimental work, inspired by a new generation of collaborators including the producer Fennesz and Mr. Nicolai, who layered glitchy electronics over Mr. Sakamoto’s piano.“He taught me that I should not be afraid of melody,” Mr. Nicolai said, “that melody has the possibility of experimentation as well.”Mr. Sakamoto became outspoken as an environmentalist, recording the sounds of a melting glacier for his 2009 record “Out of Noise.” For portions of “async,” he performed on an out-of-tune piano that had been partly submerged in the 2011 Tohoku tsunami. He recorded what became his final album, “12,” as a kind of diary of sketches, following a lengthy hospitalization, through 2021 and 2022. “I just wanted to be showered in sound,” he said of the record. “I had a feeling that it’d have a small healing effect on my damaged body and soul.” In December, he gave a career-spanning, livestreamed solo piano concert at Tokyo’s 509 Studio.Mr. Sakamoto married Natsuko Sakamoto in 1972, and they divorced 10 years later. His second marriage, to the musician Akiko Yano in 1982, ended in divorce in 2006. His partner was Norika Sora, who served as his manager. Information about his survivors was not immediately available. Mr. Sakamoto greets fans after a performance in New York in 2010.Hiroko Masuike for The New York TimesMr. Sakamoto’s attention to sound suffused his daily life. After many years of eating at the Manhattan restaurant Kajitsu, he recalled in a 2018 interview with The New York Times, he wrote an email to the chef saying, “I love your food, I respect you and I love this restaurant, but I hate the music.” Then, without fanfare or pay, he designed subtle, tasteful playlists for the restaurant.He simply wanted better sounds to accompany his meals. More

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      in Theater

      Ryuichi Sakamoto on Life, Nature and ‘Time’

      by

      The musician and artist, currently undergoing cancer treatment, unveils a music-theater work about dreams, reincarnation and humanity’s struggle.Ryuichi Sakamoto is in Tokyo for the summertime rainy season. A New York resident for over 30 years, the Oscar-winning composer has been in Japan since last November — not because of the pandemic, but because of a diagnosis of rectal cancer, discovered just after he went into remission after several years of treatment for throat cancer.Despite his health problems, Sakamoto has been as prolific as ever, participating in concerts, exhibitions and most recently an opera, “Time,” which premiered last month at the Holland Festival.“Time” is part of Sakamoto’s ongoing exploration of “asynchronism,” music arranged outside traditional time structures. Introduced on his 2017 album “async,” the concept was conceived as he recovered from his first bout with cancer — an experience that he has said newly honed his ear to the beauty of everyday sounds, both natural and man-made, sun showers and singing bowls.Without conductor or tempo markings, “Time” is a “Mugen Noh,” a subset of Noh theater based on dreams. Created in collaboration with the visual artist Shiro Takatani, this dreamscape unfolds on a stage filled with water and a screen displaying weather systems, cities and empty space.“Time” unfolds on a stage filled with water and a screen displaying weather systems, cities and empty space.Sanne PeperCrossing and recrossing the stage with her sho, an ancient Japanese wind instrument, Mayumi Miyata represents nature. The dancer and actor Min Tanaka is a frail symbol of humankind, struggling to build a road across the water. Summoning visions of rising sea levels, “Time” — like our new century — presents a premonition that also feels like a memory: At the end of time, we all return to the same sea.Sakamoto spoke about the piece on a recent video call. These are edited excerpts from the conversation.At what point in the production of “Time” did you find out your cancer had returned?I worked on “Time” for four years after “async,” and I was diagnosed with rectal cancer last year. It’s a long treatment. I’m in the middle right now, and will go back to the hospital for surgery in the fall. It’s been a year since I left New York; I don’t know when I can come back.Were you originally planning to perform in the opera?I was thinking of making an original instrument for it. I still have this idea for the future.I was using the word opera in the beginning, but I’ve stopped using it. It’s a combination of installation and performance — a theater piece.It seems quite deeply connected to “async.”The conceptual idea behind “async” was my doubt about synchronization, and that led me to think about time itself. If you know my work from the past, I zigzag. But the things I got from making “async” were so huge that I didn’t want to lose them. I really wanted to develop them. The album was so spatial, like music for an installation, so the development would be an installation of performers together. That was the original idea for “Time.”“Time” is a Mugen Noh — it has no tempo — so it does seem like the perfect landscape to explore these ideas.Time is so natural to our society that we don’t doubt it. But because I’m a musician, I deal with time all the time. When we compose, we have to think about how to manipulate sounds in time.Crossing and recrossing the stage with her sho, an ancient Japanese wind instrument, Mayumi Miyata represents nature.Sanne PeperThere are no instruments onstage, except the sho.Only the sho, which I have been fascinated by since I was a university student. I disliked all other Japanese traditional music, and even other traditions, like kado [flower arrangement] or sado [tea ceremony]. I hated it all, except gagaku [court music], which is like aliens’ music to me.Miyata, who represents nature, crosses the water so easily, while Tanaka — “mankind” — is so feeble.Woman and sho, they represent nature. Tanaka wants to create a straight road in the water — in time — to get the other side, but he fails. He goes insane and dies in the water at the end.What is humanity trying to reach at the end of the road?That’s mankind’s nature. A bit like Sisyphus: just a natural passion to make a road, to conquer nature.The road-building scenes interrupt a series of stories: a dream from the work of the writer Natsume Soseki; a traditional Noh play; the butterfly dream from the text Zhuangzi. How did you choose these?In our dreams, all properties of time are destroyed. In the Noh story “Kantan,” a man is looking for enlightenment and takes a nap. It just takes five minutes, but in his dream, 50 years has passed. Which is reality? The five minutes or the 50 years? And then in the butterfly dream, we have the philosopher Zhuang Zhou. Does the butterfly dream he is Zhuang Zhou, or does Zhuang Zhou dream he is a butterfly? We cannot tell.The dancer and actor Min Tanaka is a frail vision of humankind, struggling to build a road across the water.Sanne PeperBy freeing time musically, do you feel it slow down?The theme of “Time” is to insist that time doesn’t exist, not that it’s passing slowly. Watching the streaming premiere, I sensed that one hour ago was just a minute ago, or some moments were repeated. At least I could feel another kind of time.You’ve also been painting on ceramic pieces (“2020S”), using found objects, and making installations (“Is Your Time”), and you currently have a large retrospective in Beijing, with a lot of visual work. What provoked this turn toward the visual arts?Maybe the big moment was the opera I composed in 1999, “Life.” It included visual images, moving images and some texts — all those visual elements were the main characters of that opera.And that was your first collaboration with Takatani?Yes, and the next thing we did was to deconstruct “Life.” We deconstructed all the visual images, and the sound, too, to create an installation in 2007. That was a big moment.I guess you’ve always worked in the visual arts — you’ve worked so closely with filmmakers on soundtracks.Strange, you know, I didn’t think about films. Films are more narrative, more linear. Unfortunately, a linear structure is in time; it has a beginning, middle and end. I don’t want to go back to that. This is why I’m fascinated by installation. Installation doesn’t have to have a beginning or end. The best installation, I think, is just listening to rain.And you have a tremendous rainstorm at the end of “Time,” followed by the crashing of a wave in slow motion. What sea were you thinking of?Man wants to conquer nature — the water — but he must fail, so he must die by water. I needed a huge flood, maybe a tsunami, to represent the violent power of water. Also, almost all ethnic groups have some memories of a big flood. Maybe we all have some deep memory about surviving a flood.I think a lot of people will wonder if this opera is primarily about climate change.Climate change is the most vivid conflict between mankind and nature so of course it is included. But it’s not the main focus. I wanted to create a myth about mankind and nature.It’s very similar to Soseki’s dream, in which a woman returns as a flower growing from her own grave. I’ve read a few interpretations. To some it represents Soseki’s struggle with the modern world.It is my belief about reincarnation. Because she promises she will be back in 100 years, and she’s back as a flower. You know, I always wanted to be buried in the ground, so that my body would become the nutrition of other living things. And in Soseki’s story, the woman becomes a flower. It’s so beautiful.I love your interpretation.Very romantic, no? More