SeokJong Baek sings an excerpt from Calàf’s Act III aria in an early dress rehearsal. Production: Franco Zeffirelli. Conductor: Oksana Lyniv. 2023-24 season. Videography by Neville Braithwaite.
I him on saturday night 3/2/24. I said. how is it that he can be just as good any of the few recordings that we have: del monaco, pavorotti, etc.. the was 5 minutes of applause.
and he scored a tremendous success last night at the premiere. everyone was great last night - the maestra Lyniv, cast, chorus and orchestra. Bravi a tutti!
Saw it last night, closing night. This man was magnificent. Very tough shoes to fill with this aria, but it did so beautifully and with the true power him being originally a baritone! Stunning. The whole company was spectacular. What an opera to close the season with! ❤️🇮🇹
Don't get me wrong, but even if he wobbles a bit, but he ain't *that bad* he's still better than other tenors like Yusif Evaznov and Yonghoon Lee. No offense to the both of the tenors.
Great sustain at the end… I saw him on his final performance of the series (Saturday matinee)… he was definitely out of gas by then… cutting his “vincero” short. Great performance nonetheless. Good to see an Asian male lead in a Chinese opera.
A beautiful attempt - bravo!😍 I listen to the recording: this is a dark and richly aliquoted tenor voice, however lyrical, but not dramatic. In my perception - the part of Calaf should be sung by a heroic tenor. I wish him good luck and success! 💛
@@biancacastafiore8760 Not only that but we've gotten to this weird point where if someone sings with shape and finesse that they aren't a big voice. All voices should sing with style.
@@somerandomguy84people are really judging the size of the voice from curated recordings. If you put static over this and said it was from some random Italian tenor from the 30s people would be calling him a full dramatic tenor. There really is no pleasing these people, they need to actually go see these people live before judging.
Low and relaxed larynx, complete opening and use of the entire emission channel in the generation of sound (pharyngeal cavity, oral cavity and cranial resonators), correct coverage of the sound in the transition to the high register, adequate coordination between the so-called chest registers and head registers, correct diaphragmatic support of the air column, giving rise to a natural and free emission, with a round and homogeneous sound, regardless of the register and the dynamics, adequate articulation and without any continuity solution in the execution of the sound arc ("legato singing"), etc. In short, the artist knows and respects what we could call the natural, physiological mechanism of emission of the human voice and which is the basis of the great Italian school of singing of the second half of the 19th century and the first half of the 20th century. Some slight and occasional affectation in the timbral quality of the voice, probably due to some small mismatch in the support, does not justify, I believe, a comment as simple as "wobble, wobble, wobble", at least if we want to be truthful. in relation to the execution of this beautiful art. Kind regards.
We always "mocked" Placido Domingo because he cracked badly in the 1987 production, but it turns out that he's last "listenable" Calaf since then in Met, until this tenor of course. I would say his acting needs improvement but I am happy that they are not casting bad singers in the role.
maybe i'm biased but i saw this production with Luciano Pavarotti in the 80's. this korean tenor needs to work on his Italian, "the best today" is not good enough.
Sure, obviously you are comparing a legendary Italian tenor singing in Italian with a Korean tenor singing in Italian regarding their pronunciation. So fair. I wish we could hear Pavarotti singing a Korean song....
@@papagen00 You are calling him Korean tenor while calling Pavarotti without italian before his name? You are also Korean. You are the legend troll here, not Pavarotti.
