Sekiya Toshiko (関屋敏子 1904 - 1941)

The coloratura soprano (コロラトゥーラソプラノ) Sekiya Toshiko was born in

Tōkyō on the 12th March 1904 at Tsubaki Goten, Camellia Palace (椿御殿).

Her father was the businessman Sekiya Yūnosuke (関屋祐之介) and her mother was
LeGendre Aiko (ルジャンドル愛子). Her uncle was the famous Kabuki actor
Ichimura Uzaemon XV (十五世市村羽左衛門), her maternal grandfather was the
American Foreign Policy Advisor to Japan Charles LeGendre (チャールズ・ルジャ
ンドル) and her grandmother was Ikeda Ito (池田絲), the illegitimate daughter of the
Daimyo Matsudaira Yoshinaga (松平慶永).

The Camellia Palace had been her grandfather Charles LeGendre’s principle
secluded residence in Tōkyō, and was located at Sasugaya. It was a vast building
measuring in total 36,000 square feet; in Japanese measurements a thousand times
two mats. It was located in the area where Sasugaya Elementary School now stands
which is in the neighbourhood of Koishikawa Botanical Gardens (小石川植物園),
Bunkyō-ku (文京区). It is likely to have been the Edo ‘middle’ mansion of the Ikeda
Clan (池田氏), Ikeda Bizen no Kami. There was also a tea pavilion.

Camellia Palace plan by Kimura Shōhachi

「椿御殿」は小石川指ケ谷、現在の湯島3丁目文京区白山２丁目
’Camellia Palace’ was located on Koishikawa Sasugaya, currently Yushima Sanchōme, Bunkyō ku
Hakusan 2 chōme
It would seem that the Sekiya family, Aiko, Toshiko and Kimiko, lived there until after
the 1923 earthquake disaster when in 1924 they moved temporarily to the business
premises of Aiko’s husband, Sekiya Yūnosuke, in Yoyogi (代々木). However, as the
business failed they then moved to Sannoshita in Akasaka (赤坂) and from there to
Aiko’s brother Ichimura Uzaemon XV’s Ushibuseyama (牛伏山) villa at the coastal
resort of Ushibuse (牛伏), Numazu (沼津市) in Shizuoka Prefecture. In the biography
by Shizue Katō (加藤シヅエ), ‘Facing Two Ways: The Story of My Life’ she describes
the property in the same area that belonged to the family of her husband Baron
Keikichi Ishimoto (石本恵吉男爵), a Christian Humanist…

‘…Baron Ishimoto’s house, built in the old Kyōto Palace style, stood in the
Koishikawa District. The big square wooden gate had heavy swinging doors with iron
fittings and a roof covered with dark grey tiles. Soft grey gravel covered the drive
beyond the gate, and tall ginkgo trees with their fan shaped leaves stood on both
sides like giant sentinels. In front of the entrance hall were camellia plants and dark
brown Japanese maples. The house itself was divided into two wings: one Japanese
and one foreign… …Western rooms in the Louis Quatroze style or a chamber
furnished with a north-European stove’

Aged 6 (1910), kindergarten age, at home in Koishikawa- Esashimachi (小石川餌差町 - 1940年富坂一

丁目、春日町三丁目となる)

Aged 8 (1912), elementary school age, wearing an old obi that was given to her grandfather by the
Emperor

She was descended from the Nihonmatsu clan (二本松藩) whom her father’s family
served for a very long time as physicians and her portraits adorn the inside of the
Nihonmatsu (二本松市) City Concert Hall in Fukushima.
 5-7 Paulownia Crest - Go-shichi kiri (五七桐)

In 1911 - Sekiya Aiko (関屋愛子, LeGendre Aiko ル・ジャンドル愛子) with her husband the
businessman Sekiya Yūnosuke (関屋祐之介), secretary of the Yūsenkaisha (Mail Boat Company) and
their daughter Sekiya Toshiko (関屋敏子) aged 7

She reminisced about her experiences as a little girl when her father would get her to
sing in front of between 200-300 invited guests at his parties (Lewiston Daily Sun -
18 February 1932).

She was enrolled at the Ochanomizu University (お茶の水女子大学) Elementary

School where in 1912 aged 9 on the day of the graduation ceremony from the Third
Grade of her Elementary School she was singled out to sing in front of Her Majesty
the Empress Dowager Shōken (Shōkenkōtaigō - 昭憲皇太后), who was in
attendance. As she recalled ‘It was a cheerful sunny day and Her Majesty was an
awe inspiring and lovely presence’. Somewhat anxious she sang out in full voice
‘Haru ga Kita’ (春が来た - Spring has come) and ‘Fuji no Yama’ (富士の山 – Mt. Fuji).
Enormous praise was heaped on her with everyone saying how well she had done.
Both of her parents were crying tears of joy. She had been coached by the opera
singer Mirua Tamaki (三浦環) and Komatsu Kosuke (小松耕輔) the Meiji-Shōwa
composer and teacher. It was then that the decision was reached for her to pursue a
career in music

Aged 9 on the day of the graduation ceremony from the Third Grade
In 1914, at the age of 11, after two more years of study with the opera singer Miura
Tamaki (三浦環) she sang in Italian a recital a solo of ‘Pur dicesti, o bocca bella’
(Your beautiful lips) by Antonio Lotti (アントニオ・ロッティ) and was reported the
following day in the Miyako Shimbun (都新聞) newspaper as a genius child singer. At
Miura’s recommendation she went to study singing with the Adolfo Sarcoli (アドルフ
ォ・サルコリ), a Siennese musician who had settled in Japan. In 1921 she went to
study at the Tōkyō School of Music the curriculum of which was based on German
music theory against which she rebelled dropping out to again study with Sarcoli.

Aged 17 (1921) with her 4 year old sister Kimiko,

wearing for the first time a shimada hairstyle for umarried women
and a fashionable silk crepe coat

When the Italian aviator Francesco De Pinedo (フランチェスコ・デ・ピネード)

stayed in Japan after he had landed there on his Rome-Australia-Tōkyō-Rome flight,
Conte Giulia Della Torre di Lavagna, the Italian Ambassador introduced him to
Toshiko who acted as his interpreter between 26 September – 17 October 1925.

She debuted in a recital at the Marunouchi Hōchi Kōdō in 1925 after having been
coached by the singer Komatsu Kosuke.

Then on 30 October 1925 she sang ‘Un bel dì, vedremo’ from “Madama Butterfly”
and 'Quel guardo il cavaliere' from "Don Pasquale" at the Keio University Auditorium
(慶應義塾).

On 1 February 1927 it was reported in The Pheonix Arizona Republican that she had
been questioned about her patriotism by the Metropolitan Police Board of Tokio (sic)
for singing verses from the Russian march the ‘Red Flag’ at Waseda University in
front of a group of young students. She said she had previously sung these at Shiba
Kyoochekai Hall (sic) in front of a group of young people and 200 policemen and that
at the time there had been no reaction, remarking that it was just a German ballad.

Later on in 1927 she left Japan and went to Italy, at the time a Fascist State under
Benito Mussolini (ベニート・ムッソリーニ), to study at the University of Bologna (ボ
ローニャ大学) where she also sang at the Teatro Reggio Emilia at a fundraiser in
support of the blind. She was also cast for the Rovigo (ロヴィーゴ) Opera Season
 In 1927 at the age of 22 at the Barcelona Olympic Theatre, Spain,
as Gilda in Verdi’s ‘Rigoletto’ (リゴレット)

In 1928 aged 24 as Lucia in Donizetti’s ‘Lucia de Lammermoor’ (ランメルモールのルチア) in front of a

full house at the Marie Blanzat Theatre in Venice, Italy

In January 1928 she performed in recital at the Milan Continental Hall to great
reviews and in February she was invited to perform in Florence where she was
awarded with the ‘Leonardo da Vinci’ Medal of Fine Arts. That same year in May she
was the first Japanese citizen to be awarded a Special Diploma by the Royal
Philharmonic Academy of Bologna (アカデミア・フィラルモニカ・ディ・ボローニ
ャ) and during three months that she spent in Spain she received a diploma from the
Conservatory of Livorno (リヴォルノ) which was presented to her by Pietro
Mascagni (ピエトロ・マスカーニ).

On the 8th May 1928 she wrote to the musician Adolfo Gandino from her apartment
at 11 Via Bocaccio in Milan.

Author’s collection
Dear and excellent Signor Maestro,
Thank you very much for the many courtesies that were continually extended to me
in the USA.
I am very sorry I am not able to express myself as well as I would like to in Italian as
I am able to in Japanese; which I know.
My father is extraordinarily pleased and joins me in thanking you with all my heart.
I received the papers, many thanks!
I am painfully sorry I cannot accept the invite to Spain.
I still hope to come to Bologna soon. However, I will not be free before (the
beginning of) next month. My extended greetings to all my friends in Bologna,
especially the President of the Philharmonic.
Thanking you very much again, believe me I am much obliged
Toshiko Sekiya
Via (Giovanni) Boccaccio 11, Milano.
Signed 関屋敏子 (Sekiya Toshiko) in Japanese

Via (Giovanni) Boccaccio 11, Milano

On the 29th June 1928 she again wrote to Adolfo Gandino this time from an
apartment at Via (Giovanni) Rasori 2 in Milan to where she had moved in the interim.

Author’s collection

Dear and excellent Signor Maestro,

How are you Maestro?
I'm always very well and study with great passion. I have now moved to the home of
the Cortella family at Via Rasori 2, Milan. It is a distinguished family and I am so very
fortunate. Forgive me for not having written for such a long time. I have been very
busy. Happily my concert in Genoa was a completely successful evening. Please be
happy at my good news. I have now sent the papers from Genoa. Please write to me
with your news. Many, many greetings to you from my father.
Many dear greetings to your family.
(Yours) Faithfully
Toshiko Sekiya
Via (Giovanni) Rasori 2, Milan
 Via (Giovanni) Rasori 2, Milan

Under the tutelage of the Italian soprano Rosina Storchio she successfully
auditioned for and joined La Scala (スカラ座) Milan as a lead soprano. The three
operas which she mastered early on were ‘La Traviata’ (椿姫), ‘Lucia de
Lammermoor’, and ‘Rigoletto’. At the time she received invitations to tour Germany
and the USA.

In April 1929 she was invited to perform at an evening recital at the Japanese
Legation in Vienna and whilst in Austria she was invited to perform for the Austrian
President Miklas (ヴィルヘルム・ミクラス) in the presence of the celebrated
musician Richard Strauss (リヒャルト・シュトラウス) from whom she received an
extraordinary eulogy.

In 1929, aged 25, in Bologna, Italy, photographed together with the daughters of a Sienese multi-
millionaire who were both delighted at wearing Japanese kimonos. In such a fine artistic country as
Italy wearing her kimonos incidentally enhanced her reputation

In the Lewiston Daily Sun (18 February 1932) it was reported that her father travelled
with her carrying many photographic mementoes of her achievements and it is
entirely reasonable that he was living with her in Milan as in her letters from there
she regularly refers to him and she travelled with him on 4th Sept 1929 on the SS
Majestic (マジェスティック) to New York from Southampton via Cherbourg and
later, in 1934, on the Terukuni Maru (照国丸) to Japan. In December 1929 when she
arrived back in Japan for the first time since leaving she marked the occasion by
opening there with her first recital at the Tōkyō Metropolitan Hibiya Public Hall (日比
谷公会堂).

She spoke four languages other than her native Japanese; English, Italian, French
and Spanish.

In February 1930, at the age of 23, she starred alongside the Japanese Tenor
Yoshie Fujiwara (藤原義江) in ‘La Traviata’ (椿姫) at the Kabukiza Theatre in Tōkyō
and when she performed the role across Europe it was very well received.
On the 1st October 1930 the film ‘Komoriuta’ (子守歌: Lullaby), directed by Suzuki
Shigeyoshi (鈴木重吉), was released by Empire Kinema Entertainment (帝国キネマ
演芸). Sekiya Toshiko starred as Ono Michiko (小野みち子) alongside Sekiya Kimiko
(関谷喜美子) who played the role of Seina (セイナ). It also starred Matsumoto
Taisuke (松本泰輔) as Keisuke Shingūji (新宮寺圭介) and Nakano Eiji (中野英治) as
Izumikawa (泉川). It premiered at the Asakusa Shochikuza Theatre (浅草松竹座) and
was Japan’s first East Phone film style ‘talkie’ (イースト・フォン式トーキー) which
is, unfortunately, a ‘lost film’.

She then left Japan on 21st April 1931 to tour Europe and the USA. In 1931 she
performed in recitals more than sixty times during a Pacific Coast tour of the USA
and travelled again to the USA that same year. On 27 May of the same year she
sang at the joint Japanese Society of America - San Francisco Chamber of
Commerce reception attended by James Rolph Jnr (ジェームズ・ロルフ), the then
Governor of California, welcoming on their honeymoon Prince Takamatsu (高松宮宣
仁親王) and his bride Kikugo Tokugawa (宣仁親王妃喜久子), the grand-daughter of
the last Shōgun Tokugawa Yoshinobu (徳川慶喜), to San Francisco which was
broadcast on NBC-WJR Radio. In September she sang at the Hollywood Bowl (ハリ
ウッド・ボウル), a 40,000 seater open air amphitheatre, at the La Fiesta
programme which was attended by the Japanese politician Ozaki Yukio (尾崎行雄).
According to the memorial stone which was erected in November 1942 at Soji-ji
Temple (總持寺) in Yokohama where she is buried she was subjected to anti-
Japanese jeering by a large part of the crowd though as the memorial stone was
erected by the Sakurakai, the ultra-nationalist Cherry Blossom Society (櫻會), this
may just have been Second World War propaganda. According to the same
memorial stone inscription she also attended a meeting of Japanese nationals at the
Shrine Auditorium in Los Angeles where she led the singing of the Japanese
National anthem ‘Kimi ga Yo’ (君が代) under the raised ‘Hi no Maru’ (日の丸), the
Rising Sun flag of Japan for which her performance was lauded by the rightist
politician and writer Tokutomi Sohō (徳富蘇峰). Again, as the stone was erected in
1942 at the height of the Second World War, this could have been ultra-nationalist
propaganda.

In 1931 the Russian Orientalist Evgeny Genrikhovich Spalvin, who was working as a
translator and diplomat for the Soviet in Japan, tried to organise appearances in
Moscow for her but it was not approved by VOKS (All-Union Society for Cultural
Relations with Foreign Countries).

A memento portrait photograph given by her to the Yasui family of Hood River,
Oregon, gives this as her location on 22 September 1931.

http://ddr.densho.org/ddr/densho/259/232/

Her debut in New York on 19 February 1932 at the New York Town Hall was
reported in the press across the USA many of which also referred to the background
of Japanese military activities in the Far East.

USA press photo, 1932

After her debut recital in New York she travelled to Europe where she sang in Rome
and was immediately invited to Bologna for a week of performances at the Duse
Theatre (Teatro Duse) after which she went straight on to perform in Turin, then in
Milan in June and at the Sforza Castle (スフォルツェスコ城) Concert Hall in Milan in
July. Whilst in Milan she performed at La Scala where she received an award to
celebrate her achievements in the arts and in composition.

In 1933 she heard Saita Aiko (斉田愛子), the Japanese-Canadian mezzo soprano,
sing at a recital in Vancouver. She was so impressed she encouraged Aiko to train in
Italy and when Aiko sailed for Italy Toshiko arranged for introductions to a teacher,
Madam M Ripa, in Milan. She also performed in Seattle for the Japanese Issei (一世)
(first immigrants from Japan who settled in North America) living there.

In April 1933 whilst staying in Paris she performed in a recital organised by the
Japanese-French Society at the Salle Pleyel (サル・プレイエル) and premiered at
the Paris Opera (パリ国立オペラ) ‘O-Natsu Kyōran’, Summer Madness (お夏狂乱),
an opera which she had been composing whilst on tour. The libretto was by the poet
Ryuko Kawaji (川路柳虹).

The same year she received an invitation from Japanese-British Society to perform
in an opening recital in London and in October she was invited to Berlin by the
Japanese-German Society and performed at the East Asia Institute (東アジアセンタ
ー).

At the time UFA German (ウーファ - 映画会社) movie studio had bought from the
violinist, composer and film maker Kishi Kōichi (貴志康一), who was working in Berlin
at the time, ‘Mirror’ (鏡) a 16 minute documentary film about young modern
Japanese who had left Japan and who, on their return home, had re-engaged with
the ancient traditions of their home country. A new scene was filmed in the UFA
studio and incorporated into the original.

The film was completed for release in the summer of 1933 and was shown as a
prelude to a screening of the German film ‘Walzerkrieg’ (The Battle of the Waltzes) in
October and then at a ‘Japanese Evening’ on the 25 March 1934. Toshiko received
an invitation from the UFA to appear in a French version which was made at the
beginning of 1934 for which she was filmed performing. An English language version
was also planned. The film was viewed by some critics as Japanese propganda but
by others as merely a cultural curiousity.

It was thought to be a ‘lost film’ but the National Film Centre (フィルムセンター) in
Tōkyō discovered a copy in the archives of the German Federal Film Museum and it
was screened in Japan in 2005 and more recently in November 2009 at the
University of Tōkyō College of Arts and Sciences on the occasion of the 100th
anniversary of Kishi Kōichi’s birth, and in October 2010 at the National Museum of
Modern Art, Kyoto.

Aged 27

After four years away in April 1934, accompanied by her father, she returned home
on the ship the Terukuni Maru (照国丸). At the time she commented that she was
glad to be going home but had left Opera in Europe in an uncertain state. She
stopped off in Singapore to give a recital under the auspices of the Singapore
Japanese Club, accompanied by Margarete Zimmt on piano, on the 5th April 1934 at
the Victoria Memorial Hall. It was reported by the Straits Times that she wore an
emerald green dress, did not have a powerful voice but that where she succeeded
was in her purity of tone and control as she sang the Bell Song from ‘Lakme’,
Ofelia’s (sic) song from ‘Hamlet’, and an aria from Mozart’s ‘Magic Flute’, Caccini’s
‘Amarilli’, and Pergolesi’s ‘Se to M’ami’, as well as Japanese language recitals of the
poems of Ryuko Kawaji (川路柳虹) to music she had herself composed.

Commemorative photo taken at her performance in front of the His Royal Highness the Crown Prince
and his Imperial family at the Tōkyō Jikei University (東京慈恵会医科大学) after she returned from
Europe
In late June 1934 there was a second recital to celebrate her return to Japan when
‘O-Natsu Kyōran’ (お夏狂乱) opened and premiered at the Kabukiza Theatre (歌舞伎
座) after which, in early July, it played at the Ōsaka Asahi Hall. The costumes were
provided by Mitsukoshi. She then toured Japan performing in more than 50 recitals
nationwide.

On 8th June 1935 representing Victor Music, the Japanese record company, Toshiko
and Katsutaro Kōta (小唄勝太郎) welcomed the soprano Amelita Galli-Curci on
arrival when she visited Tōkyō.

In 1935 ‘O-Natsu Kyōran’ (お夏狂乱) once again played in Tōkyō for 10 days from 1
December and then in Ōsaka for 22 days from the 13 December.

In 1937 she married Yagyū Gorō (柳生五郎) who was the Yagyū Ryū style
swordsmanship instructor to the son of Yagyū Toshimasu (柳生俊益), last Lord of the
Yagyū Clan (柳生藩) from Yamato Province (大和国) but divorced 4 years later.

On 3 February 1937 Sekiya Toshiko throwing beans at the Kotohira Shrine Setsubun Festival (金刀比
羅神社節分祭). She was accompanied by M. Georges Botnnarchand, the senior interpreter at the
French Consul in Tōkyō. L’Illustration magazine, No. 4906, 13 March 1937.
In April 1938 in Tōkyō, to welcome the musical Maestro Adolfo Gandino to Japan,
she composed the musical score called ‘La Maison Italienne à Tokio’ (subtitled
‘Benvenuto’ in Italian and in Japanese called ‘Wholeheartedly’ もろ手をあげて) for
which Baron Ōkura Kishichirō (大倉喜七郎) wrote the lyrics.

Author’s collection

(1) モロテヲアゲテ ムカヘナム Wholeheartedly, we bid you welcome

(2) もろてをあげて むかへなむ Wholeheartedly, we bid you welcome
(1) Benvenuto, benvenuto, aprendo, gioiosi, le braceia, Openly and joyously we welcome you with open arms, welcome!
(2) Benvenuti, benvenuti, abracio aperte via ecco gliano Welcome! Welcome! The way here, with an open embrace, is how
we like to captivate

(1) ワレラワレラガトモヨ カガヤカニサクラハハエミテ We are true friends Glory in the bewitching cherry blossom
(2) われらがともよ ローマ よりぶんかはながれWe are true friends from Rome civilization flows
(1) O nostriami ci, via diamo benveonto sorribono per voi Our friends, we have welcoming smiles for you
(2) O amici Da Roma irradia la civilta Our friends from Rome spreading civilisation

(1) ハレバレト テフマヒイヅルハルノコノ… cheerfully butterflies dance in the rising sun this spring day
(2) あしやよりひはさしのぼるびをあいし Asia from day was face to face rising, Beauty is loved
(1) i ciliegi in fiore, e le far falle in torno Avoi intrecinnio Flowering Cherry trees and butterflies, intertwined, surround you
(2) dal li Asia sorge il so le uniti nell amore del belleo notire From Asia the sun is rising and we are united in a shared love of their
wonderful news,

(1) …ヒ ヒカリハアフレミチハルバルトトヒキシキミ… light is overflow Long from afar visiting you are
(2) ...し しぜんをこのむこのりょうごくのたみいよむす… naturally is like this two countries is nation very union
(1) legami gentili in que sta giornata luminosa with bonds of kindness on this bright day
(2) quest li due po li si sti uogono ognora nel l’giu li to d’oggi yes both of them have blessings continually raining down on them,
as today they

(1) …ヲ テソモチモトモニイダカソ… Heaven also earth also together will rise up

(2) … び あひむすぶけけたのしさ Together harmonious today’s enjoyment
(1) di primavera parole fraterne of Spring with words of comradeship
(2) si scanbiano sensi di amicizia Da Roma irradia exchange the meaning of friendship From Rome spreads

(1) …モロテヲアゲテムカヘナム Wholeheartedly we bid you welcome

(2) われらがともよもろてをあげて We are true friends, wholeheartedly
(1) Sorrisi da micizia And the friendly smiles
(2) la civilta dal Asia solge il so le civilization from Asia the sun is rising

(1) ワレラガ トモヨワレラガ トモヨ We are true friends, We are true friends
(2) もろてをあげてむかへなむ Wholeheartedly we bid you welcome
(1) di camerati marcianti verso la Vittoria of comrades marching towards Victory
(2) Uniti nell amore verso la vittoria United in love towards victory
The date of this event is given as 1939. Though no location is given the escalating military and
political situation around the world and the increasing polarisation between the Allies and the Axis
powers at the time would have been affecting the travel of civilians so it’s likely that this meeting may
have taken place in Japan. Caption on reverse [translation]: "Italian Music Association Formed. Our
prominent musical figure who studied in Italy is planning to form an association to strengthen the ties
of friendship between Japan and Italy. The opening ceremony was held from 1:00 p.m. (The picture
shows the attending musicians, from right, Toshiko Sekiya, Ayako Kikuchi, Yoshiko Nagasaka,
Tamaki Miura, and Miss Chiyako. In the front row from right are Hirano and others.)"
http://ddr.densho.org/ddr/njpa/4/937/

In October 1941 the Soviet spy Richard Sorge (リヒャルト・ゾルゲ), and a

Japanese accomplice Ozaki Hotsumi (尾崎秀実) were arrested for espionage and
incarcerated in Sugamo Prison (巣鴨プリズン). Though her sister Kimiko always
denied her sister’s involvement in the Sorge Affair, Toshiko, who had also been
under investigation and who it was rumoured was one of Sorge’s mistresses,
committed suicide at home (16 days after Sorge was executed) on the 23rd of the
following month after performing in ‘La Traviata’ at the Imperial University, (帝国大学)
overdosing on sleeping pills. She had been deeply immersed in composing an opera
called ‘Tomoe Gozen’ (巴御前) and was reputedly completely exhausted and was
worried her voice was failing her. Toshiko’s suicide note which was written on the
back of a sheet of music which she had composed called ‘Noibara’, Field of Thorns (
野いばら)…

‘Even if at the age of thirty-eight I, Sekiya Toshiko, am scattered like fragrant cherry
blossoms I realise that I will not be lost forever. With sincerity I will keep Toshiko’s
honour safe for eternity, year after year for a million years the world will know how, in
this, I demonstrated the purity of my heart, thoughtfully done to protect the dignity of
the arts of greater Japan. Sekiya Toshiko, suicide note’

関屋敏子は、三十八歳で今散りましても、桜の花のようにかぐわしい名は永久消え
る事のない今日只今だと悟りました。そして敏子の名誉を永久に保管していただ
き、百万年も万々年も世とともに人の心の清さを知らしむる御手本になりますよ
う、大日本芸術の品格を守らして下さいませ。— 関屋敏子、遺書

However it was reported in ‘The Hawaii Mainichi’ that she had hung herself.
After Toshiko’s death a waka (see below) written by her grandmother Ikeda Ito came
to light. The waka was found in a box of her papers. Though she had left instructions
for her papers to be burnt, as a consequence of the last will and testament of her
mother Aiko, who died in 1967, they were preserved. Toshiko also left an ornate
sword with mother of pearl inlays complete with a tachi stand.

She is buried in Soji-ji Temple (總持寺), adjacent to Tsurumi University (鶴見大学) in

Yokohama.
 Memorial stone erected at Soji-ji Temple (總持寺), Yokohama, in November 1942

Inscription…

The Great Poet

Miss Sekiya Toshiko

A long time accomplished revolutionary sleeps on this hill, Miss Sekiya Toshiko who
was for Japan like a captivating jewel, a great poet, and of the five great singers in
the world was number one. In May Showa 2 (1927) in Italy, she was conferred with
the Music University of Bologna’s special certificate. Then again she was awarded
from the city of Florence the ’Leonardo da Vinci’ Medal of Fine Arts. In the USA she
was invited to perform a solo recital at the ‘Hollywood Bowl’ a 40,000 seater in Los
Angeles where she charmed both nationals and foreigners alike in the audience into
dumbstruck admiration in spite of a noisy protest from a crowd of around 10,000
protestors invited by the State of California who were chanting anti-Japanese
slogans. At the Shrine Auditorium where she held a recital the entire audience who
were in attendance stood to attention as one under the ‘Hi no Maru’ (Rising Sun)
Imperial Japanese flag and sang in unison the Japanese National Anthem ‘Kimi ga
Yo’ during which she competed to be heard though because they were Japanese
she could not but naturally be diplomatic, which promoted her reputation and earned
her the praise of the literary master of words the venerable gentleman Tokutomi
Sohō (徳富蘇峰) who said that ‘her song was like a jewel’ and that this, as it was
understood, was reflected in Madame’s character. Now, after all this time, Madame
has left and her country has, alas, suffered such a great loss.

Miss Sekiya Toshiko, accompanied by two tanka (短歌), the words of this world

Donated in honour of one whose reputation is a sparkling jewel of this country

In whose name this object was constructed
Even if the physical body has vanished into eternity
The reputation of this youthful spirit remains radiant

Built in Showa 17 (1942) November – Sakurakai, Cherry Blossom Society (櫻會)

歌聖
関屋敏子女史

天偉人ヲ生ス永ク此山ニ眠ル関屋敏子女史ハ我日本
ノ生メル國寶的歌聖ニシテ界五大歌手ノ一タリ昭和
二年五月伊太利ボロニア音楽大學ヨリ特別卒業證書ヲ授
輿サレ又フローレンス市ヨリ「レオナルドダビンチ」藝術章
ヲ贈ラル 米國合衆國羅府ニ於テ四萬人ヲ容ルゝ「ハリウッ
ドボール」劇場ニテ獨唱ス是レ本邦歌手最初ノ出演ニシテ
内外人ヲ驚嘆セシメタリ 尚排日ノ囂々（ごうごう）タル加州ニ於テ
萬餘ヲ容ルゝ シュライン公會堂ニテ獨唱會開催シ満堂ノ
聴衆ヲシテ大日本日ノ丸ノ國旗ノ下ニ起立セシメ國歌君
ケ代 ヲ齊唱シ一女性ノ身ヲ以テ私的國民外交ノ實ヲ挙
ゲツゝ少女外交ノ名ヲ轟カセリ 文豪徳富蘇峰翁ハ讃シ
テ「其音玲瓏其人如玉」 ト以テ女史ノ人格ヲ知ル可シ 今
ヤ女史逝テ無シ國ノ損失ヤ大ナリ噫悲哉」

関屋敏子女史辭世之和歌二首

光に生きん我名わか魂
國寶の名をかふむりしほまれ思ヘば
我名はわれのものならずして
現身の身は消ゆるともとこしえへに

昭和十七年十一月建之 櫻會

Headstone of the family grave at Soji-ji Temple (總持寺), Yokohama

總持寺敷地内の区画名は「五院右1-1-13」
http://9326.teacup.com/tachibanaya/bbs/t2/21-23

「リジヱンドル/李善得」 Charles William LeGendre (26 Aug 1830 – 1 Sept 1899)

「池田絲」 Ikeda Ito (1856 -1913)
「市村録太郎」 Ichimura Rokutarō, later known as Ichimura Uzaemon XV
(5 Nov 1874 – 6 May 1945)
愛子の夫「関屋祐之介」 Aiko’s husband Sekiya Yūnosuke
「関屋愛子」 Sekiya Aiko (23 August 1881 – 1967)
「関屋敏子」 Sekiya Toshiko (12 Mar 1904 -23 Nov 1941)

It is possible that「野口喜美子/関谷喜美子」Noguchi nee Sekiya Kimiko (1917 - ) is

also interred here but her name has not been inscribed on the stone
 「関屋敏子」Sekiya Toshiko
http://9326.teacup.com/tachibanaya/bbs/t2/21-23

In 1987 the Japanese company Victor Entertainment digitised a selection of her

songs including Yoimachigusa (宵待草: Evening Primrose), Kōjō no Tsuki (荒城の月:
The Moon over the Ruined Castle), Noibara (野いばら: Field of Thorns), and others

Sekiya Toshiko in Digital (関屋敏子イン・デジタル)

This nagajuban under-kimono (circa 1930s) is decorated with a set of diagonally

arranged images of piano keyboards and libretti from two songbooks and two
singers, the “Lullaby of Edo” (“Edo Komoriuta”) by opera singer Sekiya Toshiko
(1904–1941), and the “Flowers of the Linden Tree” (“Bodaiju no hana”) by an
unidentified woman named Takeko (The Met)

Ikeda Ito’s waka dedicated to her son, Toshiko’s uncle the Kabuki actor Ichimura
Uzaemon XV

A dagger in my hand (holding a dagger to commit suicide)

Free of bitterness at the end and facing death I think now only of my child with
unbearable wonder,
(In my sorrow, as I think of death, it seems this child has future prospects and my
spirit is transformed)
Even if the usual means of farewell is to be by a drawn long sword my dearest child,
the child of my heart, is magnificent
(At the time of death when, child of my heart, we are torn apart the unsheathed
sword is put aside)
A neighbour bestows great prospects on a high ranking person’s child whose mother
country he is destined to serve!
(The child of a worthy person lately succeeding in his career who for the sake of
destiny is dedicated to his mother country)

ふところ刀を手にしつつ（懐剣を持って自害しようとしている）
うらみなむ吾子の末さへ思われて死ぬるいまはのただならぬかな
（私を恨むだろうこの子の将来が思われて死のうとしている私は気が動転してい
る）
さらばとて太刀ぬきつつもかたへなるいとしき吾子に心ひかるる
（さあ死のうと刀を抜いたが傍に寝かした子に心を惹かれてためらわれる）
よき人の子となりて世に栄えかし母は御国につくす命ぞ
（立派な人の子になって出世しておくれ母はお国のために命を捧げます）

Photographic images published before December 31st 1956, or photographed

before 1946 and not published for 10 years thereafter, under jurisdiction of the
Government of Japan, are considered to be public domain according to article 23 of
old copyright law of Japan and article 2 of supplemental provision of copyright law of
Japan

Rivista Teatrale Mellodramatica (Mellodramatica Theatre Review)

Toshiko Sekiya

La mirabele cantante giapponese interprete di tutto il nostro repertorio lirico

leggero, ritorna in Italia dopo una lunga trionfale “tournée” al Giappone, in
Cina, in Manciuria, nell’America dell Nord – Duecento concerti in un arino e
mezzo! – La prima interprete di “Traviata”, in lingua italiana a Tokio –
Memorabile concerto alla Town Hall di New York – La Toshiko Sekiya acclamata
anche come compositrice Giudizi entusiastici della stampa americana – il
recentissimo trionfo della deliziosa artista nella “Sonnambula” a Bologna – Un
concerto al Circolo della Stampa

The wonderful Japanese singer, interpreter of all our light lyrical

repertoire, returns to Italy after a long triumphant "tour" to Japan, China,
Manchuria, North America – Two hundred concerts in one and a half
years! – The first interpreter of "Traviata", in Italian in Tokyo – Memorable
concert at the Town Hall in New York – Toshiko Sekiya also acclaimed as
a composer Enthusiastic reviews of the American press – the very recent
triumph of the delightful artist in the "Sonnambula" in Bologna – A
concert at the Circolo della Stampa

Author – Trevor Skingle. Brixton, London

Photographic images published before December 31st 1956, or photographed

before 1946 and not published for 10 years thereafter, under jurisdiction of the
Government of Japan, are considered to be public domain according to article 23 of
old copyright law of Japan and article 2 of supplemental provision of copyright law of
Japan