Ryuichi Sakamoto

コンテンツ種別

関連都道府県

sakamotocommon OSAKAの開催を記念して、会場の斜め向かいにある「インターコンチネンタルホテル大阪」ではコラボレーション企画が満載。1階パティスリーストレスでは、写真集『A DAY WITH RYUICHI SAKAMOTO』より、写真家 #田島一成と #坂本龍一が共に過ごした1日を切り取った貴重な写真を展示。さらに、アディラウンジ&バーではオリジナルカクテル「Energy Flow」が、パティスリーストレスではオリジナルケーキ「Dancing in the Sky」が期間限定で提供されています。さらに、ドリンクオーダーで、田島一成氏デザインのオリジナルコースターのご提供も。企画展の前後にぜひお立ち寄りください。 icosaka.com/offer/sakamoto… #skmtnews #ryuichisakamoto #sakamotocommon_osaka @tajjiemax @IC_Osaka

2025/08/30に公開インターコンチネンタルホテル大阪日本大阪府

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Ryuichi Sakamoto’s new exhibition “sakamotocommon OSAKA 1970/2025/Osaka/Ryuichi Sakamoto” has opened today (August 30, 2025) at VS. in Osaka. https://vsvs.jp/en/exhibitions/sakamotocommon-osaka/ (Link available in bio) The specially produced vinyl “Ryuichi Sakamoto: Playing the Baschet”, created to accompany the exhibition, was initially made available exclusively at the venue due to the limited number of copies in the first pressing. However, we have already confirmed multiple cases of resale on secondary market sites. Therefore, we have decided to move forward with a made-to-order production. Once preparations are complete, we will ensure the recording is available directly to everyone who wishes to obtain it. We kindly ask that you refrain from purchasing through secondary market sites. Thank you for your understanding and support. * Details for orders will be announced via our official SNS outlets and website once preparations are complete. . #skmtnews #坂本龍一 #ryuichisakamoto #playingthebaschet #sakamotocommon #sakamotocommon_osaka #わたしが知らない坂本龍一

2025/08/30に公開- 指定なし

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お知らせ本日よりVS.（グラングリーン大阪内）で「sakamotocommon OSAKA 1970/2025/大阪/坂本龍一」展が始まりました。 https://vsvs.jp/exhibitions/sakamotocommon-osaka/ 展示内容に合わせて制作しました「Ryuichi Sakamoto: Playing the Bashet」アナログ盤は、初回プレス可能数量が限られていたため会場のみでの発売としていましたが、すでに転売サイトでの「転売」が多数確認されております。この状況を重く受け止め、今後は受注生産で販売することを決定いたしました。会場での販売は継続いたしますが、準備が整い次第、購入を希望される全ての方のお手元にお届けできるように調整いたします。転売サイトでの商品購入はお控えいただけますようお願いいたします。 ※受注受付は準備が整い次第、オフィシャルSNSおよびWEBサイトにてご案内します。 2025年8月30日　 -- Ryuichi Sakamoto’s new exhibition “sakamotocommon OSAKA 1970/2025/Osaka/Ryuichi Sakamoto” has opened today (August 30, 2025) at VS. in Osaka. https://vsvs.jp/en/exhibitions/sakamotocommon-osaka/ The specially produced vinyl “Ryuichi Sakamoto: Playing the Baschet”, created to accompany the exhibition, was initially made available exclusively at the venue due to the limited number of copies in the first pressing. However, we have already confirmed multiple cases of resale on secondary market sites. Therefore, we have decided to move forward with a made-to-order production. Once preparations are complete, we will ensure the recording is available directly to everyone who wishes to obtain it. We kindly ask that you refrain from purchasing through secondary market sites. Thank you for your understanding and support. * Details for orders will be announced via our official SNS outlets and website once preparations are complete. . #skmtnews #坂本龍一 #ryuichisakamoto #playingthebaschet #sakamotocommon #sakamotocommon_osaka #わたしが知らない坂本龍一

2025/08/30に公開- 指定なし

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SKMT | dig 🌑  async (2017) By Ryuichi Sakamoto  Listen via link in bio 🔗  Expanding on his desire to capture the sound of everyday objects, Sakamoto also approached musical instruments as objects, eschewing a more traditional approach to activating their sound. -   “...many of the instruments used on this album are like this. Piano too. How should I put it...it’s like returning instruments to being objects before they are instruments, making sounds of those objects or materials themselves. For example, I bought cymbals and gongs, but rather than wanting the sounds of cymbals and gongs as instruments, I wanted the sounds when the metal material itself is struck.”  Sakamoto was drawn to the democratic nature of the instruments designed by the Baschet Brothers to invite anyone to play. This philosophy permeates “async”, born from Sakamoto’s desire to make ‘the sounds/music that I wanted to hear,’ reflecting his belief that music-making is not the prerogative of a privileged few, but rather, music belongs to us all, as a fundamental expression of the human condition. Beyond “async”, Sakamoto would increasingly employ the sounds of everyday objects into his compositions for film scores, solo work, collaborations, and his final theater piece, “TIME”.  These ideas were evident early in his career, as shown in this excerpt from a 1980s lecture: “Sound lies hidden in all things. You are free to find sound in whatever you choose—there are no rules. There are countless things no one has ever thought of as instruments. If you learn to master them, sound becomes tone, and tone becomes music. You may even become the first virtuoso of that instrument.”  Photo 1 & 2: © SKMT DOC, LLC Still from Ryuichi Sakamoto: CODA  Image 3: Ryuichi’s sketch . #skmtnews #skmtdig #ryuichisakamoto #async

2025/08/23に公開- 指定なし

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Ryuichi Sakamoto: Playing the Baschet will be available at the VS store, featuring previously unreleased recordings Sakamoto made with the Baschet sound sculptures in 2016, 2018, and 2020. This limited edition LP will be sold exclusively at sakamotocommon OSAKA 1970/2025/OSAKA/RYUICHI SAKAMOTO exhibition, opening August 30 in Osaka. Sakamoto first encountered the Baschet sound sculptures as an 18-year-old at Expo '70 in Osaka. Forty-six years later, he finally had the chance to play the instruments himself. These precious recordings have now been collected on a commemorative vinyl release to coincide with this exhibition. The booklet contains an introduction to the Baschet sound sculptures and liner note essays contributed by collaborators present at the recording sessions. Booklet Liner Notes Contributors: Shiro Takatani (Artist) Kazuko Okada (Composer, Baschet Sound Sculpture Researcher) Takeshi Azuma (Sound Engineer) Minoru Hatanaka (Curator, Art and Music Critic) Martí Ruiz Carulla (Professor of Baschet Soundsculpture Workshop of the Faculty of Fine Arts of the University of Barcelona) "Ryuichi Sakamoto: Playing the Baschet" Side A - 20160805 Side B - 20180616/20201207/20160805 Catalog #: KAB-0018 Price: 3,500 yen (including tax) Format: LP . . . . . . . sakamotocommon OSAKA 1970/2025/OSAKA/RYUICHI SAKAMOTO Exhibits: Ryuichi Sakamoto + Shiro Takatani, LIFE—fluid, invisible, inaudible... Ryuichi Sakamoto: Playing the Piano 2025 - D Baschet sound sculptures Ryuichi Sakamoto, on async Ryuichi Sakamoto + Zakkubalan, async–volume Ryuichi Sakamoto + Apichatpong Weerasethakul, async–first light Apichatpong Weerasethakul, Durmiente Ryuichi Sakamoto "Ryuichi Sakamoto: Playing the Baschet", "12" 360 Reality Audio Ryuichi Sakamoto Archive: 1970‐ Sakamoto Library – Extension Dates: 2025.8.30 (Sat) – 2025.9.27 (Sat) Opening Hours: 10:00 AM - 8:00 PM (Last admission: 7:30 PM) Venue: VS. at GRAND GREEN OSAKA Please visit link in bio for ticket details 🔗 . #skmtnews #ryuichisakamoto #playingthebaschet #baschet #soundsculpture #sakamotocommon @sakamotocommon @vsvs.jp

2025/08/23に公開VS. Osaka 日本大阪府

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坂本龍一が2016年、2018年、2020年に録音したバシェ音響彫刻の音源を収録したLP盤『Ryuichi Sakamoto: Playing the Baschet』の発売が決定しました。このLP盤は、8月30日から大阪で開幕する坂本龍一大規模企画展「sakamotocommon OSAKA 1970/2025/大阪/坂本龍一」の開催を記念して、会場限定で販売します。 1970年の大阪万博で出会ったバシェの音響彫刻に、46年の時を経て再び向き合い、演奏・録音した貴重な記録で、没後初めて発表される未発表音源です。坂本龍一にとっても「宝物」になったというその貴重な演奏をぜひお楽しみください。付属のブックレットには、坂本龍一とバシェの音響彫刻との出会いについて、また坂本の録音に立ち会った方々などの貴重なライナーノーツも掲載。アナログプレス可能枚数5000枚を会場で販売します。ブックレット・ライナーノーツ：高谷史郎（アーティスト）、岡田加津子（作曲家、バシェ音響彫刻研究家）、東岳志（サウンドエンジニア）、畠中実（キュレーター、美術・音楽批評）、マルティ・ルイツ・カルラ（バルセロナ大学芸術学部音響芸術研究所バシェ音響彫刻ワークショップ教授）坂本龍一『Ryuichi Sakamoto: Playing the Baschet』 Side A 1. 20160805 Side B 1. 20180616/20201207/20160805 品番： KAB-0018　　価格： 3,500円（税込）　形態： LP盤ーーー坂本龍一が探し求めた、記憶、時間、音。 1970年、坂本龍一は大阪で何を見たのか。坂本龍一と大阪、知られざる接点がここに。坂本龍一、大阪で初の大規模企画展開催！「sakamotocommon OSAKA 1970/2025/大阪/坂本龍一」展示内容：坂本龍一 + 高谷史郎《LIFEーfluid, invisible, inaudible...》 Ryuichi Sakamoto: Playing the Piano 2025 - D バシェの音響彫刻坂本龍一　on async 坂本龍一 + Zakkubalan《async–volume》坂本龍一 + アピチャッポン・ウィーラセタクン《async–first light》アピチャッポン・ウィーラセタクン《Durmiente》坂本龍一『Ryuichi Sakamoto: Playing the Baschet』,『12』 360 Reality Audio 坂本龍一アーカイブ: 1970 － Sakamoto Library – Extension | 坂本図書分室会期：2025年8月30日(土) ～ 2025年9月27日(土) 時間：10:00 - 20:00（最終入場時間 19:30） ※会期中のイベント予定に応じて開館時間が変わることがあります。会場：VS.（大阪うめきたグラングリーン大阪内）オフィシャルサイト：https://vsvs.jp/exhibitions/sakamotocommon-osaka/ チケット：事前オンライン予約制　 8月1日（金）午前10:00～販売開始 ※日時指定枠に空きがある場合は、当日窓口にてチケットをご購入いただけます。チケット料金（税込）※（）＝当日窓口販売の料金・一般：2,200円（2,500円）・18歳以下：1,100円（1,100円※同額）※2026年3月31日までに19歳になる方も対象・大学生/専門学校生：1,800円（2,000円）・障がい者割引：1,100円　※同伴者1名まで同額・未就学児：無料　※予約不要 ※特別料金を適用される方は各種証明書をお持ちください（18歳以下：年齢を証明できるもの、大学生専門学校生：学生証、障がい者割引：障がい者手帳） ※購入後の変更、キャンセル、払い戻しは不可となっております。 #坂本龍一 #sakmtnews #ryuichisakamoto #sakamotocommon_osaka #vsosaka #わたしが知らない坂本龍一

2025/08/23に公開- 指定なし

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Repost • @neuenationalgalerie Join us in the last week of August for a special music series in the Sculpture Garden of Neue Nationalgalerie – featuring site-specific live concerts as well as sound installations inspired by Fujiko Nakaya’s ephemeral fog sculpture. On August 30: 🎵 In dialogue with Fujiko Nakaya with new compositions and arrangements by @AlvaNoto, @StephenOMalley74 and special archival selection of works by @skmtgram (10 pm–1 am) – as part of Berlin’s Long Night of Museums. Curated by @GregorQuack (Volkswagen Group Fellow), in collaboration with @tessanydam and @CTMFestival. 🎧 Immersive listening via d&b Soundscape powered by @dbaudiotechnik_gmbh 🎟️ Tickets via link in bio With thanks to our partners: @volkswagengroup_culture, @freundedernationalgalerie, @audibene_de, @dbaudiotechnik_gmbh – and to our beverage sponsors @brlobeer, @Afri.de, @Preussenquelle & @viniculture_berlin. // Soundscapes in the Garden 🌿 Ende August startet im Skulpturengarten eine besondere Musikreihe – mit ortsspezifischen Live-Konzerten und Klanginstallationen, inspiriert von Fujiko Nakayas, vergänglicher Nebelskulptur. Am 30. August: 🎵 Im Dialog mit Fujiko Nakaya mit neuen Kompositionen und Arrangements von @AlvaNoto, @StephenOMalley74 sowie einer besonderen Archiv-Auswahl von @skmtgram (22 Uhr–1 Uhr) – im Rahmen der Langen Nacht der Museen Berlin. 🎟️ Tickets über den Link in der Bio Alva Noto, CN © Photo Dieter Wuschanski Stephen O’Malley - The Wire © 2019   #skmtnews #ryuichisakamoto #fujikonakaya #alvanoto #stephenomalley

2025/08/14に公開Neue Nationalgalerie ドイツ

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SKMT | dig 🌕 Life, Life from async (2017) Listen via link in bio 🔗 Following his cancer diagnosis in 2014, Sakamoto scrapped all the work he had begun creating his first solo album in 8 years. After completing treatment, he returned from hiatus and approached the album with a clean slate, which would become the acclaimed album 'async.' Motivated by "a desire to truly hear the sound of things—everyday things," Sakamoto set about collecting recordings of objects and ambient noises from the environment: "When I was looking for objects to record, I remembered seeing the Baschet Brothers' sound sculptures at the Osaka Expo in 1970. I found them in a university building in Kyoto, and on a hot summer day, they let me record the sculptures in the sweltering heat amidst echoes of cicadas". The recordings Sakamoto captured in Kyoto, 2016, found their way into several songs on 'async', including the meditation on mortality, 'Life, Life' with Arseny Tarkovsky's poetry read by his good friend David Sylvian. For the World Expo 2025, returning to Osaka, sakamotocommon is launching a series of exhibitions and installations at "VS.," a newly opened space in Umeda, Osaka. The exhibition will feature the Baschet sound sculptures originally shown at Expo '70 and newly created instruments crafted by the Baschet Restoration Team at Tokyo University of the Arts—made especially for Sakamoto. The exhibition will also premiere 'Ryuichi Sakamoto: Playing the Baschet' in 360 Reality Audio—a rare recording of Sakamoto performing on Baschet sound sculptures in the final years of his life. https://vsvs.jp/en/exhibitions/sakamotocommon-osaka (link in bio) Baschet photo by Ryuichi Sakamoto, 2016 #skmtnews #skmtdig #ryuichisakamoto #lifelife #async #baschet

2025/08/09に公開- 指定なし

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Repost • @hajimechitose.official   「死んだ女の子」は原爆の火に焼かれてしまった女の子の悲しみ、嘆きを歌った反戦歌。元ちとせは2005年のリリース以来、坂本龍一のアレンジ・プロデュースによりこの曲を発表し、以降、平和への思いを込めて歌い続けてきました。 Listen: https://lgp.lnk.to/mASZ6g Watch via link in bio 🔗 . “Dead Girl” is an anti-war song that sings of the sorrow and grief of a girl who was burned by the atomic bomb fire. In 2005, Hajime Chitose released this song with arrangement and production by Ryuichi Sakamoto, and has continued to sing it with thoughts of peace ever since. . 8/9（土）19:30〜生放送 📺NHK「MUSIC GIFT 2025〜あなたに贈ろう希望の歌〜」  「MUSIC GIFT 2025」では坂本龍一さんのピアノと一緒に歌います。戦後80年の今、改めて一人ひとりが平和について考えるきっかけになってほしいという願いを込めてお届けしますので、ぜひご覧ください。 https://www.nhk.or.jp/music/ @nhk_kouhaku #NHK_MUSICGIFT   #坂本龍一 #元ちとせ #死んだ女の子 #antiwar #deadgirl #nowar #hiroshima #nagasaki

2025/08/07に公開- 指定なし

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https://robertwilson.com/news      . Robert Wilson performed in “LIFE a ryuichi sakamoto opera 1999.” Ryuichi composed music for Robert Wilson’s “THE DAYS BEFORE : Death, Destruction and Detroit III.”  #robertwilson

2025/08/01に公開- 指定なし

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Apichatpong Weerasethakul’s VR piece, “A Conversation with the Sun” will be showcased in Taiwan! A Conversation with the Sun By Apichatpong Weerasethakul Music by Ryuichi Sakamoto Date: November 21st (Fri) to November 23rd (Sun) 2025 Venue: Playhouse at National Taichung Theater, Taiwan Please visit link in bio 🔗 “Apichatpong dedicates this work to the late Ryuichi Sakamoto in a heartfelt tribute to the legendary musician. Their dialogue across time and space continues to echo through the piece.” #skmtnews #ApichatpongWeerasethakul #ryuichisakamoto #VR

2025/07/31に公開臺中國家歌劇院 National Taichung Theater 台湾

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SKMT | dig 🌑 Rage (2017) by Ryuichi Sakamoto Listen via link in bio 🔗 Commentary by Director Lee Sang-il about “Rage” Melody tends to connect with emotions, so rather than having the audience directly experience what the characters are feeling, we were trying to express in sound those unconscious layers that people don’t even know they have. There’s an orchestra that eventually comes in, but synth sounds, and really Sakamoto-san has so many different techniques at his disposal to express in a deeply profound way. When I visited his studio in NY, there were instruments everywhere - sounds from all different countries. All of these elements keep emerging, layering deeper and deeper, and I thought, “Ah, I said ‘unconscious’, but this is how he actually constructs it” - that was truly astonishing. Of course, as the story progresses toward the end, music with distinct melodies that broaden the emotional scope does come in, but the depth of those layers - the way sounds keep accumulating and creating this expanding world - is truly one of a kind. . Sakamoto-san gave me a gentle rebuke early on. Initially, I had him compose the main theme for the final scene. The way he could so brilliantly transform the concept of “rage” lurking beneath resignation into music left me trembling with emotion. However, I wanted to use this piece in a different scene. When I nervously suggested this, he erupted in fury. Even through a computer screen between NY and Tokyo, his intensity was palpable. I mustered all my courage to give a thorough explanation to Sakamoto-san, someone I had long dreamed of working with. As we talked, I realized that he was deeply invested, and I felt overwhelmingly happy about that. Despite being scolded, “rage” went to the climax, and the final scene needed a new theme. The concept that stands opposite to rage is trust. Incidentally, after “rage” and “trust,” the title he gave to the end credit title was “forgiveness.” Ryuichi Sakamoto transcends every limit. I can’t help but feel that way. Translated from Radio Sakamoto & commmons’ 10 favorites Photo © 2016 Ikari Production #skmtnews #ryuichisakamoto #rage #ikari #leesangil

2025/07/25に公開- 指定なし

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2025/07/24に公開- 指定なし

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sakamotocommon OSAKA 1970/2025/OSAKA/RYUICHI SAKAMOTO In 1970, Sakamoto encountered a vast array of music and art at Expo ‘70 in Osaka. From the national pavilions echoed avant-garde electronic sounds rooted in atonality—Tōru Takemitsu’s Crossing and Seasons, Yuji Takahashi’s Egan, and Jōji Yuasa’s Music for Space Projection. Karlheinz Stockhausen performed “Spiral” daily in a spherical auditorium. The Pepsi Pavilion presented the world premiere of Fujiko Nakaya’s fog sculptures, while Iannis Xenakis created Hibiki-Hana-Ma for the Steel Pavilion, which also featured sonic sculptures by François Baschet. These experiences would leave a lasting imprint on Sakamoto—becoming a conceptual spine for his lifelong exploration of sound. In 2016, Sakamoto was able to perform and record with the original Baschetsound sculptures from Expo ‘70, weaving their unique timbres into his own compositions. These experiments culminated in his album “async”, and echoed once more in TIME. The exhibition will feature the Baschet sound sculptures originally shown at Expo ‘70, along with newly created instruments crafted by the Baschet Restoration Team at Tokyo University of the Arts and Marti Ruiz —made especially for Sakamoto. In addition, using performance data from Sakamoto—offering a quiet echo of the hands that once shaped its sound. Ryuichi Sakamoto + Shiro Takatani, LIFE—fluid, invisible, inaudible... Ryuichi Sakamoto: Playing the Piano 2025 - D Baschet sound sculptures Ryuichi Sakamoto, on async Ryuichi Sakamoto + Zakkubalan, async–volume Ryuichi Sakamoto + Apichatpong Weerasethakul, async–first light Apichatpong Weerasethakul, Durmiente “Ryuichi Sakamoto: Playing the Baschet”, “12” 360 Reality Audio Ryuichi Sakamoto Archive: 1970‐ Sakamoto Library – Extension Date: 2025.8.30 (Sat) – 2025.9.27 (Sat) Opening Hours: 10:00 AM - 8:00 PM Venue: VS. Advance online reservations required： Ticket Sales Begin: August 1, 10:00 AM More details via link in bio 🔗 #ryuichisakamoto #skmtnews #sakamotocommon_osaka #vsosaka

2025/07/20に公開VS. Osaka 日本大阪府

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sakamotocommon OSAKA　 1970/2025/大阪/坂本龍一坂本龍一が探し求めた、記憶、時間、音。 1970年、坂本龍一は大阪で何を見たのか。坂本龍一と大阪、知られざる接点がここに。坂本龍一、大阪で初の大規模企画展開催！ 1970年、大阪万博と坂本龍一 1970年、18歳の坂本龍一は、「人類の進歩と調和」をテーマに掲げた大阪万博で、多彩な音楽やアートに触れました。各パビリオンで流れる音楽の多くは、無調による前衛的な電子音楽でした。坂本が敬愛する武満徹の《クロッシング》《四季》や、小学生の頃から影響を受けた高橋悠治の《慧眼》、湯浅譲二の《スペース・プロジェクションのための音楽》、西ドイツ館ではカールハインツ・シュトックハウゼンが球形ホールで《Spiral》の連日公演を行っていました。また、「ペプシ館」では中谷芙二子による霧の彫刻、クセナキスが「鉄鋼館」のために《Hibiki Hana Ma（響き・花・間）》を制作し、同じ会場にはフランソワ・バシェの音響彫刻が展示されていました。これらの体験は、後の坂本の創作活動に深い影響を与えることになります。当時、注目を集め始めていたシンセサイザー電子音楽の世界も、坂本にとって大きな刺激となりました。坂本は2016年以降、1970年の大阪万博で展示されたバシェの音響彫刻を演奏・録音する機会を得て、その音を自身の作品に取り入れています。それらの試みは2017年のアルバム《async》に結実し、最晩年に制作した劇場作品《TIME》にも活かされました。 2025年、大阪万博と「sakamotocommon」 2025年、再び大阪で万博が開催されるこの年に、若き日の坂本が受けた刺激を、坂本が遺したものを共有化する試みとして始動した「sakamotocommon」を通じて次世代のクリエイターたちへ届けられないだろうか。その思いを込め、大阪・梅田に新しく誕生した空間「VS.（ヴイエス）」から発信します。本プロジェクトでは、1970年の大阪万博のために制作されたバシェの音響彫刻を展示するほか、東京藝術大学のバシェ修復プロジェクトチームが坂本のために制作した新たな音響彫刻も紹介します。また、坂本の演奏データをもとに、彼が愛用したグランドピアノで再生するプログラムも展開します。展示内容：坂本龍一 + 高谷史郎《LIFEーfluid, invisible, inaudible...》 Ryuichi Sakamoto: Playing the Piano 2025 - D バシェの音響彫刻坂本龍一　on async 坂本龍一 + Zakkubalan《async–volume》坂本龍一 + アピチャッポン・ウィーラセタクン《async–first light》アピチャッポン・ウィーラセタクン《Durmiente》坂本龍一『Ryuichi Sakamoto: Playing the Baschet』,『12』 360 Reality Audio 坂本龍一アーカイブ: 1970 － Sakamoto Library – Extension | 坂本図書分室会期：2025年8月30日(土) ～ 2025年9月27日(土) 時間：10:00 - 20:00（最終入場時間 19:30） ※会期中のイベント予定に応じて開館時間が変わることがあります。会場：VS.（大阪うめきたグラングリーン大阪内）オフィシャルサイト：https://vsvs.jp/exhibitions/sakamotocommon-osaka/ チケット：事前オンライン予約制　 8月1日（金）午前10:00～販売開始 ※日時指定枠に空きがある場合は、当日窓口にてチケットをご購入いただけます。チケット料金（税込）※（）＝当日窓口販売の料金・一般：2,200円（2,500円）・18歳以下：1,100円（1,100円※同額）※2026年3月31日までに19歳になる方も対象・大学生/専門学校生：1,800円（2,000円）・障がい者割引：1,100円　※同伴者1名まで同額・未就学児：無料　※予約不要 ※特別料金を適用される方は各種証明書をお持ちください（18歳以下：年齢を証明できるもの、大学生専門学校生：学生証、障がい者割引：障がい者手帳） ※購入後の変更、キャンセル、払い戻しは不可となっております。 #坂本龍一 #ryuichisakamoto #skmtnews #わたしが知らない坂本龍一 #sakamotocommon_osaka #vsosaka

2025/07/20に公開VS. Osaka 日本大阪府

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2025/07/19に公開- 指定なし

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Repost • @pitchfork Blonde Redhead’s Kazu Makino on her “out of this world” Perfect 10 #BlondeRedhead #MyPerfect10 #async #ryuichisakamoto @kazu.makino

2025/07/17に公開- 指定なし

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SKMT | dig 🌕 M20 - Trust from Rage (2017) Listen via link in bio🔗 Rage (怒り, Ikari) is a Japanese suspense mystery drama film directed by Lee Sang-il and based on Shuichi Yoshida’s mystery novel, following the same creative partnership behind their recent highly anticipated film ‘Kokuho (National Treasure).’* The film weaves together parallel narratives - the hunt for a murderer across three locations and the intimate examination of trust and human connection - creating a complex exploration of both mystery and the fragility of human relationships. “The request was for one theme, one motivational motif that would start out sounding like ‘distrust’ and gradually transform into ‘trust’ as the film progressed,” says Sakamoto. “What the director most wanted to explore was this human dynamic between distrust and trust - whether some form of love could emerge from that tension. It seems that’s where his focus was.” Through many exchanges with the director and his persistent creative demands, Sakamoto crafted music that masterfully captures the complex emotional depths of modern humanity. The melody repeats the same phrase while evolving gradually, enveloping the anger and grief that live within the film and transforming it into beautiful music. “This time, I went to Seattle to record the live string parts with the same musicians who played on ‘The Revenant.’ We got a really good sound and great performances. For ‘Rage,’ while it has elements similar to ‘The Revenant,’ I tried to create something with a broader range of listening possibilities. Since I have this work, I want to go up the stairs one by one, even if they’re small steps, so that’s how I approach it.” *’Kokuho’ is in theaters in Japan: https://kokuhou-movie.com #skmtnews #ryuichisakamoto #rage #ikari #leesangil #shuichiyoshida

2025/07/10に公開- 指定なし

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Repost • @potemkinefilms 𝐑𝐘𝐔𝐈𝐂𝐇𝐈 𝐒𝐀𝐊𝐀𝐌𝐎𝐓𝐎 | 𝐎𝐏𝐔𝐒 un film de Neo Sora 🇯🇵 🎹 En automne 2022, Ryuichi Sakamoto, atteint d’un cancer, n’a plus la force de se produire en concert. Seul au piano, sans public, il interprète vingt morceaux emblématiques, dont l’ordre scande sa vie d’artiste. Entouré de ses plus proches collaborateurs, il se livre comme jamais lors de cette ultime performance lui permettant de faire ses adieux. Un moment de grâce pour l’éternité. 𝐀𝐔 𝐂𝐈𝐍𝐄𝐌𝐀 𝐋𝐄 𝟑𝟎 𝐉𝐔𝐈𝐋𝐋𝐄𝐓 #ryuichisakamoto #sakamoto #furyo #bandeoriginale #documentaire #japon

2025/07/10に公開- 指定なし

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Repost • @commmons_official 【#坂本龍一 | 音を視る時を聴く展覧会公式図録】展覧会公式図録をcommmonsmartにて販売中です。海外発送にも対応しております。本展で撮り下ろした会場写真を数多く掲載。閉幕後も、展示空間を想起させる構成です。コラボレーション・アーティストからのコメントや、エッセイなども収録。【主な執筆者(50 音順)】論考：四方幸子、難波祐子、森山朋絵／寄稿：浅田彰、大竹伸朗、岡﨑乾二郎、千葉雅也、原瑠璃彦、福岡伸一、矢野優、李禹煥／対談：畠中実×松井茂 https://commmonsmart.com/en/products/ambk-20333 Ryuichi Sakamoto | seeing sound, hearing time Official Exhibition Catalog We offer international shipping. Format size: variable A4, Hardcover book Number of pages: 320 Texts: Japanese/English/Chinese Price: 6,490 yen (tax included) The catalogue includes numerous photographs of the exhibition space. It is structured to resemble the atmosphere of the exhibition, making it possible to re-experience the exhibition after closing. It also incorporates essays and comments from the collaborated artists. Main authors (Alphabetical order) Essays: Yukiko Shikata, Sachiko Namba, Tomoe Moriyama/ Contribution: Akira Asada, Shinro Ohtake, Kenjiro Okazaki, Masaya Chiba, Rurihiko Hara, Shinichi Fukuoka, Yutaka Yano, Lee Ufan/ Dialogue: Minoru Hatanaka×Shigeru Matsui. @skmtgram #skmtnews #音を視る時を聴く #私が知らない坂本龍一

2025/07/04に公開- 指定なし

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