Park Chan-wook Wins Jury Award at Cannes

South Korea's maestro director Park Chan-wook shared the Jury Prize at Cannes for his vampire thriller "Thirst" with Britain's Andrea Arnold ("Fish Tank") -- his second one after "Old Boy" in 2004.

Read the news wire from AFP below:

(AFP) - CANNES, France, May 24, 2009 (AFP) - Asia's dark and disturbing movies scooped Cannes kudos on Sunday, with awards for cult directors from China and Korea, as well as controversial Filipino auteur Brillante Mendoza.

At Cannes with a blood-and-gore tale about vampire love titled "Thirst", South Korea's Park Chan-wook jointly won the festival's Jury Prize, taking home his second trophy from the festival after "Old Boy" in 2004.

A torrid and unexpectedly graphic gay love movie from China, "Spring Fever", won best screenplay for outlawed director Lou Ye.

And Mendoza, one of the most divisive directors at the 12-day movie bonanza, got the best director prize for a gritty look at violence in "Kinatay", which means massacre and shows the slow butchering of a prostitute into pieces with blunt kitchen knives.

"I know opinions are divided on my movies," Mendoza said after picking up his prize. "I was expecting it."

Mendoza faced a barrage of criticism from some quarters at Cannes at his first showing last year with "Serbis", which was set in a Manila porn-theatre with long close-ups of festering boils and overflowing toilets.

Both films background Manila's poor, with "Kinatay" chronicling a day in the life of a young police officer that begins with his wedding and closes with his involvement in the rape, murder and hacking into pieces of a prostitute.

"This is not just entertainment, these kinds of stories are real," Mendoza said.

Park's priest-turned-vampire suffers cruelly in the movie, from inner demons and physical ills, but picking up his award at the red-carpet ceremony the film-maker in contrast said:

"I think I still have a long way to go to be a true artist because I still don't know about the pain of creation. I only know about the joy of creation."

Park, who describes his rivers-of-blood tale as a "scandalous vampire melodrama," shows a good-Samaritan priest caught in an ethical quagmire after being turned into a vampire by a mysterious blood transfusion.

Lusting not only after blood but after a childhood friend's wife -- who turns into a vampire too -- the priest is drawn into crime while seeking redemption as he soars through windows to rooftops in search of life-saving blood supplies.

*It's interesting to note that both "Thirst" and "Kinatay" star the striking Filipina actress Mercedes Cabral. Her furtive glances in Park's film left an admirable impression. Congrats Mr. Park!

Asian films are flying on a cinematic high! When Juliette Binoche visited Seoul recently, she said that Asian cinema is totally hot right now and are inspiring the int'l film world. Cannes, la creme de la creme among film fests, exemplifies this.

"Thirst" topped the local box office but ceded the No. 1 spot to the romantic comedy "My Girlfriend Isn't an Agent." Still, it's not a bad score for something that is rated R to the core.

>>Read my movie review (one of the first in English) on Park's "Thirst."
>>Read about what Park had to say about his film (though it's a little outdated, it contains the essence of his thoughts on the piece).

Hugh Jackman Jogs With 'Hanbok'-Clad Daughter

Hugh Jackman jogging with his daughter, who's pretty in her pink "hanbok" (traditional Korean dress). The "X-Men" star is the honorary ambassador to Seoul; his father worked in South Korea for almost 30 years, so he's a big fan of "bulgogi" (Korean beef), etc.

This is such a precious picture... makes me love him even more :)

>>Read what the Wolverine-cum-Aussie had said during his promotional tour in Korea.

Actor John Cho Aims to Break Stereotypes

I had my doubts about "Star Trek," since J.J. Abrams, the director, is a "Star Wars" fan. But it was awesome movie (not to mention that Spock is uber sexy). I got to interview charming Mr. Cho for a second time.

Yonhap Photo

It appears that the mission of John Cho, much like his ``Star Trek: The Beginning'' character, is ``to boldly go where no one has gone before.'' If the space pilot Hikaru Sulu seeks new life and new civilizations, then the Korean-American actor strives to break certain Asian stereotypes until one day it won't be necessary to do so.

``Part of my mission as an actor has been to define what an American is. I've played roles that aren't expected of an Asian,'' said the star of the cult comedy ``Harold and Kumar,' and' who popularized the term ``MILF'' in the ``American Pie'' trilogy, in an interview Monday in Seoul.

Asians being typecast as funny ``is a new stereotype,'' said the 36-year-old, explaining that Asian Americans had hitherto been labeled as ``cold, non-humorous and involved in our books.''

(Photo courtesy of First Look) But Cho, one of 2006 People Magazine's Sexiest Men Alive, said the ultimate goal would naturally be to not worry about stereotypes for choosing parts.

``Any role that gets repeated (by Asians) will be misinterpreted as a stereotype. The goal of Asians in the arts is plurality of roles. I've always been hindered by me over-thinking what is a stereotype and what isn't,'' he said. ``The more roles there are, the more actors there are. No (Asian) actor has to think about how is this affecting anyone except me, and just think about whether or not I want to do this role.''

In recent years, an increasing number of Korean actors have been cast in Hollywood films, such as Gianna Jun (Jun Ji-hyun) in ``Blood: The Last Vampire.'' ``Hollywood has been so impressed by Korean films, so there is an interest in Korean actors,'' he said, though carefully, not feeling comfortable about commenting definitively on the subject.

Cho does feel however that it is difficult for an actor or director's talents to wholly translate across borders, and something inevitably gets lost. He hopes that a new filmmaking hotspot will arise outside of Hollywood and rival it, so that cineastes wouldn't need to endorse a different culture in order to make a larger impact ― in 50 years or so it could be South Korea, he said.

The actor had appeared in the Korea-United States joint production ``West 32nd'' by Michael Kang, and said he would one day like to appear in a local project. ``I was impressed by the creativity of the concept in Korea cinema. There is a unique Korean vision happening right now. (…) I'd like to work on a Korean movie if I had the opportunity. Mostly (because) I'd like to stay here for an extended period of time,'' said the Los Angeles native.

Meanwhile, ``Star Trek,'' helmed by ``Lost'' and ``Mission Impossible 3'' creative brain J.J. Abrams, is currently topping the North American box office, drawing in more than $79.2 million during its opening weekend according to the Associated Press.

`` I'm very excited,'' he said. ``I know there was some level of suspicion about how we'd handle this franchise that was considered kind of dead.'' The action flick is based on the epic sci-fi television series tracing the adventures of the Federation starship U.S.S. Enterprise, a pan-universe version of the earthly UN.

``It's one of those series that has been consistently on re-runs for 40 years. It has become of part of the cultural fabric of America,'' he said. However, he stopped watching the original series; the lead actor, Chris Pine, who plays the role of Kirk, previously said the same thing to The Korea Times. ``I stopped because I knew much more (about `Star Trek') than I realized; it had been around for so long that I forgot I'd seen and had absorbed it.''

In the original series, Cho's character Sulu was ``very much in command of the spaceship,'' he said. In the prequel, Cho said he portrayed a young Sulu that is ``a little shakier, a little less secure.'' Indeed, the film invited some laughter when the highly trained pilot is unable to launch the spacecraft in one go.

As for playing a role originally played by Japanese American actor George Takei, Cho said it was ``fair game as an actor,'' since the part did not require a Japanese accent or Japanese lines. Unlike old TV series such as ``Mash,'' where non-Korean actors were forging Korean accents,'' he was ``happy my casting fulfills (the original TV series creator) Gene Roddenberry's vision of a multinational spaceship.''

[Mr. Takei was quote as saying in an interview that he did not mind a Korean American playing his former role -- Sulu is supposed to represent Asia, he said.]

In an interview with The Korea Times two years ago, in Busan, Cho said he always wanted to play roles such as a classic American cowboy that he played as child with his younger brother. Starring in ``Star Trek,'' something he grew up watching, seems to be a great start.

Born in Seoul in 1972, Cho immigrated to Los Angeles at the age of six. He stepped into the world of acting by chance while majoring in English literature at UC Berkeley.

>>Read my previous interview with John Cho.

>>Read about Mr. Cho's other film, "West 32nd."

Be Your Own Rock Star

Record an Album

Lee Jung-hwan, 28, has a passion for singing but never pursued a professional career. He is in fact a busy medical student, but he decided to do something more than just croon his favorite tunes at the local ``noraebang’’ (karaoke) to express his musicality _ he recorded a couple of albums at a studio.

Featuring a dozen tracks, a glossy jacket and casing, they look like professional CDs released by major labels _ except the songs were sung by Lee and his family and an artsy friend designed the covers.

``It’s a once in a lifetime opportunity, an eventful and fruitful family event that lasts,’’ he told The Korea Times. The project arose when Lee’s mother heard about a studio where amateurs can make albums.

The family of three took the opportunity to spend several days together, from choosing the songs to the actual recording and designing of the album cover. His family also headed to the photo studio for a family portrait to feature in the album jacket. ``It’s an event where everyone got together and got really involved,’’ he said.

The father and son sang oldies such as Lee Eun-mi’s ``I Have a Lover’’ and Richard Marx’s ``Right Here Waiting,’’ and were careful to feature a variation of songs in an orderly fashion, alternating between songs in E Major and A Minor, for example. They ordered about 200 copies, which were distributed to friends, relatives and colleagues.

``They absolutely loved it. Korea has a unique noraebang culture, where everyone loves to sing and party. They were amazed to hear the voice of someone they know in a recording,’’ he said. Lee went on to record a solo album featuring his favorite songs such as ``Desperado.’’ He wishes to make another CD with his future wife and children.

Nara Music in Bundang, Gyeonggi Province, a satellite city of Seoul, is one of the few professional studios that offer such a service.

The owner, Kang Dong-suk, was the musical inspiration behind classic TV cartoons such as ``Flying Superboard.’’ He now specializes in producing ``dongyo,’’ or nursery songs, and albums for opera singers. But the studio also welcomes small-scale projects for music professors and amateur singers such as Lee’s family.

Releasing an album comes with a price, of course. It normally costs about 10 million won and up, depending on the number of tracks, mixing (live orchestration or electronic music, etc.) and the amount of post-production it requires, and takes up to about a month. The studio takes care of slight glitches, akin to how photographs are edited on computer programs.

Nara Music is located near exit 1 of Yatap Station on the Bundang subway line. Call (031) 708-6631.

Form a Band

The movie ``Bravo My Life’’ features listless white-collar workers rising back to life through amateur rock bands. Such movies were actually inspired by true stories _ it’s never too late, it seems, to realize your dreams of becoming a rock star.

Yamaha Korea offers classes for various instruments, ranging from the piano to electronic guitar. Many think that piano lessons are for toddlers only, but you won’t be the only adult there. There are two groups, children and professionals from all walks of life in their 30s and 40s. Visit www.yamaha-music.co.kr for more information.

A scene from the movie "Brave My Life"

Hyundai Sungwoo Resort in Gangwon Province is hosting a competition for amateur workers’ bands on May 30. Any band purely comprising of workers that have not released an album will be able to participate. It is accepting applications until May 26 through its Web site (www.hdsungwoo.co.kr).

The judges award bonus points for bands comprised of members from the same firm. The grand prize winners get 1 million won and a free voucher for a night in the resort’s luxury room; the runners up receive 500,000 won and two vouchers for suites; the second runners up receive 300,000 won and one voucher for a family room; and the third runners up can win 200,000 won and one voucher for a family room.

Make Music at Noraebang

If you think recording an album is too expensive, or forming a band is time-consuming, then hit a noraebang. But forget the generic, dark, underground ones with broken tambourines. Local noraebang have evolved to allow special touches to karaoke night.

Su Noraebang in Hongdae, a nightlife hub of Seoul, is famous as a luxurious franchise with multiple chains. Among them is Prince Edward, which features a full drum set, guitar, keyboard and other kinds of instruments to add live instrumental effects to vocals.

In the hallway, those waiting for a room can play the white grand piano, which is equipped with sheet music of the latest songs. For the more serious singer, the noraebang even provides lockers for personal microphones. It also has a washing machine and offers free ice cream and a cell phone battery-charging service. Variety TV programs often shoot in the chicly decorated rooms, so you could run into a celebrity.

Naturally, prices are more expensive than the typical noraebang next door, costing about 20,000 an hour. Visit www.skysu.com or call (02) 322-3111.

For those who want a memento of their historical noraebang extravaganza, Tinga Tinga in Seongnam-dong, Ulsan, offers guests a chance to make their own music video. Singers du jour can choose a background and sing in front of the camera, which you can take home in the form of a CD, or upload it online as a UCC (user-created content) video.

It costs 15,000 won per hour. If you’re planning on making a music video, the owner suggests calling in advance so you can reserve one of the nicer rooms. Call (052) 243-1612.

Director Hong Sang-soo’s Realm of Comic Realism

New in local theaters and currently showing in the out-of-competition section of the Cannes Film Festival is Hong Sang-soo’s latest feature ``Like You Know It All.’’

Like Hong’s other films, ``Know’’ is told in a live journal-like format that is reminiscent of Eric Rohmer. While it is set in a couple of Korea’s top vacation spots, the movie, as typical of its minimalist director, features characterless hotel rooms and drinking spots and showcases more of the mirror-image structures inherent to Hong’s stories of frustrated ideals and sexual desires.
Modest, fragmented and meandering it may be, but the low-budget digital franchise stars some of South Korea’s most high-profile actors tangled up in mundane yet comic situations and engaged in phony talks about art, philosophy and love.

Like his previous feature ``Night and Day,’’ which was shown at last year’s Berlinale, ``Know’’ stars another one of the director’s archetypal womanizing anti-heroes. Actor Kim Tae-woo (Hong’s 2004 ``Woman Is the Future of Man’’) is Koo, a rising filmmaker known for his artsy works.

He is invited as a judge for the 2008 Jecheon International Music Film Festival (JIMFF). But the festival, set among the cascading mountains and scenic lakes of North Chungcheong Province, is just an excuse for everyone to have drinking parties. Here, Hong does not hesitate to bash the film industry, by depicting a know-it-all programmer (Uhm Ji-won) and superficial movie critics to the smug star director and the desperate actress trying to climb into his bed. Koo is at once the aloof observer and the passive participant in the shallowness.

Meanwhile, Koo runs into an old buddy, Bu (Kong Hyeong-jin), and is invited to his happy home. Joined by Bu’s wife Yu-sin (Jeong Yu-mi), the three start another round of drinking. A series of mishaps, however, result in Koo being labeled a sexual harasser, and back at the festival, he again gets blamed for another accident involving too much booze and compromised sexual morals.

Twelve days later, Koo is invited to give a lecture at a film school on Jeju Island. Of course, the camera foregoes the beautiful palm trees and beaches of Korea’s Hawaii, and instead takes viewers to more drinking parties. This time he reunites with a senior colleague, the elderly painter Yang, and is invited to his home.

Yang’s new wife turns out to be none other than Koo’s old flame, Koh (Go Hyun-jung). The two keep their past affair a secret from Yang, and end up in bed together _ a casual affair for Koh, while a pitiful, self-gratifying attempt for Koo to attach meaning to his frustrated past. Things become complicated, however, when the neighbor Jo (Ha Jung-woo), who swears a bizarre sense of loyalty to Yang, catches them.

``People don’t make use of all the gifts in life,’’ Hong once said. ``They can be ungrateful about the good things in life while they agonize over unnecessary desires, beliefs that are unfounded, self-destructive or oppressive, and misguided ideals. I am intrigued by such things.’’

In ``Know,’’ Hong explores the small yet affecting results of misunderstanding and misinformation, and how history is bound to repeat itself when people fail to understand their mistakes. Running as long as ``Night and Day,’’ the director’s longest film yet, ``Know’’ develops in a tangential yet natural, and moreover, extremely funny, way. Some say that the realist always makes similar movies; Hong is consistent but is also consistently evolving, bringing new dimensions of small and subtle yet delightful rhymes.

Read my review of Hong's "Night and Day"

Royal Tombs Nominated for World Heritage List

Photos courtesy of the Cultural Heritage Administration.

The Royal Tombs of the Joseon Kingdom (1392-1910) was nominated to become a UNESCO World Heritage Site, the Cultural Heritage Administration of Korea (CHA) announced Wednesday.

The International Council on Monuments and Sites (ICOMOS), which along with the International Union for Conservation of Nature (ICUN) presides over a tentative list of cultural and natural properties. The tombs scattered around Seoul and Gyeonggi and Gangwon Provinces await final approval at the 33rd session of the UNESCO World Heritage Committee, which will take place June 22-30 in Seville, Spain.

``No site recommended by the ICOMOS has ever been turned down before,’’ Kim Hong-dong of the CHA International Affairs Division was quoted as saying in the Munwha Ilbo. If the Joseon royal tombs are approved, it will become South Korea’s ninth UNESCO-designated treasure.

The tombs comprise the mausoleums of 27 generations of Joseon kings, and queens, including those who were posthumously recognized, spanning over five centuries. Such an intact preservation of the royal tombs from a single dynasty is unheard of elsewhere in the world.

A total of 40 tombs among the 42 were submitted for candidacy _ the excluded two, Jaeneung and Huneung, are in North Korea. The ICOMOS is reported to have highly regarded the site’s unique architectural and landscape forms rooted in Confucian and geomantic traditions, as well as the fact that related funereal rituals from the times continue to this day, in the form of an intangible cultural heritage.

These tombs, called ``neung,’’ are part of altogether 119 tombs in the area, which include 13 ``won,’’ those that belonged to crown princes and princesses and the biological mothers of kings (i.e. mothered by a royal concubine), and ``myo,’’ which include those belonging to royal family members and overthrown kings such as Gwanghaegun and Yeonsangun.

Local sites registered by UNESCO include Jongmyo, Joseon’s Royal Ancestral Shrine, and the Joseon-era Changdeok Palace in Seoul. The Royal Tombs’ nomination suggests the heightened recognition of the late kingdom’s cultural value.

Other sites include: Seokguram-Bulguksa and Gyeongju Historic Areas in Gyeongju, North Gyeongsang Province; Tripitaka Koreana at Haeinsa Temple in Hapcheon, South Gyeongsang Province;Hwaseong Fortress in Suwon, Gyeonggi Province; Gochang, Hwasun and Ganghwa Dolmen Sites; and the volcanic Jeju Island and its lava tube.

If designated, the royal tombs will be subject to protection and oversight by the international community.

As of July, 2008, a total of 878 cultural and natural sites from 141 countries are registered in the list. Italy has 43 while China has 33.

In order to qualify as a World Heritage, a cultural site must possess all of the following (condensed) conditions: 1. Represent a masterpiece of human creative genius; 2. Exhibit an important interchange of human values; 3. Bear a unique or at least exceptional testimony to a cultural tradition or civilization; 4. Be an outstanding example of a type of building, architectural or technological ensemble or landscape; 5. Be an outstanding example of a traditional human settlement, land-use or sea-use; and 6. Be directly or tangibly association with events or living traditions, etc.

Jose Carreras Still Got It

Photo courtesy of Goyang Cultural Foundation

Tenor Jose Carreras wrapped up his South Korean recital tour Tuesday with a crowd-pleasing program in Goyang, Gyeonggi Provice, a satellite city of Seoul. (The last public concert he had here was in 2006. In '07 and '08 he came for those fancy, private functions.)

The 63-year-old Catalan took some time to warm up his voice (and it was really, really warm in the concert. I was particularly irritated by the Korean Symphony Orchestra (argh in less than a week after Friday's "Fidelio"), which, conducted by the singer's nephew David Gimenez, kept confusing power with volume and drowned out the vocal.

After intermission, however, Mr. Carreras showed why he's one of The Three Tenors in an impassioned duet with soprano Park Mi-hye. I loved Ms. Park's singing -- even though her lung capacity was slightly lacking (weak volume), her voice was silvery and lyrical.

He wrapped up the evening with "Musica Prohibita" and gave two encores including "Granada."

>>Read about what Mr. Carreras told reporters recently in Seoul

>>Read about the recent Seoul recital of Placido Domingo, the other surviving member of the Three Tenors.

Multiple Pianos Create Formidable Sound

From left, pianists Kim Jun-hee, Paik Kun-woo, Kim Sun-wook and Kim Tae-hyung play together in a rare concert featuring four pianos at Seoul Arts Center, Sunday. The four artists, shown here performing an encore piece on one instrument, are touring South Korea through Friday. /Courtesy of Credia

Evgeny Kissin’s Seoul tour in April seemed like it would be the most talked-about classical music event of the year. Barely a month following the Russian sensation’s performance, however, maestro Paik Kun-woo and three rising South Korean pianists set the Seoul Arts Center concert hall on fire -- again.

The beauty of a live piano performance is, in addition to hearing inspired melodies in real time, seeing the artist’s flying fingers in motion. Seoulites saw Monday and Tuesday such dynamics of not two but eight hands, conjuring to life four Steinways in ways the local art scene has never seen before.

A single one of these instruments is enough to generate the sound of an orchestra. Many multiple-piano pieces were originally conceived with the sound of the harpsichord or light fortepiano, and on modern instruments sounds tend to be unpleasantly thick and cluttered.

The recent performance -- something rare not only in Korea but also abroad -- brought together four shining artists that individually possess the star power to attract more than enough attention. In 2007 Paik rewrote classical music history by playing all 32 of Beethoven’s piano sonatas in just seven days. This time, joined by the three rising pianists -- Kim Tae-hyung, Kim Sun-wook and Kim Jun-hee -- the maestro pianist added a splash of color to the sometimes-monotonous local music scene (the three Kims, all barely past their teens and sharing the same alma mater as well as an impressive resume of top wins in international competitions, are unrelated).

With their inspired performance, the four artists hushed doubts that such a concert would be for show, and that four grand pianos could, with the right repertoire and teamwork, work together like a single unit. It was also a special treat to see the four alternate the parts of first, second, third and fourth pianos, instead of the elderly artist dominating the lead, for Wagner’s Overture to ``Tannhauser’’ and Milhaud’s ``Paris Suite’’ for Four Pianos, Op. 284.

A grand spectacle unfolded when Rachmaninov’s ``Symphonic Dances,’’ Op. 45, for two pianos, was presented in relay form, with Paik at the first piano and the three youngsters joining him one at a time for the three movements. The heated concert peaked with Ravel’s ``Bolero,’’ transcribed by Jacques Drillon, as the four instruments gave way to delightfully attuned interplay.

A full standing ovation followed, as heated as that in Kissin’s recital, and in return the players offered ``Carmen Fantasie,’’ and, sitting in a single row in front of one piano, Lavignac’s ``Galop-Marche.’’

Another special event took place Sunday, which also happened to be Paik’s 63rd birthday, and the three Kims sang happy birthday to Sun-wook’s piano playing.

The four pianists continue their tour tonight in Daegu and Friday in Goyang, Gyeonggi Province. Tickets cost from 20,000 won to 100,000 won. Call (02) 318-4301.

"This Is Richard Strauss"

Two straight nights of the Dresden Staatskapelle -- "hail maestro Luisi!"

Photo courtesy of Sejong Center for the Performing Arts

The Dresden Staatskapelle concluded its Asia tour in Seoul with two different programs this past weekend.

Maestro Fabio Luisi (who also heads the Dresden Staatsoper) lead the 461-year-old "Richard Strauss orchestra" for a definitive performance of "Ein Heldenleben,'' Op. 40, Saturday, and a formidable "Also Sprach Zarathustra" (woohoo! Space Odyssey), Sunday.

The full, bursting colors of the fortes took my breath away, but the commanding power in the pianissimos were... simply... amazing. The amazing Emaneul Ax performed Beethoven's Piano Concerto No. 3 and Strauss' Burleske for Piano and Orchestra.

Encores included Bruch's Overture to "Oberon" and Mr. Ax played a Liszt piece... argh I can't recall the title. Anyway two nights of DSK felt like binging on caviar and champage.

Read an email interview with maestro Luisi.

Chorale Enlivens Beethoven in Opera `Fidelio’

It’s not often that quantity is in par with quality. In a rare performance in Seoul this weekend of ``Fidelio,’’ MuAk Opera offered a novel experience complete with an impressive 100-plus-member chorus that showed what Beethoven is all about.

The German master’s unique opera, despite its high musical merits, has been infrequently staged. The performances Thursday to Sunday at Seoul Arts Center marked its reappearance here after 17 years, and two were rendered for the first time in German. The opera received its South Korean premiere in 1970 but the underlying theme of freedom and justice prevailing over tyrannical power made it taboo under the militant regime of the ‘70s and ‘80s. Also, its preachy idealism of conjugal marriage and political austerity made it a less popular repertoire compared to Rossini’s melodramas or Mozart’s comedies.

Despite featuring a rather dark story set on a minimal stage set, MuAk Opera offered a production teeming with some brilliant musicality -- talented singers and, moreover, striking choristers, compensated more than enough for mistakes and even the opera’s inherent flaws.

The political story can be described as a romantic ``Prison Break’’-meets-Shakespeare’s ``Twelfth Night.’’ In 17th-century Seville, a nobleman Florestan is imprisoned for disclosing the evil Don Pizarro’s scandal, and his brave wife Leonore disguise as a prison guard to rescue him. Supporting characters that propel the narrative are Marzelline, who falls in love with Leonore-cum-Fidelio, and her father, the jailor Rocco, as well as Don Fernando, a friend of Florestan who arrives just in time to save Florestan and Leonore’s lives and condemn Pizarro.

In Friday’s production, soprano Lee Ji-young, a graduate of Placido Domingo’s young artist program, invited operagoers to plunge right into the story as the creamy Marzelline. Even in the supporting role, the lyric soprano made a vivid impression that commanded attention, as her voice bloomed beautifully in the girly role, with gleaming highs and radiant middle notes.

Kim Nam-su as Rocco also shined through as one of the noblest baritones this reporter has heard in Korea. He had a voice to match his dramatic presence, whose low range was marked by rich timbre and ample volume. Choi Joo-il, however, was not very imaginative in playing the figure of towering evil. While his buff physique suited the role of Pizarro, the orchestra constantly drowned out his thin voice. Moreover, the Korean Symphony Orchestra, led by Cheh Seung-hwan, often faltered in keep the rhythm with the singers.

Another less-than-perfect performance was delivered by the lead, Susan Anthony, who demonstrated that the part of Leonore-cum-Fidelio, with its merciless runs and scales, is a burdensome challenge for any soprano, no matter how talented. The dramatic soprano compellingly portrayed a character that is more human than superwoman. Vocally, however, she achieved power by sacrificing tone, particularly in the cruelly exposed high B’s of the ``Abscheulicher’’ aria, and the aria her character sings after rescuing her husband, which, in terms of narrative feels already superfluous, was rather lackluster.

However, it was hard not to be impressed. ``Fidelio’s’’ ideological core is the ``Prisoners’ Chorus,’’ and the MuAk Opera made a commendable attempt to make sure it was memorable. Members of the MuAk Oper Chorus and Grande Opera Chorus dominated the stage not only with their sheer number but also with their perfect harmony. In the hopeful upward-reaching motif, the prisoners greeted the open air with a rapturous tribute to freedom, as if to say, ``this is Beethoven’s chorale.’’

The production peaked in the second half, with the long-awaited appearance of Steven Harrison -- the Florestan of the hour. The act opened in the dark prison dungeon, the stage bare and the tenor all alone. But the stage brimmed with his powerful and tonally beautiful voice: In the anguished cry of ``Gott!’’ his instrument depicted pain most compellingly yet effortlessly, without the least bit of pain his notes.

MuAk Opera’s foundation was inspired by Yonsei University’s 2005 production of ``The Magic Flute’’ to fete its 120th anniversary. Most of cast and crew, naturally, share a common alma mater, which this reporter presumptuously assumes, was responsible for the miscasting of some of the roles. Nevertheless, the young opera group proved to be a breath of fresh air in the local opera scene, with its bold repertoire choice and determination to put artistry above financial concerns.

Kim Solbong Premieres in Spring Fest

The Seoul Spring Festival of Chamber Music (SSF) opened Thursday at Sejong Chamber Hall, downtown Seoul, its fourth edition with a concert celebrating both continuing traditions and modern innovation.

While popular artists, including pianist Kim Sun-wook and the Jupiter String Quartet from the United States, offered tasteful renditions of Beethoven, Mozart and Schubert, rising South Korean composer Kim Solbong presented something new in his latest chamber piece ``Sundial Chronicles.’’

The festival’s 2009 composer-in-residence offered what he calls ``a rite of spring chronicling the change in time’’ through an eclectic dialogue among Western classical instruments and a couple ``gugak’’ (a traditional Korean music) organs, ``janggu’’ (drum) and ``gayageum’’ (12-string zither).

From left, gayageum and janggu. Photo by moi! During rehearsal

Of course, such a meeting point of East and West isn’t new. One can easily recall Yo Yo Ma’s Silk Road Ensemble which brings together violin, Brazillian shakers and Chinese ``pipa’’ (lute) to create sounds such gadgets weren’t meant to make, or Ahn Eack-tai’s Samulnori Concerto, which features the harmony of Korean traditional percussion art and the Western orchestra.

What is significant in the premiere is the effort of the young composer, who is not yet 28, to deconstruct the concept of chamber music, and the result is spontaneous combustion by what many exclaimed that evening as ``a dream team.’’

Kim himself tackled the piano -- including string plucking with a spoon that John Cage fans would appreciate -- opposite the janggu beats of maestro Kim Duk-soo. The founding father of samulnori brought exhilarating rhythms in solos, but stealthily controlled the volume for other parts in the spirit of true chamber music making.

Photo by moi! During rehearsal. I love it when Mr. Yang exclaimed "eolssu! (얼쑤)!"

They were joined by violinist-SSF artistic director Kang Dong-suk, cellist Yang Sung-won, clarinetist Jerry Jae-il Chae and gayageum artist Kim Ji-hyun. It was something that continues the spirit of shaking up conventions: the Western strings retained their essence but also strived for something more, with some wild lilting and vibrato, that could well have been played by a ``haegeum’’ (Korean fiddle) -- akin to how Isang Yun has the cello croon like ``geomungo’’ (Korean zither) in his Concerto for Violoncello and Orchestra.

It would be rash, however, to assume that Yun or the other aforementioned artists influenced Kim. This reporter only mentioned these men’s works in an attempt to illustrate the unique nature of the performance. If a parallel were to be drawn, Chin Unsuk comes to mind -- Kim, like the prolific elder composer, defies categorization and speaks a musical language that is modern yet non-doctrinal.

Born in Korea in 1981, Kim studied at the Curtis Institute of Music in the U.S. He entered the public radar by winning the grand prize of media giant Bertelsmann Group’s 2000 World of Expression Awards and has since premiered diverse works. But ``Sundial Chronicles’’ posed a completely new experimentation, both technical and aesthetic.

``I was in such a zone of discomfort it felt like my first time composing,’’ the musician said about his first time working with Korean instruments, which are percussive and less practical than their Western counterparts.

``It’s a starter,’’ Kim Duk-soo said about the piece. ``Solbong is really talented, and we need more young artists to experiment like he does. I’m looking forward to what he can do next.’’

Indeed, the beauty of ``Sundial Chronicles’’ lies in its innovative power that will, this reporter hopes, propel the creation of something new and named and transcending self and heritage, a struggle every artist faces.

Does this multimedia world, where channels are more open than ever, challenge the creative process? ``It’s only a technical problem. Mediums, expressions will always change, but intentions and ideas of music always come first,’’ he said, citing Rachmaninov as an example of someone was not particularly a pioneer in hs time but whose works have enduring strength. ``As long as you are truthful, art will prevail,’’ he said.

Kim will serve as artistic director of Dumbo Space, a new hall under construction in his current home, New York City, as well as that of the 2009 Atlantic Music Festival, which opens June 22-July 21 in Maine.

Sul Kyung-gu, Song Yun-a to Tie Knot on May 28

Wow... Yet another shocker after Kwon Sang-woo & Sohn Tae-young. Song is one of my fav actresses; I met her at a party once and she's so graceful, and Mr. Sul is soooooooooooooooo sexy in person. Anyway, love is always a wonderful occassion to celebrate; it's unfortunate that people like to gossip over someone else's affairs like that... though I'm inevitably part of the system as a reporter. *Sigh*

Top actors Sul Kyung-gu (aka. Sul Kyoung-gu 설경구), 41, and Song Yun-a (송윤아), 35, surprised the public with their engagement to wed at the end of the month.

``Sul and Song are holding their wedding on May 28,’’ Sul’s management agency S2007 Entertainment said Friday. The two stars plan to hold an official press conference today at the Ritz-Carlton Hotel in Yeoksam-dong, southern Seoul.

The ``On Air’’ TV screen beauty and the award-winning actor of ``Peppermint Candy(박하사탕)’’ are both graduates of Hanyang University. They acted opposite each other for the first time in 2002 through the film ``Jail Breakers (광복절 특사)’’ and then in 2006 for the melodrama ``Lost in Love (사랑을 놓치다).’’

Coincidentally enough, Sul separated with his then-wife, the younger sister of actor Ahn Nae-sang, during the production of ``Jail Breakers’’ and then divorced her by mutual agreement in July 2007, when ``Lost in Love’’ was released.

In an interview with Sports Chosun, Sul denied rumors about having had an extramarital affair -- or was pregnant – with Song.

``We started dating at the end of 2007,’’ the ``Public Enemy Returns’’ star was quoted as saying. ``After filming the 2002 movie `Jail Breakers,’ we developed a friendly relationship as senior and junior colleagues (…) I deliberated a lot since I know marriage is difficult. But (Song) has supported me through thick and thin, and inspired my determination to marry.’’

Song will appear on the big screen later on in the year through ``Saving My Wife (세이빙 마이 와이프)’’ while Sul’s latest movie ``Yongseoneun Eopda (용서는 없다 There Is No Forgiveness)’’ is slated for release in 2010.

Indulge in Guilty Pleasure of `Daechang’

역삼동 부산 양곱창

When it comes to food I may be pernickety about taste but I'm not prude (though I was quasi-vegetarian for a long time and will never, ever eat dog meat or such). Anyway, if you like blood sausages then you'll totally dig this!

Korea Times Photos by Lee Hyo-won

It’s juicy and fatty and just melts on the tip of your tongue. ``Daechang gui,’’ or grilled beef tripe (the largest of the cow’s four stomachs), is, even for many locals, an exotic Korean delicacy that is considered an acquired taste. But for those who relish the savory stuff, it’s the chou cream of the meat world.

This reporter admittedly has never been a big fan of beef tripe, or even beef for the matter, but she decided to brave something new, and was pleasantly surprised at Busan Yang Gopchang in Yeoksam-dong, southern Seoul.

This family restaurant as typical of such Korean eateries is a large hall lined with tables you enter, shoes off, and sit down in the traditional style. There are a few tables with chairs in a tent outside as well. The venue is crowded around the clock, with a varied clientele ranging from the necktie-clad corporate types to sunglasses-sporting celebrities that all come for one thing: garlic-smothered charcoal-grilled intestines.


In traditional agricultural Korean society, the cow was man’s best friend. After a long life of servitude it gave itself as meat, and Koreans paid their respects by sparing no anatomical part, including the guts.

Beef tripe is categorized into four parts: ``yang’’ or tripe-scaled; ``beoljip’’ or honeycomb; ``cheonyeop’’ or omasum , which are bloody red chunks that can be devoured raw like beef liver; and ``makchang’’ or abomasum (shown left).

What you usually order at a yang grill restaurant are yang, ``gobchang,’’ the small bowel, and daechang, the large bowel. Gopchang is chewy and healthy -- ``Dongeui Bogam,’’ the Joseon (1392-1910)-era medical annals compiled in the 17th-century, claims that it boosts physical stamina and energy and healthy bowel movement.

We opted for yang, wide strips of meat that look like chicken, and daechang, which resemble plump, fat-stuffed sausages. You can taste the cheonyeop and liver, too, which they offer for free. The unique thing about Busan Yang Gopchang is that they smother the meats in freshly mashed garlic before cooking them. The staff does all the work for you, cutting the intestines into more edible bits and placing them on the grill, and all you have to do is wait patiently.

The yang cooked faster, and you get three types of sauces: the very basic salt and sesame oil mix you get with ``samgyeopsal’’ or grilled Korean pork; a diluted soy sauce with chopped fermented pepper; and a red, piquant concoction. The waitress advised us to mix the second with the third. Yang has a very particular aroma that some newcomers may find unusual, sort of like lamb meat, and the sauces do a good job of suppressing it.



We needed much patience to stop ourselves from digging into the daechang, but still watched in awe as the greasy insides oozed over while the outside turned into a golden honey color. Daechang is definitely not for those thinking about cholesterol levels. It felt like eating chou cream for dinner -- a fluffy, delicate -- and fattening -- flavor that invites a divine guilt trip.

Yang gopchang is, as already mentioned, a delicacy, despite the low-key ambiance of the restaurants that serve it, and costs more than 20,000 won per serving. Meals, such as gopchang kimchi fried rice and ``naengmyeon’’ or buckwheat noodles, cost less than 6,000 won.

If you are planning a trip for a taste of daechang or other flavorful part of cow stomach, it is strongly advised to dress low-key. Even so, be sure to grab an apron, or ask for one -- the sizzling grill will constantly attack you with spurts of crackling oil, and afterward, you will inevitably smell like what you ate.

Located across the street from the Renaissance Hotel between Yeoksam and Seolleung Stations on subway line 2. Open from 5 p.m. to 6:30 a.m. everyday. Call (02) 554-7780.

Hernandez Converses With Images in `Rain’

This is really a beautiful film, and it was a great pleasure speaking with the director!

Director Paula Hernandez /Korea Times Photo by Lee Hyo-won

JEONJU - If a picture paints a thousand words, then Paula Hernandez’s ``moving images’’ depict an infinite stream of (un)consciousness. The Argentine director has brought her second feature film ``Rain’’ to South Korea to vie in the International Competition section of the 10th Jeonju International Film Festival, which comes to a close today in North Jeolla Province.

``It’s absolutely different and interesting,’’ Hernandez said about her first visit to Asia in an interview with The Korea Times Tuesday in Jeonju. ``I took a lot of photos of women in the market. You never see anything like that in Argentina, it’s so fascinating,’’ she said, showing images of middle-aged ``ajumma’’ gathered around, making food, in the local open air market.

The 40-year-old is always shooting her camera lens everywhere, and took many to write the script for ``Rain.’’ ``It was a conversation with words and images. Rain makes everything blurry and foggy. The rain in the movie is not melancholic rain but something that makes you feel stuck,’’ she said.

``Rain’’ features, most appropriately, endless streams of rain. In wintry Buenos Aires, a woman is stuck in wet weather and traffic. Suddenly, Roberto darts into her car. A mugger? Almar hesitates, but extends her hospitality to this confused-looking man who, dressed in fine clothing, has imported cigarettes, a silk handkerchief and a bleeding hand.

Roberto, who is from Madrid, may be feeling lost in the foreign apartment building of his late father, whom he never met, but Almar is the ``homeless’’ one who has left her husband and is living in her car, which is equipped with everything from a percolator to flower pot. The two strangers -- a man who doesn’t know where he is coming from and a woman who doesn’t know where she is going -- keep running in to each other in the following few days. The intervention of chance results in confusion, and, ultimately, clarity, when the rain stops and the traffic starts moving again.

The award-winning director of ``Herencia’’ (2001) presents a story akin to ``Once’’ (2006), where two lost souls share a small but intimate encounter, which may even be love, but one that is consummated in being unconsummated. But unlike the musical Irish movie, ``Rain’’ keeps everything minimal, from the score and palette to the characters and objects captured in the frame.

``Less is more,’’ said the director. ``Rain itself is a melody, along with the noises of cars and traffic jams.’’ Nevertheless, things utterly quotidian -- a traffic jam, greasy diner, deserted parking lot -- take on a striking elegance, and the things unsaid -- a transient smile, results of a pregnancy test never shown -- speak loudly.

Almar, who leaves her husband of nine years in the movie, perhaps reflects the director’s own divorce from a 10-year marriage. ``Filmmaking is not a profession, it’s what you are,’’ she said. ``It puts all my interests -- writing, reading, people stories and real things, images, and music -- all together with my sensibilities.’’

Born in 1969, Hernandez entered the film industry at the age of 18 as a production designer assistant. One thing led to the next and she studied at Agustin Alezzo’s drama workshop and Universidad del Cine (National Film University). She has directed commercials, short films, documentaries and advertisements.

Does being female matter in the Argentine film industry? ``It used to, in the generation before mine. Actually, even for my first film (in 2001), people asked me about being a woman director. I can’t say it was more difficult or easier. But today, there are many, many female students studying film,’’ she said, suggesting that gender is becoming less of an issue.

More problematic, however, is the financial crisis back home that is affecting filmmaking in general. ``You eventually find a way to fund a movie, but the problem occurs afterward with distribution,’’ she said. But Hernandez marches on with her passion.

Her next project will be a film adaptation of the novel ``Un Amor para toda la vida’’ by Sergio Bizzio, who inspired the Cannes award-winning film ``XXY’’ (2007). ``Filmmaking is slow in Argentina,’’ she said, and during the prolonged preparation for the movie, she plans to shoot a funky character-based documentary. ``It’s important to keep yourself busy rather than wait listlessly,’’ she said, smiling.

110 minutes. Distributed by Argentina Video Home, Buena Vista International. In Spanish.

Jose Carreras to Hold Recitals

Photos courtesy of Goyang Aram Nuri

Jose Carreras will hold three recitals across South Korea beginning Friday through May 12 -- not as a stopover of an Asian tour but in order to revisit the local audience.

``Korea is, for an artist, a wonderful pleasure. The tradition and knowledge here for classical music and opera are incredible,’’ the tenor said in a press meeting in Seoul, Wednesday. He was presiding over the jury at a recent Verdi Competition and 70 percent of the contestants were Korean, he explained, and prominent European and American orchestras have many Korean members.

``Going to Korea is something that any artist has to be proud of, and I am very proud to come to Korea. I came to your country for the first time in 1979, 30 years ago, and since then I had a wonderful, wonderful experience. It’s a privilege to come to your country,’’ said the Spanish singer, who, along with Luciano Pavarotti and Placido Domingo, is considered one of the three great tenors of modern times.

``Yes, I keep in touch with Placido as often as we can,’’ he said, despite their different schedules and frequent travels, and plans on visiting him soon in London. ``Our friendship and our professional relationship are still there and I’m very happy to have it,’’ he added. On a more somber note, he said he greatly missed the late Pavarotti. ``We lost one of the most important tenors and singers of the history of opera. Not only that (…) we lost a wonderful friend, a very charismatic person, a very caring friend. It was a tremendous pleasure to not only work with him but to talk to him. He was a sensational guy,’’ he said.

Jose Carreras, center, and sopranos Fiona Campbell and Park Mi-hye

While Domingo, who also recently held an Asia recital exclusively in Seoul, is still active on the opera stage, Carreras said he prefers recitals, though he would accept an operatic role if the conditions are favorable. For the tour here, he will sing popular operatic arias and folk songs including ``Lamento di Federico’’ from the opera ``L’Arlesiana’’ and ``Lejana Tierra Mia,’’ joined by sopranos Park Mi-hye and Fiona Campbell. ``I will be singing `New Arirang,’ and as soon as I heard it I knew I would like Korea,’’ said Campbell about singing the traditional local song on her first visit here.

Meanwhile, Park, who took the stage opposite the tenor several times in Europe, said it was always a great honor to sing with someone who inspires not only with music but also with his personal triumph. In 1987 at the height of his success, Carreras was diagnosed with leukemia, but miraculously overcame the disease.

Fighting Leukemia

``Of course when someone gets a diagnosis for acute leukemia, this is very hard to swallow… You have possibilities: one is to be passive as a patient and let things go, the other thing is to fight with determination,’’ he said. When doctors told him he had ``the possibility of one in a million’’ to recover completely, he had to grab that chance and fight. ``I think this is absolutely indispensable,’’ he added.

(Ma questionne) ``Yes,'' music itself was inspirational -- ``a wonderful shelter,’’ he said. ``Music therapy is something doctors recommend to patients. Music always plays a very important role in our lives, not just for musicians but in the lives of everyone.’’ >>More

>>Read about Im Tae-kyung, a young Korean crossover tenor who also overcame leukemia.

Director Skolimowski Fetes 71st Birthday in Jeonju

``Four Nights With Anna’’ (2008)

JEONJU - South Korea’s foremost indie and art film event, Jeonju International Film Festival (JIFF), celebrates its 10th anniversary through Friday in the North Jeolla Province city -- and the big birthday coincided with that of one of its special guests, Eastern European master director Jerzy Skolimowski.

The honored Polish auteur marked his 71st birthday, which fell on Tuesday, with a party and a retrospective featuring nine of his 22 films. About his first visit here, he said he was impressed by Korea’s markedly different exoticism from the ambiance of Japan, Hong Kong or Macao. He was also happy with the selection of films in the JIFF retrospective, except for ``30 Door Key’’ (1991) -- it was based on a famous Polish novel and should never have been translated to film, he said in a statement released by JIFF.

Born in Lodz, Poland in 1938, Skolimowski studied anthropology, history and literature at the University of Warsaw and eventually film at the Polish National Film School. A man of many talents, he is also a writer, painter and boxer. He became reputed through films including ``Walkover’’ (1966), although ``Hands Up!’’ (1967) was banned in Poland for its critical, anti-Stalinist point of view. Nevertheless, he earned international acclaim through Cannes award-winning films ``The Shout’’ (1978) and ``Moonlighting’’ (1982).

His films are noted for their social criticism, often featuring antisocial or marginalized figures, but Skolimowski said he was not a social commentator. He never associated himself with any social group and some people have even accused him of being a misanthrope. He enjoys solitude and relates better with animals. ``I once cried watching Robert Bresson’s (mistreated donkey story) `Au hazard Balthazar,’’’ he said.

The ``lonesome’’ filmmaker had disappeared altogether from the film scene, retreating to a life as a painter for 17 years. He poured all his passion into painting and didn’t feel the desire to direct, he said. He has held exhibitions and industry icons such as Jack Nicholson and Dennis Hopper have acquired his work. ``It was a time to reestablish myself as an artist, and I felt reborn as a young artist,’’ he said, adding that he was able to rediscover his energy for filmmaking. >>More

Soprano Lee Ji-young to Play Supporting Role in `Fidelio'

Photo courtesy of MuAk Opera

Lee Ji-young, who wowed the local audience as a guest singer in Placido Domingo’s Seoul recital in January, will appear as Marzelline in MuAk Opera's production of ``Fidelio,'' which will be staged Thursday through Sunday at Seoul Arts Center.

Some felt baffled that the rising U.S.-based soprano accepted the minor part, but Lee expressed great affection for the production.

``I was initially reluctant about appearing in the opera, not because it was a supporting role -- Marzelline’s part actually suits my voice better than Leonore’s -- but because I debuted here only recently (in Domingo’s recital),’’ she told The Korea Times, Friday in Seoul. A graduate of Domingo’s prestigious Young Artist program, she received critical acclaim for a lead in the Washington National Opera.

But she was ultimately drawn to the visions of the newly founded Muak Opera and the initiative of the project, which also coincides with the celebration of the 120th anniversary of her alma mater Yonsei University. ``I think the `how’ or `why’ part, rather than `what’ you do, is more important,’’ she said.

Originally a classically trained pianist, Lee began singing at a very late age, her senior year in high school. ``I had never heard an opera until then,’’ she chuckled. ``But in college, I fell in love with `La Boheme’ through Prof. Kim Kwan-dong (MuAk Opera’s artistic general director).’’

Afterward, Lee headed to the U.S. for further study. The road to her blooming success, however, was far from easy, as visa problems postponed the launching of her career. Domingo’s program was the only one that granted visas to participants, and Lee entered what she calls a ``great turning point.’’

``I was almost 10 years older than most people in the program, but everyone has their own path. Before, I used to feel anxious about becoming a diva and making it big. But I prayed a lot to God and rediscovered my reason for singing,’’ she said.

Marzelline is certainly a minor part, but Lee said she is a most crucial character that uplifts the dark story and helps the protagonist. On the opening night of the Washington National Opera’s ``Daughter of the Regiment,’’ Domingo himself had presented Lee as ``the daughter of the opera house.’’ Indeed, Seoulites will be able to see Lee shine through, as this reporter did in a rehearsal of ``Fidelio,’’ for quality reigns over quantity.

``Fidelio’’ begins at 8 p.m. except for Sunday, which will be a 4 p.m. matinee show. Thursday and Saturday productions will be in Korean, while the ones on Friday and Sunday will be in German. Tickets cost from 30,000 won to 150,000 won. Call (02) 720-3933.

Beethoven’s `Fidelio’ to Be Staged in 17 Years

(Photo courtesy of MuAk Opera)

Seoul’s classical music scene is becoming increasingly diverse, but operas remain mostly limited to the standard repertoire of Mozart, Puccini and Rossini. MuAk Opera presents Thursday through Sunday a rare production of Beethoven’s ``Fidelio’’ -- for the first time here in 17 years and for the first time in the original German.

Beethoven’s unique opera, ``Fidelio’’ has been seldom revived since its 1805 premiere in Vienna under the German master’s own baton. Johan Simons brought the piece back into focus last fall through a modern reinterpretation at the Opera Garnier in Paris.

``Fidelio’’ debuted here in 1970 but wasn’t restaged until 1992 due to the strict military regime of the ‘70s and ‘80s. Set in 18th-century Seville, Spain, it traces a faithful wife Leonore’s efforts to save her husband Florestan, who had been illegally imprisoned for revealing the corrupt acts of Don Pizarro. She disguises herself as a man and enters the prison as a guard under the alias Fidelio and schemes to rescue Florestan from death row -- ``Prison Break,’’ anyone?

``We chose to stage `Fidelio’ rather than more popular works such as `Tosca’ because we felt a responsibility to introduce novel works to opera lovers,’’ said artistic general director Kim Kwan-dong in a recent press conference in Seoul.

``It isn’t light entertainment, as it depicts human sufferings. But the universal messages are relevant in modern society and shows that light shines in darkness,’’ he said. ``The story is dark but it is ultimately a happy ending,’’ said director Choi Ji-hyung. Indeed, the opera celebrates the triumph of love, justice and freedom. It also has some comic relief in the tradition of Shakespeare’s ``Twelfth Night,’’ where a young girl, Marzelline, falls in love with Fidelio.

The visuals will reflect the stark realism of the story, but MuAk Opera promises spectacular music, especially for the famous ``Prisoners’ Chorus’’ with an impressive cast of over 100 singers from the Grande Opera Choir. ``We did not want to compromise the work’s artistry for economic factors,’’ said the director.

``I’ve had the pleasure of hearing maestro (Choi Seung-han) conduct the chorus, and it’s one of the most beautiful sounds I’ve heard. From the quiet pianissimos to the triple forte, it had perfect diction and the most beautiful sound,’’ said American tenor Steven Harrison, who will share the role of Florestan with the popular Han Yoon-seok. Meanwhile, sopranos Na Kyung-hye and Susan Anthony will alternate the part of Leonore.

``Fidelio’’ begins at 8 p.m. except for Sunday, which will be a 4 p.m. matinee show. Thursday and Saturday productions will be in Korean, while the ones on Friday and Sunday will be in German. Tickets cost from 30,000 won to 150,000 won. Call (02) 720-3933.

Beethoven Galore

In addition to ``Fidelio,’’ other pieces of music by Beethoven will fill local halls throughout the month. The Seoul Spring Festival of Chamber Music, under the theme ``Beethoven Plus,’’ presents the composer’s chamber works through May 18 in various venues around the capital. Visit www.seoulspring.org.

On May 23, virtuoso pianist Kim Sun-wook will join his former teacher, pianist-conductor Kim Dae-jin, for Suwon Philharmonic Orchestra’s special two-part concert featuring Beethoven’s complete Piano Concertos, at Gyeonggi Arts Center in Seoul’s satellite city, Suwon, Gyeonggi Province. Call (031) 288-2813~5.

'Thirst' Tops Box Office With 600,000 Moviegoers

*South Korea measures box office scores in terms of number of moviegoers, rather than revenue. It has a population of only 48 million, so 600,000 is a huge number!

"Thirst," director Park Chan-wook's latest film, placed top in the South Korean box office during the two consecutive holidays of the opening week.

The film attracted a total of 626,024 moviegoers during the first three days after the release, following 439,950 at 601 cinemas across the country for May Day and Saturday, according to the integrated computer network figure of the Korean Film Council.

The film also attracted 178,000 cinemagoers, Thursday, the largest number among new releases in the first day of their screening this year.

The film, which tells the story of a priest who becomes a vampire, is expected to hit 800,000 in total Sunday if the current trend persists, according to movie analysts.

This is incredibly impressive; Park is of course an icon here, but his movies have a cult following among only a rather limited group. This is doubly significant since April 30 marked the release of major competitors such as "X-Men Origins: Wolverine."

>>Read my movie review of "Thirst," one of the first available in English.
>>Read about what director Park had to say about his movie.

Dresden Staatskapelle to Enliven Strauss in Seoul

This weekend classical aficionados can savor Richard Strauss in its original tongue through the definitive ``Strauss orchestra,'' Dresden Staatskapelle.

The 461-year-old troupe is wrapping up its Asia tour here with two programs dedicated to the tone poems of the German master.

``The force of this orchestra is (its) very high ethical understanding of his importance in music history and the will to preserve (its) truly unique sound,'' said maestro Fabio Luisi in an email interview. He said he was curious and excited to meet the local audience in his first visit to South Korea.

A highlight of the Saturday show at the Sejong Center for the Performing Arts, downtown Seoul, is the revival of ``Ein Heldenleben,'' Op. 40, which will end with a gentle violin solo according to Strauss' original intentions.

The following evening, Sejong Center's pipe organ, the largest in Asia, will resound for ``Also Sprach Zarathustra,'' which many will recognize as the grand thematic score of the movie ``2001 Space Odyssey.'' Also featured is the ``Burleske'' for Piano and Orchestra with Emanuel Ax.

``I chose the program in order to show, on the one side, the stylistic history of the Staatskapelle, which actually is the `Richard Strauss Orchestra,' and on the other side, to present the major characteristics of this orchestra, which are a beautiful, smooth sound and the ability to play and understand properly the Romantic repertoire,'' said the conductor.

Born in Genoa, Italy in 1959, Luisi originally taught and played piano. Conducting local operas lead to an international career, and his engagements include general music directorship of the Semperoper Dresden (Saxonian State Opera) and principal conductorship of the Vienna Symphony.

``Both opera and concert are important to me,'' he said. ``In the opera I have to conduct a work in which the stage plays an important role ― this is complicated but very interesting. In a concert I can focus on absolute music.''

In regard to conducting style, he said he admires Leonard Bernstein, Herbert von Karajan and Rudolf Kempe ― ``conductors who can equilibrate feeling and rationality.''

He regards Kempe's Strauss recordings as being ``still the best.'' ``Kempe gave some objectivity to the pompous element in Strauss. Today the trend is towards opulence again, and I much prefer the distanced opulence of Karajan and others to the exaggerated sensuality of some of my colleagues who are not interested in the truth of the work but only in packaging it nicely,'' he said in a statement released by Sony Classical.

As for the Dresden Staatsakapelle, he strives to preserve and develop the unique characteristics of one of the world's oldest ensembles. ``The Staatskapelle always was an orchestra that has given a break to young composers. These young composers used to be called Richard Wagner and Richard Strauss,'' he said, and aims to link in to this tradition by appointing Isabel Mundry and Bernhard Lang as composers in residence.

Tickets cost from 50,000 won to 250,000 won. Call (02) 399-1114~6.

"Cyborg She," One Man's Perverse Fantasy

Director Kwak Jae-yong has been giving less than stellar performances ever since the South Korean megahit ``My Sassy Girl’’ (2001) and the mellow romance ``Classic’’ (2003) ― and he makes an effort to redeem himself, rather fruitlessly, in ``Cyborg She.’’

The Korea-Japan joint production nevertheless held a top spot in the Japanese box office for five weeks and sold over 110,000 DVDs. The movie translates into real action akin to Japanese sci-fi anime, and is not without its charms, particularly with some striking visuals and top stars Haruka Ayase and Keisuke Koide giving endearing performances.

But this reporter ― having loved Kwak’s ``Sassy’’ and ``Classic’’ (2003), despised ``Sassy’s’’ prequel ``Windstruck’’ (2004) and felt pity for ``My Mighty Princess’’ (2008) ― was not at all convinced by ``Cyborg’s’’ perverse pursuit of an older man’s self-gratifying fantasy. ``This movie is like a gift to myself, to my lonely days as a young man without a girlfriend,’’ Kwak told reporters following the press preview in Seoul, Wednesday.

The 49-year-old filmmaker emphasized that the movie, despite its recurring theme of a quirky young woman shaking up and ultimately saving the life of a lonely, spineless man, should not be seen as part of a trilogy with ``Sassy’’ and ``Windstruck.’’ But the director relies too much on the premise of the emotional hinge of unrequited love beneath the surface of some pretty bad slapstick.

Lonely geek Jiro (Koide) is no longer so lonely when a femme cyborg (Ayase) crashes his birthday party. She has traveled back in time from the year 2133, to help him and all of humanity, and as an added bonus, has his ex-girlfriend’s pretty looks. She tries to blend into the local scene by shopping for clothes, even though it inevitably involves giving electric shocks to the cashier, and developing a taste for fried chicken, though eating them whole. Such third rate jokes set up the slapstick for the next few reels and are completed by her efforts to rescue Jiro and other humans like an anime Supergirl.

The story does pull at the heartstrings, however, when the cyborg arranges a time warp for them to visit Jiro’s hometown, which has been destroyed by an earthquake. The big budget franchise recreates a beautiful and nostalgic, storybook-like traditional Japanese town and conjures up childhood wonders. It’s quite ironic though that the most ``fake’’ (is it a time warp or a staged hypnosis? We don’t know) moment is the most compelling in the whole story.

Back in reality in Tokyo, our protagonist starts falling for the lovely robot. Jiro agonizes over whether, beneath her fixed smile, the cyborg can ever feel his growing attachment to her. When an earthquake hits the city, however, it's a question Jiro, rather than she, has to deal with. This is where the film’s 10 billion won is mostly poured into, and is indeed spectacular, but the climactic drama between the two characters is necessary to cover up some of the artifice.

Koide assumes the most expressive role, but it's Ayase who engages your attention as the always smiling, lovely cyborg who may have a blooming sense of human emotion. Kwak strongly emphasized that ``Cyborg’’ is a sci-fi movie and it was indeed featured as the closing film for the 2008 Pucheon (Bucheon) International Fantastic Film Festival (PiFan). Given the plotline, one might have expected the cyborg to experience some kind of existential struggle like ``Bicentennial Man.’’ Instead, it’s about a young science major, who, frustrated about not having a girlfriend, creates a pretty robot that can stay by his side.

In theaters May 14. 100 minutes. 12 and over. Distributed by NEW.

Jung’s Musical Promenade Through Paris

Such a lovely man. It was a fun interview; we got carried away talking about Paris, being multilingual (not us but the crazy multilingual people we know), and being fans of the composer Unsuk Chin.

Singer-songwriter Jung Jae-hyung has released a new album, ``Promenade,’’ under the Sony Classical label, and some may be surprised to realize that this is actually the soundtrack for the currently showing ``What Brings You to My House.’’

The former pop star has written scores for several movies including ``Addicted’’ (2002) and ``Love Now’’ (2007), but Promenade involved a different creative process. The tracks may have been inspired by the quirky love story starring Kang Hye-jung, but the movie’s postponed release gave Jung a good year to work on the music as if it were a solo project.

``It functions as a film soundtrack but I wanted it to have a life on its own,’’ the 37-year-old told The Korea Times in a recent interview in Seoul.

Creating music for Promenade was ``like a picnic,’’ he said, and ``happened piece by piece,’’ and this is reflected in the meandering ambiance of the tracks. Piano, cello, flute, oboe, horn and viola tunes conjure up images of warm sunbeams on a lazy afternoon and the sight of light spring rain outside the window of a quiet café.

Singer-songwriter Jung Jae-hyung. (Courtesy of SonyBMG)

The classical instruments, however, take on a more contemporary and edgy -- and at times slurred and discordant -- texture through Jung’s electronic sound designs. There’s also a touch of pop featuring vocals by Lucid Paul and actress-singer Uhm Jung-hwa. Uhm, Jung’s good friend of over 15 years and who has starred in three of the movies he composed scores for, stopped by the venue to say hello.

His music is ultimately modern in language but is simple, poetic and unimposing. Despite the electronic mixing, the result is something whimsical and natural, perhaps similar to the Ahn Trio’s ``Lullaby for My Favorite Insomniac.’’

``Electronic music often feels cold and mechanic, but I tried to draw out warmth,’’ he said. The artist intentionally added glitches to the melody by squishing together some of the rhythm even though it may not be immediately detectable by the naked ear -- perhaps like adding small rips to create fake vintage jeans? ``Yes,’’ he said.

It’s only natural that the album is impressionistic in color; like Impressionist painters who took the easel outside of the studio, the Paris-based artist went on an actual promenade through the city. He would settle down in an outdoor cafe and be inspired by the noise of passing breezes and pedestrians and the clinking of coffee cups.

Like the honored composer Chin Unsuk, of whom he is a big fan, Jung is a classically-trained pianist who speaks in electronic music. ``The beauty of electronic music is that it enables you to directly translate your intentions, to enliven the original ingredients and keep your color,’’ he said. ``Arranging sounds created with classical instruments is rather limited. Electronic sound design is actually easier for me.’’

Is it like working with a sharp pencil for drawing? ``Yes,’’ he smiled. ``Electronic sound mixing enables you to, if it were a drawing, draw a perfectly straight line using a fine-point pencil.’’ Electronic music, he said, is just a convenient tool that allows the artist more versatility in this multimedia age.

``What used to be one-way sourcing is now all open,’’ he said about today’s merging of genres. Jung, a prolific singer-songwriter, also writes prose and draws images such as the watercolor sketches featured in his album.

``It’s not that I’m multitalented or anything. They’re just different forms of self-expression, and these days I don’t think artists need to classify themselves. Ryuichi Sakamoto started out as an electronic musician but now writes music for movies,’’ he said. ``But at the same time, I’m scared. You can go so many ways, with video art and performance, etc,’’ he said.

When asked about his future plans, he already had the next two years mapped out, with a new film score and solo piano album, as well as publishing a book and getting involved with a musical.
``My dream is to simply live toward my dream, and to cherish it. I started out with the simple premise of wanting to do my own music and that’s the most important thing. I wish to become a good-hearted egoist,’’ he smiled.