Opera Australia Interview With Yonghoon Lee And Karah Son

Tenor Yonghoon Lee and soprano Karah Son – South Koreans are coming to Australia to lead the casts opposite each other in both Turandot (12 Jan – 14 Mar, although they both play the first half of the run) and Otello (19 Feb – 19 Mar) – a rare event. Yonghoon will play Calàf and Otello while Karah plays Liù and Desdemona. These will also be their long-awaited role debuts in Otello after the production was postponed just before opening night in 2021.

Soprano Karah Son graduated in Voice at the Yonsei University in Seoul, her native town. She then completed her musical education graduating from the Vivaldi Music Conservatory in Novara (Italy) and attending the Academy of the Teatro alla Scala in Milan under the guidance of Mirella Freni. She distinguished herself in numerous international competitions: winning first prize at the national competition organized by Korea Joongang Daily, one of South Korea’s most important newspapers, in Seoul;  first prize at the “Vissi D’Arte” international competition in Milan; Special Soroptimist Prize at the G.B. Viotti international competition in Vercelli (Italy); Premio Extraordinario at the Francisco Viñas international competition in Barcelona; second prize at the Opéra de Marseille international competition. In 2007, she also won the prestigious Nicolai Ghiaurov scholarship.

Karah made her debut in 1997 singing Contessa in Le Nozze di Figaro at the National Theater in Seoul. She has since performed Zerlina in Don Giovanni at the Teatro S. Lorenzo in Milan; Mimì in La Bohème at the Teatro Cristallo in Bergamo, in Milan and at the Teatro Lirico in Cagliari; Liù in Turandot at the Teatro Filarmonico in Verona, at the Teatro Comunale in Bologna, in Nancy and the Palau de les Arts Reina Sofia in Valencia. Her concert appearances include participations at the Young Musicians Concert held at the National Theater in Sejong (Seoul) and sponsored by the The Chosun Ilbo (lit. Korea Daily News), the Concerto per la Poesia at the Vignola Festival and the Festa della Musica in Modena (Italy).

Ms. Son recently sang: Zandonai’s Francesca da Rimini at the Opéra in Monte-Carlo;Madama Butterfly and Aida in Korea; Aida in Halle; Madama Butterfly in Tampere, Leipzig, Warsaw, Berlin (Deutsche Oper), Goteborg and Turin. Ms. Son recently performed series of concerts at the Gewandhaus in Leipzig.

Karah Son is performing with Opera Australia’s productions of both Turandot (12 Jan – 14 Mar), playing the first half of the run, and Otello (19 Feb – 19 Mar) holding the roles of Liù and Desdemona. She will be performing opposite South Korean tenor Yonghoon Lee in both productions, marking an exciting first for Opera Australia. Karah joins us to talk about the upcoming performances at Sydney Opera House, and returning to the stage following the pandemic.

Hi Karah Son, thanks so much for talking with us at TheatreArtLife! This is an exciting time as you’re making your debut in Otello playing Desdemona. The production was sadly postponed just before opening night in 2021. That must have been very disappointing, so how are you feeling as the rescheduled opening night approaches?

I was initially disappointed by the cancellation, but I was able to take the opportunity to study the part more and make improvements during the down time. So, I was very excited to hear about the rescheduling of Otello. Because we all put in a lot of effort to make this production happen in 2021, I feel that we are doubly prepared and I’m confident that we will be able to give a great performance to our deserving audiences. I can’t wait for the opening night.

Before you make your debut as Desdemona, you’re also playing Liù in Turandot, which begins on 12^th of January. You previously performed this role with Opera Australia back in 2019, and I’m interested in what you love about the part of Liù, and about Turandot?

I love Puccini’s beautiful music and Turandot has a special place in my heart. Not only because I made my professional stage debut as Liu, but also because Liu’s character reminds me of Christ who sacrificed his life for others. The way Liu perfects love through her sacrifice is deeply touching to me. So, I try my best to express the sacrificial aspect of love when I play Liu.

It’s great to see Opera Australia shows reopening after such a long break. For you getting back on stage and performing again must create a lot of emotions? How are all the preparations going, and do things feel ‘back to normal’ for you?

Performing on the stage makes me feel alive. It is as important as breathing is to me. It gives me energy and purpose. During the long break I worked harder, dreaming of performing at a higher level. Being with my friends, colleagues, and the audiences is so precious, I don’t want to take being “back to normal” for granted.

And looking ahead to the future, what can we look forward to seeing from you next following Turandot and Otello?

After these two productions in Australia, I fly out to France to play Cio-Cio-san in Madama Butterfly.

Korean born Yonghoon Lee has established himself internationally as a leading tenor of his generation. He has made debuts at most of the most prestigious theatres in the world, including the Metropolitan Opera, Teatro alla Scala, Chicago Lyric Opera, Bavarian State Opera in Munich, Frankfurt Opera, Opera Covent Garden, Rome Opera, Vienna State Opera, Semper Oper in Dresden, Hamburg State Opera, Australian Opera and Deutsche Oper Berlin.

Mr. Lee’s engagements for the 2015/16 season include Manrico in Il Trovatore at the Metropolitan Opera and Bavarian State Opera, Turiddu in Cavalleria Rusticana at Covent Garden and the Metropolitan Opera, and Don Jose in Carmen with Opera Australia. Future engagements include Pollione in Norma at The Dallas Opera, Turiddu in Cavalleria Rusticana at The Paris Opera, and the title role in Andrea Chenier at San Francisco Opera.

In the spring of 2014 Lee sang his first Andrea Chenier in Zurich. This was followed by another debut in June of 2014 when he appeared as Hagenbach in Catalani’s La Wally at the Geneva Opera. In the fall of 2013 Lee starred as Arrigo in the Hamburg State Opera’s new production of Verdi’s rarely performed La Battaglia di Legnano staged by David Alden and conducted by Simone Young. He subsequently sang Don Jose at the Royal Opera House, Covent Garden and returned to Munich as Calaf in Turandot. The same year he added Manrico in Il Trovatore to his repertoire in a new production at the Theater an der Wien during the Wiener Festwochen. Highlights of recent seasons have also included Carmen at the Metropolitan Opera and for his debut in Zurich, Don Carlos in in the original French Version at both the Vienna State Opera and the Hamburg State Opera.

Lee sang his first Calaf in Turandot at the Teatro Comunale in Bologna in 2012. In 2011 he debuted in Vienna and Dresden as Cavaradossi in Tosca, and at the Teatro alla Scala as Turridu in Cavalleria Rusticana. He also returned that year to the Teatro dell’Opera di Roma as Arrigo in Verdi’s rarely performed La Battaglia di Legnano, after which he joined the Metropolitan Opera on tour in Japan in Don Carlo. In the summer of 2010 Lee sang Macduff in Macbeth at the 2010 Gyndebourne Festival. The same year he debuted at the Metropolitan Opera as Don Carlo and at the Chicago Lyric Opera as Jose.

In June of 2009 Yonghoon Lee made his highly acclaimed Netherlands Opera debut as Don Jose in a new production of Carmen directed by Robert Carsen and conducted by Marc Albrecht. In November 2008, he made his debut at the Teatro Carlo Felice in Genoa as Rodolfo in La Bohemeunder Daniel Oren. Lee subsequently returned to Frankfurt for a revival of Don Carlo and as Rodolfo in La Boheme, and he made his Deutsche Oper Berlin debut in Tosca opposite Violeta Urmana. He made his Italian debut in January 2008 at the Rome Opera as Cavaradossi in a new production of Tosca directed by Franco Zeffirelli and conducted by Gianluigi Gelmetti, and subsequently made his debut in Athens in Tosca. He also appeared with the Opera de la Wallonie in Liege in Don Carlos and Tosca and made his debut in the United Kingdom as Don Jose with the Glyndebourne Touring Company. Following his debut as Don Carlo in Santiago, Chile in 2007, Yonghoon Lee made his German debut at the Frankfurt Opera in a new production of the same work.  This was followed in December of 2007 by his Spanish debut, also in Don Carlo, at the Palau de las Artes in Valencia under Lorin Maazel.

A native of South Korea, Yonghoon Lee has won numerous vocal competitions and is a first prize winner of the 34^th annual Loren L. Zachary Society National Vocal Competition 2006, first prize winner of the Licia Albanese-Puccini Foundation International Vocal Competition 2005 and many others.  Yonghoon Lee received a full scholarship to both the Seoul National University in Korea and to the Mannes College of Music in New York where he continued his vocal and musical studies with Professor Arthur Levy.

Yonghoon Lee is performing with Opera Australia’s productions of both Turandot (12 Jan – 14 Mar), playing the first half of the run, and Otello (19 Feb – 19 Mar) holding the roles of Calàf and Otello. He will be performing opposite South Korean soprano Karah Son in both productions, marking an exciting first for Opera Australia. Yonghoon joins us to talk about the upcoming performances at Sydney Opera House, and returning to the stage following the pandemic.

Hi Yonghoon, thanks so much for talking with us at TheatreArtLife! This is an exciting time as you’re making your debut in Otello playing the lead role. The production was sadly postponed just before opening night in 2021. That must have been very disappointing, so how are you feeling as the rescheduled opening night approaches?

Simply as a performer, I’m so thrilled to debut Otello. Musically and dramatically, it is truly an outstanding masterpiece! But moreover, the reason why I’m so thrilled about it is…it has been a dream role of mine for a long time and finally I can make it this season.

Well… honestly it was disappointing that I missed my debut last time but I’m glad that we (all staffs and artists) had a chance to work together at least.

Before you make your debut as Otello, you’re also playing Calàf in Turandot, which begins on 12^th January. You previously performed this role with Opera Australia back in 2015 and 2019, and I’m interested in what you love about the part of Calàf, and about Turandot?

After Calàf has solved Turandot’s three riddles, Calàf comes up with only one riddle – that is “guess my name”. Before saying this line, the orchestra plays the luscious melody which is one of the most famous and popular melodies in this opera. With that melody, his riddle starts! Calàf says ” you don’t know my name, tell me my name” and sends a loving gaze to her. What’s interesting about this scene is that it’s the exact opposite of Turandot’s riddles. He recites his riddle like poem to her with sweet melodies.

And his one last phrase: “If you say my name, I will die…”; I think this part of the whole opera is the most moving.

In the case of Turandot, I think the most touching and wonderful scene is the scene of proclaiming Stranger’s name (Calàf) in front of the emperor and everyone at the very end of this opera. Perhaps the audience is wondering whether Turandot will proclaim the correct answer (Calàf) or whether she will do another special action? And at that moment, Calàf definitely assumes that he will die. But what she proclaims is “LOVE” with her clearly changed eyes and expression. The opera ends with that, such a moving and powerful word.

It’s great to see Opera Australia shows reopening after such a long break. For you getting back on stage and performing again must create a lot of emotions? How are all the preparations going, and do things feel ‘back to normal’ for you?

I haven’t been able to perform for about one year and seven months. It is difficult to express in words how much nostalgia and longing I’ve felt for the performances that have been cut. Moreover, the delicacy of opera performances is that the performers and the audience breathe, react, and sympathise together in a live performance, which I’ve missed so much.

Recently, when I was on stage at the Munich National Theater, for the first time in a year and seven months, and stood in front of the audience for the last curtain call, tears poured out of my eyes.

I have come to realise just how precious and great the moments in performances I have had with the audience in the past were, and every performance I will perform in the future will feel even more precious and valuable.

People say that the world is really divided into B.C (Before Corona). and A.C (After Corona). After the pandemic, all preparation processes require two to three times more time and effort than before. We all have to do a Covid-19 test every time we rehearse, and we wear a mask when we practise. There are also parts that need to be restrained when acting. But… I am convinced that passion and love for opera can withstand and overcome all these difficult situations. 

And looking ahead to the future, what can we look forward to seeing from you next following Turandot and Otello?

I will return with the new production of Il Trovatore by G.Verdi in July 2022. Please look forward to it.

More about Turandot

After months of live music deprivation, audiences are invited to experience the power of opera’s most famous aria in Puccini’s Turandot when it returns to the Sydney Opera House on January 12, 2022.

Achieving pop status when Luciano Pavarotti’s “Vincerò” made 73,603 people at the 1990 FIFA World Cup Final hold their breath, ‘Nessun dorma’ ends with the statement “I will win” – a fitting mantra for the arts industry after its recent decimation, guaranteed to evoke goosebumps and tears in the Joan Sutherland Theatre.

Singing the aria will be celebrated South Korean tenor Yonghoon Lee who will perform “a superb Calàf, his stentorian delivery producing decibels that belie his slim frame”, while stellar American soprano Lise Lindstrom returns to demonstrate how she made a name for herself in the title role, bringing her “commanding voice and an equally commanding presence,” (Limelight).

As the moon rises, a death cry wails through imperial Peking. Torture and death mean nothing. Freedom means everything. Can the princess win her heart’s desire?

When Pavarotti sang out the top B in Puccini’s ‘Nessun dorma’ across a huge crowd at the 1990 FIFA World Cup, the world collectively held its breath. A generation of football fans were learning what opera was all about — music that can transport you to another world, another place, a place where emotion wells up inside you at the sound of a single note.

“Vincerò”, the tenor cries — “I will win! I will WIN!”

Few had seen Turandot — Puccini’s opera about a brutal princess and an impossibly brave suitor, who will make any sacrifice to win her love. How many of the millions of people who watched that broadcast suddenly had an inkling of what the power of that music can be?

Turandot is a fantasy opera of poetry and myth, set in an exotic world where fear and love go hand in hand and death is always just around the corner. ‘Nessun dorma’ is just one of its magnificent moments.

Renowned conductors Christian Badea and Leonardo Sini return to Australia to conduct.

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