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Korea Herald
21-07-2025
- Entertainment
- Korea Herald
Soprano Hwang Sumi offers self-curated 'Soundtrack' trilogy ― song, opera, cinema
Acclaimed soprano steps beyond stage to shape Lotte Concert Hall's signature matinee program, offering distinct musical experiences In the latter half of 2025, soprano Hwang Sumi will take the reins of Lotte Concert Hall's matinee series as both curator and performer. Titled 'Soundtrack,' the three-part concert series will showcase the artist's range across the classical, operatic and cinematic genres ― each installment exploring a different facet of the 39-year-old soprano's musical identity. For the internationally renowned soprano and respected educator, the project marks a meaningful expansion of her role. 'I've always appeared on stage solely as a performer. But for this series, I was also in charge of programming and casting, which was a big challenge,' Hwang said during a press conference Thursday at Lotte Concert Hall in Seoul. 'Because the concerts are under my name, I feel a responsibility to give audiences a truly sincere and fulfilling performance.' The series opens on Sept. 18 with a program titled 'Song,' designed to be both sophisticated and approachable. The repertoire includes Clara Schumann's "Ich Stand in Dunklen Traumen" ("I Stand in Darkness"), Robert Schumann's "Widmung" ("Dedication") and Reynaldo Hahn's "Si Mes Vers Avaient Des Ailes" ("If My Verses Had Wings"). Hwang will be joined by tenor Kim Woo-kyung and pianist An Jong-do. On Oct. 16, the spotlight turns to "Opera." Hwang ― who gained early recognition in Europe before her 2014 Queen Elisabeth Competition win, and became the only East Asian soloist at Bonn Opera House ― will lead a concert version of Mozart's "Cosi fan Tutte" ("So Do They All"), joined by a cast of fellow opera singers. The final concert, 'Cinema,' on Nov. 20, features musical actor Kai, a classically trained baritone. Hwang revealed that during her college years at Seoul National University, she once considered a path in musical theater and had even sought Kai's advice at the time. 'Many people think I only do traditional classical music, but with this matinee series, I want to show another side of myself. These days, especially in Korea, the lines between classical and nonclassical music are becoming increasingly blurred," she said. "As a performer, I have many things I want to explore on stage. But as an educator, I'm also aware that my choices can influence my students ― so I try to be selective about the stages I take.' Beyond her versatility, Hwang remains steadfast in her artistic principles. 'If a role doesn't suit my voice and abilities, I simply turn it down,' she said. "When I was in Europe, I was often asked to play Cio-Cio San in 'Madama Butterfly' ― likely because I'm Asian. It would have been a fast track to fame, but I turned down every offer because of the vocal and physical strain. I want to preserve my voice and perform for many years." All concerts begin at 11:30 AM and run for 70 minutes. Tickets range from 10,000 won to 45,000 won.
NZ Herald
24-06-2025
- Entertainment
- NZ Herald
Bach Musica NZ captivates with Mozart and Bach at Auckland Town Hall
From the start, Rita Paczian and her musicians relished the simmering syncopations and pungent suspensions of its first movement, with bass lines graduating from urgent murmurings to a mighty roar. Shapely woodwind and forceful brass joined in with a confident stylishness that would serve the music well, right through to Mozart's ebullient finale. Soloist Madeleine Xiao introduced herself with cool precision, offering no hint of fiery passagework to come, especially in the cadenzas penned by Beethoven. If the second Romanza movement might have had its opening theme a little more tonally caressed, her impassioned virtuosity when major shifted to minor took the breath away. Madeleine Xiao introduced herself with cool precision. Photo / Peter Jennings Xiao's encore, Liszt's transcription of Schumann's song Widmung (Dedication) released glowing, soulful melodies from within torrents of incendiary bravura. Significantly, this was dedicated, we were told, to Katherine Austin, one of our most treasured pianists, now battling ill health. Carl Philipp Emanuel Bach was famously mocked by his own father, the great Johann Sebastian, for writing music that was Prussian blue and hence susceptible to fading. After the interval, the dazzling opening chorus of his Magnificat put a lie to that cruel paternal dismissal. Further rousing choruses afforded Paczian's choir the opportunity to sing with molto gusto; in effective contrast with the nuanced phrases of the work's Et misericordia. The four young soloists almost stole the show on Sunday night, effortlessly searching out the musical truth of Bach's sometimes awkward vocal writing. Tenor Taliai Fifita was impressively agile in the florid demands of his Quia fecit. Photo / Peter Jennings Elizabeth Mandeno's Quia respexit enthralled with the soprano's unruffled clarity and admirable projection. Edward Laurenson took up the challenge of his Fecit potentiam with an infectious bravado, navigating through an eccentric accompaniment to enjoy every flourish, leaping octaves as if they were adjacent notes. Sweet-toned tenor Taliai Fifita was impressively agile in the florid demands of his Quia fecit, as well as in his mellifluous duetting with mezzo Katie Trigg, whose lustrous voice was a source of unqualified joy whenever it rose from the texture.
