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Korea Herald
5 days ago
- 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.
Korea Herald
09-04-2025
- Entertainment
- Korea Herald
April in Seoul a time for classical music
Two leading spring festivals -- Orchestra Festival and Seoul Spring Festival of Chamber Music -- shine in the capital Classical music takes center stage in Seoul this month with two standout festivals: the Seoul Arts Center's Orchestra Festival and the Seoul Spring Festival of Chamber Music. The Orchestra Festival brings together 18 symphony orchestras from across the country in one place while the Seoul Spring Festival of Chamber Music celebrates its 20th anniversary. Seoul Arts Center's Orchestra Festival The Seoul Arts Center's Orchestra Festival, now in its 37th year, offers a rare opportunity to enjoy performances by 18 orchestras from around the country without ever leaving the capital. The 2025 edition, themed "The New Beginning," runs April 1 to April 20 at the Seoul Arts Center, featuring performances by leading Korean ensembles including the Korean National Symphony Orchestra, KBS Symphony Orchestra, Seoul Philharmonic Orchestra, Busan Philharmonic Orchestra and Gyeonggi Philharmonic Orchestra. This year's festival highlights a new generation of conductors such as David Yi (Gangnam Symphony Orchestra), Yoon Han-kyeol (Korean National Symphony Orchestra), Hong Seok-won (Busan Philharmonic Orchestra), Kim Sun-wook (Gyeonggi Philharmonic Orchestra) and Adrien Perruchon (Bucheon Philharmonic Orchestra) and more and showcases a diverse repertoire that bridges classical traditions with contemporary works. The festival also hosts the Orchestra Festival Master Class in collaboration with the Korean National Symphony Orchestra, providing educational opportunities for young musicians. To reach a broader audience, the Seoul Arts Center offers free live streaming of all performances through its digital stage platform. Live broadcasts will also be available at the outdoor plaza of the Seoul Arts Center and the plaza of Busan Cinema Center, allowing audiences to enjoy the Orchestra Festival from anywhere. Ticket prices range from 20,000 won ($13.50) to 50,000 won. Seoul Spring Festival of Chamber Music Celebrating its 20th anniversary this year, the Seoul Spring Festival of Chamber Music will continue the celebration of classical music April 22 to May 4. Under the theme "20 Candles," symbolizing two decades of devotion to chamber music, the festival will feature 14 performances at various venues including the Seoul Arts Center, Sejong Center for the Performing Arts and the historic residence of former President Yun Po-sun. Over the course of 13 days, 69 artists active on the global stage are preparing to stage 14 performances. Artistic Director Kang Dong-suk, the renowned violinist who has led the festival since its inception, has curated performances that emphasize the number 20, such as a recital with 20 musicians and concerts featuring Opus 20 compositions. On April 27, "Opus 20" will feature Beethoven's Septet in E-flat Major, Brahms' 3 Duets for Soprano, Alto and Piano and Mendelssohn's Octet in E-flat Major. Also to celebrate the festival's 20th anniversary, the family concert on April 26 will feature the return of the French clarinet ensemble Les Bons Becs, who last performed in Korea in 2008 and 2010. 'Sweet 20s" on May 3 will feature compositions that were written when the composers were in their 20s and many performers performing this day are also in their 20s. The festival's signature outdoor concert, which is to take place at former President Yun Po-sun's house, on April 26, will feature works inspired by spirituality and religion, featuring music by Florence Price, Andre Jolivet, Dvorak and Mendelssohn. A concert titled "All-Time Favorites" April 29 will present a collection of the most beloved and frequently programmed works from the festial's 20-year history. "Better Late than Never" on May 1 will spotlight masterworks which have never been performed at SSF before -- despite deserving a place long ago. All performances are priced between 20,000 won and 70,000 won, with the exception of the Yun Po-sun's House concert, which is priced at 150,000 won.
Korea Herald
05-03-2025
- Politics
- Korea Herald
Hasty move with hidden agenda or push for less bureaucracy, regional balance?
Opposition questions timing of Culture Ministry's plan to consolidate state arts organizations, relocation to regional cities A group of artists, civic activists, academics and lawmakers held a press conference at the National Assembly Wednesday morning, denouncing the Ministry of Culture, Sports and Tourism's plan to establish an integrated secretariat to oversee five national arts organizations, calling it a hasty and bureaucratic decision. During a National Assembly session, the culture minister defended the initiative, stating that the goal is to ease administrative burdens on artists while also indicating that the ministry would reconsider if opposition remains strong. On Feb. 19, the Culture Ministry announced its plan to establish an integrated secretariat within the first half of this year to oversee the administration of five national arts organizations -- Korea National Opera, The National Chorus of Korea, Korean National Symphony Orchestra, Korean National Ballet and Korea National Contemporary Dance Company. A plan to relocate state arts organizations to regional cities over the next few years, starting this year was to be announced Thursday. Wednesday's press conference was organized by civic groups Cultural Action and After the Blacklist, the Cultural and Arts Council of the Public and Transport Workers' Union, the Korean Federation of People's Arts Organizations and four legislators -- Min Hyung-bae, Kang Yu-jung, Lee Ki-heon and Kim Jae-won -- all members of opposition parties serving on the Culture, Sports and Tourism Committee. 'The biggest problem is that the ministry is pushing the plan excessively without sufficient understanding or discussion with the respective organizations. It clearly reflects the ministry's bureaucratic and authoritarian stance toward the cultural and artistic sector. Moreover, each organization has its own budget execution and operational system tailored to its specific genre, and ignoring these differences will not enhance administrative efficiency but instead create confusion,' they said. Kang Dong-hui, head of the National Art Troupes Branch of the Korean Public Service and Transport Workers' Union and member of the Korean National Ballet, told The Korea Herald that union members from the Korea National Ballet, Korean National Symphony Orchestra and the National Chorus of Korea decided to oppose the integration plan. Additionally, after a meeting on Tuesday, union members from the National Opera and Seoul Performing Arts Company also agreed to join the opposition. Also at Wednesday's press conference, Lee Dong-yeun, professor of Korean Traditional Arts Theory at the Korean University of Arts questioned the "hasty" move as well as the timing and lack of rational grounds for the plan "at this juncture when the current administration is on the verge of coming to an end." Choreographer Oh Hyeon-taek, who opened an online petition 'Against the Integration (Merger) of the National Contemporary Dance Company' last month, said that the move is particularly concerning for contemporary dancers. 'The National Contemporary Dance Company, already operating with the smallest budget, risks further cuts under the integration plan, potentially leading to its dissolution. Reduced funding would not only hinder operations but also limit artistic creation and experimentation, ultimately marginalizing contemporary dance as a genre,' Oh told The Korea Herald. Oh's petition had gathered 1,900 signatures as of Wednesday morning. Speaking at a Culture, Sports and Tourism Committee session at the National Assembly which convened soon after the end of the press conference, Culture Minister Yoo In-chon answered questions on the integration plan. 'It is intended to let artists focus on their art without having to handle administrative work, if possible,' Yu said. Regarding the criticism that it was a hasty move, Yu said that the ministry had held numerous discussions with experts and stakeholders since early last year. 'If the opposition is very strong, then (we) won't implement the plan,' Yu said. During the session, Yu revealed his determination to contribute to achieving regional balance and fulfilling the duty of state arts organizations by relocating them outside of Seoul. 'We have only talked about regional balances but without any action. It's the duty of state organizations. Once the state arts organizations are relocated, a mega city like Seoul and districts in Seoul could make their own arts organizations,' Yu said. This year, two state arts organizations will be relocated, including Seoul Performing Arts Company, which will be moved to Gwangju City. There, SPAC will become the National Asian Culture Center's resident art troupe. These relocations and the administrative integration of five arts organizations will be announced Thursday as part of the ministry's mid- and long-term plans, called "Vision 2035."
