The project “Tingsagu” is a meeting between the roots of the Japanese tradition and Western harmonies, and producing not a stereotyped “etno-fusion” kind of music, but for the marriage of common elements that are used as a stimuli to invent emotions that are then spread so very far, in the same way as the seeds of Balsamina” plant, are thrown far and wide when they reach maturity. The repertoire is characterized by some of the most well known popular songs from medieval times to the end the 20th Century. A journey that begins in Okinawa, capital of the folkloristic music of the most Southern isles of the country, and then continues to the central regions, where the intellectual nobility developed and gave rise to an expressive artistic research and the “Bushido”, the samurai discipline, it then makes a stop in the island of Hokkaido and finishes in the extreme North of Japan, where it meets the population of the “Ainu” considered to be the oldest ethnic group in Japan. To call arrangement the work that Walter Lupi has erected on the melodies of a traditional Japanese repertoire is not only restrictive and trivial but also not true; Lupi does not arrange, he rebuilds, he does not elaborate, but he edifies, and extracts from the precious melodies of the Japanese songs that are used, all the shades that are necessary for the refined ability of his instrument, transforming the dirges, nursery rhymes and vocal sweetnesses in the most varied array of “musical visions”. Warm and rounded, soft and reckless, pungent and persuasive are the adjectives that come to mind when I listen to Kozato’s vocal instrument; known and appreciated by me as a mezzo-soprano involved with contemporary vocal technicalities (from Berio to Solbiato), Akiko literally enveloped this songs with the sound curves of her singing, freeing some expressive technicalities that exploit the whole of the vocal system.