Seoul Arts Center Orchestra Fest Ends Tuesday

Seoul Arts Center’s 20th Orchestra Festival comes to a close with the Busan Philharmonic Orchestra (above), Tuesday, after three weeks of live, inspired music. Grand symphonic melodies filled the hall almost every night as maestri and soloists joined 16 of the country’s top ensembles. Each concert, almost always fully packed, was broadcast live on KBS FM radio.

The annual event brought internationally feted conductors in concert, including Spanish maestro Jesus Amigo; Baldur Bronnimann, the new principal conductor of the Colombian National Symphony; and Korean-Japanese helmer Kim Hong-je.

Youthful verve and virtuosity reigned, as young, up and coming musicians graced the stage.

On the opening night April 3, the Bucheon Philharmonic, led by maestro Choi Hee-chuhn, greeted concertgoers with a roar. Having worked with the Gyeonggi Province troupe for the opera ``L’Elisir d’Amore,’’ the Germany-based conductor inspired full bursting colors, which complimented the sweet melody of soloist Stefan Jackiw in Mendelssohn’s Violin Concerto in E Minor. Two evenings later, scientist-cellist Koh Bong-ihn gave a silver-toned rendition of the Elgar Concerto while playing with his birth town’s Jeonju Symphony.

Another sell-out program was Friday’s event featuring the Suwon Philharmonic with pianist-conductor Kim Dae-jin and young pianist Lim Dong-min. While Lim told The Korea Times that he wasn’t happy with the performance, saying the harmony with the orchestra was far from perfect in the first movement of Beethoven’s Piano Concerto No. 1, he showed why he is one of the country’s most popular young artists with the crystalline tones in the singsong second movement.

The festival was also a special occasion for instruments such as the bassoon and harp to shine in the solo spot. It also gave an opportunity for new talent to take the big stage, including two young musicians selected through an open audition.

While there is no concert tonight, the Busan Philharmonic Orchestra will conclude the festival Tuesday with Alexander Anissimov at the baton. The honored Russian maestro, currently the principal conductor of the troupe, presents a program of Tchaikovsky, including ``Spanish Dance’’ from ``Swan Lake’’ and Symphony No. 4. Pianist Ian Yung-wook Yoo, who was featured in The Korea Times' 2008 Next Generation Classical Musician series, will appear as soloist for Piano Concerto No. 1. Tickets cost from 10,000 won to 30,000 won. Call (02) 580-1301.

McVicar's `Figaro’ Is Delightful, Relevant

Giorgio Caoduro, left, and soprano Shin Young-ok appear as lovers in David McVicar’s production of ``Le Nozze di Figaro.’’ /Seoul Arts Center

The Opera Theater of Seoul Arts Center celebrated its grand reopening Friday with Mozart’s ``Le Nozze di Figaro (Marriage of Figaro),’’ which continues through Saturday. Hot young singers sizzled in the heartfelt, very relevant rendition by David McVicar, which will appeal to both opera newcomers and educated fans.

Some say that ``Figaro’’ is overly performed in Korea, where the repertoire is indeed limited for a genre that is considered an acquired taste, even among classical music fans. The majority of the audience of any given show here are new to opera. Mozart’s wholesome happy ending nevertheless satisfies Koreans’ need for reconciliation, a sentiment that is reflected in local traditional folk tales, even the most sinister.

The Royal Opera House Covent Garden production, performed for the 250th anniversary of the birth of Mozart in 2006, was revived by Justin Way in the fully packed, renovated theater (now modernized while retaining its classic, red and gold décor). Opera goers won’t be disappointed sitting in the comfortable new seats while marveling at the sight of beautiful young singers in an elegant set. The 19th-century French chateau setting, with exceptional lighting techniques, effused with warmth, while the Korean Symphony Orchestra, led by Ion Marin, offered tasteful, harpsichord-ridden music.

McVicar changed the setting of ``Figaro’’ to French Revolution of 1830, and so the philandering Count’s outdated, feudalist attempt to claim the virginity of Susanna, the lovely bride-to-be of his servant Figaro, seems all the more distasteful. The opera’s Enlightenment Age concern with respecting physical and spiritual love for marriage is all the more pertinent in modern Korea, as Mozart’s notion of love as a ``democratizing force’’ amid a complex, Shakespearean scenario appeals to a culture obsessed with TV soaps featuring star-crossed romances triumphing over social class gaps and family feuds.

Baritone Giorgio Caoduro _tall, handsome and not yet 30 _ was perfect as the saucy Figaro, with his charming presence and refinement. While his singing in the first half of the production was rather flat, his chemistry with beloved soprano Shin Young-ok was nevertheless palpable. At 47, Shin retained her svelte dancer’s physique and girlish charm and was convincing in her role as the blushing bride Susanna. She gave a consistent performance that showed why she’s a leading singer at the Metropolitan Opera.

The Count and Countess were also played by attractive young singers. Yun Hyung, a baritone who has appeared opposite opera greats like Renee Fleming since being discovered by Placido Domingo, was dashing, with measured expressionism and a clean, fluid voice. As the Countess, soprano Sara Jakubiak was striking with her supermodel good looks, but her performance of the famous aria in Act II was less than stellar compared to her lovely vocals in the other parts of the opera.

David Dong Qyu Lee, an internationally acclaimed countertenor barely over 30, was at the center of the comedy. Chosen as a Next Generation Artist by The Korea Times, he was uncompromising in his role as Cherubino. It was indeed a spectacle to see an actual man play the male part usually assumed by mezzo-sopranos. Lee’s impish demeanor and his towering, masculine physique, clearly not quite fitting for a man who’s supposed to be prettier than a woman, gave way to a rumble of laughter throughout the performance, though with Lee’s usually perfect pitch slightly off during the first half of the production.

McVicar’s sexually charged rendition _ though it must be stressed that it was much more comical than erotic _ evoked much laughter from the crowd. But certain parts by the Scottish director, who had stirred up controversy with explicit orgy scenes in other productions, were slightly raunchy for the reserved Korean audience. And yet, the opera, like the director said, steered away from traditional slapstick for a ``more heartfelt, painful reading of the text.’’

``Figaro’’ was indeed an inviting opera that was most appropriate for a festive theater reopening. Three more performances will be held at 7:30 p.m. on Tuesday, Thursday and Saturday at Seoul Arts Center. The audience is invited to watch, listen and participate with a clap of the hands and a bout of laughter. Tickets cost from 40,000 won to 200,000 won. Call (02) 580-1300.