Voici la 2e mi-temps du Concours de Chants entre les Rouges et les Blancs, pour le Réveillon 2016 de la NHK (1ere mi-temps par ici). Les Blancs (voix masculines) vont-ils conserver leur avance et remporter la victoire ?
Here is the 2nd half-time of the "Song competition between the Reds and Whites", the Kouhaku of the New Year's Eve on the NHK (1st half-time over there). Are the Whites (male vocals) going to succeed in keeping their lead in points and getting the Victory ?
Anthologies et/and... frustration part. 2/2
Pendant la mi-temps, annoncée par Ninomiya Kazunari d'Arashi, Naomi puis Pikotarô, qui s'incruste, assurent le show alors qu'à la télé on a 10 min. de news.
Au retour studio, on nous présente Kimi no Na wa, succès cinéma d'animation aussi inattendu qu'énorme au Japon puis dans le monde, et le groupe de J-rock RADWIMPS, auteur de la bande-son désormais mondialement connue. Le trio chante évidemment 前前前世 (Zen zen zense, "Vies antérieurs"), avec une projection spéciale en fond.
During the half-time, announced by Ninomiya Kazunari from Arashi, Naomi then Pikotarô makes their show, while on TV we got 10 min news.
Back on stage, we have got a presentation of Kimi no Na wa, a success of the animation cinema as unexpected as huge in Japan and then in the world, and the J-Rock band RADWIMPS, author of the soundtrack now worldwidely known. The trio sings of course 前前前世 (Zen zen zense, "Past lives"), with a special projection in background.
Ce sont les Nogizaka46 (乃木坂46) qui débutent la mi-temps côté rouge, avec une lettre de remerciement pour Hashimoto Nanami qui avait annoncé son sotsugyô en 2017 pour poursuivre ses études, après avoir bien économisé. Elles interprètent avec à propos サヨナラの意味 (Sayonara no imi, "La signification des adieux") avec l'Idol préretraitée en center.
The Nogizaka46 (乃木坂46) start the half-time on the red side, with a letter to thank Hashimoto Nanami who had announced her sotsugyou in 2017 to go on her studies at university after having spared enough money. They perform with à propos サヨナラの意味 (Sayonara no imi, "La signification des adieux") with the retiring Idol as center.
Here is the 2nd half-time of the "Song competition between the Reds and Whites", the Kouhaku of the New Year's Eve on the NHK (1st half-time over there). Are the Whites (male vocals) going to succeed in keeping their lead in points and getting the Victory ?
67th Kouhaku Uta Gassen (2016)
Anthologies et/and... frustration part. 2/2
1ere publication: 31/03/2017
Dernière MaJ: 24/04/2017
Archives: 2015. 😊
Pendant la mi-temps, annoncée par Ninomiya Kazunari d'Arashi, Naomi puis Pikotarô, qui s'incruste, assurent le show alors qu'à la télé on a 10 min. de news.
Au retour studio, on nous présente Kimi no Na wa, succès cinéma d'animation aussi inattendu qu'énorme au Japon puis dans le monde, et le groupe de J-rock RADWIMPS, auteur de la bande-son désormais mondialement connue. Le trio chante évidemment 前前前世 (Zen zen zense, "Vies antérieurs"), avec une projection spéciale en fond.
During the half-time, announced by Ninomiya Kazunari from Arashi, Naomi then Pikotarô makes their show, while on TV we got 10 min news.
Back on stage, we have got a presentation of Kimi no Na wa, a success of the animation cinema as unexpected as huge in Japan and then in the world, and the J-Rock band RADWIMPS, author of the soundtrack now worldwidely known. The trio sings of course 前前前世 (Zen zen zense, "Past lives"), with a special projection in background.

The Nogizaka46 (乃木坂46) start the half-time on the red side, with a letter to thank Hashimoto Nanami who had announced her sotsugyou in 2017 to go on her studies at university after having spared enough money. They perform with à propos サヨナラの意味 (Sayonara no imi, "La signification des adieux") with the retiring Idol as center.
On annonce une "forme de vie géante" en baie de Yokohama, qui progresse vers Tokyo...
Mais d'abord un instant émotion avec la retraite de Kuroda, lanceur vedette de l'équipe de baseball d'Hiroshima qui vient de remporter sa Ligue pour la 1ere fois depuis 25 ans. Il explique que la chanson qui l'a encouragée était 少年 (Shonen, "Garçon"), du célèbre acteur-chanteur Fukuyama Masaharu (福山雅治), qu'on retrouve donc en direct de Yokohama pour son concert de Réveillon. Il enchaîne un medley avec Shonen, donc, et 1461日 (1461 nichi, 1461 jours).
But for now a moving moment with the retirement of Kuroda, star pitcher from Hiroshima who won their league for the 1st time in 25 years. He explains that the song which cheered him was 少年 (Shonen, "Boy"), of the famous actor-singer Fukuyama Masaharu (福山雅治), who we meet in lave from Yokohama for his own New Year's Eve concert. He sings a medley with Shonen, of course, and 1461日 (1461 nichi, 1461 days).

The Enka singer from Kumamoto Shimatsu Aya (島津亜矢) chooses to cover, with skill, a great standard of the Kouhaku, the famous 川の流れのように (Kawa no nagare no yô ni, "Like the flow of a river") of Hibari, alone on the tribune's stage.

Mood changes with the 1st invitation for RADIO FISH, band formed around the Manzai (humour) duet Oriental Radio, and author of a big surprising hit during last spring, Perfect Human, with its dance club - hip-hop rythm and its fun choreography (created by the brother of one of the Oriental Radio members, and who dances in the band).

Then it is the star of the romantic ladies, Nishino Kana (西野カナ) and her sweet and happy pop, who comes and presents her last-to-date single, Dear Bride, deemed for the wedding parties.
Séquence émotion avec l'acteur Kiritani Kenta (桐谷健太) qui présente une version spéciale de 海の声 (Umi no Koe, "La voix de la mer) sous les encouragements de sa comparse Arimura Kasumi, pourtant capitaine de l'équipe adverse ^^ ! J'en avais déjà parlé l'année précédente (fin 2015), devant son succès grandissant. Cette "simple" chanson de pub, interprétée par l'acteur invité au Kôhaku, mais tout de même écrite par BEGIN, un des plus grands groupes de pop néo-traditionnelle d'Okinawa, est en effet devenue un tube en karaoké durant l'année 2016. Un petit reportage nous montre comment les gens se la sont appropriée pour diverses raisons: la nostalgie de leur îles natales ou, plus tragique, le souvenir des gens emportés par le tsunami de 2011...
Pendant que Kiritani chante sur scène en s'accompagnant d'un sanshin, on voit en fond une mosaïque de plusieurs films amateurs de gens chantant aussi, pour un effet chorale.

While Kiritani sings on stage with a sanshin, we can see a background mozaic of several amateur movies of people singing the song, for a choral effect.

We stayin the same universe with AI and her169 choristers who go on with みんながみんな英雄 (Minna ga minna eiyû, "Everybody is a Hero"), a gospel and Japanese cover of the traditional song known here as Oklahoma Mixer, but which comes in reality from Turkey in the Straw, used by the same famous ad campaign of AU, around the New Year 2016 !



Itsuki offers a lied to 九頭竜川 (Kuzuryû-gawa, "The Kuzuryû river"), a river which flows across the Fukui prefecture, on the Sea of Japan, north-east to Kyoto. The AKB, staying on the stage, are playing with glowsticks in the background !
AKB48
Hiroshi Itsuki

The red captain Arimura announces then her special choice, the great standard ふるさと (Furusato, "My birthplace"), to stay a bit in the theme of Itsuki. For her, it is the Ibaraki prefecture, quite hardly hit by a typhoon that year. Most of the artists gather on the stage. The magic of Kouhaku is this too: to see Pikotarô, Ikimonogakari and Itsuki among others singing side by side !

During an interlude with an excerpt of Shin Godzilla where we learn that only a music can disturb the monster, the participants leave the place for the KinKi Kids, the Johnny's duet who celebrated their 20th year ! While they always had success, it was the 1st time they were participating and they chose their 1st single , 硝子の少年 (Garasu no Shônen, "Heart of glass boy").

The trio electro-pop Perfume performs Flash, which was used as theme song for a movie on the karuta, a card game based on rapidity: Chihayafuru. But it is a martial art-based choreography they offer, surrounded by "dynamic VR" (Virtual Reality).
Perfume

We find then a big popular success with 恋 (Koi, "Love"), and its famous dance, by Hoshino Gen (星野源). It is an ending of a humorous drama, Nigeru wa haji daga yaku ni tatsu (逃げるは恥だが役に立つ, sub-titled in English "We married as a job"), with Hoshino Gen himself and Aragaki Yui (新垣結衣), jury member, but who didn't make the effort to perform again on stage the choreography she was doing at the ending. A bit frustrated, a 1st time...
Gen Hoshino

Another great popular success then, but far older and... French, as we discover Ôtake Shinobu (大竹しのぶ), a music hall actress starring as Piaf ! Trying to look like her model, she performs 愛の讃歌 (Ai no Senka), Japanese version of the Hymne à l'Amour. Interesting detail, Edith Piaf and numerous other French-speaking singers of the same style are acknowledged as belonging to a particular genre, the "Chanson" (said in French) ;-) !

After that comes the singer of the quite-equivalent genre in Japan, the Enka, Sakamoto Fuyumi (坂本 冬美), still for the Reds, with a song of 1994 already performed several time at the Kouhaku, 夜桜お七 (Yozakura Oshichi, "Oshichi, of the evening cherry trees"), here in a fire-red lighting and with the dancer and choreographer Sugawara Koharu (管原 小春) on stage. It is a reference to a true young lady named Oshichi in the Edo era, executed for having tried to make the city to burn in order to find again the boy she loved ! This story is at the basis of main pieces of litterature and painting.

To reply, the pop-rock band of Johnny's TOKIO, now the oldest still in activity since the disband of SMAP, self-covers a song of 10 years ago, 宙船 (Sorafune, "Celestial ship"). They play in duplex from the Forum of Tokyo city hall, in presence of several olympic athletes.
TOKIO

Back to the NHK Hall for a duet of legends with the ex-Idol star of the 80s-90s, Matsuda Seiko (松田 聖子) accompanied by the drummer and leader of a funding band of Visual-kei X Japan, Yoshiki playing here piano ! They perform a song just composed by Yoshiki for Matsuda, 薔薇のように咲いて 桜のように散って (Bara no yôni saite Sakura no yôni chitte, "Fleurir comme une rose et se faire emporter comme une fleur de cerisier"), a wonderful ballad.
Mais pas le temps de se remettre de ses émotions : Shin Godzilla est aux portes du Kôhaku ! Heureusement... Pikotarô (encore !) débarque avec une centaine de choristes pour lancer la contre-attaque d'un vibrant Pen-Pineapple-Apple-Pen ("PPAP") combiné à l'Hymne à la Joie ! Un moment d'anthologie, ne serait-ce qu'à la vue des têtes des invités devant tant de démesure !
But no time to relieve: Shin Godzilla is at the door of the Kouhaku ! Hopefully... Pikotarou (again !) arrives with a hundred of choristers for the counterstrike with a powerful Pen-Pineapple-Apple-Pen ("PPAP") combined to the Ode to Joy !




Hélas... enfin, comme on pouvait s'en douter, c'est un échec, et il faut l'intervention encore plus énergique de Yoshiki et de sa bande de X Japan avec 紅 (Niji, "Arc-en-ciel") pour briser l'assaut ^^ !
Unfortunately... well, as expected, it is a fail, and it takes the intervention even more powerful of Yoshiki and his band of X Japan with 紅 (Niji, "Rainbow") to win the fight ^^ !

Takahashi Mariko (髙橋 真梨子) sings then ごめんね… (Gomen ne..., "Sorry"), a song of 1996, more in the Kayoukyoku style (variety).

She is opposed to other veterans but in the rock genre, here, the band The Yellow Monkey, reunited that year after more than 10 years of split and who makes in fact their 1st appearance at the Kouhaku. They too perform a 20-year-old track: JAM.

The Prince of Enka, Hikawa Kiyoshi (氷川 きよし), goes and sings in duplex from Kumamoto in front of the reconstruction teams after the earthquake of 2016, in particular in front of the castle, one city's emblem. He performs purposely 白雲の城 (Hakuun no shiro, "The white clouds' castle").
Kiyoshi Hikawa

Utada Hikaru (宇多田 ヒカル), one, or even the queen of J-pop is in duplex from her recording studio in London for 花束を君に (Hanataba wo kimi ni, "A bouquet of flowers for you"). A bit like The Yellow Monkey, it was her 1st appearance, after a break of 5 years. This recent song was used as an ending for a Japanese news TV show.

Ishikawa Sayuri (石川 さゆり) is the last for the Reds with the great Enka standard of the Kouhaku, 天城越え (Amagi goe, "The pass of Amagi"), on the small stage of the tribune. Her song is introduced by a puppet show.

The last for the Whites are the Johnny's of Arashi, thus with the white captain. They sing a medley: A-ra-shi, Happiness, One Love.
Au décompte des voix du public, les Blancs l'emportent largement (plus de 1270 contre 870 en salle, et 4,203,619 contre 2,572,274 de votes électroniques) et commencent à se réjouir, mais à la surprise générale, y compris de la capitaine rouge, le vote du "jury" par 9 boules blanches contre 6 rouges suffit à renverser la décision !
Mais comme toujours, il n'y a rien que de très symbolique en terme de victoire ici, et tout le monde entonne ensemble le chant d'au revoir, 蛍の光 (Hotaru no hikari, "Les lueurs des lucioles").
After counting the public votes, the Whites win largely (more than 1270 versus 870 in the hall, and 4,203,619 versus 2,572,274 of electronic votes) and start congratulating themselves but, surprising everybody including the Red captain, the vote of the "jury" by 9 balls vs 6 is sufficient to reverse the decision !
But as always, this is nothing more than a symbolic victory here, and all the artists sing together the farewell song, 蛍の光 (Hotaru no hikari, "The light of fireflies").
Arashi
Au final, ce 67e Kôhaku laisse donc toutefois un goût d'inachevé et de frustration auprès des votants qui risquent de ne pas se donner la peine la prochaine fois. A l'image des pérégrinations sans but de Matsuko Deluxe et Tomori, célèbres présentateurs télé, "perdus" sans cartons d'invitation, qui avaient certes le mérite de montrer de manière amusante les coulisses, mais qui seront repartis sans avoir vu la moindre chanson et sans réelle chute à leur sketch...
Ces interruptions mal amenées n'aidaient pas à fluidifier les enchaînements, ajoutés au manque d'expérience de la jeune capitaine rouge avec notamment un blanc gêné de plusieurs secondes à la fin du duplex d'Utada Hikaru, qui ne savait plus trop si son intervention était finie ou non, tandis que sa jeune fan en plateau attendait d'être présentée pour l'interviewer.
Toutefois, ce Kôhaku aura permis de vivre plusieurs moments marquants et symboliques de la musique japonaise comme ce duo Yoshiki - Matsuda Seiko, mariage du Métal et du glamour, ou encore la présence de plus en plus palpable et extravagante de Pikotarô, hors concours mais vraie vedette, symbolique de sa propagation aussi irrésistible qu'inimaginable sur les réseaux sociaux mondiaux. Il a bien mis en lumière les formidables comebacks (Utada Hikaru et The Yellow Monkey), cela sans oublier vrais hits populaires du moment: Koi, Umi no koe, ou encore bien sûr Zen Zen Zense !!
Finally, this 67th Kouhaku leaves yet a small feeling of unfulfilment and frustration for the voters who may not get involved next time. Just like the aimless adventures of Matsuko Deluxe and Tomori, famous TV animators, "lost" without invitation cards, who had the opportunity to show the backstages in a funny way, but who went back home without seeing any song and without real end to their sketch...
These interruptions badly inserted didn't help easing the turnover, all the more with the lack of experience of the young red captain, with for instance a annoying silence of several seconds at the end of Utada Hikaru's song, who didn't know if her appearance was over or not, while a young fan on stage was waiting to be introduced before interviewing her.
However, this Kouhaku allowed to live several striking and symbolic moments of the Japanese music such as this duet of Yoshiki and Matsuda Seiko, marriage of metal and glamor, or the presence more and more pregnant and extravagant of Pikotarou, out of the competition but real star, as a symbol of his propagation on the worldwide social networks, as irresistible as unbelievable. It well highlighted the wonderful comebacks (Utada Hikaru and The Yellow Monkey), without forgetting the true popular hits of the moment: Koi, Umi no koe, or also Zen Zen Zense !!
Finally, this 67th Kouhaku leaves yet a small feeling of unfulfilment and frustration for the voters who may not get involved next time. Just like the aimless adventures of Matsuko Deluxe and Tomori, famous TV animators, "lost" without invitation cards, who had the opportunity to show the backstages in a funny way, but who went back home without seeing any song and without real end to their sketch...
These interruptions badly inserted didn't help easing the turnover, all the more with the lack of experience of the young red captain, with for instance a annoying silence of several seconds at the end of Utada Hikaru's song, who didn't know if her appearance was over or not, while a young fan on stage was waiting to be introduced before interviewing her.
However, this Kouhaku allowed to live several striking and symbolic moments of the Japanese music such as this duet of Yoshiki and Matsuda Seiko, marriage of metal and glamor, or the presence more and more pregnant and extravagant of Pikotarou, out of the competition but real star, as a symbol of his propagation on the worldwide social networks, as irresistible as unbelievable. It well highlighted the wonderful comebacks (Utada Hikaru and The Yellow Monkey), without forgetting the true popular hits of the moment: Koi, Umi no koe, or also Zen Zen Zense !!
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