Performer: Wookyung KimFrom today| Date | Event | Composers, Works, Performers |
|---|---|---|
| Saturday 15-Jun-13 07:00pm |
 Semperoper, DresdenDer fliegende Holländer |
Dresden State Opera Constantin Trinks, Conductor Florentine Klepper, Director Martina Segna, Set Designer Anna Sofia Tuma, Costume Designer Bernd Purkrabek, Lighting Designer Pablo Assante, Choirmaster Markus Marquardt, Bass-baritone: Dutchman Marjorie Owens, Soprano: Senta Georg Zeppenfeld, Bass: Daland Tichina Vaughn, Contralto: Mary Wookyung Kim, Tenor: Erik Simeon Esper, Tenor: The Steersman Saxon State Opera Choir Sinfoniechor Dresden Staatskapelle Dresden |
| More info... | ||
| Semperoper, Dresden, Theaterplatz 2, 01067 Dresden, Germany Saturday 15-Jun-13 07:00pm Constantin Trinks, Conductor Florentine Klepper, Director Martina Segna, Set Designer Anna Sofia Tuma, Costume Designer Bernd Purkrabek, Lighting Designer Pablo Assante, Choirmaster Markus Marquardt, Bass-baritone: Dutchman Marjorie Owens, Soprano: Senta Georg Zeppenfeld, Bass: Daland Tichina Vaughn, Contralto: Mary Wookyung Kim, Tenor: Erik Simeon Esper, Tenor: The Steersman Saxon State Opera Choir Sinfoniechor Dresden Staatskapelle Dresden | ||
| Monday 29-Jul-13 07:00pm |
National Theatre, Munich Macbeth Munich Opera Festival |
Bavarian State Opera Massimo Zanetti, Conductor Martin Kusej, Director Željko Lučić, Baritone: Macbeth Diogenes Randes, Bass: Banquo Nadja Michael, Soprano: Lady Macbeth Golda Schult\, Soprano: Lady in Waiting Wookyung Kim, Tenor: Macduff Emanuele D'Aguanno, Tenor: Malcolm |
W.Hösl.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Monday 29-Jul-13 07:00pm In honeyed tones, Lord and Lady Macbeth reveal their passionate and bizarre emotions to us. But behind this beauty there lurks an abyss, which Verdi unveils with one of the cruelest dramas in the history of world literature. In their struggle to seize power and retain it once it has been usurped, Macbeth and his lady commit one murder after another. The unwavering nature of their desire imbues their love with a radicality that would have been unthinkable on the operatic stage before this work. “The subject matter of this opera is neither political nor religious: it is fantastic,” wrote Verdi and brought Shakespeare’s play closer to a more “romantic” reading. In actual fact, the witches, ghosts and apparitions, the eerie elements, which dominate the musical and dramatic flow, in short the whole world of this opera can be regarded as an outward image of its protagonists’ inner state.
In Italian with German surtitles.Image credit: Wilfried Hösl Massimo Zanetti, Conductor Martin Kusej, Director Željko Lučić, Baritone: Macbeth Diogenes Randes, Bass: Banquo Nadja Michael, Soprano: Lady Macbeth Golda Schult\, Soprano: Lady in Waiting Wookyung Kim, Tenor: Macduff Emanuele D'Aguanno, Tenor: Malcolm | ||
| Thursday 12-Dec-13 07:30pm |
Deutsche Oper, Berlin La Bohème |
Deutsche Oper Berlin Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline |
-Bettina-Stöß.jpg "Image credit: Bettina-Stöß") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 12-Dec-13 07:30pm In Italian with German surtitles.
Puccini had already proved his ability as a brilliant musical colourist with EDGAR (1889) and MANON LESCAUT, but it was only with LA BOHÈME that a perfect marriage of subject matter and musical interpretation was finally achieved: Claude Debussy enthusiastically commented, "no one has described the Paris of these days as aptly as Puccini in his LA BOHÈME". Puccini's impressionistic sound artistry combines subjective emotion with objective tone painting. His tonal elements, his musical descriptions of the ambience and the local colour of his aural tapestry begin to work their magic from the very first scene, when Rodolfo and Marcello set fire to their manuscript and the poet sprinkles drops of water on the face of the unconscious Mimi, and in the second scene, when the chorus, in its role as crowd, is contrasted with the stage orchestra as military parade, and also in the third scene, when economical use is made of carefully selected musical elements to create the atmosphere of a cold winter's morning. A frosty winter´s day in a Paris garret. Rodolfo, the writer, and Marcello, the painter, are trying to work. They are hungry and without fuel for heating or money to pay their rent. Colline, the philosopher has tried and failed to pawn some books. The musician Schaunard has been more fortunate; he arrives with food, firewood, cigarettes and money. Rodolfo wants to work and his friends depart for Café Momus. His work is interrupted by a neighbour, who is searching for a means to light her dwelling. While making her request she faints and loses the keys to her lodgings. So it is that Rodolfo falls in love with Mimi, the embroiderer who is hopelessly ill with tuberculosis. Two months later he deserts her, unable to look helplessly on while Mimi's illness worsens in his poor, cold hovel. Six months later Musetta, the former mistress of Marcello, brings back the dying Mimi. Musetta sacrifices her earrings for the purchase of medicine, Colline donates his coat. Mimi is grateful and happy. Rodolfo believes that she has fallen into a curative sleep, but Mimi is dead. From a dramaturgical viewpoint LA BOHÈME retains the strands of an experiment that has remained unique in Puccini's body of work. Libretto authors Ilica and Giacose formed a libretto out of a loose sequence of episodes from Louis Henri Murger's novel. Their artistic maxim consisted in preserving the protagonists and ambience of the novel while allowing a degree of flexibility in the selection and treatment of episodes. They structured their sourcebook into "quadri", images that are held together only by the love story between Rodolfo and Mimi. The relationship between Musetta and Marcello serves as counterpoint. "LA BOHÈME always addresses and challenges our innermost private feelings - intellectual snobs and frustrated, sniping critics should stay at home! I can only say from my personal point of view: I'm 30 years older now and I have an even stronger desire now to explore hope and despair, the dreams and pain of youth, and to reflect them on stage, in the form of images, action and sound. Coming to this work afresh reflects a kind of pining for one's own youth. I think this is the open secret of Puccini's LA BOHÈME, why it is still so vibrant and topical today." (Götz Friedrich in 1988) Image credit: Bettina-Stöß Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline | ||
| Sunday 15-Dec-13 07:30pm |
Deutsche Oper, Berlin La Bohème |
Deutsche Oper Berlin Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 15-Dec-13 07:30pm In Italian with German surtitles.
Puccini had already proved his ability as a brilliant musical colourist with EDGAR (1889) and MANON LESCAUT, but it was only with LA BOHÈME that a perfect marriage of subject matter and musical interpretation was finally achieved: Claude Debussy enthusiastically commented, "no one has described the Paris of these days as aptly as Puccini in his LA BOHÈME". Puccini's impressionistic sound artistry combines subjective emotion with objective tone painting. His tonal elements, his musical descriptions of the ambience and the local colour of his aural tapestry begin to work their magic from the very first scene, when Rodolfo and Marcello set fire to their manuscript and the poet sprinkles drops of water on the face of the unconscious Mimi, and in the second scene, when the chorus, in its role as crowd, is contrasted with the stage orchestra as military parade, and also in the third scene, when economical use is made of carefully selected musical elements to create the atmosphere of a cold winter's morning. A frosty winter´s day in a Paris garret. Rodolfo, the writer, and Marcello, the painter, are trying to work. They are hungry and without fuel for heating or money to pay their rent. Colline, the philosopher has tried and failed to pawn some books. The musician Schaunard has been more fortunate; he arrives with food, firewood, cigarettes and money. Rodolfo wants to work and his friends depart for Café Momus. His work is interrupted by a neighbour, who is searching for a means to light her dwelling. While making her request she faints and loses the keys to her lodgings. So it is that Rodolfo falls in love with Mimi, the embroiderer who is hopelessly ill with tuberculosis. Two months later he deserts her, unable to look helplessly on while Mimi's illness worsens in his poor, cold hovel. Six months later Musetta, the former mistress of Marcello, brings back the dying Mimi. Musetta sacrifices her earrings for the purchase of medicine, Colline donates his coat. Mimi is grateful and happy. Rodolfo believes that she has fallen into a curative sleep, but Mimi is dead. From a dramaturgical viewpoint LA BOHÈME retains the strands of an experiment that has remained unique in Puccini's body of work. Libretto authors Ilica and Giacose formed a libretto out of a loose sequence of episodes from Louis Henri Murger's novel. Their artistic maxim consisted in preserving the protagonists and ambience of the novel while allowing a degree of flexibility in the selection and treatment of episodes. They structured their sourcebook into "quadri", images that are held together only by the love story between Rodolfo and Mimi. The relationship between Musetta and Marcello serves as counterpoint. "LA BOHÈME always addresses and challenges our innermost private feelings - intellectual snobs and frustrated, sniping critics should stay at home! I can only say from my personal point of view: I'm 30 years older now and I have an even stronger desire now to explore hope and despair, the dreams and pain of youth, and to reflect them on stage, in the form of images, action and sound. Coming to this work afresh reflects a kind of pining for one's own youth. I think this is the open secret of Puccini's LA BOHÈME, why it is still so vibrant and topical today." (Götz Friedrich in 1988) Image credit: Bettina-Stöß Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline | ||
| Saturday 28-Dec-13 07:30pm |
Deutsche Oper, Berlin La Bohème |
Deutsche Oper Berlin Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 28-Dec-13 07:30pm In Italian with German surtitles.
Puccini had already proved his ability as a brilliant musical colourist with EDGAR (1889) and MANON LESCAUT, but it was only with LA BOHÈME that a perfect marriage of subject matter and musical interpretation was finally achieved: Claude Debussy enthusiastically commented, "no one has described the Paris of these days as aptly as Puccini in his LA BOHÈME". Puccini's impressionistic sound artistry combines subjective emotion with objective tone painting. His tonal elements, his musical descriptions of the ambience and the local colour of his aural tapestry begin to work their magic from the very first scene, when Rodolfo and Marcello set fire to their manuscript and the poet sprinkles drops of water on the face of the unconscious Mimi, and in the second scene, when the chorus, in its role as crowd, is contrasted with the stage orchestra as military parade, and also in the third scene, when economical use is made of carefully selected musical elements to create the atmosphere of a cold winter's morning. A frosty winter´s day in a Paris garret. Rodolfo, the writer, and Marcello, the painter, are trying to work. They are hungry and without fuel for heating or money to pay their rent. Colline, the philosopher has tried and failed to pawn some books. The musician Schaunard has been more fortunate; he arrives with food, firewood, cigarettes and money. Rodolfo wants to work and his friends depart for Café Momus. His work is interrupted by a neighbour, who is searching for a means to light her dwelling. While making her request she faints and loses the keys to her lodgings. So it is that Rodolfo falls in love with Mimi, the embroiderer who is hopelessly ill with tuberculosis. Two months later he deserts her, unable to look helplessly on while Mimi's illness worsens in his poor, cold hovel. Six months later Musetta, the former mistress of Marcello, brings back the dying Mimi. Musetta sacrifices her earrings for the purchase of medicine, Colline donates his coat. Mimi is grateful and happy. Rodolfo believes that she has fallen into a curative sleep, but Mimi is dead. From a dramaturgical viewpoint LA BOHÈME retains the strands of an experiment that has remained unique in Puccini's body of work. Libretto authors Ilica and Giacose formed a libretto out of a loose sequence of episodes from Louis Henri Murger's novel. Their artistic maxim consisted in preserving the protagonists and ambience of the novel while allowing a degree of flexibility in the selection and treatment of episodes. They structured their sourcebook into "quadri", images that are held together only by the love story between Rodolfo and Mimi. The relationship between Musetta and Marcello serves as counterpoint. "LA BOHÈME always addresses and challenges our innermost private feelings - intellectual snobs and frustrated, sniping critics should stay at home! I can only say from my personal point of view: I'm 30 years older now and I have an even stronger desire now to explore hope and despair, the dreams and pain of youth, and to reflect them on stage, in the form of images, action and sound. Coming to this work afresh reflects a kind of pining for one's own youth. I think this is the open secret of Puccini's LA BOHÈME, why it is still so vibrant and topical today." (Götz Friedrich in 1988) Image credit: Bettina-Stöß Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline | ||
| Tuesday 31-Dec-13 07:30pm |
Deutsche Oper, Berlin La Bohème |
Deutsche Oper Berlin Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Tuesday 31-Dec-13 07:30pm In Italian with German surtitles.
Puccini had already proved his ability as a brilliant musical colourist with EDGAR (1889) and MANON LESCAUT, but it was only with LA BOHÈME that a perfect marriage of subject matter and musical interpretation was finally achieved: Claude Debussy enthusiastically commented, "no one has described the Paris of these days as aptly as Puccini in his LA BOHÈME". Puccini's impressionistic sound artistry combines subjective emotion with objective tone painting. His tonal elements, his musical descriptions of the ambience and the local colour of his aural tapestry begin to work their magic from the very first scene, when Rodolfo and Marcello set fire to their manuscript and the poet sprinkles drops of water on the face of the unconscious Mimi, and in the second scene, when the chorus, in its role as crowd, is contrasted with the stage orchestra as military parade, and also in the third scene, when economical use is made of carefully selected musical elements to create the atmosphere of a cold winter's morning. A frosty winter´s day in a Paris garret. Rodolfo, the writer, and Marcello, the painter, are trying to work. They are hungry and without fuel for heating or money to pay their rent. Colline, the philosopher has tried and failed to pawn some books. The musician Schaunard has been more fortunate; he arrives with food, firewood, cigarettes and money. Rodolfo wants to work and his friends depart for Café Momus. His work is interrupted by a neighbour, who is searching for a means to light her dwelling. While making her request she faints and loses the keys to her lodgings. So it is that Rodolfo falls in love with Mimi, the embroiderer who is hopelessly ill with tuberculosis. Two months later he deserts her, unable to look helplessly on while Mimi's illness worsens in his poor, cold hovel. Six months later Musetta, the former mistress of Marcello, brings back the dying Mimi. Musetta sacrifices her earrings for the purchase of medicine, Colline donates his coat. Mimi is grateful and happy. Rodolfo believes that she has fallen into a curative sleep, but Mimi is dead. From a dramaturgical viewpoint LA BOHÈME retains the strands of an experiment that has remained unique in Puccini's body of work. Libretto authors Ilica and Giacose formed a libretto out of a loose sequence of episodes from Louis Henri Murger's novel. Their artistic maxim consisted in preserving the protagonists and ambience of the novel while allowing a degree of flexibility in the selection and treatment of episodes. They structured their sourcebook into "quadri", images that are held together only by the love story between Rodolfo and Mimi. The relationship between Musetta and Marcello serves as counterpoint. "LA BOHÈME always addresses and challenges our innermost private feelings - intellectual snobs and frustrated, sniping critics should stay at home! I can only say from my personal point of view: I'm 30 years older now and I have an even stronger desire now to explore hope and despair, the dreams and pain of youth, and to reflect them on stage, in the form of images, action and sound. Coming to this work afresh reflects a kind of pining for one's own youth. I think this is the open secret of Puccini's LA BOHÈME, why it is still so vibrant and topical today." (Götz Friedrich in 1988) Image credit: Bettina-Stöß Karel Mark Chichon, Conductor Götz Friedrich, Director Peter Sykora, Set Designer Svetlana Ignatovich, Soprano: Mimì Pretty Yende, Soprano: Musetta Wookyung Kim, Tenor: Rodolfo Étienne Dupuis, Baritone: Marcello Paul Kaufmann, Tenor: Parpignol John Chest, Baritone: Schaunard Jörg Schörner, Tenor: Benoît Marko Mimica, Bass: Colline | ||
