Opera in My Seoul

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Violetta

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YAY! After much wailing and gnashing of teeth, I have finally managed to attend a music performance in my new home. Unexpectedly, my introduction to Seoul's caliber appeared in the make of the Western world's highest art form--opera.

Now, let me just say that the lack of Westerners in this Seoul Metropolitan Opera production was nothing short of inconsequential. This performance of La traviata marked the first time in life that I have witnessed an opera in which every performer was both physically and vocally well-suited to their role. The only exception was Cheolyu Jang who could not, by any measure of costume nor acting, transform into the middle-aged aristocrat, Baron Duphol. Mr. Jang's form and voice simply seethed with juvenescence; though, he did attempt to manufacture and overly dark sound from time to time.

I found myself wishing that Verdi had made Flora Bervoix a more important character in the opera, if only for to hear more of mezzo-soprano Keumyeon Won's lively and colorful voice. I got the distinct feeling that, if she wanted, Mme. Won could wear the absolute hell outta Rossini and Bellini!

And, of the many tenors I have heard sing the role of Alfredo Germont well, Maestro Seungseo Na was the first I have heard to sing the role beautifully. Every sound that issued forth from his mouth was like a sweet taboo. When I heard him, I know'd dey's a Gawd!...I know'd dey's a Gawd!

Many of us in the audience were brought to tears by the unassailable tenderness with which bass-baritone Seungkong Yu sang "Di Provenza", the elder Germont's famous third act aria. As a matter of fact, Maestro Yu had barely concluded his piece before an explosive ovation, that lasted several minutes, filled the theatre.

The first lady, Mina Tasca Yamazaki, proved the very picture of an opera goddess. It took little imagination to believe that she was the famed 19th-century Parisian courtesan, Violetta Valéry. Her warm and sizable lyric soprano voice seemed to actually increase in stamina and finesse (Can you say, messa di voce?) as the opera continued. Beyond any shadow of doubt, Mme. Yamazaki earned the raucous applause that followed her finale.

Finally, I must lavish praises upon the chorus, dancers, conductor, and orchestra. The Seoul Metropolitan Opera Chorus had a sound so tight that a blind man could have easily have believed he was listening to a concert rather than live theatre. Refreshingly, the dancers took absolute command of the stage during their moment, reminding us of the historical importance of ballet in (French-influenced/French-funded) opera. Not to be outdone, the conductor (whose name I unfortunately cannot uncover) and orchestra exemplified bravura in their ability to follow and support those onstage.

Now, if only all opera productions could be so fortunate...