South Korean soprano Sumi Jo is a vocal phenomenon. Renowned for her agility and ability to scale stratospheric heights, she thrilled Tuesday night’s audience with her vocal pyrotechnics. Power, supreme control of dynamics and a warm clear tone were further weapons in her vocal armoury. In addition, Sumi Jo’s physical presence and sense of fun were major ingredients in her ability to charm her audience.
The Wow! factor was established the moment Sumi Jo stepped onto the stage. We have come to expect something special in the way of haute couture from this glamorous diva, but her flourish of frills and flounces took the recital gown to a whole new level and signalled the general tenor of the evening. As she sang and the audience admired, it became clearer that among the silvery confection of her fish-tail gown, complete with a cape on one shoulder and train held by the opposite wrist, there was intriguing subtlety. Lines of pale blue satin were wound along the upper edges of the waves of the ‘tail’. We were looking at a work of art, integral to the Sumi Jo package.
The fireworks began with an aria from Handel’s Alcina, reminding us that we were in territory that depended on the virtuosity of singers to ensure success. It took only a small leap of the imagination to view Sumi Jo’s daredevil feats of vocal dexterity with the rival castrati and soprani of Handel’s day. Those familiar with Sutherland’s version of the aria eagerly awaited Sumi Jo’s ornamentation. They were not disappointed.
As a contrast to the bravura of the Handel, Sumi Jo sang Giacomelli’s slow and emotional aria by a scorned wife with warmth and exemplary control. While her gestures were studied, this was in keeping with the style of the music. Most of the ambiguities regarding Sumi Jo’s intentions were swept aside in the Vivaldi aria. The piano introduction was accompanied by a tapping of the foot and then she threw herself into an exhilarating display of coloratura singing. We were there to have fun. The only ambiguity that remained for me was whether this was a gentle exaggeration of Cecilia Bartoli’s vocal characteristics. I can think of nobody else who would be capable of bringing off this feat with such panache. By this time the audience was well and truly charmed.
Three French songs gave further evidence of Sumi Jo’s vocal skills, particularly her stunning messa di voce in Villanelle. Her control of dynamic and her sustained soft singing on high notes were employed to great effect.
It might have been difficult to waltz in a fish-tail gown for the final Strauss number, but Sumi Jo’s choice of apparel suited the spirit of the music perfectly and the audience was transported to a ballroom of the imagination. Her playful cough as she prepared for her final top note was one of the several little details she used to signal that this was an occasion to be enjoyed.
For the second half of the evening, Sumi Jo wore what in fact was more ball gown in shape. The pale silvery fabric was highlighted by a gigantic shocking-pink bow trailing from the waist. She was joined by her friend, guitarist Miloš Karadaglić, who played a study by Villa-Lobos and then collaborated with her in an arrangement of Bachianas Brasileiras No 5. Beautifully played and sung, this was a musical highlight of the evening.
The Korean members of the audience were appreciative of her inclusion of Jung-Jun Ahn’s Arirang; further evidence of Sumi Jo’s aim to please was seen in Offenbach’s Doll Song. The dress, the fan, her interaction with her most able and sympathetic accompanist, Gary Matthewman, her vocal athleticism and acting skills were rewarded with enthusiastic approval.
Sumi Jo is much more than a high-wire act. Vocal gymnastics and a blend of artifice and artistry are given substance by the warmth of her voice and personality. It would be wonderful to see all that talent channelled into a full operatic production next time she visits our shores.
Rating: 4 stars out of 5
Sumi Jo in recital
Sumi Jo – soprano
Gary Matthewman – piano
Miloš Karadaglić – guitar
Program:
HANDEL Tornami a vagheggiar
GIACOMELLI Sposa son disprezzata
VIVALDI Agitata da due venti
DELL’ ACQUA Villanelle
GOUNOD Sérénade
ADAM Ah! Vous dirai-je, Maman
J STRAUSS Danube Waltz
Interval
VILLA-LOBOS Study (for solo guitar)
VILLA-LOBOS Bachianas Brasileiras No 5
ROSSINI La Pastorella
DONIZETTI Me voglio fa’ na casa
JUNGJOON Arirang
DEBUSSY Arabesque No. 1 (for solo piano)
OFFENBACH Les oiseax dans la charmille
Hamer Hall, Melbourne
20 November
