Vocal Artists Management presents Kyunghee Kim in Review
Kyunghee Kim, soprano
David Holkeboer, piano; Paul Won Jin Cho, clarinet
Marc A. Scorca Hall, Opera America National Opera Center, New York, NY
February 27, 2018
Vocal Artists Management (www.vocalartistsmgmt.com) presented soprano Kyunghee Kim in recital with pianist David Holkeboer on February 27, 2018 at the Opera America National Opera Center America. She offered a variety of works, including arias from Le nozze di Figaro and Adriana Lecouvreur.
Ms. Kim’s biography lists an impressive number of appearances throughout the world, both as a soloist and in featured operatic roles. Mr. Holkeboer is both highly sought after as a vocal coach and collaborator.
The program provided translated text of the works (but not the original), which was welcome, but it would have been desirable to have some information about the lesser known composers.
For those unfamiliar with the venue, the recital hall has the intimate feel of a salon but with the acoustics one doesn’t find in a typical salon. While the number of audience members was not large, it still had the appearance of being relatively full.
Ms. Kim opened with three works, Pergolesi’s Se tu m’ami, se tu sospiri (If you love me) and Selve amiche (Friendly Woods) from Antonio Caldara, followed by Rossini’s La promessa (The promise). Ms. Kim’s vocal gifts were immediately apparent. Her vibrato was well-controlled and used sparingly, which for this listener was ideal, and her intonation was true. While she possesses a powerful voice, she was clearly aware of the lively acoustics of the small hall without any loss in vocal quality. This was the sign of a sensitive musician at work.
Franz Schubert’s Der Hirt auf dem Felsen, D. 965 (The Shepherd on the Rock), for soprano, clarinet, and piano, ended the first half. Clarinetist Paul Won Jin Cho joined Ms. Kim and Mr. Holkeboer. The interplay among the three musicians was exquisite, from the lovely opening “echoes,” to the darker tones of the middle sections, ending with the optimistic and hopeful last section. I would like to give Mr. Cho special mention for the deep, rich tone he projected, along with the agility of his technique, which blended perfectly with the voice. Ms. Kim captured the emotion with skill, in what the highlight of the evening for this listener.
After a very short intermission, Mr. Holkeboer played a solo version of the lovely Meditation from Jules Massenet’s Thais. He then launched into the introduction of Porgi amor, from Mozart’s Le nozze di Figaro. Ms. Kim then strode onto the stage, wearing a different dress from her opening half. There is no need to go into detail about this aria, as it is so well-known, with almost every soprano of note having had a turn with it. Ms. Kim suffered no complexes, as her interpretation would hold its own with any other. It was achingly poignant as Ms. Kim drew out all of its despair.
Ms. Kim had already established her artistry, so it was now time for a display of vocal gymnastics. Three songs from Spanish composer Fernando Obradors (1897-1945) fit the bill. Chiquitita la novia (given a literal translation as “Tiny the Girlfriend” where “A Tiny Bride” would be more idiomatic), Del cabello más sutil, and El vito are highly dramatic works which push the singer to the limits, both in range and technique. They also feature virtuosic piano accompaniments, keeping both performers on their toes. Any mishaps could render the effect almost cartoonish, but Ms. Kim pushed aside these dangers as trifles and made it all seem like child’s play. Her diction was also excellent. The audience showed its appreciation with enthusiastic calls of brava!
Io son l’umile ancella (I am but the humble servant) from Francesco Cilea’s Adriana Lecouvreur ended the recital. After the pyrotechnics of the Obradors works, it might have been an anti-climax, but this was far from the case. Skillfully done, it was a triumphant ending which the audience rewards Ms. Kim with a standing ovation.
As an encore, Ms. Kim offered the Korean folk song Arirang, often called the unofficial national anthem of Korea, which she sang with a special reverence.
