Busan Concert Hall opens with finest talent, advanced infrastructure
Opening festival led by Artistic Director Chung Myung-whun showcases Busan's potential as a classical music hub
BUSAN — After Maestro Chung Myung-whun concluded Sunday evening's concert at the new Busan Concert Hall, he traced a circle in the air with his finger before gently tapping his heart — a gesture that seemed to acknowledge not only the musicians on stage but also the audience, who responded with a standing ovation.
It was a moment of gratitude and recognition, shared by all present at a historic milestone in Busan's classical music journey. The city's long-awaited concert hall finally opened its doors last weekend.
Chung, who serves as the artistic director of Classic Busan, a municipal office of Busan Metropolitan City responsible for operating the Busan Concert Hall and the Busan Opera House, which is set to debut in 2027, took the podium three times over the weekend.
Friday's performance was an invitation-only concert, attended by government officials and various dignitaries, many of whom were not seasoned classical music listeners, as evidenced by applause between movements.
The program, featuring Beethoven's Triple Concerto in C major, Op. 56 and Symphony No. 9 in D minor, Op. 125 "Choral" was repeated Saturday afternoon. This time, classical music enthusiasts from Busan — Chung's hometown —filled the seats, and the atmosphere was entirely different: charged, attentive and emotionally resonant.
On Sunday evening, Chung, who is also set to lead the prestigious Teatro alla Scala in Milan from 2027, conducted Beethoven's Piano Concerto No. 5 in E flat major "Emperor" with celebrated pianist Cho Seong-jin at the keyboard and Symphony No. 3 in C minor Op. 78 "Organ."
For all three performances, the 72-year-old towering figure of Korean classical music performed works he had fully internalized, entirely from memory — except the Triple Concerto in C major, Op. 56, for which he both conducted and played the piano.
Pipe organ, a rare instrument
The weekend also marked the public debut of the concert hall's pipe organ — a rarity outside the Seoul metropolitan area. Crafted by Germany's Freiburger Orgelbau, the instrument features 4,423 pipes and 64 stops, capable of producing a range of tonal colors.
Renowned pianist and organist Cho Jae-hyuck opened Sunday's concert with Bach's Toccata and Fugue in D minor, BWV 565, showcasing the full dynamic range and architectural resonance of the new instrument. Returning for the second half of the performance on Sunday, Cho and the APO presented Saint-Saens' Symphony No. 3 in C minor Op. 78 "Organ."
'This organ is large in scale and divided into multiple divisions, allowing it to accommodate a wide range of genres and performance contexts. Depending on how it's combined, it can produce majestic or harmoniously blended sounds, like a palette filled with a rich variety of colors. Each element isn't just optional; rather, every part serves a specific purpose with clear intent. Being able to perform using all of these thoughtfully designed components is incredibly rewarding,' Cho said during an interview over the weekend.
'I hope that Busan citizens will discover the unique charm of each stop (each referring to a particular set of pipes that produces a distinct sound) one by one,' Cho added.
Top Asian musicians gather in Busan
The Asia Philhamornic Orchestra comprises top-tier musicians from Korea, China and Japan — or those who have a strong connection with Korea. It has alternated between periods of activity and hiatus since its founding in 1997.
Reconvening under Chung's direction for the opening of the Busan Concert Hall, the APO was responsible for showing the concert hall's full potential.
The concertmaster was Park Ji-yoon, who also holds the distinction of being the first Asian and first woman to serve as concertmaster of the Orchestre Philharmonique de Radio France. Other Korean musicians at the world's top orchestras also returned to perform on home soil, including Kim Han, principal clarinetist of the Paris National Opera, and Park Kyoung-min, violist with the Berlin Philharmonic.
The orchestra also included musicians from the Tokyo Philharmonic Orchestra, the China National Center for the Performing Arts Orchestra and Alexander Baty, principal trumpet of the Munich Philharmonic.
'When we come together under Maestro Chung, the music flows more naturally because we understand his conducting so deeply," Park said in an interview ahead of Saturday's concert.
The 2,011-seat Busan Concert Hall, located inside Busan Citizens Park, features a vineyard-style seating that wraps around the stage, offering visual intimacy and optimal acoustic distribution. A sound cloud suspended above the audience adjusts audio direction to ensure even acoustics throughout the hall. The concert hall also includes a 400-seat chamber hall.
Choi Jin, Korea's top tonmeister, said that a new concert hall typically takes some time to settle acoustically, but 'The venue is remarkably well-settled for such an early stage of its opening.'
Sunwoo Ye-kwon, the first Korean winner of the Van Cliburn International Piano Competition in 2017, expressed his excitement for Busan's new addition. 'Musicians are grateful for this new venue for classical music," he said.
On Monday, the celebrated pianist was set to take the stage with members of the APO to present "Beethoven and Romanticism," further showcasing the potential of the chamber hall.
On Wednesday, Chung will again take the stage as a pianist at the chamber hall to present a selection of masterpieces of Viennese classical chamber music alongside APO members.
The opening festival continues until Saturday, when a concert opera of Beethoven's 'Fidelio' will wrap up the festival.
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Korea Herald
4 days ago
- Korea Herald
Busan Concert Hall opens with finest talent, advanced infrastructure
Opening festival led by Artistic Director Chung Myung-whun showcases Busan's potential as a classical music hub BUSAN — After Maestro Chung Myung-whun concluded Sunday evening's concert at the new Busan Concert Hall, he traced a circle in the air with his finger before gently tapping his heart — a gesture that seemed to acknowledge not only the musicians on stage but also the audience, who responded with a standing ovation. It was a moment of gratitude and recognition, shared by all present at a historic milestone in Busan's classical music journey. The city's long-awaited concert hall finally opened its doors last weekend. Chung, who serves as the artistic director of Classic Busan, a municipal office of Busan Metropolitan City responsible for operating the Busan Concert Hall and the Busan Opera House, which is set to debut in 2027, took the podium three times over the weekend. Friday's performance was an invitation-only concert, attended by government officials and various dignitaries, many of whom were not seasoned classical music listeners, as evidenced by applause between movements. The program, featuring Beethoven's Triple Concerto in C major, Op. 56 and Symphony No. 9 in D minor, Op. 125 "Choral" was repeated Saturday afternoon. This time, classical music enthusiasts from Busan — Chung's hometown —filled the seats, and the atmosphere was entirely different: charged, attentive and emotionally resonant. On Sunday evening, Chung, who is also set to lead the prestigious Teatro alla Scala in Milan from 2027, conducted Beethoven's Piano Concerto No. 5 in E flat major "Emperor" with celebrated pianist Cho Seong-jin at the keyboard and Symphony No. 3 in C minor Op. 78 "Organ." For all three performances, the 72-year-old towering figure of Korean classical music performed works he had fully internalized, entirely from memory — except the Triple Concerto in C major, Op. 56, for which he both conducted and played the piano. Pipe organ, a rare instrument The weekend also marked the public debut of the concert hall's pipe organ — a rarity outside the Seoul metropolitan area. Crafted by Germany's Freiburger Orgelbau, the instrument features 4,423 pipes and 64 stops, capable of producing a range of tonal colors. Renowned pianist and organist Cho Jae-hyuck opened Sunday's concert with Bach's Toccata and Fugue in D minor, BWV 565, showcasing the full dynamic range and architectural resonance of the new instrument. Returning for the second half of the performance on Sunday, Cho and the APO presented Saint-Saens' Symphony No. 3 in C minor Op. 78 "Organ." 'This organ is large in scale and divided into multiple divisions, allowing it to accommodate a wide range of genres and performance contexts. Depending on how it's combined, it can produce majestic or harmoniously blended sounds, like a palette filled with a rich variety of colors. Each element isn't just optional; rather, every part serves a specific purpose with clear intent. Being able to perform using all of these thoughtfully designed components is incredibly rewarding,' Cho said during an interview over the weekend. 'I hope that Busan citizens will discover the unique charm of each stop (each referring to a particular set of pipes that produces a distinct sound) one by one,' Cho added. Top Asian musicians gather in Busan The Asia Philhamornic Orchestra comprises top-tier musicians from Korea, China and Japan — or those who have a strong connection with Korea. It has alternated between periods of activity and hiatus since its founding in 1997. Reconvening under Chung's direction for the opening of the Busan Concert Hall, the APO was responsible for showing the concert hall's full potential. The concertmaster was Park Ji-yoon, who also holds the distinction of being the first Asian and first woman to serve as concertmaster of the Orchestre Philharmonique de Radio France. Other Korean musicians at the world's top orchestras also returned to perform on home soil, including Kim Han, principal clarinetist of the Paris National Opera, and Park Kyoung-min, violist with the Berlin Philharmonic. The orchestra also included musicians from the Tokyo Philharmonic Orchestra, the China National Center for the Performing Arts Orchestra and Alexander Baty, principal trumpet of the Munich Philharmonic. 'When we come together under Maestro Chung, the music flows more naturally because we understand his conducting so deeply," Park said in an interview ahead of Saturday's concert. The 2,011-seat Busan Concert Hall, located inside Busan Citizens Park, features a vineyard-style seating that wraps around the stage, offering visual intimacy and optimal acoustic distribution. A sound cloud suspended above the audience adjusts audio direction to ensure even acoustics throughout the hall. The concert hall also includes a 400-seat chamber hall. Choi Jin, Korea's top tonmeister, said that a new concert hall typically takes some time to settle acoustically, but 'The venue is remarkably well-settled for such an early stage of its opening.' Sunwoo Ye-kwon, the first Korean winner of the Van Cliburn International Piano Competition in 2017, expressed his excitement for Busan's new addition. 'Musicians are grateful for this new venue for classical music," he said. On Monday, the celebrated pianist was set to take the stage with members of the APO to present "Beethoven and Romanticism," further showcasing the potential of the chamber hall. On Wednesday, Chung will again take the stage as a pianist at the chamber hall to present a selection of masterpieces of Viennese classical chamber music alongside APO members. The opening festival continues until Saturday, when a concert opera of Beethoven's 'Fidelio' will wrap up the festival.
Korea Herald
5 days ago
- Korea Herald
La Scala's Ortombina on maestro Chung Myung-whun, Verdi and opera's future
BUSAN -- During the opening weekend of Busan's much-anticipated new concert hall, conductor Chung Myung-whun -- artistic director of Classic Busan, the municipal office overseeing the Busan Concert Hall and the upcoming Busan Opera House -- led a series of inaugural concerts that signaled a new chapter in the city's cultural ambitions. Among those in attendance was Fortunato Ortombina, artistic director of Milan's Teatro alla Scala, one of the world's most storied opera houses. Ortombina, who has worked closely with Maestro Chung over two decades, shared personal reflections and outlined a vision for deepening ties between Busan and La Scala. In an interview with Korean media on Saturday, Ortombina recalled his first glimpse of Chung in 1992. At the time, Ortombina was a student and tour guide in the city of Verdi's birth. A group of American tourists offered him a ticket to La Scala for a performance of "Lady Macbeth of Mtsensk" by Shostakovich, conducted by Chung. "I sat just five meters away," Ortombina remembered. Their first formal meeting came in 2003 at Teatro La Fenice in Venice, when Chung led the Orchestra of Santa Cecilia at the theater's reopening after a devastating fire. From 2003 to 2007, the two worked together at La Scala, where Ortombina served as head of artistic planning. Later, as artistic director of La Fenice for 17 years, Ortombina invited Chung to conduct nearly every year. "He is the conductor I've worked with the most in my life," he noted. Ortombina also highlighted Maestro Chung's enduring relationship with La Scala. Since his debut in 1989, Chung has led more than 180 performances with the Filarmonica della Scala, interpreting a wide range of operatic works — from Shostakovich and Strauss to Mozart and Puccini, with Verdi at the core. 'Verdi is Italy's most important composer,' said Ortombina. 'And although Maestro Chung was born in Busan, his musical sensibility is profoundly Italian.' Chung's deep understanding of Verdi, and his ability to convey emotional truth and narrative clarity, were central to his appointment as the music director of La Scala, Ortombina explained. The decision was made unanimously by the board and the city of Milan, he said. "When I had to choose a new music director, I asked who had the strongest connection with the orchestra and the capacity to shape a long-term project. That person was Maestro Chung," Ortombina said. "Talent is a miracle. Verdi probably didn't even know Korea existed, but his music found fertile ground here." As part of a growing partnership, the Filarmonica della Scala will perform at the Busan Concert Hall in September. Ortombina's three-day trip to Korea includes talks on further collaboration and a site tour of the Busan Opera House, set to open in 2027. With over 20 years of experience leading major opera institutions, Ortombina underscored the importance of public engagement. 'My dream is that five years from now, no one in Milan can say they've never been to La Scala. This is not only an artistic project; it's a social one.' He pointed to initiatives like youth education programs, school tours of opera workshops, and simplified opera adaptations for children. "Opera should be part of humanistic education," he said. "Just like we study Caravaggio or read Thomas Mann, we should experience Verdi." Describing La Scala as "the second home of every Milanese, which was rebuilt even before schools and hospitals after World War II," Ortombina said that "A theater should belong to its city. If Busan's citizens feel ownership of their new opera house, that will be the true success." Speaking about Busan's new opera house, Ortombina reaffirmed his belief in opera's enduring relevance. 'It's not about whether an opera is old. It's about how it speaks to us today. That's what Maestro Chung excels at -- bringing timeless music close to the heart.' On Saturday, Maestro Chung took the stage with the Asia Philharmonic Orchestra -- which he founded in 1997 -- conducting and performing as pianist in Beethoven's Triple Concerto in C major, Op. 56, alongside cellist Jian Wang and violinist Sayaka Shoji. The program culminated in a stirring performance of Beethoven's Symphony No. 9 in D minor, Op. 125, 'Choral.' Comprising top-tier musicians from Korea, China and Japan, the Asia Philharmonic Orchestra has alternated between periods of activity and hiatus since its founding. It reconvened under Chung's direction for the opening of the Busan Concert Hall. Reflecting on the evening, Ortombina said, 'I was glad to be part of the historic performance at the Busan Concert Hall. Reflecting on the meaning of the music and the work made it all the more moving. The acoustics were satisfying, and the performance was fantastic!'
Korea Herald
19-06-2025
- Korea Herald
Legends convene: Esa-Pekka Salonen, Krystian Zimerman, New York Philharmonic return to Seoul
NY Phil in Seoul after 11 years and Zimerman at the Arts Center after 22 years After 11 years, the New York Philharmonic returns to Seoul. And after 22 years, pianist Krystian Zimerman finally steps back onto the stage of the Seoul Arts Center. These two long-awaited returns will be joined by Finnish conductor and composer Esa-Pekka Salonen, making for one of the most anticipated events in Korea's classical music calendar this year. From June 26 to 28, audiences will witness performances that span from Beethoven's transcendence to Berlioz's hallucinatory vision, as these musical giants gather for a rare collaboration. Founded in 1842 and shaped by towering figures like Mahler and Bernstein, the New York Philharmonic now enters a new era under incoming music director Gustavo Dudamel, set to take the helm in 2026. In the meantime, the ensemble is led on this tour by Finnish conductor-composer Salonen, renowned for his architectural precision and intellectual clarity. The orchestra is not only a familiar name among classical music fans, but also a symbol of cultural diplomacy, having made international headlines in 2008 with its historic performance in Pyongyang, North Korea. Adding to the rarity is the return of Zimerman, widely regarded as one of the greatest living pianists. Known for his perfectionism, Zimerman last performed at the Seoul Arts Center in 2003 in his Korea debut recital and since then has limited his Seoul appearances to Lotte Concert Hall. His reunion with the New York Philharmonic, nearly 30 years after their last collaboration in 1996, is all the more symbolic given Zimerman's 2009 protest against US military policy, after which he vowed not to perform in the US -- a pledge he has upheld. The June 27 program opens with Beethoven's Piano Concerto No. 4, featuring Zimerman at the keyboard, followed by Beethoven's Symphony No. 3, 'Eroica.' The following evening shifts toward the French Impressionists and Romantics, as Salonen leads the orchestra through Ravel's "Mother Goose" suite, Debussy's 'La Mer' and Berlioz's 'Symphonie fantastique.' Art Center Incheon will host the same Beethoven program on June 26. Tickets range from 100,000 won ($72.55) to 530,000 won for June 27 and from 90,000 to 480,000 won for June 26 and 28.
