Sae-Kyung Rim, soprano
Soprano

Sae-Kyung Rim

Represented By:

Michael Morelli

+45 21 95 28 28

INTRODUCTION

Sae-Kyung Rim is an impressive, dramatic Verdian/Verismo soprano with a strong voice, rich in nuances and colors.

She has won several international competitions in singing, including the “Giambattista Viotti” in Vercelli.

RECENT AND FUTURE ENGAGEMENTS

Among the most recent and future engagements of the artist are:

  • Cio Cio San/Madama Butterfly at Opera Australia in Sydney, Opera Hong Kong, Arena di Verona, Theater Dortmund, Principal de Mallorca, Teatr Wielki in Warsaw, Savonlinna Opera Festival, and at the Greek National Opera;
  • a role debut as Odabella/Attila and a role debut as Lady Macbeth/Macbeth at the Korean National Opera;
  • Aida at New National Theatre Tokyo, at the Korean National Opera, at Arena di Verona, and at Gärtnerplatztheater Munchen;
  • Abigaille/Nabucco at the Greek National Opera;
  • Leonora/Il Trovatore at Teatre Principal de Palma de Mallorca;
  • Liù/Turandot at Theater Dortmund;
  • the title role in Manon Lescaut at Hungarian National Opera in Budapest;
  • Tosca at Wiener Staatsoper w. Domingo, Antonenko, Hampson.

BIOGRAPHY

Past engagements of Sae-Kyung Rim include Cio-Cio-San/Madama Butterfly in Budapest, Las Palmas, Wiener Staatsoper, Bergen and Trondheim, Leonora/Forza del Destino at Teatro Filarmonico di Verona, Maddalena/Andrea Chenier in Seoul and Aida at Arena di Verona, in Seoul and in Munich.

In Teatro alla Scala in Milan she has performed in productions such as: Dialogues des Carmelites by Poulenc, Rinaldo by Handel, Elektra by Richard Strauss, La Boheme by Puccini,  Fiordiligi/Così Fan Tutte and others under the direction of Riccardo Muti, Ottavio Dantone, Semyon Bychkov, Rafael Frühbeck de Burgos, Niksa Bareza, Jeffrey Tate, Riccardo Chailly, Lothar Koenigs, Daniel Barenboim.

In Seoul, she has performed many leading roles in the past years such as Madame Lidoine/Les Dialogues des Carmelites by Poulenc, Amelia/Un Ballo in Maschera, Leonora/Forza del Destino, Marguerite/Mefistofele by Boïto, Tosca.

EDUCATION

Sae-Kyung Rim graduated in singing at the Conservatory “Giuseppe Verdi” in Milan and in the course for opera singers Soloists dell ‘Accademia del Teatro alla Scala with Leyla Gencer.

AUDIO & VIDEO

Sae-Kyung Rim – Attila by G.Verdi – Odabella/Foresto Duet (KNO, 2022)

Sae-Kyung Rim – Un Ballo in Maschera by G.Verdi – Ecco l’orrido campo, role Amelia

Sae-Kyung Rim – Madama Butterfly by G. Puccini – Un Bel Di’Vedremo – Las Palmas

Sae-Kyung Rim – Attila by G.Verdi – Santo di patria (KNO, 2022)

Sae-Kyung Rim – Madama Butterfly by G. Puccini – Finale, Act III

REVIEWS

Madama Butterfly by G. Puccini, Sydney Opera House – June 2022

(…) South Korean soprano Sae Kyung Rim’s command of Puccini’s score and her vocal dominance lent her Butterfly quite a degree of knowingness. It would be a particularly noxious invader who could entrap her; but there was a huge red web as a design feature and even as a bridal headdress in Act one. Who could escape?

(…) Sae Kyung Rim gave us a Butterfly who seemed more in possession of her aspirations than is often the case. She dominated the stage from her first arrival in the marriage procession. Her big number in Act two “Un bel dì” when she visualizes Pinkerton’s return, authoritatively felt out the shapes of her big number giving us a full dimension of her tragedy. Isolating her upstage and providing a graphic of falling kanji letters amplified this sense.”

– Gordon Williams, Operawire.com

Madama Butterfly by G. Puccini, Sydney Opera House – June 2022

“As Cio-Cio-San, the Butterfly, Sae-Kyung Rim gives a triumphant performance with a voice of gleaming clarity through its many moods, from caprice and gentle satire to fiery power and tragedy. In the first act this stands as a counterfoil to the vulnerable freshness she creates as the teenage bride. She sang Un bel di, vedremo of Act 2, with graceful phrases of elegant simplicity, the climactic moments achieving power without disturbing the smoothness of the finish.”

– Peter McCallum, The Sydney Morning Herald

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