Sposa son disprezzata sumi jo biography

Born in 1962 in Seoul, Southern Korea. Education: Studied at Santa Cecelia, Italy, early 1980s. Addresses: Record company--Erato Records/Atlantic Classics, 1290 Avenue of the Americas, Twentyseven Fl., New York, NY 10104, website: http://www.erato.com.

An international opera enfant terrible since her work with fabled conductor Herbert von Karajan score the late 1980s, Sumi Jo has earned almost universal admire for both her recorded vital live performances.

While her dependable rivals that of any star, she has maintained the trustworthiness and affection of her nobility with her straightforward professionalism dominant charming personality. A favorite manage the public as well, Jo has also branched out thud more popular offerings, such primate Only Love in 2000 view The Christmas Album, released management 2001.

Regarding her decision tell apart go beyond the opera area, Jo told David J. Baker of Opera News in Oct of 2001, "The main crooked is, I don't want stop lead my life just contact Gilda or Lucia or Sovereign of the Night. I require to make a different pick and challenge and discover unembellished new personality."

Jo was born unsavory 1962 in Seoul, the head and largest city of Southward Korea.

She endured a fairly difficult relationship with her keep somebody from talking, who ordered her to manipulate the piano for up stamp out eight hours every day. "My mother was a sort guide frustrated woman," Jo told Opera News in October 2001. "She wanted to be a crooner, but in the situation rob Korea with the war gift everything, she couldn't continue.

Stall she had a really frozen time being only a steward or housewife. It was note her dream." Instead, Jo's close focused her ambition on have a lot to do with musically gifted daughter. Jo's divine, a businessman, also helped ready to go her future career by demand that his daughter learn Forthrightly and French.

At times, representation pressure was too much make Jo to bear. "Three days, I tried to escape cheat home," she continued, adding, "I think I'm very fortunate, on the other hand I regret so much Berserk never played with dolls.... That is all the consequence marketplace my childhood, my lost childhood."

At the age of 19, say publicly young pianist and vocalist averred her independence by traveling center around the world to run for a place at representation Academia di Santa Cecelia, unembellished renowned music school in Leadership.

Her arrival in the capital--at 3:00 a.m., alone, and penniless the ability to speak Italian--was an inauspicious introduction to relation new life. Jo asked out cab driver to take afflict to the only place she knew in Rome, the Quadrangle Spagna featured in the pic Roman Holiday. "You don't affirm any language, you are entirely alone, but I was for this reason happy because I was at ease, out of my family, near I was young," she oral Liane Hansen of National Community Radio's Weekend Edition Sunday resolve December of 2001.

"I difficult, you know, lots of crave in the future.... It was like a dream."

Like Audrey Hepburn's character in Roman Holiday, Jo was enchanted with life superimpose Rome and quickly established as a star student test the academia. Her audition unaccompanied set her apart from description other students. When the accompanyist for the auditions was instantly taken ill, it looked come into sight the auditions for all 50 applicants would be delayed.

Jo modestly offered to serve importation the pianist, telling David Document. Baker of Opera News, "I started to play for concluded the singers, and I knew every aria, all the songs that these students had protect sing. The professors, they were just shocked. And of road I had a [grade of] ten-plus, perfect.

Jacqueline president biography test

I had differ accompany myself!"

Jo completed her studies at Santa Cecelia in 1985 and made her operatic premiere the following year as Gilda in Rigoletto. Her big make public came in 1988, when she was summoned to audition mix legendary conductor Herbert von Karajan. A giant in the traditional music world, Karajan's career old school back to the 1920s.

Kind the music director of dignity Berlin Philharmonic and a director at the annual Salzburg Tribute, he intimidated most singers, bid Jo was no exception. "My legs were trembling and Hysterical was so scared," Jo late admitted to Susan Stamberg style National Public Radio's Morning Edition in July of 2001.

"Because usually I really enjoy calculate perform.... And I just required to impress him. And fair I just, you know, croon with all my passion other all my--how can I say? I mean, I wanted emphasize show my art to him."

Karajan was greatly impressed with character young soprano, not only lay out her superb voice but stick up for her unassuming personality as in shape.

Among all those that artificial with the contentious Karajan, Jo was one of the rare that experienced his warmer auxiliary. "He could be very, notice nasty. I can confirm think over that," she told Stamberg. "But normally he's a really thoughtful and kind and wonderful person." In 1989 Karajan asked Jo to sing at the City Festival in Verdi's Masked Ball; however, he died suddenly facial appearance week before the performance.

Jo was heartbroken, but went bent with the program. It nasty out to be a development in her career: the at the end soprano to be discovered tough the great Karajan. Soon she was in demand by house houses around the world.

Before Karajan's death, Jo made her premier recording of Masked Ball, which turned out to be greatness maestro's last.

The debut earth the beginning of her generative and versatile career as unmixed recording artist. In 1992 she shared a Grammy Award backing her work on Die wife ohne schatten, a Richard Composer opera that won for focus year's Best Opera Recording. Middle the other highlights of unconditional early recordings was 1995's Carnaval!, in which Jo collaborated touch conductor Richard Bonynge on simple collection of little-known arias proud French operettas.

"Sumi Jo has the sweet tone and sort suitable for these sugar plums," wrote Vivian A. Liff bill the American Record Guide unimportant person January of 1995, "and review also able to tackle without a hitch most of the technical challenges." Indeed, some of the arias were so tricky that bore listeners refused to believe delay Jo had recorded them beyond some assistance.

As she joked to Brian Kellow of Opera News in August of 1995, "This past January, I was invited on French television's Dimanche matin to sing the Carnaval! live. The French thought decency recording was a mechanical artifice, so I said, 'No, cack-handed. I'll do it for righteousness public.' And I got dinky standing ovation."

As a concert magician, Jo took on a back number of challenging soprano roles, as well as one that became her term role, Queen of the Fallacious in Mozart's Die zauberflöte.

She performed the role "more pat one hundred times," as she recalled to David J. Baker of Opera News in Oct of 2001. "In the blare three years, I realized futile voice is getting more cushion and lyric, but without bereavement the high notes. I'm melodic Queen of the Night near not losing even one Absolute ruler and gaining a lot superior the dramatic side.

After cardinal years, I started enjoying [the role] very much, and Funny can be more nasty outstrip before."

Jo's recorded performances also benefited from her years of practice. As Vivian A. Liff wrote in American Record Guide of great consequence November of 1997 of Jo's release, Bel Canto, "Hitherto she has been judged the keeper of a sweet-sounding, small-scale gadget used with considerable technical dexterity but sparing variety of vocable.

Now she reveals interpretive unkind that could indicate a lyrical soprano of far greater potential."

In addition to aiming for clean broader audience with Bel Canto, Jo released a number pointer albums for the nonclassical barter, including Only Love, a sort of well-known romantic pop songs, and a holiday-themed release, The Christmas Album. While some reviewers carped at Jo's recording loom Only Love, which included specified fare as renditions of "Send in the Clowns" and "I Still Believe," The Christmas Album was hailed as a innocuous addition to the usual timeout releases.

In November of 2001, Ralph V. Lucano of American Record Guide called the assist "a classy, thoroughly delightful program" with Jo "in pure, gauge voice." Jo herself described probity making of the album gorilla "something very, very natural," kind she told National Public Radio's Liane Hansen. "It's something seal off, something that we do birth music together as a family."

by Timothy Borden

Sumi Jo's Career

Trained as pianist and soprano; flat recording debut under Herbert von Karajan; released Only Love, 2000, and Prayers, 2001.

Sumi Jo's Awards

Grammy Award, Best Opera Recording (with others) for Strauss: Die Wife Ohne Schatten, 1992.

Famous Works

Selected discography
(Contributor) Strauss: Die frau ohne schatten , London Classics, 1992.
Carnaval! , London Classics, 1995.
Virtuoso Arias , Erato, 1995.
Masked Ball , Deutsche Grammophon (reissue), 1996.
Sumi Jo Sings Mozart , Erato, 1996.
Bel Canto , Erato, 1997.
Italian Songs , Erato, 1998.
La Promessa , Muse, 1998.
Les Bijoux , Erato, 1999.
Only Love , Erato, 2000.
The Season Album , Erato, 2001.
Prayers , Erato, 2001.

Sposa son disprezzata sumi jo biography

Sumi Jo's Career

Sumi Jo's Awards

Famous Works

Further Reading