Thread by @Futokorogin

Thread: SFIDA live comments.
Unfortunately, in English. <--- a spotty Japanese user
#山崎育三郎
#SFIDA

Having been looping the live for days without getting bored. It's a feast of vocal and orchestral, with a nice set list that has covered Ikkun's must-to-have works. 1/n

Ikkun has never failed to fulfill the expectations of his audiences. It's been emphasized a lot by himself how grateful he is to the opportunities of singing in front of audiences. It's lonely to be unable to get realtime feedback, and the feeling is the same as an audience. 2/n

The first surprise is from the orchestra. Well organized medley recalls musicals Ikkun has performed, and as a big fan of Mozart!, thanks for setting 影を逃れて at the end of it!! 😭3/n

Then comes the fantastic opening. 僕こそ音楽.
Being unable to recall how many times I've heard him singing this song, but every time it is refreshing, as one grows up, the understanding of it changes as well. I can grasp the confidence and ease from his voice, at that moment, 4/n

he and Wolfgang Mozart is in one combine, that you can see the talented composer is expressing himself freely at the center of the stage. (of course it's another mood when this song reprises at the end of the musical 😭but at this point, he is music.)
5/n

俺は流れ者: honestly I do not appreciate the plot of Lady Bess. Way too mediocre, especially in comparison to other masterpiece from the same play writer and composer. But Ikkun's Robin is the best example of a character that comes from a fairytale, 6/n

as if the forest is his home, birds and deers are his peers.
Plus, the arrangement of the song is exquisite. Clarinet flows smoothly, like birds drifting through the air of the forest. Beautiful compose and beautiful voice. 7/n

Always on My Mind & True Colors: if there's a petition for the revival of Priscilla please count me in. These two songs are famous even beyond the musical, Ikkun's performance is just so gentle. Subtle softness flows out as the voice goes. 8/n

カフェ・ソング: Here comes the song from my fav musical. Even if this is just a concert without context or other characters, I still can plot a broken Marius from the emotion conveyed by his singing. I dare not to listen it too much after watching the show on 7/18 last year, 9/n

it's heartbreaking to recall people that are gone while facing empty chairs at empty tables. Thanks for such an engaged performance.

彼を帰して: I hesitate to speak this out, but Ikkun is still too young to sing it as JVJ. Perhaps he is technically ready enough to handle, 10/n

however, singing a song in a musical is not only a technique thing. I can barely tell JVJ could be well performed by someone that is in his 30th, as one cannot gather enough life experience by purely practicing.
Technically speaking, this is still a well-sang song. 11/n

Ikkun is able to handle high notes with ease (which is quite an difficulty of this song), and I believe he is fully engaged to express emotions. Maybe after a decade I can see a fully developed JVJ Ikkun ver. 11/n

ホール・ニュー・ワールド & フレンド・ライク・ミー: cute and happy as always. Is this the first time I hear Friend Like Me from him? Please don't hesitate to sing it for more times.

Sun and Moon & Why God Why: Glad to hear huge progress in low notes. 12/n

According to his performances prior to 2020, I can tell how obvious his drawback in low notes was, but since then his range has broadened and can reach lower notes steadily. As for Why God Why..there's no need to worry about high notes. 13/n

最後のダンス: 幻のトート様さしぶりです！I have no idea how Ikkun's Tod would be like in Elisabeth, yet this song has aroused my curiosity for multiple times. The status of his voice changes drastically, as if the owner of that voice is really from the underworld. 14/n

Annnnnd I cannot compliment more about how promptly he is able to switch in between characters. Minutes ago he was still in Miss Saigon, as the next song goes, Tod mode becomes on immediately. Please, please see audiences again as Tod in Teigeki.😭 15/n

Oh ow the first half is over. To be continued tomorrow.

Ok the second half.
Overture 2 is the orchestral version of I Land. The second half has quite a few J-pop masterpieces, some are elegantly organized, yet some are not the ideal candidate for an orchestral remix. Will cover both in the following tweets. 16/n

Congratulations: vibrant as it is. I am not a fan of this song , but at the end Ikkun took the place of the conductor and lighted up the atmosphere in a very Ikkun-ish way, which did put a smile on my face. 17/n

いのちの理由: it is no doubt the zenith of the second half. Since hearing a version in the radio I AM 1936 I started longing a concert version, and this is the perfect version I've been looking for. Ikkun is sophisticated in conveying feelings through slow songs, 18/n

the combination of his voice and this song is the treasure in this world. As violins proceed softly, his voice gently narrates the reasons for living, the appreciation to the bonds in between people. There is a great balance between the vocal and the orchestral. 19/n

君はともだち: not a song that resonates with me strongly, however, the applause of the audiences becomes a part of the song, which is the reason why I love live performances so much.

美女と野獣: solo version is not bad, though I do hope Kon-chan could've been there :) 20/n

ひそかな夢: At my first glance at Ikon, it's hard to build connection in between him and the Beast, but hey here we are. God knows how I love the rhythm of this ballad, and its context: love is to set your loved one free. What moves me is every time, literally every time, 21/n

(who the hell is Ikon?! Stop changing the subject, auto-correct!)
how devoted he is when singing this song as the Beast. The way of emphasizing the audiences is devoting to the character itself as the performer, he knows this so well. 22/n

栄冠は君に輝く: Ahem..I honestly have zero interest in any competitive sports, I haven't watch Koshien and won't be watching anyway. But I am able to sing it even recite the lyrics due to Ikkun 😂 to be fair, the song is not bad at all, and it is a good fit to orchestral. 23/n

誰が為: Even when I was in high school, being unable to speak a single word in Japanese, I was deeply touched by Okachimachi's lyrics (thanks to the authors of those translations). After years I witnessed the collaboration of him and Ikkun. 24/n

I won't be watching Koshien in the foreseeable future, yet this song still has great quality and its orchestral version has different outstandingnesses compared to the original one. Speaking of the difficulty, this song is a challenging one, yet Ikkun carries with ease. 25/n

Overture 3 & Wonderland: the orchestral version of typical J-pop songs. Not the songs that I am very into, yet the fusion of vocal and orchestral is joyful.

君に伝えたいこと: when it comes to this song, I feel it's a challenge to talk in brief. It is such a special song, 26/n

that the lyrics and the composition is from Moriyama, the musician I've loved for years, and the vocal is from Ikkun. Moreover, it carries such profound feelings - the appreciation to someone that cannot meet at the moment, the determination of starting a new journey. 27/n

Before getting started, Ikkun introduced the images that would appear on the screen, "They are about important persons of you, mine as well. I also experienced farewells last year, but I can still feel them inside my heart and will live in this way." 28/n

(yeah my Japanese grammar is terrible, but I can hear you.)
I know who he was referring to, and I do doubt if orchestral is a good fit for such a quiet ballad. I am used to its original piano version, there's no need to add any other instruments, just leave it as it is. 29/n

The outcome is, at least, not disappointing. The arrangement still keeps the verse clean and peaceful. As the refrain approaches, the rest of the instruments all come out gradually. There's a smooth transition from the verse to the bridge, 30/n

though I personally would still choose the piano version over the orchestral version, it is still an enjoyable performance.
But, but here comes the but. It's the last song of the concert, it's understandable that the status of his voice goes down. 31/n

So here has maybe the most serious flaw of singing. "これからどんなことがあっても", the intonation at "て" has deviated quite a bit. It is not the end of the world, but I caught it, I gotta write it down. Intonation is the basis of singing and should be taken seriously. 32/n

The rest is fantastic as always. There's no need to compliment more of how he understands the song, how he expresses the underlying emotions and stories. This song is the masterpiece, at least for me. I've been looping different versions of it for days, each one is unique. 33/n

Ahhhhhh it is over! I feel no guilty for writing comments during work hours LOLOL writing comments with musics is always joyful. What if I can participate in person next time. I will make it someday.
End of the thread.

n/n

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