
'The Rising World' - a message-driven opera that wades through cloudy narrative
"Tick, tick, tick, tick ..."
A chorus encircles a giant ticking clock as they chant. Inside is a figure -- an artisan who sacrifices herself to restore order. Her act saves the princess and many others from a world submerged by water. What follows, the scene shows, is left to those who remain. One might read this as an allegory -- a warning about climate change, or a meditation on the power of unconditional sacrifice.
In its first-ever original opera production, the Seoul Arts Center on Sunday premiered 'The Rising World,' composed by Mary Finsterer with a libretto by Tom Wright.
While the music -- performed by the cast and the Korean National Symphony Orchestra under the baton of Steven Osgood -- was solidly executed, the narrative's arrival at that core message required the audience to wade through water -- slow and murky.
The new opera presents a female-driven drama performed by top singers, soprano Hwang Soo-mi and mezzo-soprano Kim Jung-mi, set in an imaginative world that suffers from rising water after the princess becomes possessed by a water spirit.
It offers no explanation of why the princess is possessed. That lack of exposition might have been forgivable -- even compelling -- had the narrative flowed with greater emotional momentum.
A dramatic scene in which court advisers argue over how to handle the princess' possession stretches on without a dramatic payoff. One wonders if, with tonal variation -- even humor -- this segment could have landed more effectively.
Musically, the score feels accessible and at times gently textured. Fluidity runs through the opera, echoing the motif of water throughout its orchestration, but it falls short of a powerful moment of catharsis.
Visually, the aesthetic of the set and costumes evokes Denis Villeneuve's "Dune" -- a world defined by slate grays and deep blues. The stage is minimal yet symbolic, evoking ancient ruins.
With this work, the Seoul Arts Center signals its ambition to reach global audiences through an English-language opera, backed by an international creative team -- including director Stephen Carr, who ensured that the production also incorporated culturally resonant elements for Korean audiences, such as traditional jars, the melancholic twang of the geomungo, and chants delivered in Korean.
"The Rising World" will be presented two more times on May 29 and 31.
gypark@heraldcorp.com
Hashtags

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


Korea Herald
8 hours ago
- Korea Herald
Six artists explore personal narratives beyond politics at Atelier Hermes in Seoul
The exhibition 'The Second Life' runs through Oct. 5 In the group exhibition, 'The Second Life,' Atelier Hermes in Seoul has gathered six artists who explore how individual lives are shaped beyond social and political discourse, drawing on personal stories. Curator Ahn So-yeon said Thursday that the participating artists — Bek Hyun-jin, Lee Yona, Han & Mona, Kim Bo-kyung and Park Min-ha — each took a "slice of life" approach to create new work for the exhibition. 'These days, an overwhelming number of exhibitions are being produced around socio-political issues such as the environment and climate crisis," Ahn said. "Rather than focusing on socially or politically 'correct' themes or collective ideas, the exhibition aims to explore how deeply personal issues can expand and evolve within those contexts." Han & Mona, a duo based in Seoul and Edinburgh, presents "Listen, I Know," inspired during the COVID-19 pandemic. The digital installation flashes of Morse code to express the situations of conflict and negotiation they encounter in cross-cultural engagement. 'During the pandemic, I was stuck indoors and when I looked outside there was a light blinking as though it was crying out to me,' the duo's Yoo Mona said of her inspiration for the piece. 'You might feel the blinking of Morse code is a bit slow, which was intentional as we wanted to reflect elements from our own way of communication in the work like the tone and glances when we talk,' Yoo said. "As we have different cultural backgrounds and grew up speaking different languages, small cracks or misunderstanding emerge time to time. That is, however, how our communication expands." Her partner Ma Hanqing is from the Hui community, composed of Chinese-speaking adherents of Islam. Most of them reside in northern China, while some of them live in metropolitan cities such as Beijing and Shanghai, Ma said. Kim, a Berlin based artist who uses knitting, paper weaving and drawing, confessed she almost abandoned her career as an artist, but was able to continue when she came up with her acanthus leaf motif, drawing inspiration from the plant's tenacious hold on life. Park shows the media installation 'Ghost Anatomy,' where she incorporates a virtual character, Noa, created with AI, into her daily life. The piece looks at the way the character explores its own subconscious. Bek, who is a singer, composer, actor and director as well as an artist, presents 21 drawings and five paintings on "hanji," Korean traditional mulberry paper, that depict moments of his current life, now marked by shoulder pain — becoming middle-aged, according to the artist — and a changed rhythm as a result. The artist said his new paintings were changed in style after he was fascinated by the ink painting "Sehando (Winter Scene)" by Kim Jeong-hui (1786-1856), a Korean calligrapher and scholar from the late Joseon Dynasty, for how it depicts the snow-covered landscape with seemingly unfinished lines. Lee, who left Busan to live in New Zealand at age 11, translates the tension that she feels between traveling and rootedness with a stainless-steel installation.


Korea Herald
a day ago
- Korea Herald
K-pop meets local lore: Hidden gems in 'KPop Demon Hunters'
Behind the animation's K-pop flair, the film is a rich blend of Korean culture and traditions woven into the story and characters "Listen 'cause I'm preachin' to the choir. Can I get the mic a little higher? Gimme your desire, I can be the star you can rely on." Yes, what is easier than stealing the souls of K-pop fans already under a spell? Many of you might have fallen head over heels for the Saja Boys — the Korean grim reapers who also top charts — like Abby, whose muscles pop shirt buttons, and Jinu with his charming smile. The group is a five-member fictional boy group created for the Netflix animated film "KPop Demon Hunters," and they're not just taking the fictional world by storm — they're stealing the hearts of real-life K-pop fans, too. But behind the animation's glittering visuals and K-pop flair, the film packs something even more powerful: a rich blend of Korean culture, age-old traditions and shamanistic elements woven into the story and characters. It is not just eye candy; it's a cultural deep dive wrapped in pop perfection. The term "Saja" translates to "lion," so people might assume the boy band chose the name to symbolize strength and power, like the lion itself. But there's a twist: The boys aren't just charming idols. "Jeoseung-saja" also refers to a grim reaper-like mythical figure who guides souls to the afterlife. In this case, the boys are demons sent to the human world to steal their fans' souls. The blending of spiritual tradition with pop spectacle is also reflected in the trio girl group Huntrix, comprising Rumi, Mira and Zoey, who are demon hunters sworn to protect their fans from supernatural threats. Huntrix's performances help to seal the "Honmoon," a mystical gate or barrier that separates the human world from the demon realm. The word is a combination of "hon," meaning soul, and "moon," meaning door, which is a traditional Korean shamanic "gut" ritual reinterpreted in a flashy way. In real life, such Korean rituals are performed by shamans, or "mudang," to drive away evil spirits, bring good fortune, resolve misfortune and foster harmony between the human and spirit worlds. The rituals combine music, dance, costume and spoken incantations. So when Huntrix begins using its music to seal off the demon realm, its ruler Gwi-ma strikes back by sending the Saja Boys to weaken the Honmoon by dominating music charts. Although produced overseas, these hidden cultural elements reflect director Maggie Kang's desire for the film to be "as Korean as possible," as she said in a Q&A video released to the press on June 26 — a vision that comes to life in every frame. Also, each Huntrix member carries a weapon with deep cultural roots, as each blade is inspired by traditional Korean weaponry and shamanic instruments. Rumi's sword, known as the "Quadruple Tiger's Evil Slayer," or the Four Tiger Sword, is a ritual blade dating back to the Joseon era (1392–1910). In Korean cosmology, each of the four cardinal directions is guarded by a mythical tiger, believed to protect the world from harm. Similarly, Rumi uses the sword to shield human souls from the demons, embodying the same protective spirit. Initially mistaken for a Chinese guandao — a type of Chinese pole arm — Mira's sword, known as "gokdo," is also inspired by the Cheolyeomchu, a curved pole arm from Goguryeo Kingdom (37 BC-668 AD), which gives the weapon a distinctly Korean identity. The spirit knife wielded by Zoey is the "shinkal," which is used during the gut ritual to fight evil spirits. Her blade is adorned with a "norigae," a traditional Korean pendant accessory worn by women, rich in both aesthetic beauty and emotional symbolism, reflecting the grace and spirit of women from the Joseon era. But the animation is not only about mythical themes and traditional Korean elements. The film also does an excellent job of portraying modern-day Korea. For example, in a scene where the members of Huntrix eat gukbap — a bowl of rice and boiling soup — tissues are placed under their spoons, reflecting Korea's dining etiquette. As the film and its spotlight on Korean culture continue to captivate audiences worldwide, pop culture critic Jung Duk-hyun noted that Korean culture is now seen as "hip" on the global stage, adding that it is one of the key reasons it resonates so strongly with international viewers. "The success of 'KPop Demon Hunters' serves as clear evidence that stories rooted in Korean traditions, music and lifestyle can capture global attention and serve as the core of a compelling film. It highlights the strong potential of Korean culture to inspire and shape not only movies but a wide range of creative content in the future," Jung told The Korea Herald on July 15. Yoo Seung-chul, a professor of media convergence at Ewha Womans University, echoed the sentiment, saying that the incorporation of Korean elements adds depth and richness to the film's details. "The film takes elements audiences already recognize from K-pop, along with familiar storytelling techniques, and creatively blends them," he explained.


Korea Herald
2 days ago
- Korea Herald
When K-pop stays abroad: The rise of export-oriented idol groups
Idol groups turn to overseas markets as saturation in Korea makes domestic success harder to achieve, say critics In the age of global K-pop, not all idol groups shine equally at home and abroad. Fans and insiders are describing a growing number of acts as 'export-oriented idols' — groups who debut in Korea but quickly shift focus to international activities due to lackluster local reception. While some idols still enjoy popularity across the board — such as BTS and Blackpink, who command massive fan bases both in Korea and worldwide — others are far more prominent overseas than they are domestically. Groups like Dreamcatcher, ARTMS, Kep1er and Enhypen have built their careers largely through global tours and overseas fandoms, with limited exposure or fanfare within Korea. Even Stray Kids and Ateez — among the most visible K-pop groups in the US and Europe — perform primarily in overseas stadiums while maintaining a relatively smaller presence locally. The disconnect has sparked questions about why some idol groups appear to "skip" Korea entirely, despite being products of its music system. According to music critic Lim Hee-yun, the divide is rooted in how the industry has evolved. 'The overseas K-pop market has grown dramatically, while the domestic one is shrinking,' Lim said, Friday. 'In Korea, competition is too fierce. New idol groups debut constantly and general interest in idols has declined.' Lim points to shifts in listening habits as part of the problem. 'Unless you're in the top five, it's hard to chart or create buzz. Fans are more likely to stick with artists they already follow or stream songs recommended by algorithms. The days when a new idol group could instantly become a public sensation are gone.' This saturation has made the Korean market harder to penetrate, particularly for mid-tier or rookie groups. 'Some major agencies have idols whose overseas revenue accounts for 70 percent of their total,' Lim said. 'Naturally, those groups prioritize international tours and promotions.' An executive at an indie K-pop agency who spoke on condition of anonymity echoed this view, adding that the marketing strategy varies by company size. 'For major K-pop agencies (like SM, JYP and YG Entertainment), the model is to build a strong local fan base, then expand to Asia and beyond,' he said. 'But for smaller agencies, it's often more effective to aim directly at overseas audiences.' The executive cited Ateez of KQ Entertainment as a clear example. 'They're not from a major company, but by targeting global fans from the start, they built a sustainable fandom abroad. Now they're doing world tours with far more impact than their domestic engagements.' Girl group Fifty Fifty's breakout hit 'Cupid' wasn't initially designed for the Korean market, the insider said. 'We saw that overseas fans responded well to a track from its first EP ... So we used that as a reference and deliberately created a song targeting American teens. That's how 'Cupid' came about — with support from Warner Music to push it globally.' Still, the divide between domestic and overseas success raises questions about the long-term sustainability of this model. 'The K-pop industry is in an oversupply crisis,' Lim said. 'Too many acts, too few consumers. If the bubble bursts, and it might, only groups with solid backing or loyal fan bases will endure.'