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Korea Herald
04-06-2025
- Entertainment
- Korea Herald
Prokofiev's satirical opera 'The Love for Three Oranges' to make full-production Korean premiere
Korea National Opera, dedicated to introduce 21st-century works, promises vibrant fusion of global, local talent 'L'Amour Des Trois Oranges,' or 'The Love for Three Oranges,' a satirical opera by Ukrainian-born composer Sergei Prokofiev, will get its first full-scale production in Korea more than a century after its 1921 premiere in Chicago. Adapted from an 18th-century play by Carlo Gozzi, the opera blends absurdist comedy, fairy-tale fantasy and biting political satire. A melancholic prince, cursed by the witch Fata Morgana to fall in love with three oranges, embarks on a surreal quest to find these magical fruits. When he opens them, each orange reveals a princess. Two die of thirst; the third, Princess Ninette, survives. After magical and political mishaps — including a case of mistaken identity and a kidnapping — Ninette and the prince are finally reunited. 'We chose this piece to bring joy to opera lovers, rather than presenting something overly serious or weighty. At the same time, we are committed to introducing 21st-century operas to broaden the repertoire,' said Choi Sang-ho, artistic and general director of the Korea National Opera, at a press conference Monday at the Seoul Arts Center. 'Though its fairy-tale structure and satirical humor may initially feel unfamiliar, audiences will quickly be drawn in by its unique charm,' he added. The upcoming Korea National Opera production promises a vibrant fusion of global and local talent, featuring an international creative team, rising Korean vocalists on the international stage and the national opera company's own soloists, as well as American mezzo-soprano Karis Tucker in the role of Princess Clarice. Originally written in French, the opera has previously been performed in Russian, German and English. However, the Korean production will remain in French, partly to accommodate the cast's familiarity with the language. Returning to the podium is Felix Krieger, who led the opera company's production of 'A Midsummer Night's Dream' last year. He will conduct the Korean National Symphony Orchestra. 'In Prokofiev's imaginative world, the music draws from many different musical languages,' said Krieger. 'It weaves together elements of traditional classical music, modernist experimentation and both poetic and grotesque qualities.' Stage director Lorenzo Fioroni, known for productions at the Nationaltheater Mannheim, Staatsoper Berlin and Luzerner Theater, brings his imaginative vision to this surreal opera under the theme of "a theatrical machine that tells fairy tales for adults" in tandem with set designer Paul Zoller and costume designer Katharina Gault. Fioroni reimagines the prince's quest for three magical oranges as a fantastical road trip, incorporating video footage shot on location on Korean urban streets. 'Korean streets have a surreal, fairy-tale quality that perfectly suits the opera's world,' Fioroni said, adding that he and Zoller have created a highly visual production that integrates fantasy elements with complex technical effects. The cast features two alternating ensembles. On June 26 and 28, bass Choi Woong-jo will perform as Le Roi de Trefles, with tenor Kim Young-woo as the prince. On June 27 and 29, the roles will be performed by bass Kim Il-hoon and tenor Shin Hyun-sik, respectively. 'L'Amour Des Trois Oranges' will be staged June 26 to 29 at the Opera Theatre of the Seoul Arts Center. The performance on June 28 will be livestreamed via Naver TV. Ticket prices range from 20,000 won to 150,000 won.
Korea Herald
03-06-2025
- Entertainment
- Korea Herald
Prokofiev satirical opera 'The Love for Three Oranges' to make full-production Korean premiere
Korea National Opera, dedicated to introduce 21st-century works, promises vibrant fusion of global, local talent 'L'Amour Des Trois Oranges,' or 'The Love for Three Oranges,' a satirical opera by Ukrainian-born composer Sergei Prokofiev, will get its first full-scale production in Korea more than a century after its 1921 premiere in Chicago. Adapted from an 18th-century play by Carlo Gozzi, the opera blends absurdist comedy, fairy-tale fantasy and biting political satire. A melancholic prince, cursed by the witch Fata Morgana to fall in love with three oranges, embarks on a surreal quest to find these magical fruits. When he opens them, each orange reveals a princess. Two die of thirst; the third, Princess Ninette, survives. After magical and political mishaps — including a case of mistaken identity and a kidnapping — Ninette and the prince are finally reunited. 'We chose this piece to bring joy to opera lovers, rather than presenting something overly serious or weighty. At the same time, we are committed to introducing 21st-century operas to broaden the repertoire,' said Choi Sang-ho, artistic and general director of the Korea National Opera, at a press conference Monday at the Seoul Arts Center. 'Though its fairy-tale structure and satirical humor may initially feel unfamiliar, audiences will quickly be drawn in by its unique charm,' he added. The upcoming Korea National Opera production promises a vibrant fusion of global and local talent, featuring an international creative team, rising Korean vocalists on the international stage and the national opera company's own soloists, as well as American mezzo-soprano Karis Tucker in the role of Princess Clarice. Originally written in French, the opera has previously been performed in Russian, German and English. However, the Korean production will remain in French, partly to accommodate the cast's familiarity with the language. Returning to the podium is Felix Krieger, who led the opera company's production of 'A Midsummer Night's Dream' last year. He will conduct the Korean National Symphony Orchestra. 'In Prokofiev's imaginative world, the music draws from many different musical languages,' said Krieger. 'It weaves together elements of traditional classical music, modernist experimentation and both poetic and grotesque qualities.' Stage director Lorenzo Fioroni, known for productions at the Nationaltheater Mannheim, Staatsoper Berlin and Luzerner Theater, brings his imaginative vision to this surreal opera under the theme of "a theatrical machine that tells fairy tales for adults" in tandem with set designer Paul Zoller and costume designer Katharina Gault. Fioroni reimagines the prince's quest for three magical oranges as a fantastical road trip, incorporating video footage shot on location on Korean urban streets. 'Korean streets have a surreal, fairy-tale quality that perfectly suits the opera's world,' Fioroni said, adding that he and Zoller have created a highly visual production that integrates fantasy elements with complex technical effects. The cast features two alternating ensembles. On June 26 and 28, bass Choi Woong-jo will perform as Le Roi de Trefles, with tenor Kim Young-woo as the prince. On June 27 and 29, the roles will be performed by bass Kim Il-hoon and tenor Shin Hyun-sik, respectively. 'L'Amour Des Trois Oranges' will be staged June 26 to 29 at the Opera Theatre of the Seoul Arts Center. The performance on June 28 will be livestreamed via Naver TV. Ticket prices range from 20,000 won to 150,000 won.
Korea Herald
28-05-2025
- Entertainment
- Korea Herald
'The Rising World' - a message-driven opera that wades through cloudy narrative
While not perfect, 'The Rising World' marks a bold and promising step for the Seoul Arts Center. "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@
Korea Herald
18-05-2025
- Entertainment
- Korea Herald
Seoul Arts Center premieres new opera 'The Rising World,' blending myth, invention and global vision
In its first venture into producing an original opera, the Seoul Arts Center has partnered with an international creative team — and chosen English as the language of performance. 'The Rising World: The Spirit of Water,' set to premiere in May, draws inspiration from Korea's historical water clock and the country's rich folklore surrounding water spirits. According to the creative team, the opera is not an adaptation of an existing tale, but a newly imagined story that weaves Korean cultural motifs into a universal dramatic framework. Composer Mary Finsterer, known for her work across opera, film and orchestral music, described the piece as one of her most personal works to date. 'The story isn't rooted in a specific culture,' she explained. 'But Korean elements like the water clock and water spirit helped shape a world that speaks to all audiences.' Finsterer also incorporated Korean traditional instruments and sound textures into the score, including a geomungo cadenza performed live on stage. The geomungo is a traditional Korean plucked zither known for its deep, resonant timbre. Musically, 'The Rising World' emphasizes fluidity, echoing the motif of water throughout its orchestration, the composer explained. Finsterer said it blends conventional and electroacoustic elements, including the rare waterphone instrument, to evoke the elemental force of water. 'Every single note she writes — whether it's note length, rhythm, pitch, or phrasing — tells something very specific about what a character is feeling,' said conductor Steven Osgood, a veteran of more than thirty opera world premieres. Osgood is set to lead the Korean National Symphony Orchestra at the premiere. The opera centers on two female protagonists — a princess and an inventor — who drive the narrative as they confront environmental catastrophe and the corrupting force of power. Soprano Hwang Su-mi and mezzo-soprano Kim Jung-mi, who portray the lead roles, emphasized that while the opera highlights gender dynamics, its core message lies in the intergenerational transmission of wisdom and responsibility. 'This isn't just a story about two women,' Hwang noted. 'It's about how the younger generation rises to inherit and reshape the future.' 'There is no love story. Instead, it explores themes like the environment, power dynamics between the monarchy and the people, and offers reflections on Korea's current social context,' Hwang added. The cast also includes tenor Robin Tritschler, a seasoned performer with credits at Covent Garden's Royal Opera House and the Salzburg Festival, who plays the apprentice, and bass-baritone Ashley Riches, a globally acclaimed recitalist, in the role of the king. Countertenor Jung Min-ho, an early music specialist active in both Korea and Europe, takes on the role of the Spirit of Water, bringing an ethereal, otherworldly quality to the production. 'The Rising World' project dates back to 2022, when the Seoul Arts Center announced a renewed commitment to opera by strengthening its in-house productions. That initiative has included collaborations with the Royal Opera House on 'Norma' and 'Otello,' and now culminates in the world premiere of an entirely original work. 'We wanted to do more than just import foreign productions,' said Suh Kou-nee, general director of artistic planning and operations at SAC. 'This time, we aimed to create an opera that resonates globally while still reflecting a distinctly Korean identity.' Explaining the decision to stage the opera in English, Suh emphasized that it was not about prioritizing international markets, but rather about adopting a language that could reach the widest possible audience while still honoring Korean themes. 'After Korean, the most familiar language here is English,' she said. 'This is a Korean production told in a global voice.' With international staging in mind, SAC has begun negotiations with opera houses in Asia and Europe for performances in the 2027-28 seasons and established a partnership with Schott Music, the prestigious German publisher known for releasing first editions of 'Don Giovanni,' 'The Ring Cycle' and more recently, works by Stravinsky. 'The Rising World: The Spirit of Water' will have its world premiere at the Seoul Arts Center's Opera House on May 25, with additional performances scheduled for May 29 and 30.
Korea Herald
15-04-2025
- Entertainment
- Korea Herald
Roberto Abbado appointed next artistic director of National Symphony Orchestra
Italian conductor to begin three-year term in January 2026 Italian maestro Roberto Abbado, who has captivated Korean audiences through two previous collaborations with the Korean National Symphony Orchestra, will officially assume the role of KNSO artistic director starting January 2026, the orchestra announced Tuesday. He will succeed Belgian conductor David Reiland, who has held the post since 2020. Abbado, 70, was appointed for a three-year term as the orchestra's eighth artistic director. He previously led the KNSO in Bellini's 'Norma' in 2023, which was their first collaboration, and in a moving performance of Verdi's 'Requiem' this March. Currently the principal conductor of the Filarmonica del Teatro Comunale di Bologna, Abbado is renowned for his 'interpretative depth and distinctive programming' — a combination that earned him the prestigious Premio Abbiati Prize from the Italian Music Critics Association. He has served as music director of the Munich Radio Orchestra, Palau de les Arts Reina Sofia in Valencia, Spain, and the Festival Verdi in Parma, Italy. He has appeared with some of the world's most celebrated orchestras, including the Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra, Vienna Symphony Orchestra and the Los Angeles Philharmonic. He is also known as a passionate advocate of contemporary music, premiering works by Charles Wuorinen, Pascal Dusapin, Luca Francesconi and Silvia Colasanti as well as 20th-century composers such as Luciano Berio and Olivier Messiaen. Abbado has recorded four albums under RCA Records. Also, he has shown a dedication to uncovering lesser-known operas, recording and introducing works such as 'Tancredi,' 'Don Pasquale,' 'Il Trovatore' and 'Un Ballo in Maschera' — operas by 19th-century Romantic composers such as Verdi and Rossini. Abbado praised the Korean orchestra for its 'spirit of exploration and flexibility,' adding, 'The musicians' capabilities and their curiosity to pursue new musical paths are their greatest strengths. I look forward to the music we will create together.' 'With Maestro Abbado's visionary leadership and global experience, we will elevate the value we've built over the past 40 years and continue to deliver performances befitting Korea's national orchestra,' an official from the orchestra said.
