
Curtain comes down on disgraced 'Again 2024 Turandot'
Troubled run ends in refunds, canceled finale, ongoing disputes
Once a highly anticipated opera, "Again 2024 Turandot" will conclude its turbulent run at Coex Monday night, one day earlier than scheduled, marred by controversy, confusion, and criticism.
The production company, Again 2024 Turandot, said on Monday that the final performance, originally scheduled for Tuesday, had been canceled due to poor ticket sales. Refunds were issued to ticket holders.
Tuesday's show had been planned as a New Year's Eve event, starting at 9:30 p.m. and concluding just before midnight with a countdown to welcome the new year.
Kicking off on Dec. 22, the ambitious production led by artistic director Park Hyun-jun aimed to recreate the success of the 2003 outdoor opera performance in Seoul. With a staggering 20 billion won ($13.6 million) budget, it initially drew attention for its grand scale and star-studded cast, including opera legends Placido Domingo and Jose Cura as conductors.
However, the sudden exits of director Davide Livermore and conductor Paolo Carignani, coupled with poor mismanagement, sparked a wave of criticism. Ongoing disputes between the production team and creative staff have continued to fuel controversy.
With reports emerging of unpaid fees, the legal battles surrounding the opera may be far from over.
Departure of high-profile figures
Carignani, one of three conductors for 'Again 2024 Turandot,' withdrew from the production on Sunday, becoming the latest high-profile departures from the embattled show.
His exit is the second "official" withdrawal following that of Italian opera director Davide Livermore, who pulled out just nine hours before the production's opening on Dec. 22, citing disputes over creative direction and unpaid fees.
Carignani's team said, 'From Dec. 16 to 25, Maestro Carignani conducted rehearsals not at the Coex venue but elsewhere. From Dec. 18 onward, he was left waiting in his hotel without a fixed conducting schedule, making it impossible for him to perform his duties.'
The production initially boasted a trio of acclaimed conductors -- Carignani, Domingo and Cura. Carignani, an Italian maestro with more than 35 years of experience, has led performances at some of the world's most prestigious venues, including the Metropolitan Opera, the Vienna State Opera and the Zurich Opera House.
'Carignani requested a finalized conducting schedule nine times, but all his requests were ignored. Even on Christmas Eve, Artistic Director Park Hyun-jun failed to provide a clear response,' the statement added.
Carignani was originally scheduled to conduct five performances -- on Dec. 22, 24, 27, 29 and 31 -- according to the organizer's program. Cura was scheduled to lead three performances, while Domingo had two.
Following continued silence from the production team, Carignani's representatives issued a formal notice through their Korean agent, raising concerns over unpaid contractual fees and requesting confirmation of the conducting schedule by Dec. 24. The agency claims it was unilaterally informed that Cura would conduct the Christmas Eve performance. Carignani subsequently terminated his contract on Dec. 24 and left the country the following day.
Although no official announcement was made, Aleksandrs Antonenko, one of the four singers who play the lead tenor role, Calaf, left the country after reportedly falling ill with a cold. He had previously withdrawn from the Dec. 25 performance.
However, Livermore and Carignani still remain listed on the official website for "Again 2024 Turandot."
Refund demands, payment disputes
The production company is also facing strong criticism from audiences.
The company needs to address refund requests from affected customers, including those who were unable to attend the premiere due to seating changes made unilaterally by the organizers.
On Dec. 22, the organizers reduced the seating from 6,800 to 4,000 without prior notice, leaving many attendees to discover the changes only upon arrival at the venue. The audience was allegedly either given seats that had been arbitrarily changed by the organizers or instructed to "sit anywhere."
The performance, originally scheduled to start at 7:30 p.m., finally began 23 minutes late, as hundreds of ticket holders were unable to enter because they had not been given their pre-booked tickets.
The organizers had promised to refund those who missed the performance.
With the final performance was abruptly canceled, further disputes over unpaid fees are expected.
The production was originally set for 10 performances from Dec. 22 to Tuesday, but organizers reportedly informed the choir and orchestra members on Saturday that they would only honor payment guarantees for nine shows, following the cancellation of the final performance.
Ticket sales have been suspended on platforms such as Interpark since that day with no mention of the show's cancellation.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
4 hours ago
- Korea Herald
'Maybe Happy Ending' triumphs with 6 Tony Awards, including best musical
Broadway hit adapted from a Korean musical caps winning streak at Tonys This year's Tony Awards marked a milestone for the musical "Maybe Happy Ending," a heartwarming South Korean robot romance that began its Broadway life at the Belasco Theatre in November 2024. The production, whose origins go back to 2014 in a small theater in Seoul, emerged as one of the evening's most celebrated winners, taking home six awards, including best musical and best leading actor in a musical for Darren Criss, and best direction of a musical for director Michael Arden. Playwright and lyricist Park Chun-hue — also known as Hue Park — and composer Will Aronson, longtime collaborators for over a decade, won best book of a musical and best original score. "Maybe Happy Ending" also took home best scenic design of a musical. Set in a near-future Seoul, 'Maybe Happy Ending' follows the story of Oliver and Claire — two outdated HelperBot androids discarded by their human owners — who find each other and form a bond neither expected. Starring Darren Criss as Oliver and Broadway newcomer Helen J. Shen as Claire, the show blends science fiction with poignant emotional realism, bringing to life themes of connection, obsolescence and hope. "The musical's win marks the first successful transition of a small-scale Korean production from Seoul's Daehangno theater district to a major Broadway stage, earning recognition for both its artistic excellence and commercial viability. It also stands as a historic milestone, as it is the first time a Korean creator has won Tony Awards in the musical categories for best book and best score," Choi Seung-youn, a South Korean musical critic and professor, told The Korea Herald on Monday. The sweep by "Maybe Happy Ending" came as little surprise, as the season had already been a remarkable winning streak for the musical, originally written in Korean by playwright and lyricist Park with music by longtime collaborator Aronson. The duo, known for their bilingual productions, saw their work earn six honors at the 69th Annual Drama Desk Awards, including outstanding musical. The show was also named best musical by the 89th New York Drama Critics' Circle and secured two major awards at the 91st Annual Drama League Awards: outstanding production of a musical and outstanding direction of a musical. Formula for success Experts say the success of "Maybe Happy Ending" is largely driven by its powerful universal themes. Speaking last week at a conference at K-Musical Market, an annual showcase of Korean musicals, Sean Patrick Flahaven, chief theatricals executive of Concord Theatricals, remarked on the show's strength in the licensing market: 'It's not so much dependent on being a Korean story as it's a more universal story. So I think that's an important aspect to have — that a compelling specific story can have universality as well — and that kind of universality speaks to success in future licensing.' The musical critic Choi shared that view. 'This achievement owes much to the show's universal themes. The story's portrayal of love and friendship between soon-to-be obsolete beings resonates deeply with audience members,' she said. Choi also emphasized the impact of Aronson's refined and delicate score, particularly his enhancement of jazz numbers to give the music a distinctly 'American' resonance for Broadway audiences. 'Equally important were the meticulous scenic design and direction, which carefully rendered a digital world tailored to the emotional arc of the story,' she said. 'In the end, every element of the production came together in harmony to create a work of great beauty. And as a musical with a distinctly Korean identity, it also contributed meaningfully to Broadway's ongoing conversation around diversity and representation,' she added. The show's origins go back to 2014, when it was developed with funding from Korea's Wooran Foundation. It premiered in Seoul in 2016 and ran for five seasons in small theaters in Daehangno, before its English-language adaptation made it to New York's Belasco Theatre in November 2024. During its development, the Broadway production generated anticipation with the involvement of producer Jeffrey Richards, an eight-time Tony Award winner. Park and Aronson, who met in New York when Park was an international student at New York University, worked on four musicals together. The duo's recent project, "Il Tenore," which premiered in Seoul in 2023, also won top honors, including the grand prize and composition award at a major Korean musical awards ceremony. Three decades of effort Though Park is the first Korean national to win a Tony Award in the musical theater category, Korean musicals have been striving, through various forms and evolving strategies, to break into Broadway for more than three decades. The first major push for a Korean musical to reach Broadway began with "The Last Empress," which premiered in 1995 and was invited to New York's Lincoln Center in 1997. Although it wasn't a full-scale commercial run, it marked the first Korean musical to appear on a US Broadway-affiliated stage. Efforts continued with tryouts and workshops in 2002, but a full Broadway debut never materialized. In 2003, the nonverbal hit Nanta became the first Korean production to enter Off-Broadway, later expanding to Las Vegas and London's West End. By the 2010s, Korean companies had shifted focus to investment-driven collaborations, with CJ ENM co-producing Broadway hits such as "Kinky Boots" (2013), "Moulin Rouge!" (2021) and "MJ the Musical" (2022), all of which received multiple Tony Awards. In 2023, "The Great Gatsby," produced by Shin Chun-soo of OD Company, marked a new strategic step, with a Korean producer leading the development and financing of a Broadway-bound production from the ground up. The show officially opened on Broadway and later transferred to the West End. Similarly, "Marie Curie," which premiered in Korea in 2020, was staged in London's West End in 2023. Following the musical's Tony Awards sweep, congratulations poured in from across Korea's creative and political spheres. At a press conference for "Squid Game" Season 3 in Seoul on Monday, director Hwang Dong-hyuk, who won best director for a drama series at the 74th Primetime Emmy Awards in 2022, said he was 'pleasantly surprised' by the news. 'Among the four major awards ceremonies — the Oscars, Emmys, Grammys and Tonys — I always thought the Tonys were the most distant," he said. "So I am incredibly proud to hear a Korean musical won such prestigious awards there." President Lee Jae-myung also issued a statement celebrating the historic win. 'This achievement is by no means the result of a single day's effort. It is the culmination of the dedication, passion and creative determination shown by our cultural and artistic community over many years. 'Today's Tony Award win is not the end, but a new beginning. I will do my utmost to ensure that more Korean artists thrive on the global stage, and that our culture continues to inspire and uplift people around the world.' The president also emphasized the government's role in supporting the arts, pledging to 'further strengthen support for the culture and arts sector, and serve as a strong foundation so that our artists can fully pursue their dreams and shine on the world stage.' gypark@
![[팟캐스트] (695) 혼족러들이 서울을 즐기는 방법](/_next/image?url=https%3A%2F%2Fwimg.heraldcorp.com%2Fnews%2Fcms%2F2025%2F06%2F09%2Fnews-p.v1.20250603.88fbbcba8f104d2bb18ee509ea69d03e_T1.png&w=3840&q=100)
![[팟캐스트] (695) 혼족러들이 서울을 즐기는 방법](/_next/image?url=https%3A%2F%2Fall-logos-bucket.s3.amazonaws.com%2Fkoreaherald.com.png&w=48&q=75)
Korea Herald
9 hours ago
- Korea Herald
[팟캐스트] (695) 혼족러들이 서울을 즐기는 방법
The best (lesser-known) things about Seoul for solo residents 기사 요약: 서울의 '혼족러'들이 서울을 오롯이 혼자서 즐기고 있는 방법들은? [1] I love to sing, but as a kid, belting out tunes on a karaoke machine usually meant rallying at least one friend to go to the local noraebang (singing room). For a boy who was a bit of a loner, this could be challenging. belt out: 힘차게 노래부르다 loner: 주로 혼자 지내거나 이를 선호하는 사람 [2] Then came the 2010s — and with them, a delightful invention: the coin noraebang (pay-per-song karaoke). A sanctuary for solo singers, it offered sweet salvation to those who want to sing their hearts out without the judgmental stares of others. sanctuary: 피난처, 안식처 salvation: 구원, 구조 (- army 구세군) sing one's heart out: 가슴이 터지도록 크게 부르다 stare: 빤히 쳐다보다 [3] Coin noraebang is just one of many urban pleasures catering to Seoul's growing population of solo dwellers. From one-person barbecue joints to bars and restaurants designed for a party of one, these spaces embrace those who choose to stay in their cocoon of voluntary solitude. cater to: ~을 충족시키다 cocoon: 보호막, 고치 solitude: 고독 [4] And so, Seoul has become a haven for the "honjok," or people like me who choose to do things by themselves. Honjok is a portmanteau of 'hon' from the Korean word 'honja,' meaning alone, and 'jok,' meaning tribe. haven: 안식처, 피난처, portmanteau: 혼성어 기사 원문: [코리아헤럴드 팟캐스트 구독] 아이튠즈(아이폰): 네이버 오디오 클립(아이폰, 안드로이드 겸용):


Korea Herald
10 hours ago
- Korea Herald
Interview: Romance and solidarity in one, a perfect gateway to changgeuk
'The Merchants of Venice,' now plural, returns as a story of collective harmony 'The Merchants of Venice,' the changgeuk adaptation of Shakespeare's famed comedy, returns to the stage two years after its 2023 premiere with renewed focus and deeper camaraderie among its cast. For actors Min Eun-kyung and Kim Soo-in, this reprise has brought more rigorous rehearsals and a deeper sense of artistic collaboration. Min plays Portia, the witty and wise heiress in Belmont. Her commanding vocals and expressive phrasing add rich dimension to a character who is at once a romantic heroine and a troubleshooter in the courtroom showdown between Antonio and Shylock. Kim takes on the role of Bassanio, the passionate young suitor, bringing boyish charm and playful energy to the stage. 'We've been fine-tuning everything -- singing, dancing, movement, transitions, harmonies -- with much more precision for the second run,' Min said. 'In the premiere, we were so focused on our own parts that we didn't really have the space to pay attention to others,' Kim added. 'Now, it feels like we're building the piece as a true ensemble. We're watching out for each other more. When something feels off, like a clunky entrance or awkward rhythm, Min lets me know right away." The sense of collectivity isn't just shared among the cast -- it's also at the heart of this traditional Korean opera's reinterpretation. Gone are the overt religious and ethnic tensions of Shakespeare's original. In their place is a story about economic power. The wealthy merchant Antonio is recast here as a young leader in a small-business cooperative. Shylock, the Jewish moneylender, becomes a monopolistic shipping magnate, embodying the unchecked forces of capitalism. The title gains an 's' -- The Merchants of Venice -- broadening the focus from an individual drama to the communal struggles and solidarities of the merchant class. In Belmont, a free-spirited and romantic mood prevails as young lovers pursue their fates. In stark contrast, Venice -- ruled by cold, legal logic -- hosts the infamous 'pound of flesh' trial, lending the production its dramatic tension. 'This is a great entry point into changgeuk,' Kim said. 'Because it's a comedy, it has this liveliness. It's fun and humorous, full of visual flair, dynamic music and layered characters.' Changgeuk is akin to a Korean version of opera. It derives from pansori, Korea's traditional narrative singing form that is registered as UNESCO Intangible Cultural Heritage. 'Chang' refers to pansori, while 'geuk' means drama in Korean. The revised script, Kim noted, allows each merchant to shine with their own backstory and voice. 'It reminds me of 'Jeokbyeokga' (The Battle of Red Cliffs) in pansori,' he said. 'It's not just about the heroes -- it's about the soldiers, the ordinary ones. Here, too, each merchant isn't just filler.' Kim emphasized the attention paid to ensemble scenes. 'Our director wants those group moments to feel like a single body. When we say lines like 'Yes, we agree!' we have to deliver them as a single voice -- precise and powerful. The ensemble is everything. Without the collective, the whole work loses its energy.' For both Min and Kim, their characters have resonated in unexpectedly personal ways. 'I think I share Bassanio's cheerful, playful side,' Kim said, laughing. 'The director compared him to an anime character -- cool one moment, ridiculous the next. We've leaned into that contrast this time. Our Bassanio is like a kid -- immature, but sincere.' Min also finds a mirror in Portia. 'My personality is a bit strong, like hers,' she said. 'And I love that Portia is so lovely and bubbly in Act I, then suddenly razor-sharp in the courtroom in Act II. It's two extremes in one role -- that's what makes it so fun.' This isn't the duo's first brush with Shakespeare. Both performed in the company's 'Lear' at London's Barbican Centre last year, a production that was nominated for a Laurence Olivier Award. Min played both Cordelia and the Fool, while Kim took on the role of Edmund. In 'The Merchants of Venice,' Min again plays dual roles: Portia and, in disguise, the male lawyer. 'It's the second time I've done a double role,' she said. 'With 'Lear,' I cried and laughed so much. Here, it's joy and romance, but also strategy and seriousness. You get the full spectrum of Shakespearean emotion.' And that emotional breadth, both agree, is where changgeuk truly shines. 'The power of changgeuk is in the chang -- the singing,' Min said. 'Pansori (genre of musical storytelling) isn't easy. It demands your whole body, head to toe. You can't fake it. You have to train for a long time. That compressed intensity, I believe it transfers directly to the audience.' Kim added, 'Even if the story is a classic, the plot itself is often simple. But from that simplicity, the power gets amplified. That's the beauty of a classic, everyone can understand and relate to it. That's why it resonates so deeply.' This production marks the final performance before the company's summer break. Ending on a note of laughter, Min said, feels right. 'Venice ends with a sense of hope,' the pair said. 'There's a line that goes, 'A bright future toddles toward us.' That's the energy we want to share with the audience.' "The Merchants of Venice" runs through Saturday at the National Theater's Haeoreum Grand Theater, with English subtitles available.