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ENTERTAINMENT
January 12, 1998 | DANIEL CARIAGA
Only the most cynical observer could dismiss Sumi Jo as less than the virtually complete recitalist and vocal artist she is. As the Korean soprano demonstrated again Saturday night, she makes music, she entertains an audience, and her sincerity is irresistible. One has to go all the way back to the beauteous Mary Costa for an example of such irrepressibility on the recital stage.
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NEWS
June 20, 2011
Evan Rachel Wood faced a double challenge in tackling the role of eldest daughter, Veda, in the HBO miniseries "Mildred Pierce": She not only had to portray the unsympathetic partner in a famous pas de deux, she also had to be believable as a coloratura soprano. While it isn't her voice heard performing the arias — that belongs to Seoul-born opera star Sumi Jo — Wood still had a lot of work to do. "For two months, I listened to that music and only that music, and worked with an opera coach to learn the breathing and posture.
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NEWS
July 31, 2003 | Daniel Cariaga, Special to The Times
Showmanship, versatility, charm and two glitzy gowns marked Sumi Jo's return to the Hollywood Bowl on Tuesday night. The remarkable Korean soprano was assisted by guest conductor Emmanuel Villaume and the Los Angeles Philharmonic, both in wonderful form. Predictable coloratura showpieces, plus arias from operas we do not expect Jo to assay, made up her program.
ENTERTAINMENT
June 12, 2006 | Chris Pasles, Times Staff Writer
Disdaining any onstage warmup pieces, Korean soprano Sumi Jo opened her recital Saturday at the Walt Disney Concert Hall with baroque blockbusters by Vivaldi and Handel. Soon she was surmounting coloratura hurdles by Adam and Donizetti. And even after closing the program with Violetta's demanding first-act soliloquy from "La Traviata," she sang the glittering "Doll Song" from Offenbach's "The Tales of Hoffmann" as one of -- count them -- five encores.
ENTERTAINMENT
May 23, 1999 | SCARLET CHENG, Scarlet Cheng is an occasional contributor to Calendar
She spins out her mellifluous tones, fine yet strong, like a silken web over the captivated audience. They have fallen into a trance, all eyes focused on this one diminutive woman standing on the podium before them. Sumi Jo has triumphed on opera stages in works by Verdi, Puccini and Mozart, but now she's singing "Kum-kang San," a popular Korean song that evokes the dream of seeing the most beautiful mountain in the world, Kum-kang, in North Korea, just once before dying.
ENTERTAINMENT
June 5, 1999
While I agree with part of Mark Swed's review of L.A. Opera's "Lucia de Lammermoor" ("A Canary in a None-Too-Gilded Cage," May 28), the lackluster sets and the lack of energy between Enrico and Edgardo are forgotten precisely because of the one response that Swed disdains in his critique: our "irrational" response to the beauty of Sumi Jo's voice. By criticizing the very thing that makes opera special--its powerful appeal to our emotions, conscious and unconscious--Swed risks reducing a potentially transcendent experience to a laundry list of minor production flaws, and flattening out opera into a dry and merely intellectual experience.
ENTERTAINMENT
November 13, 1996 | JOHN HENKEN, SPECIAL TO THE TIMES
The lure of the prima donna clearly transcends cultural boundaries. A year ago, soprano Sumi Jo gave a wildly popular concert at the Dorothy Chandler Pavilion promoted almost exclusively in the local Korean American community. Monday evening she returned for an "L.A. Encore Concert," presented by the Korea Central Daily, to another cheering, capacity crowd of compatriots.
ENTERTAINMENT
June 12, 2006 | Chris Pasles, Times Staff Writer
Disdaining any onstage warmup pieces, Korean soprano Sumi Jo opened her recital Saturday at the Walt Disney Concert Hall with baroque blockbusters by Vivaldi and Handel. Soon she was surmounting coloratura hurdles by Adam and Donizetti. And even after closing the program with Violetta's demanding first-act soliloquy from "La Traviata," she sang the glittering "Doll Song" from Offenbach's "The Tales of Hoffmann" as one of -- count them -- five encores.
NEWS
June 20, 2011
Evan Rachel Wood faced a double challenge in tackling the role of eldest daughter, Veda, in the HBO miniseries "Mildred Pierce": She not only had to portray the unsympathetic partner in a famous pas de deux, she also had to be believable as a coloratura soprano. While it isn't her voice heard performing the arias — that belongs to Seoul-born opera star Sumi Jo — Wood still had a lot of work to do. "For two months, I listened to that music and only that music, and worked with an opera coach to learn the breathing and posture.
ENTERTAINMENT
June 21, 1998 | Chris Pasles
Adolphe Adam is known today mostly as composer of the ballet "Giselle" and the Christmas carol "Cantique de Noel" (O Holy Night). But he wrote a considerable number of stage works, including this once quite successful comic opera. (It premiered in Paris in 1849.) The slight plot involves an eternal triangle: a young wife, an old husband, a young lover. The music is light and graceful, though it makes great virtuosic demands on the soprano.
NEWS
July 31, 2003 | Daniel Cariaga, Special to The Times
Showmanship, versatility, charm and two glitzy gowns marked Sumi Jo's return to the Hollywood Bowl on Tuesday night. The remarkable Korean soprano was assisted by guest conductor Emmanuel Villaume and the Los Angeles Philharmonic, both in wonderful form. Predictable coloratura showpieces, plus arias from operas we do not expect Jo to assay, made up her program.
ENTERTAINMENT
June 5, 1999
While I agree with part of Mark Swed's review of L.A. Opera's "Lucia de Lammermoor" ("A Canary in a None-Too-Gilded Cage," May 28), the lackluster sets and the lack of energy between Enrico and Edgardo are forgotten precisely because of the one response that Swed disdains in his critique: our "irrational" response to the beauty of Sumi Jo's voice. By criticizing the very thing that makes opera special--its powerful appeal to our emotions, conscious and unconscious--Swed risks reducing a potentially transcendent experience to a laundry list of minor production flaws, and flattening out opera into a dry and merely intellectual experience.
ENTERTAINMENT
May 23, 1999 | SCARLET CHENG, Scarlet Cheng is an occasional contributor to Calendar
She spins out her mellifluous tones, fine yet strong, like a silken web over the captivated audience. They have fallen into a trance, all eyes focused on this one diminutive woman standing on the podium before them. Sumi Jo has triumphed on opera stages in works by Verdi, Puccini and Mozart, but now she's singing "Kum-kang San," a popular Korean song that evokes the dream of seeing the most beautiful mountain in the world, Kum-kang, in North Korea, just once before dying.
ENTERTAINMENT
June 21, 1998 | Chris Pasles
Adolphe Adam is known today mostly as composer of the ballet "Giselle" and the Christmas carol "Cantique de Noel" (O Holy Night). But he wrote a considerable number of stage works, including this once quite successful comic opera. (It premiered in Paris in 1849.) The slight plot involves an eternal triangle: a young wife, an old husband, a young lover. The music is light and graceful, though it makes great virtuosic demands on the soprano.
ENTERTAINMENT
January 12, 1998 | DANIEL CARIAGA
Only the most cynical observer could dismiss Sumi Jo as less than the virtually complete recitalist and vocal artist she is. As the Korean soprano demonstrated again Saturday night, she makes music, she entertains an audience, and her sincerity is irresistible. One has to go all the way back to the beauteous Mary Costa for an example of such irrepressibility on the recital stage.
ENTERTAINMENT
November 13, 1996 | JOHN HENKEN, SPECIAL TO THE TIMES
The lure of the prima donna clearly transcends cultural boundaries. A year ago, soprano Sumi Jo gave a wildly popular concert at the Dorothy Chandler Pavilion promoted almost exclusively in the local Korean American community. Monday evening she returned for an "L.A. Encore Concert," presented by the Korea Central Daily, to another cheering, capacity crowd of compatriots.
ENTERTAINMENT
May 26, 1991 | WALTER PRICE
Mozart: "Die Zauberflote." Orgonasova, Jo, Winbergh, Hagegard, Selig, Muff, Bovet, others; Ensemble Orchestral de Paris, Armin Jordan, cond. Erato 2292-45469-2 (2 CDs). Mozart: "Die Zauberflote."; Te Kanawa, Studer, Araiza, Bar, Ramey, Van Dam, Lind, others; Academy of St. Martin in the Fields, Sir Neville Marriner, cond. Philips 426-276-2 (2 CDs). Both these entries in the "Zauberflote" sweepstakes are honorable additions to the catalogue, though their artistic approaches are different.
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