JongminPark

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  • 24 April 2024

    Jongmin Park debuts as Pogner in Die Meistersinger von Nürnberg at Teatro Real Madrid

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  • 24 February 2024

    18 Askonas Holt artists to appear at The Metropolitan Opera in 2024/25

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  • 06 December 2023

    Jongmin Park sings his first Grand Inquisitore at La Scala

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Press

  • Wagner - Die Meistersinger von Nürnberg - Pogner

    Teatro Real Madrid
    Apr 2024

    • Algún ejemplo más. La voz grande y dominadora de Jogmin Park, cuyo Veit Pogner da sentido al rico orfebre y padre de Eva con su talante de gran señor. The big, dominating voice of Jogmin Park, whose Veit Pogner gives meaning to the rich goldsmith and Eva's father with his grand lord's disposition.

    • Fabuloso Jongmin Park, con una voz densa, profunda y retumbante, capaz de hacer creíble a un Pogner que siempre corre el riesgo de hacer el ridículo al no enterarse de lo que está ocurriendo, y con mucho ruido, a su alrededor. Fabulous Jongmin Park, with a dense, deep and booming voice, capable of making a Pogner believable who always runs the risk of making a fool of himself by not knowing what is happening, and with a lot of noise, around him.

    • Oscura, redonda, plena y bien asentada la voz de Jongmin Park, un Pogner muy sólido. Dark, round, full and well-established the voice of Jongmin Park, a very solid Pogner.

    • Contundente y sonoro, con ribetes de Gurnemanz, el Pogner de Jongmin Park. Forceful and sonorous, with hints of Gurnemanz, the Pogner of Jongmin Park.

  • Verdi - Don Carlo - The Grand Inquisitor

    Teatro alla Scala
    Dec 2023 - Jan 2024

    • Aber es ist nicht das erste Mal, dass Philipp von dem Großinquisitor in Grund und Boden gesungen wurde. Da sah man „unseren“ Jongmin Park, der in der Ära Meyer in Wien eine große Karriere gemacht hat, von Wagner bis Mozart, von Basilio bis Gremin und mit vielem mehr immer überzeugend einsetzbar. Ein wunderschöner, profunder, sonorer, resonanzreicher Baß. Den Karl V. hat er schon in Wien gesungen, er schlägt damit gleich zu Beginn die starken Töne des Abends an. Dann darf er auch der Großinqisitor (diesmal nicht blind) sein, und da er am Ende als solcher gebraucht wird, gibt es dann für den Mönch (Karl V.) einen Substituten. Eines Tages wird Jongmin Park ein Philipp II. [Translated] There you could see “our” Jongmin Park , who had a great career in Vienna during the Meyer era, always convincingly usable from Wagner to Mozart, from Basilio to Gremin and much more. A beautiful, profound, sonorous, resonant bass. He has already sung Charles V in Vienna, so he strikes the strong notes of the evening right at the beginning. Then he can also be the Grand Inqisitor (not blind this time), and since he is used as such in the end, there is then a substitute for the monk (Charles V). One day Jongmin Park will be a Philip II

    • Infaticabile Jongmin Park l'eroe dal doppio ruolo: sia Frate che Inquisitore [Translated] Tireless Jongmin Park, the hero with a dual role: both Friar and Inquisitor Serata memorabile per Jongmin Park, un fiore sbocciato all'Accademia della Scala dove ha studiato con Mirella Freni, Luciana Serra, Luigi Alva e Renato Bruson. [Translated] Memorable evening for Jongmin Park, a flower who bloomed at the Accademia della Scala where he studied with Mirella Freni, Luciana Serra, Luigi Alva and Renato Bruson.

    • Il reparto dei bassi, fondamentale in quest’opera, ha presentato artisti di solide e non comuni dotazioni vocali. Come il bel timbro del coreano Jongmin Park, cui spettava l’apertura dell’opera con il memento mori del Frate. Le vicende complesse e il forfait dell’Inquisitore titolare lo hanno portato a interpretare anche il ruolo di ben altro spessore e colore vocale del Grande Inquisitore. Un tour de force inedito e apprezzabile. Seppure in abiti prelatizi poco propizi all’identificazione con un cardinale cieco nonagenario, Park era ben registrato vocalmente nelle note acute e sufficiente dal punto di vista delle intenzioni. Cosa assai lodevole per un cantante non madrelingua italiana. [Translated] The bass department , fundamental in this work , presented artists with solid and uncommon vocal talents . Like the beautiful tone of the Korean Jongmin Park , who was responsible for opening the opera with the memento mori of the Friar. The complex events and the flat rate of the titular Inquisitor led him to also interpret the role of much greater depth and vocal color of the Grand Inquisitor. An unprecedented and appreciable tour de force . Even though he was dressed in prelatical clothes which were not very conducive to identification with a nonagenarian blind cardinal, Park was well registered vocally in the high notes and was sufficient in terms of intentions. Which is very commendable for a singer who is not a native Italian speaker.

    • Molto bene anche Jongmin Park, già previsto come Frate e salito in corsa a sostenere anche il ruolo del Grande Inquistore (ma nell’ultima scena, non avendo il dono dell’ubiquità, Il Frate/Carlo V è, validemente, Huanhong Li). Avevo già avuto modo di apprezzare Park in Rusalka e Macbeth, e qui non fa che ribadire le mie impressioni positive; voce di grande volume, timbro scuro a dovere; ma anche capacità di interpretare e “dire”. Il personaggio dell’Inquisitore non ha un ruolo lunghissimo ma rappresenta uno snodo drammatico fondamentale, e Park l’ha risolto più che brillantemente. [Translated] Jongmin Park was also very good, already expected as the Friar and up in the running to also support the role of the Grand Inquisitor (but in the last scene, not having the gift of ubiquity, The Friar/Charles V is, validly, Huanhong Li). I had already had the opportunity to appreciate Park in Rusalka and Macbeth, and here he only reiterates my positive impressions; large volume voice, properly dark timbre; but also the ability to interpret and “say”. The character of the Inquisitor does not have a very long role but represents a fundamental dramatic turning point, and Park resolved it more than brilliantly.

    • Tadellos, wenn auch etwas charismabefreit Jongmin Park als Großinquisitor (statt Ain Anger), als Oberaufseher im großen katholischen Weltgefängnis. [Translated] Impeccable, if somewhat charismatic, Jongmin Park as Grand Inquisitor (instead of Ain Anger), as head warden in the large Catholic world prison.

    • The dark bass of Jongmin Park, standing in for Ain Anger as the Grand Inquisitor, embodied awesome religious power.

    • [Pertusi] contrasted beautifully with his counterpart Jongmin Park, whose voice felt like a tidal wave of imposing sound. The scene was filled with ferocity and incredible tension that would only continued throughout the act. Jongmin Park did double duty as the Monk and the Grand Inquisitor. The Korean has a rich bass sound that resonates in the Milan theater. His opening aria as the Monk, “Carlo il sommo imperatore,” showcased the bass’ rich middle sound and a powerful forte, especially in the lines “Grande Dio sol es s’Ei lo vuole.” Then as the Grand Inquisitor, he first appeared in the “Auto-da-fé” scene, looking down on everyone as the deity that rules over the Spanish throne. His imposing character was fortified in the famed duet with Fillipo in Act three. Here Park sang with a rigid yet striking tone that was very different from the more impassioned tone of Pertusi. His solo passage “Allora, son io ch’a voi parlero, sire” displayed an imposing inquisitor who was in control of the scene, his voice building to fortissimo in the lines “Ed io, L’inquisitor, io che levai sovente.” In the final scene of Act three, Park’s voice was also impressive as both Pertusi and he towered over the choral writing with booming sound. A lot of basses are often washed away by the chorus, but here Pertusi and Park soared, a perfect realization of Verdi’s musico-dramatic intention of the church and crown overpowered the people.

  • Cherubini - Médée - Creon

    Teatro Real Madrid
    Sep 2023 - Oct 2023

    • El Creonte de Jongmin Park exhibió facultades sobradas, con una voz cavernosa, potente, pero muy bien controlada, dibujando un personaje respetable e interesante. [Translated] Jongmin Park 's Creon exhibited abundant abilities, with a cavernous, powerful, but very well controlled voice, creating a respectable and interesting character.

    • Quant à son père, incarné par Jongmin Park, il est un militaire plus qu’un roi, mais la puissance de la projection est impressionnante et lui apporte une autorité naturelle. Solide et droit, il ne sourcille pas et ne montre aucune fragilité, tant vocalement que scéniquement. [Translated] As for his father, played by Jongmin Park , he is a soldier more than a king, but the power of the projection is impressive and gives him a natural authority. Solid and straight, he does not flinch and shows no fragility, both vocally and stage-wise.

    • Il coreano Jongmin Park con un Créon semplicemente sublime e meraviglioso che trasmette compostezza sul palco e sicurezza di corde vocali privilegiate. [Translated] The Korean Jongmin Park with a simply sublime and wonderful Créon who transmits composure on stage and the confidence of privileged vocal chords.

  • Tippett Spirituals / Beethoven Symphony no.9 in D-minor

    Tanglewood Festival
    Aug 2023

    • Bass Jongmin Park made the only true soloistic contribution in Go down, Moses. His instrument has a truly operatic quality

    • Park made a stunning impression in both spirituals and symphony, singing in a resonant and warm bass voice — and declaiming clearly without clipping — in both German and English.

  • Puccini - La bohème - Colline

    Teatro alla Scala
    Apr 2023 - May 2023

    • Menzione a parte per Jongmin Park (Colline), la cui "Vecchia zimarra" è una nicchia di commozione incastonata con discrezione nel più ampio dramma, resa più preziosa da un timbro oggettivamente bello e coinvolgente. Molti applausi anche per lui. [Translated] Special mention for Jongmin Park (Colline), whose "Vecchia zimarra" is a niche of emotion discreetly set in the wider drama, made more precious by an objectively beautiful and engaging timbre. Big applause for him too.

    • Un plauso incondizionato a Jongmin Park che riesce a dar vita al personaggio di Colline con un mezzo ampio e dal colore vellutato. Toccante l’esecuzione di “vecchia zimarra”, affrontata con cantabile morbido e sfumato. [Translated] An unconditional applause to Jongmin Park who manages to give life to the character of Colline with a wide medium and velvety color. The performance of “vecchia zimarra” is touching, faced with a soft and nuanced cantabile.

    • El bajo sudcoreano Jongmin Park por su parte interpretó al filósofo Colline, quien regresa nuevamente al teatro milanés probablemente por su cavernosa y engolada voz de obscuro color que no es común de encontrar en europeos. Fue muy aplaudido por su aria Vecchia zimarra. [Translated] The South Korean bass Jongmin Park played the philosopher Colline, who returns again to the Milanese theatre probably for his cavernous and deep voice of dark colour that is not common to find in Europeans. He was widely applauded for his aria Vecchia zimarra.

  • Wagner - Tristan und Isolde - König Marke

    Opéra national de Lorraine, Nancy
    Jan 2023 - Feb 2023

    • Mais, c'est le roi Marke (l'homme puissant mais vulnérable) du Sud-Coréen Jongmin Park qui crée la divine surprise. Une voix de basse magnifique, d'un métal noir, capable de souplesse et de nuances sur le fil, d'autant plus impressionnante, que le jeune homme de 36 ans arbore silhouette de géant et autorité naturelle, laissant espérer une grande carrière. [Translated] But, it is King Marke (the powerful but vulnerable man) of South Korea Jongmin Park who creates the divine surprise. A magnificent bass voice, of black metal, capable of flexibility and nuance on the wire, all the more impressive that the 36-year-old young man sports a giant silhouette and natural authority, giving hope for a great career.

    • Imposant une forte présence scénique, la basse sud-coréenne Jongmin Park révèle en Roi Marke des moyens impressionnants et d’une facilité déconcertante. La voix aux accents puissants, capables de belles nuances et d’alternance dans les couleurs développées, emplit la salle avec une facilité qui lui vaut en fin du spectacle une juste ovation. [Translated] Imposing a strong stage presence, the South Korean bass Jongmin Park reveals in Roi Marke impressive means and disconcerting ease. The voice with powerful accents, capable of beautiful nuances and alternation in the colours developed, fills the room with an ease which earned him a just ovation at the end of the show.

    • Vocalement, c’est le Roi Marke de Jongmin Park qui, pour moi, s’est imposé. Quelle présence ! Quelle voix aux superbes nuances. Comme il nous donne à vivre, dans son chant (puisque rappelons-le les pancartes ne nous donnent que le résumé de son intervention), la douleur de l’homme trahi dans l’affection qu’il porte à Tristan [Translated] Vocally, it was King Marke from Jongmin Park who, for me, stood out. What a presence! What a voice with superb nuances. As he gives us to live, in his song (since we remember the signs only give us the summary of his intervention), the pain of the man betrayed in the affection he has for Tristan.