Korean opera singer Sumi Yo. Why the famous opera diva Sumi Cho is crying

Sumi Yo is one of the outstanding singers of her generation. For several decades, her name has graced the posters of the best opera houses and concert halls all over the world. A native of Seoul, Sumi Yo graduated from one of the most prestigious musical institutions in Italy - Accademia Santa Cecilia in Rome and by the time of graduation she was a laureate of several major international vocal competitions in Seoul, Naples, Barcelona, ​​Verona and other cities. The operatic debut of the singer took place in 1986 in her hometown- Seoul: she sang the part of Susanna in Mozart's Marriage of Figaro. Soon took place creative meeting singers with Herbert von Karajan - their joint work at the Salzburg Festival marked the beginning of an impressive international career for Sumi Yo. In addition to Herbert von Karajan, she regularly worked with such eminent conductors as Georg Solti, Zubin Mehta and Riccardo Muti.

The singer's most important operatic engagements included performances at the New York Metropolitan Opera (Donizetti's Lucia di Lammermoor, Offenbach's The Tales of Hoffmann, Verdi's Rigoletto and Un ballo in maschera, Rossini's The Barber of Seville), La Scala Theater in Milan (" Count Ori" by Rossini and "Fra Diavolo" by Aubert), Teatro Colon in Buenos Aires ("Rigoletto" by Verdi, "Ariadne auf Naxos" by R. Strauss and " magical flute Mozart), the Vienna State Opera ("The Magic Flute" by Mozart), the London Royal Opera Covent Garden ("The Tales of Hoffmann" by Offenbach, "The Love Potion" by Donizetti and "The Puritani" by Bellini), as well as at the Berlin State Opera, the Paris Opera, Barcelona Liceu, Washington National Opera and many other theaters. Among the recent performances of the singer are Bellini's "Puritanes" at the Brussels theater La Monnaie and in opera house Bergamo, Donizetti's Daughter of the Regiment at the Teatro Santiago in Chile, Verdi's La Traviata at Toulon, Delibes' Lakme and Bellini's Capuleti and Montecchi at the Minnesota Opera, Rossini's Count Ori at the Paris Opera Comique. In addition to the opera stage, Sumi Yo is world famous for her solo programs - among others, one can name a gala concert with Rene Fleming, Jonas Kaufman and Dmitry Hvorostovsky in Beijing as part of Olympic Games, Christmas concert with José Carreras in Barcelona, solo programs in the cities of the USA, Canada, Australia, as well as in Paris, Brussels, Barcelona, ​​Beijing and Singapore. In the spring of 2011, Sumi Yo completed a tour of concerts of baroque arias together with the most famous English group - the London Academy of Early Music.

Sumi Yo's discography includes more than fifty recordings and demonstrates her diverse creative interests - among her recordings of the opera "Tales of Hoffmann" by Offenbach, "The Woman without a Shadow" by R. Strauss, "Un ballo in maschera" by Verdi, "Magic Flute" by Mozart and many others, and solo albums from Italian arias and French composers and a collection of popular Broadway tunes, Only Love, which has sold over 1,200,000 copies worldwide. Sumi Yo has been a UNESCO Ambassador for several years.

Summer off-season, and, it would seem, the musical life took a calendar timeout. But suddenly, the name of a phenomenal singer “flashed” on the capital’s posters, considered in her native South Korea 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 appear on the BZK stage together with the orchestra of the Moscow Academic Musical Theater named after Stanislavsky and Nemirovich-Danchenko, conducted by 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 in front of the Korean "statue" with a crystal soprano, the rest of the bastions fell - from Paris Opera and La Scala to Covent Garden and Metropolitan. Sumi Cho - Grammy Award winner (1993), is among the most famous singers peace.

April 17 at musical theater named after Stanislavsky and Nemirovich-Danchenko, Sumi Cho, one of the first prima donnas of Asian origin in the history of opera, will perform. The owner of the Grammy told the Izvestia columnist about the delights of life without chocolate, furs and husbands.

Muscovites are waiting for you in the status of "Queen of the Opera" - this is the name of the festival in which you will perform with us.

This festival is like a collection of shining stars. I am happy and proud to be a part of it. Now there are only a few real divas in the world who have a name. Being a diva means a lot, and not only in artistic sense. First, you need to work hard, and secondly, give a lot to the world. Artists are very important to people who believe in them.

Maria Guleghina, your predecessor in Queens of the Opera, said that this was not only a festival, but also a prima donna competition. If so, who are your main rivals?

Well, if it's a competition, I'm sure I'll be one of the winners. No, I don't mean to be rude. Actually, I don't think it's a competition - we're all different. I chose for the Moscow concert the most the best program and called it "Love Madness". This is a real battle with yourself, because the program includes four of the most difficult arias in the entire history of opera. If I win my battle, I will be happy.

- They write that as a child you spent eight hours a day at the piano. How did you manage not to hate music?

This is true, and such a mode of study was a very dangerous undertaking. Terrible stress for a child. For example, I hated Bach. My mother forced me to improve my technique, and Bach, as you know, is considered the father of music. Therefore, I had to play Bach alone for 7-8 hours in a row. My relationship with Mr. Bach is still not very warm. But now I am glad that I play well, I accompany myself and other singers. Thank God that my mother understood the importance of owning an instrument from the very beginning.

- Why did you choose Sumi Cho as your pseudonym?

My real name for the Western public is not very easy to pronounce: Cho Su-kyung. So I chose a new one for myself. Su means perfection, Mi means beauty, Cho means holiness.

- Have you changed your passport?

No, my real name is still there.

Like Maria Guleghina, you started singing the part of Violetta from La Traviata not very early. Is this role especially interesting for mature singers?

Violetta is every soprano's dream, it's a huge challenge. First of all, it is very difficult from a vocal point of view: at the beginning you have to be a highly technical coloratura soprano, and at the end - a dramatic one. But it is also a challenge for any actress. Violetta is a courtesan from high society, but by the end she becomes a saint and goes to heaven, where everything will be forgiven her. From an unfortunate woman living by material instincts, you must turn into a spiritually mature woman who believes in God and loving woman. At some point, I thought that I was ready for the role of Violetta. I sang it once - and realized that I was not ready. And I no longer sing this role. Too difficult.

- What Russian opera part do you like the most?

Unfortunately, I don't speak Russian, so I can't sing Russian opera. But I have a favorite part - the Shemakhan Queen from Rimsky-Korsakov's The Golden Cockerel, I once sang it in French.

Would you agree to come to the Bolshoi or the Mariinsky if a production specially designed for you was staged there?

This sounds like a dream to me. Russia is a country that I recently discovered thanks to Dmitri Hvorostovsky. In addition, I was very attracted by Igor Krutoy, who wrote for me and my friend Lara Fabian good music. I would like to learn Russian better musical life- both classical and pop. Whenever I am in Russia, I feel loved. And I myself love your audience - not for something, but simply love.

Certainly! I never smoke, drink, eat fried foods, spices, meat, ice cream, chocolate. I only eat rice. Here is such a life. And by the way, I never wear fur, because I sincerely believe that animal rights are just as important as human rights.

You once said that if you had a second life, you would like to live it like ordinary woman next to her husband. What is stopping you from realizing that dream right now?

Although my parents were a normal couple, since childhood I have always been convinced that marriage is not better fate for a person. I think it's much better to love someone than to be married to someone you don't love. I probably will never be able to swear to God that I will live my whole life with one person and die for him. I'm very sincere, I can't lie. And I decided that I would live alone. Decided not to have children because I'm always very busy, constantly traveling, learning new parties - I just never had a chance to raise a child. My priority has always been and still is singing. I understand people who get married, I understand women who give up their careers for their husbands. This is a matter of choice, a matter for each of us. I made my choice - to be an artist and to be single. I don't think my life is better than others. But I am responsible for the choice I once made. I'm still young, but I think it's too late to "resolve".

- Why did you decide to live in Europe and not in Korea?

In Europe, my work. If I lived in Korea, flying would take up all my time. But I am still Korean and love my country very much.

- When you came to Italy to learn the art of bel canto, how did the locals react to you?

They were shocked, they perceived me as an exotic animal. I was the first Asian woman to sing Italian opera, and my colleagues looked at me in admiration: an Asian woman sings better than them! I enjoyed this very strange situation. Fortunately, in 1986 I met maestro Karayan, and my career immediately took off. But still, there is still something like racism, even in classical music. I can't say it doesn't exist. The main thing is that I believe that if you are talented, lucky and work hard, then the opportunity will definitely appear, whether you are Russian, Chinese or someone else. When one door is closed, there is always another one open. This is the law of nature.

Jo Su-gyeong was born on November 22, 1962 in Seoul. Her mother sang and played the piano at an amateur level. She, alas, could not continue her own professional musical education due to the political situation in Korea (Korea) in the middle of the last century. Deciding to provide her daughter with opportunities that she never had, she enrolled the girl in piano lessons at the age of 4, and by the age of 6, Cho Sumi took up vocals. As a child, Cho often practiced music for 8 hours a day.

Cho entered the prestigious Sun Hwa Arts School in 1976 and graduated in 1980 with diplomas in vocal and piano. From 1981 to 1983 she studied at the Seoul national university(Seoul National University), and at the same time her first professional solo concert. In addition, Cho participated in several concerts broadcast by Korean Broadcasting System and made her debut on opera stage, singing Susanna (Susanna) in "The Wedding of Figaro" (Le nozze di Figaro) at the Seoul Opera (Seoul Opera).

In 1983, Cho left Seoul University and went to Rome (Rome), to study at the National Academy of Santa Cecilia (Accademia Nazionale di Santa Cecilia), with such masters as Carlo Bergonzi (Carlo Bergonzi) and Janella Borelli (Giannella Borelli). During this period, she often gave concerts in Italian cities and on radio and television and decided to use Sumi instead of Soo-kyung as stage name to make it easier for Europeans to perceive her name. Cho graduated from the academy in 1985 with two majors in vocal and piano.

She graduated from the academy, but did not stop studying - this time the German soprano Elisabeth Schwarzkopf became her mentor. Cho has won a number of international competitions in Seoul, Naples (Naples), Enna (Enna), Barcelona (Barcelona) and Pretoria (Pretoria). In August 1986, the jury unanimously awarded her the first prize in international competition Carlo Alberto Cappelli International Competition in Verona, one of the most prestigious competitions in the world, in which only winners of other major vocal competitions can take part.

Cho made her European debut in 1986 singing Gilda in Trieste, and this performance attracted the attention of Herbert von Karajan, who offered her the role of Oscar in Un ballo in Masquerade. maschera) on the same stage with Placido Domingo (Plácido Domingo). The production was supposed to be presented to the public at the Salzburg Festival in 1989, but Karajan died during rehearsals, and Georg Solti picked up the baton. However, the career of the South Korean singer has already taken off.

In 1988 she made her debut at La Scala with the part of Thetis in the rare opera Fetont by Niccolò Jommelli, made her debut at the Bavarian State Opera and sang Barbarina in "Marriage of Figaro" at the Salzburg Festival. IN next year made her debut at the Vienna State Opera (Vienna State Opera) and the Metropolitan Opera (Metropolitan Opera), where Cho returned to the role of Gilda in "Rigoletto" (Rigoletto). Over the next 15 years, she sang Gilda many times on the stage of this New York theater.

The invitations followed one after another: Lyric opera Chicago (Chicago Lyric Opera), Covent Garden (Covent Garden), Los Angeles Opera, Washington Opera (Washington Opera), Paris national opera(Opéra National de Paris), Teatro Colón, Australian Opera (Opera Australia), german opera in Berlin (Deutsche Oper Berlin) - this is only a small part of the theaters in which she performed. The singer has a huge and varied repertoire, from Mozart's Queen of the Night to Lucia di Lammermoor, from Violetta to Olympia in The Tales of Hoffmann. In addition, she conducts a dense concert activity, accompanied by the world's leading orchestras.

famous Opera singer Sumi Cho (Korea) talked about when she will sing in Russian.

Sumi Cho arrived in Krasnoyarsk for the IV International music Festival countries of the Asia-Pacific region. She will sing on July 1, she visited yesterday jazz concert Americans, and today, on the eve of the concert, I met with journalists.

I always wanted to visit your country, because Hvorostovsky always told me about Russia with warmth. And now I visit often. By the way, Hvorostovsky was very happy when he found out that I was in Krasnoyarsk, and sad that he would not be able to take part in this concert. The program of this concert is specific: an adventure journey through music. There will be music from Italy, Germany, France... And of course, I am very glad to work with Mark Kadin and his Krasnoyarsk Symphony Orchestra.

Kadin, who is sitting next to him, throws a compliment in response:

We are glad to visit Sumi Cho. She had not been to Krasnoyarsk before.

Sumi Cho immediately remembers... football, and says that Korea and Russia recently met at the World Cup. Played 1:1. And it's pretty symbolic.

It is impossible not to ask Sumi Cho about her attitude towards the score. Russian singers and conductors usually treat the score with the greatest reverence, they consider it unacceptable to change even the slightest of the notes and instructions of the author, not to mention improvisation. Sumi Cho, on the other hand, easily adds any graces she has invented to her parts. She formulates the answer to the question seriously and thoughtfully.

I respect composers, I treat them with great respect. Unfortunately, most of those whom I sing have already died - it is impossible to call or communicate with them. I take notes, I take words and I have a spiritual meeting with each of the composers. I value the freedom and right of a musician to feel the music and perform it the way you feel. This is not a trivial work - I need a lot of time to feel and understand how I will perform each of the pieces. I also respect authenticity, but I would always like to bring something of my own to the performance ...

The traditional question about the Russian public puts Sumi Cho in a cheerful mood.

I just performed in Moscow and I feel joy when I sing for the Russian public. Your audience is emotional, I instantly read its reaction, its feelings in the eyes of the audience. This is a very important audience for me.

Sumi Cho began to study music early, meanwhile, many people seriously believe that it is worth starting to sing opera only after coming of age.

To be a musician hard labour. I'm traveling all the time, away from my family all the time, constantly rehearsing! When I was four years old, I learned to play the piano, and they locked me in a room for 8 hours so that I could study without interference. And I was ready to give with young years. There are also advantages in the career of a singer - traveling in business class, wearing beautiful dresses ... (laughs). And yet I want to wake up in my bed, be more at home, spend more time with my dogs. But I understand that it's my destiny to be professional singer. And I've been on stage for 28 years. I conduct master classes with young musicians, and I would very much like, when I am in Krasnoyarsk again, to meet with your young musicians and tell them about the profession what I know myself.

Sumi Cho has released tons of discs with pop music, crossovers, soundtracks... Which is atypical, frankly, for an opera singer at the zenith of fame.

For me, as a musician, music is not divided into classical and non-classical. It is divided into good and not so good. I recorded the music of Igor Krutoy with Hvorostovsky. I love disco, jazz, folk music, Beatles, Eagls, Earth, Wind&Fire... A lot. I like music that gives me emotions! Sometime I need to listen to Mozart, and sometime I need to listen to the music of the 80s, for example. Choose the music that you like now. Another thing is that classical music must be taught to listen, and this is a big task and problem all over the world, for this it is necessary to explain to young people that classical music It's not as complicated as everyone thinks.

At the beginning of her career, Sumi Cho admitted that she often encountered manifestations of nationalism in Europe towards Asians.

Yes, it is more difficult for us as Asian artists to break through in Europe. But we have to go there. There are many talented people in Korea opera singers but the public prefers to listen traditional music, or go to karaoke instead of concerts. We have disciplined singers, they are accustomed to long and hard work since childhood. To become a good professional musician you need discipline, practice, taking care of your body and soul. Musicians are strong on stage, but vulnerable in life.

It was impossible not to ask Sumi Cho about the well-known scandalous episode when, at the very beginning of her career, she refused Herbert von Karajan (who, in fact, gave her a start in life) to record the part of Norma. And the singer told the details of that old story.

I know my voice very well. As you know, sopranos are divided into dramatic, lyric, coloratura, etc. So, I have a light soprano. Karajan asked me to sing Norma, which was not written for my voice. It's just not my tessitura! Moreover, it is dangerous to undertake such experiments at the age of 26, when the voice has not yet fully matured. Yes, I refused. The voice is a delicate instrument, and by saying no, I defended my voice. And he had this idea. Karajan suggested that I record Norma as it is, and then change the sound of my voice in a technical way, through studio processing. I felt this was wrong.

Wu Sumi Cho wonderful feeling humor. This can be assessed in response to the question of what parts she likes to sing.

I love parties where they die at the end. Lucia, Gilda and so on.

And in parting, Sumi Cho told when she would finally sing something in Russian - at least Russian classics, at least a romance.

In Moscow, your Minister of Culture came to my concert, and then he approached me, and almost even complained - why didn’t I sing anything in Russian? I promised him that I would. And I take my promises seriously! As soon as it appears free time, I will take up the study of the Russian language. Without knowledge of the Russian language, it is impossible for me to sing Russian parts, I do not feel them the way I need to. But I promise that I will learn and sing!

However, information has already leaked out from the singer's entourage that at a concert in Krasnoyarsk Sumi Cho will sing Russian - Rachmaninov's Vocalise. Because - without words.