Exotic "bird" - Sumi Yo. Strokes for a portrait
Summer off-season, and, it would seem, music life took a calendar timeout. But suddenly, the name of a phenomenal singer “flashed” on the capital’s posters, in her native South Korea, considered a national treasure, whose voice great conductor Herbert von Karajan called angelic. The concert is dedicated to the 25th anniversary of the establishment of diplomatic relations between Russian Federation and the Republic of Korea. Sumi Cho will take the stage of the BZK together with the orchestra of the Moscow Academic musical theater named after Stanislavsky and Nemirovich-Danchenko under the direction of Felix Korobov. The program of the evening includes fragments from Italian and French operas and of course Korean music.
- This is not the first time you come to Moscow. What interests you in our city?
- You impress the audience not only with virtuoso singing, but also with amazing outfits ...
– Oh, yes, I am known for the fact that I like to dress up, to present myself not only through music. I want to be attractive on stage, I flirt with my audience, and for this I have to be very, very pretty and sweet. I enjoy when I can play my fragility on stage and at the same time represent strengths of his character. It is in concerts that I can fully open up, avoiding pretense and senseless violence against myself for the sake of the director's vanity, as often happens in performances.
– Is it often difficult to get in touch with colleagues?
– In principle, I easily get along with both conductors and singers. But I don't like it when, after the first rehearsal, I sit and cry, wondering why I came here. And sometimes it happens. Moreover, I am such a person with whom it is easy to make friends. And, by the way, I would be a wonderful wife, because I love to cook. In general, I am completely different behind the scenes - quiet and calm. I think I still managed to balance my career and personal life. On this moment everything is fine with me, I can, without cunning, call myself happy, although I consciously decided that because of my profession, which is built on endless tours, I have no right to have children. But it seems to me that all people, no matter what they do, need to learn to create a positive aura around themselves.
Have you ever had a hard time because you are Korean?
- Certainly. Most of the problems and obstacles in my path arose precisely for this reason. Opera singers with Asian appearance all over the world, and especially in Italy, are still something outlandish, exotic. Many American and European directors refused to work with me, being sure that I would not be able to understand their concept of the play, way of thinking and culture. I try to be realistic and not get upset when something like this happens. Although, of course, it's a shame to be rejected because of the cut of the eyes.
What does it mean to be a modern prima donna?
- Unfortunately, modern opera divas have lost the mystery that used to be an obligatory component of the image of a prima donna. Now singers have to literally sell their name, constantly advertise themselves so that people buy their albums, tickets to plays or concerts. To feel like a commodity, of course, to put it mildly, is unpleasant. I don't songbird and not a jukebox. On the other hand, almost all the divas of the past 24 hours a day wore the mask of "inaccessible" and were fatally alone in real life. I do not want such a fate for myself and try to be an open and optimistic person.
- Roman was and remains my friend, he likes my voice. It was a great experience. But for now, I don't see myself in the movies. I am an actress only at the moment when I have the opportunity to sing. If I can't sing, it's a huge grief for me. At such moments, I think it would be better to die right there. My voice is my life. I love experimenting with him, singing different repertoire - from Mozart and baroque to crossover. Therefore, I was very curious to work with such a modern Russian composer as Igor Krutoy. He wrote very good lyrical music for me and my friends Lara Fabian and Dmitri Hvorostovsky, to whom today I wholeheartedly .
REFERENCE
Sumi Cho, whose real name is Cho Soo-kyung, chose her stage name with meaning. Su means perfection, Mi means beauty, Cho means holiness. She is a native of Seoul and studied at the Santa Cecilia Academy in Rome, where she has been living for many years. Italian teachers managed to cut the voice of a young Korean student with jewelry accuracy. And a year after graduation, she sang at the Salzburg Festival in Verdi's famous "Masquerade Ball" conducted by Herbert von Karajan - the last opera production of the great maestro. Following the Korean "statue" with a crystal soprano, other bastions fell - from the Paris Opera and La Scala to Covent Garden and Metropolitan. Sumi Cho - Grammy Award winner (1993), is among the most famous singers peace.
And yet, despite the fact that she is flattered by the success that this project had in her native Korea (where everyone new album the singer occupies the top lines of the charts, and where her name has long been surrounded by a halo of glory), the soprano has other priorities. “My main goal is to maintain my image as an opera singer, because the fact that I have become a celebrity in my own country means that I can no longer leave the house without a wide-brimmed hat and sunglasses. And I don't like it. I would like the public to perceive me precisely as a soprano, as a prima donna, and not, say, a screen star or some very popular person ... "
Sumi chose Rome as her main base, the city where she studied as a student at the Santa Cecilia Academy. Here, with her long-term partner, she leads a completely arranged personal life. In her professional career, the Korean woman continues to face obstacles. “I sing a fairly extensive repertoire, but there is the best one that I could sing - these are the roles of bel canto, especially Bellini, Donizetti, Rossini. But, unfortunately, in Italy it is quite difficult to play such roles, because Italians do not really trust foreigners to sing Bellini and other bel cante parts.
Richard Boning's comment in this regard: "Outside of Italy there are many good singers, but not too many outstanding ones. I believe that Sumi Yo just belongs to the number of outstanding. Whatever you ask her for, she immediately picks up. She's very smart, very musical, and has a quick reaction time."
The singer's timbre perhaps suffers somewhat from the lack of instant recognition factor, that unique "trademark" vocal personality that penetrates the listener's ears. Listening to Yo, I am reminded of the energizing, athletic "flamour" passages of Christina Deutekom (Deutekom) at the beginning of her career, or Edita Gruberova and Natalie Dessay. Yo is close to them in terms of delivery of voice and attack, inferior in vocal richness, but superior in mobility and roundness. Yo, of course, can sing very smoothly, but in impressively fast passages she has rhythmic elasticity and clear staccato, which, combined with precise intonation, excites the audience listening to her Queen of the Night - a role whose effectiveness is not detracted even by a somewhat modest timbre palette. Knowing that he has a youthful voice, Sumi likes to add extra touches to it, like, say, tremolo in a romantic Broadway tune, or nasal singing in slow dramatic music. Its natural warmth fits well with the German "Lieder". Regardless of the context and content of the music, its unique combination of natural intensity with lightness is just what captivates the listener...
For composer-conductor Stephen Mercurio, who collaborates with Sumi Yo in concerts, opera houses and recording studios, her voice is "a very, very transparent, focused sound." Recalling the performances of Rigoletto, which he conducted in Detroit, the maestro emphasizes that, unlike other singers who require the conductor to follow their own interpretation of Gilda, Sumi was so sweet and sociable that one could not help thinking only about how she would help: “Oh Sumi, do you need a little more time in this place?”
Sumi Yo's rise to fame began in 1986 when Karajan chose her to play the Oscar in the upcoming Salzburg production and subsequent recording of Un ballo in maschera*. Over the next two years, she worked very closely with the maestro, studied everything that he taught her new in her profession, and became friends with him.
“I was not afraid of him at all,” the singer recalls, “Karayan said that I was the only one who was not afraid of him at all. At our very first meeting, I tried to stroke his hair, it seemed so wonderful to me - like a child's. And I said: "Maestro, can I?" I think that he was quite shocked by such liberties on my part, but, nevertheless, he allowed it. And I said: “You know, you have such beautiful Blue eyes which I have not yet met. Can I just take a closer look at them?” He told me that I was acting like his granddaughter. You know, the whole point is that literally everyone was terribly afraid of him. Even Domingo and Leo Nucci, when they needed to know something, sent me to the Maestro with questions.” Their communication became a little strained when Sumi dared to decline Karayan's invitation to record Norma. “I said to the Maestro, “God, how is this possible, because I can’t cope with the role!”, But he assured me that everything would be fine, with my technique I would do Norma perfectly, and that I should just trust him.”
But Sumi Yo had the courage to say no to him.
The second "no" came out of her mouth when Sumi refused to sing with Carlo Bergonzi in "Louise Miller". Being her "idol from a young age", the tenor assured Sumi that she had a lyric soprano and could handle the part of Louise. When she finally refused the offer, Bergonzi was very upset and hurt, and did not talk to her for a week.
So, against the background of previous examples, it was easier for her, for example, to refuse an engagement in the musical "Miss Saigon", since Sumi believes that the genres of "light" music and musical comedy are just side "merits" that make up part of her image. and helping promotional singers.
Her passions and tastes include such varied personalities as Doris Day and Marilyn Monroe (she loves films from the 60s and 70s). This coexists perfectly with her interpretations of Ravel's Kaddish (for this she specially went through a play with the chief cantor of the Roman synagogue), a suite of numbers from the popular Broadway musical Jekyll and Hyde (recorded on her latest disc, Only Love), various French repertoire (including the "crown" roles of Olympia and Lakmé).
“My dream is to sing and even record Violetta, but not immediately, but a little later. Not only vocally, but also emotionally, I need to wait another two or three years to gain personal experience, to become a bit more of a woman, and less of bambina, which I'm still often perceived to be.
The main thing for me is that I don't want to sing only roles like the Queen of the Night, Lucia or Gilda all my life. I really want to have a variety of choices and maximize all sides of my personality.”
Translation from English by K. Gorodetsky.
According to Opera News magazine.
Note:
* Sumi Yo was born on November 22, 1962 in Seoul. Here she performed for the first time opera stage as Suzanne. The European debut of the singer took place in 1986 in Trieste (Gilda). Among the best parties: Gilda, Lakme, Queen of the Night, Olympia, Lucia, etc.
A modern opera diva with an Asian appearance who likes to create a positive aura around herself.
The most talented graduate of one of the oldest musical institutions in the world. A native of Seoul, Korean girl Sumi, handed her high captivating tone of voice to be cut and given perfect form Roman Academy of Santa Cecilia. A year after the release, her crystal soprano sounded at the Salzburg Festival. The famous "Un ballo in maschera" by Verdi conducted by the great Herbert von Karajan - isn't this a unique opportunity to start your career as an opera prima?
Then Paris Opera, La Scala, Covent Garden, Metropolitan… and world fame.
In his native South Korea, Sumi Yo is met with huge fees and state awards, assigning star status to the prima donna" national treasure".
Not wanting to try on the mask of inaccessibility, fatal loneliness and mystery inherent in opera singers in the past, a thin Korean Sumi is an open and optimistic person in life. She flirts with her audience on stage, shocks the audience with amazing outfits and prefers the freedom of the concert to pretense and violence against herself to please some opera directors. At the same time, she easily finds sweetness with conductors and fellow singers, despite the fact that because of the cut of her eyes, she often came across a prejudiced attitude towards herself.
She loves experiments: to diversify her repertoire from baroque to crossover. Her soprano can be heard in Roman Polanski's film "The Ninth Gate", but Sumi does not want to act in films, fully realizing herself on stage.
Russia will certainly remember the fusion of soprano Sumi Yo and baritone Dmitri Hvorostovsky at the State Kremlin Palace.
STATE SYMPHONY ORCHESTRA OF RT PARTICIPATED IN THE FESTIVAL “OPERA APRIORI”
The performance in Moscow was the last concert in the 48th season. Festival "Opera a priori" takes place in Moscow on the stage Great Hall Conservatory, five concerts with unique programs were given within its framework.
This is the second experience of joint work of Sumi Cho with the orchestra of Tatarstan. Last year, she took part in the Rakhlin Seasons, which take place in Kazan, and the third - with maestro Sladkovsky, who also conducted her Moscow concert.
“Maestro Karajan called her voice angelic. Sumi Cho's voice, her demeanor on stage, her spontaneity make a strong impression on me as a conductor. Each meeting with this singer gives me great joy of human communication and music-making,” said Alexander Sladkovsky.
The program "Voice of the Heart" includes works by Vivaldi, Handel, Saint-Saens, Bernstein, Donizetti, Offenbach, Strauss, Lehar, Verdi, Rossini. The concert lasted over two hours. The singer fully compensated for her not very successful previous Moscow concert, when she went on stage with a cold. This year, Sumi Cho was in great shape and easily overcame all the difficult moments of the program. The audience was delighted. State Symphony Orchestra of Tatarstan, headed by its leader Alexander Sladkovsky, by his speech in Moscow, finally secured the status of one of the the best teams countries. This year it is already the third concert of the GSO RT on the most prestigious stage of the country. The musicians were not allowed to leave the stage for a long time. For an encore, the beloved by the public “Stand of Tamerlane” sounded again.
At the end of the concert, Sumi Cho presented educational grants to young people Russian musicians. “I am happy that I met brilliant teachers in my life. It is very important and valuable to have the opportunity to study with professionals and masters, so I try to participate in youth support programs,” the singer said.
The performance in Moscow for the orchestra was the last in this concert season. The musicians are going on vacation, and in August they will begin rehearsals for the Kazan Autumn festival, which will be held this year with the participation of the Baroque Queen Simone Kermes, the press service of the orchestra reported.
Sumi Cho
Sumi Cho (Jo Sumi) - Korean Opera singer, coloratura soprano. The most famous opera singer hails from Southeast Asia.
Sumi Cho (Jo Sumi) - Korean opera singer, coloratura soprano Sumi Cho was born on November 22, 1962 in Seoul, South Korea. Real name Sudzhon Cho (Jo Sugyeong). Her mother was an amateur singer and pianist, but was unable to receive professional musical education due to the political situation in Korea in the 1950s. She was determined to give her daughter a good musical education. Sumi Cho began piano lessons at the age of 4 and vocal training from the age of 6, even as a child she sometimes had to spend up to eight hours in music lessons.
In 1976, Sumi Cho entered the Seoul School of the Arts (private academy) "Sang Hwa", from which she graduated in 1980 with diplomas in vocal and piano. In 1981-1983, she continued her musical education at the Seoul national university. While studying at the university, Sumi Cho made her first professional debut, she performed in several concerts organized by Korean television, and sang the part of Susanna in “The Marriage of Figaro” at the Seoul Opera. In 1983, Cho decided to leave Seoul University and moved to Italy to study music at the oldest musical educational institution- National Academy of Santa Cecilia in Rome, graduated with honors. Her Italian teachers included Carlo Bergonzi and Gianella Borelli. During his studies at the academy, Cho could often be heard in concerts in various Italian cities as well as on radio and television. It was at this time that Cho decided to use the name "Sumi" as her own. stage name to be more understandable to European audiences. In 1985 she graduated from the academy with a major in piano and vocals.
After the academy, she took vocal lessons from Elisabeth Schwarzkopf and won several vocal competitions in Seoul, Naples, Barcelona, Pretoria and the most important in 1986, international competition in Verona, in which only the winners of other significant international competitions, so to speak, the best of the best young singers, could participate. Sumi Cho made her European operatic debut in 1986 as Gilda in Rigoletto at the Giuseppe Verdi Theater in Trieste. This performance attracted the attention of Herbert von Karajan, who invited her to play the part of the page Oscar in Un ballo in maschera with Plácido Domingo, which was staged at the Salzburg Festival in 1987.
In the following years, Sumi Cho steadily moved towards the operatic Olympus, constantly expanding the geography of her performances and changing her repertoire from small roles to major ones. In 1988, Sumi Cho made her debut at La Scala and at the Bavarian State Opera, in 1989 at the Vienna State Opera and the Metropolitan Opera, and in 1990 at the Chicago Lyric Opera and Covent Garden. Sumi Cho became one of the most sought-after sopranos of our time and remains in this status until today. The audience loves her for her light, warm, flexible voice, as well as for her optimism and light humor on stage and in life. She is light and free on stage, giving each performance a subtle oriental pattern.
Sumi Cho has visited all countries of the world where they love opera, including several times in Russia, the last visit was in 2008, when they, in a duet with Dmitry Hvorostovsky, traveled to several countries as part of a tour. She has a busy work schedule, including opera performances, concert programs, work with record companies. Sumi Cho's discography currently has over 50 records, including ten solo albums and crossover style wheels. Her two albums are best known - in 1992 she was awarded the Grammy Award in the nomination "Best Opera Recording" for R. Wagner's opera "Woman Without a Shadow" with Hildegard Behrens, Jose van Dam, Giulia Varadi, Placido Domingo, conductor Georg Solti, and an album with the opera Un ballo in maschera by G. Verdi, which received a prize from the German Gramophone.
Sumi Jo sings ‘Ave Maria’ by Caccini
Herbert von Karajan said about her: "A voice from above." In Moscow for the first time gave solo concert Korean Sumi Yo is a world-famous opera prima donna. Time Out Moscow correspondent called the oriental diva in Rome and found out that the famous soprano was going to sing in Russian.
"Sumi Jou-u-u!" Opera critics sing the name of the singer in the English manner and roll their eyes like a child, as if we are talking something sweet and fragrant. The South Korean diva's voice has been compared to a golden elixir, to honey and caramel—everything has been compared to describe her rounded soprano as she soars headlong into the air. high notes and knowing no fear in the puzzling arias of Bellini, Donizetti and other bel canto masters. However, even when Sumi Yo does not sing, but simply speaks in handset, breaking through the interference between Moscow and Rome, where she is currently located, her voice still attracts attention she has a ringing girlish laugh and insinuating intonations.
"Do I consider myself a prima donna? Sumi twists the first question with a laugh and continues unexpectedly seriously: Yes, I would like to believe that I belong to the highest category of opera performers for whom this title suits." She does not flirt: anyone who is at least a little familiar with the facts of her biography will confirm that she is a prima donna. Her portfolio includes contracts with the New York Metropolitan Opera, London's Royal Covent Garden Opera, Milan's La Scala, as well as the covers of major opera magazines, an exclusive contract with the Warner Classics label and several sites created by her fans around the world. Nevertheless Lately she doesn't show up very often at important festivals and seems more introverted than before. “No, I haven’t had fewer invitations,” the singer anticipates my bewilderment about this. I’m just tired of wandering around the world and living on suitcases. solo programs where I depend solely on myself. This is the freedom that I have been striving for for many years.” Indeed, the prima donna should be alone only solo.
The appearance of Sumi Yo bizarrely combines the features of the great divas of the past and pragmatic opera singers modernity. She can be a glamorous young lady, participating in photo shoots for glossy magazines and striking with extravagant dresses at solo benefit performances. But, unlike other stars, he does not shy away from directing experiments on stage, allowing himself to be dressed in unsightly rags or simple sundresses. The artist flawlessly fulfills the conditions of the most enslaving contracts in major theaters singers are harassed for six weeks with rehearsals, rehearsals and run-throughs. But it can suddenly evaporate, forcing you to look for yourself all over the globe, after one performance at the Sydney Opera House, she flew off in an unknown direction, and the manager went crazy, not knowing where to look for her. The singer's signature roles in bel canto operas, from Lucia di Lammermoor in Donizetti's opera of the same name to Gilda in Verdi's Rigoletto. But she is no less willing to sing baroque music, French romances, jazz and musicals. And, surprisingly, she always and everywhere demonstrates an impeccable knowledge of style: in Handel and Vivaldi she will give odds to Cecilia Bartoli herself, and in Lloyd Webber's hits she will wipe Sarah Brightman's nose on the simple basis that she has a better voice and has a breathing technique honed over the years .
Having traveled half the world, Sumi has never been to Russia and is looking forward to her Moscow debut as eagerly as children crave a trip to Disneyland. "I've heard so much about your country ... It seems that a lyric aria will now begin on the other end of the telephone line. I recently performed in Seoul with Dmitry Hvorostovsky, he strongly recommended that I start singing Russian music. It would suit my voice and it was generally great try it, what do you think?" Of course, the Snow Maiden or Martha from " royal bride"with an oriental cut of the eyes a little unusual at first, but in the history of the opera there were black gypsies Carmen, and Cio-Cio-san with a proud Roman profile, and overgrown, many-pood Cinderellas. So the omnivorous opera community will accept her with open arms. But first will require the role that has been expected of her for many years courtesan Violetta in La traviata.” “Yes, in 2007 I will finally try La traviata,” says Sumi Yo. But I am a perfectionist by nature and until I am sure that my voice perfectly matches this part, I will not go on stage."
However, the native of Seoul will still perform the most famous aria from "La Traviata" in the finale of her Russian debut with the Moscow Philharmonic Orchestra. Before her, fragments from those operas in which Sumi Yo performed all over the world will sound, so to speak, brief encyclopedia her triumphs, past and future. Lucia di Lammermoor, Juliette, Linda di Chamouni, Rosina such a powerful injection of bel canto in Moscow will be enough until the next visit of Sumi Yo. And she will definitely come back. At least in order to show off her Russian arias Sumi Yo is used to having her wishes come true, as befits a real opera diva.
THREE FACTS ABOUT SUMI YO
Against "Norma"
The Korean diva belongs to a narrow circle of artists discovered by the legendary German conductor Herbert von Karajan, once the most powerful figure in the world. classical music. (Others include Cecilia Bartoli, Yo-Yo Ma, Anna-Sophie Mutter.) In 1987, Karajan invited the 23-year-old Sumi to perform a small part of Oscar the page in Verdi's Un Ballo in Maschera at the Salzburg Festival. Admiring the young singer's voice, the maestro offered her to record Bellini's "Norma" and was surprised to hear a firm refusal, the young debutante claimed that she was not yet ready for such a significant role. Such an answer could cost Sumi Yo his career Karajan was not used to hearing "no", especially when he proposed such a large project to someone. But the charm of the singer and her ability to get around sharp corners helped to avoid conflict.
Scandal in Sydney
In 2001, Sumi Yo sang at the Sydney Opera House, equally famous throughout the world for its magnificent architecture and vile acoustics. After one of the performances, the prima donna signed autographs for two hours, and then retired to her hotel. The next morning, the management decided to contact the singer and were completely bewildered when the hotel telephone operator said that Ms. Yo had checked out of her room a few hours ago. The theater director immediately contacted the singer's agent in New York, who was shocked by this news and said that his ward had not announced her departure and planned to complete the entire series of performances. Wanting to save the situation, he announced that Sumi Yo left Sydney because she was pregnant, which was a deliberate lie, but theoretically could justify her sudden departure and save her from large penalties associated with not fulfilling the terms of the contract. The heroine of the story, who appeared a couple of days later, denied her pregnancy, referred to bad feeling, But true reason She never explained her sudden disappearance.
sixth element
When Luc Besson's film "The Fifth Element" was released, the army of Sumi Yo fans for a long time resented the fact that their favorite was not invited to voice the part of Plav Laguna opera diva of the era of computer technology, the episode of the performance of which became one of the most striking in the picture. Indeed, the Korean singer's phenomenal technique and fantastic top notes made her the perfect performer for this part. Sumi Yo's voice is nonetheless featured in another well-known film, two years after The Fifth Element, as she sings a sky-clear soprano in Roman Polanski's The Ninth Gate.
