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.

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.

Evgeny Kissin Dazzles Korean Fans

Evgeny Kissin said that performance is ``the gift to composers and all of humanity,’’ and this pianist is the gift that keeps on giving. In his Seoul recital, Thursday, the Russian sensation _ or revolution rather, to imply the historic dimension of his presence _ gave 10 encores and serviced fans with an autograph session that continued past midnight.


(Photos courtesy of Credia)

The pianist’s concert was an event people did not want to miss. The concert hall of Seoul Arts Center was fully packed well before the show began, with less than a handful of latecomers slipping in after his delightful rendition of select pieces from Prokofiev’s ``Romeo and Juliet.’’
Each time the tall figure emerged onstage the audience exploded into applause but would hush instantaneously when he sat down.

No one dared to cough between the movements of Prokofiev’s Piano Sonata No. 8, and it was as if the members of the audience were turned into stone under the spell of Kissin’s magical pianism (OK this sounds so corny, but people, including myself, were so incredibly STILL). An occasional shifting in the seat would softly echo through the hall, and the musician’s deliberate but effortless notes hung suspended in the air, even after he took his fingers off the keys.

This genius, and one does not use this word lightly, has a way of holding you at the edge of the seat _ in the silence between the notes he holds your breath before poetry manifests itself in his rollicking, glistening phrasings. During concerts, this reporter is usually busy scribbling down notes, but throughout Kissin’s performances, she had to remember to breathe, quite literally. The audience had to try very hard not to clap after each etude as he proceeded immediately to the next one.

When the official program came to an end, the entire hall jumped into a standing ovation, and, a never before seen sight took place. People left their seats and crowded toward the stage, and organizers did not even attempt to intervene as a majority of the 2,500 people took out their cameras and cell phones to fill the hall with a tide of flashes. It must be noted here that the Korean audience is usually quite tame, and don’t try to breach regulations about taking photographs.

The cool hall became heated, quite literally, as fans cheered on for one encore after another. Kissin, looking a bit overwhelmed by the Korean audience _ whom he said is ``the most passionate of audiences, even more so than Italians’’ _ offered more Prokofiev and Chopin, and finally, a dazzling rendition of Mozart’s ``Turkish March.’’ He ended the 1 hour 20 minute encore by bowing gracefully with one hand on his heart _ a sign that the gift for the evening is over. Well, almost over.

A long serpentine line formed in the lobby for the autograph session, which lasted close to an hour until 12:30 a.m. A handful of people had to be turned away at the end, but most were seen jumping up and down in glee, having in possession a token of what would undoubtedly be the most talked-about classical event of the year.

Kissin performs less than 45 times a year, but he gives each session 300 percent, with the added bonus of, on average, 10 encores and a signing session. Chang Il-bum, music critic and radio DJ, has watched Kissin onstage over the years since the 37-year-old’s early days in Moscow. ``When I first saw him as a young man (in his 20s) in Moscow, I thought I’d seen it all, but each time I see him he sets new horizons. It’s difficult to imagine how he’d be like as a white-haired old man,’’ he told The Korea Times.

For the meantime one can only wait for the pianist’s return, and dream of what more he has to offer.

Next Generation Artists Sparkle in Seoul

Youthful exuberance reigned in Seoul last week as Yundi Li, Sung Si-yeon and Alexander Gavrylyuk ― musicians who will lead the future of classical music ― took the stage.

Chinese star pianist Li made sure his Wednesday recital at Seoul Arts Center, the first in six years, would be unforgettable, making fans anticipate his next visit. The following evening at the same venue, conductor Sung lead the Seoul Philharmonic Orchestra to create exhilarating rhythms opposite pianist Gavrylyuk.

Yundi Li's Poetic Pianism

As the youngest ever winner of the Chopin International Competition, Yundi Li is naturally associated with the musician. He displayed a different musical streak last year through the new repertoire of Prokofiev and Ravel, demonstrating a flair for rhapsodic melodies and primitive rhythms.

Somewhat ironically, however, it was the 26-year-old's return to a program of Chopin that, though inspiring a pang of nostalgia, demonstrated his ever-evolving growth as a musician ― and suggested that it is perhaps prejudiced to label him as a Chopin specialist.

An enthusiastic audience, including his staunch female fans, greeted the charming pianist. But the hall instantly hushed for his sweeping, balletic renditions of Chopin's ``Nocturne Op. 9, No. 2'' and ``Mazurka Op. 33.''

But the Romanticist shined through with ``Five Yunnan Folk Songs,'' a collection of Chinese folk songs arranged for the piano. Li certainly has an uncanny ability to beautify music, including even some of the most irking pieces of music like Prokofiev's Piano Concerto No. 2. His poeticism was manifest in the melodious folk songs, through which he allowed crystalline tunes to glide like an autumn leaf floating upon a dancing stream.

As if to make the Chopin pieces seem like minor spices to the musical feast, he gave a polished performance of Mussorgsky's ``Pictures at an Exhibition.'' Finally, in response to the prolonged ovations, he gave two encores of beautiful Chinese folk songs. Afterward, members of the audience hurriedly flocked outside to get his autograph.

``It is logical that I am associated with Chopin. But at the same time, he has nothing to do with me, because I can play a wide-ranging repertoire,'' he was quoted as once saying. Indeed, the recital showcased Li's versatility, and moreover, it suggested how unfair it is to mention his name, without fail, alongside Lang Lang just because they are the same age and nationality ― because his musicality seems to know no frontiers.

Sung, Gavrylyuk's Synergy Effect

Li's powerful rendition of Prokofiev's Piano Concerto No. 2, a piece rarely played in Korea, remains fresh in the minds of many after his CD and tour last year. The Seoul Philharmonic Orchestra's ``New Wave'' Series I featured rising pianist Alexander Gavrylyuk with the same piece, though with his own color and dynamism.

The 24-year-old Ukrainian held the audience in rapt attention with his exquisite technique, tackling particularly the long solo part of the first movement with jazz, with a striking sense of ease and spontaneity.

Conductor Sung Si-yeon, on the other hand, offered a sound that was more organic, rounded and ``organized'' than expected of the robust piece. While the Seoul Philharmonic could have been more reverberating in the third movement, it was nevertheless not without the certain magnetism necessary to match the virtuosity of the soloist and create musical synergy.

Whole minutes disappeared as Gavrylyuk displayed his natural artistry and expansive breadth of emotion, and concertgoers did not ― or rather could not ― let out a single cough between movements. But once the final notes resounded, the concert hall rumbled with ovation, which continued well into the intermission time. For the enraptured audience, the soloist offered ``Flight of the Bumblebee'' as an encore, showcasing more of his ``flying fingers'' (it seems Lang Lang no longer has monopoly over that nickname).

Gavrylyuk launched his career through international events such as the Rubenstein. His fame has only just begun to catch up with his immense talents that deserve greater attention. But he doesn't seem to have to wait long, as he will soon making a recording and concert tour of Prokofiev's complete piano concertos with the Sydney Symphony led by Maestro Vladimir Ashkenezay. In 2012, he will debut with the Royal Concertgebouw Orchestra under the baton of Mihail Platnev.

Meanwhile, Sung shined with another Nordic repertoire. Last year, the assistant conductor of the Boston Symphony Orchestra gave a colorful rendition of Sibelius's ``Lemminkainen's Homeward Journey.'' This time she took concertgoers on an invigorating ride into the Finnish composer's musical world with ``Pohjola's Daughter.''

Lastly, she wrapped up the evening with glimmering golden tones in Bartok's ``The Miraculous Mandarin.'' Her charismatic command of the dissonant harmonies showed why she won the Bamberg Gustav Mahler Conducting Competition.

The 34-year-old, chosen among the next generation of classical musicians by The Korea Times along with pianist Li, is a rising ``maestra'' to watch out for. Such young artists as Li, Sung and Gavrylyuk hush concerns over the diminishing interest in classical music.

Read my Next Generation Interview Series with Yundi Li or my recent
email interview with the pianist.
Read my Next Generation Interview Series with Sung Si-yeon.

Domingo Is Still King of Opera

This is one concert to remember. I grew up listening to the maestro's rendition of "Thoughts on Mt. Keumkang (Geumgang; 그리운 금강산)" and oh, the thrill of hearing it live!

(Photo/Yonhap)

Placido Domingo showed he still reigns high as one of the century's greatest singers in his Seoul recital Tuesday.

At 67, the silver-haired Spaniard sang with the fervent ardor of a young Romeo ― waltzing onstage with diva Katherine Jenkins and giving six encores, including a local favorite he sang here 14 years ago.

Jenkins will undoubtedly be invited back after this impressive Korean debut, but the night's dark horse was the striking, jewel-toned South Korean soprano Lee Ji-young. Forward-thinking Domingo makes sure his reign is more than memorable, as he continues to pave paths for young talent. >>More

Read about Mr. Domingo's press conference in Seoul

Lang Lang, Less Than Stellar

I don't consider myself a harsh critic; but I felt strongly compelled to write this terrible review of Mr. Lang's performance in Seoul because fans like myself have been lured to big concerts with big names, only to be disappointed like recieving an empty gift box with a fancy wrapping. It angers me that poorly organized yet painfully expensive performances can sell like hotcakes. I personally think Mr. Lang is a fabulous artist and I how his whole Mozart-meets-MTV appeal attracts non-fans to classical music, but his chemistry -- or complete lack thereof -- with the La Scala Philharmonic was exasperating.




When a major concert hall, fully packed with some 2,500 people, rumbles with an explosive ovation complete with bravos, you may wonder if something is wrong with you for not wanting to do the same. The majority of the audience, in this reporter's humble opinion, heard what they wanted to hear ― that their $200 ticket was well worth it.


Three stars ― maestro conductor Chung Myung-whun; pianist Lang Lang, who became even more famous when he graced the opening ceremony of the Beijing Olympics; and La Filarmonica della Scala (La Scala Philharmonic) of the revered Italian opera house. Hearing these three giants together in concert was naturally expected to be stellar. Yet, Tuesday and Wednesday's performances in Seongnam and Seoul, respectively, were disappointing to say the least.


Rachmaninov's Piano Concerto No. 2, one of the most frequently played works in Seoul, was disastrous. The structured playing and tempered whimsicality Lang demonstrated in his live recording with the Valery Gergiev-led Orchestra of the Mariinsky Theater (Deutsche Grammophon) was nowhere to be found.

Lang's vulgar expressivity was baffling, particularly the self-indulgent manner in which he walked ― or tickled, rather ― the melodic lines of the second movement. This reporter does not criticize the pianist's dreamy head tilting and full body demonstrations of each note. Though some people dismiss him as a ``hammy actor'' for it (The New York Times), how can one not feel like waltzing to the ringing bells and whispering winds of the concerto? Some of the pianissimos were finely crafted ― subtle, sweeping and balletic, but Lang's touches throughout the first two movements were far too light, completely disregarding the weighty color of the Russian piece.

In the third movement, the crowd-pleasing pianist went completely solo ― caring very little to harmonize with the orchestra, and the rhythm faltered throughout. When pianist Lim Dong-hyek recently performed Tchaikovsky's First Concerto with Vladimir Ashkenezay's EU Youth Orchestra, a mismatched tempo in the third movement was immediately corrected. Such spirit of mutual music making was completely absent in both of Lang's performances.

In Tuesday's program, La Scala continued with a dispirited rendition of Tchaikovsky's Symphony No. 4. The orchestra seemed better fit for sensuous Puccini or Verdi tunes, and lacked the capacity to paint the full, bursting colors of the Russian piece. The tempo was tortuously slow throughout the first half of the work, and the orchestra members seemed more preoccupied with catching up and playing it safe.


Mahler's ``Titan'' the following evening, which required even more voluminous sounds, was enervating to hear. Maestro Chung, who is much loved in France and Korea for his masterful rendition of Mahler's entire symphony repertoire, seemed very lonely up on the stage, fighting a failing battle with all his might with an unprepared troupe.

A concert in which the audience, conductor, orchestra and soloist respire together, at times taking long, meditative breaths and other times taking one's breath away, seems to have become a rarity. The audience appeared pleased nevertheless, and Lang's CDs and the newly published Korean translation of his memoir were selling furiously in the concert hall lobbies. A personal autograph from the world media's favorite pianist apparently serviced the star-struck audience.
(The Korea Times)

Read the interview with Mr. Lang

Paik Kun-woo's Beethoven Sontata Marathon: Intoxication With Musical Poetry

Paik Kun-woo, 61, is one greedy man. The celebrated pianist has embarked on a historical marathon concert, playing all 32 of Beethoven’s piano sonatas in just seven days.

With Paik’s commanding presence and impeccable style, just one of these concerts would be enough to keep you entranced for days. Packing eight of these in a week seems, at first, a sort of injustice to the serious listener, who has to erase the deep imprint of one performance for the next.

``If I take breaks in between I’ll have to return to reality, and I don’t want to,’’ Paik had explained. The daily recital is indeed difficult to digest, but it leaves you in a state of intoxication -- what better way to become completely drunk with Beethoven’s music?

Some 600 fans here had formed the Beethoven Club a year ago to support the serial recital. The special package enabling audiences to attend all of the performances at half the price was sold out months before the concert.

Paik’s rendition of Beethoven is pure, with no frills. It is thus far from comforting to hear, to be sure. Even ``Moonlight’’ on Tuesday was chilling in all its beauty. But Monday’s concert featuring piano sonatas Nos. 16, 17, 22 and 23 was an especially frightening experience.

Beethoven is said to have remarked ``Just read Shakespeare’s `The Tempest,’’ when asked about sonata No. 17, dubbed ``The Tempest,’’ as well as No. 23, ``Appassionata.’’ In the play, the heroine Miranda responds to her father’s incredible story by saying ``Your tale, sir, would cure deafness’’ -- indeed Paik, while capturing the urgency of the deaf composer’s vision, paints music that would speak even to the hearing impaired.

His rendition of ``The Tempest’’ was storm defined, encompassing both the violent, eradicative effect of an angry Mother Nature and the lovely sunshine after the rain. The volatile character of the first movement of the piece was clearly defined by Paik’s alternation of inquisitive largo and ominous allegro.

``Appassionata,’’ on the other hand, was unlike any other performance. Paik is a poet who paints with the piano keys. As T.S. Eliot said, ``poetry is not a turning loose of emotion, but an escape from emotion,’’ and Paik’s musical poetry, assuming a life of its own, completely spellbound the audience for the full 23 minutes. The recital hall, fully packed on a weekday night with even the chorus seats open to the public, fell utterly silent, without a random cough or shuffle in the crowd.

The third movement, with its melodic fragments and canons crashing down, was passionate, despairing and absolutely breathtaking -- ``I thought my heart was going to explode,’’ muttered one audience, clutching her chest.

With the last notes, ``Appassionata’’ left you in a state of awe that made it seem more appropriate to keep the hands together, palm to palm, in a moment of prayer rather than perform the mundane act of clapping. An explosive standing ovation followed a few seconds later.

The drizzling rain that night was a blessing, enabling you to calm down the beating heart and cool down the heated senses -- to sober up from the intoxicating experience.

The series continues at Seoul Arts Center, with sonatas Nos. 27-29 tonight at 8 p.m. and Nos. 30-32 Friday. Tickets cost 20,000-50,000 won. For reservations, call 1577-5266 or visit www.interpark.com, www.ticketlink.com.