Anna Jiwon Park has been covering the politics at The Korea Times since the summer of 2024, when she joined the press pool for the Office of the President in Korea. Prior to that, she spent about five years reporting extensively on financial markets, regulatory authorities and the financial industry. She joined The Korea Times in 2019 after spending eight years as a broadcast journalist at Arirang TV, Korea’s leading global broadcaster, covering politics, defense and culture.
INTERVIEW 'Puccini's music goes directly into the blood and hearts of audiences'
Seoul Arts Center presents Puccini's opera “Turandot” from Aug. 8 to 18 at the arts center's CJ Towol Theater. Soprano Lilla Lee, center, alternates the title role with soprano Lee Dami. Courtesy of Seoul Arts Center
By Anna J. Park
By Anna J. Park
This production of “Turandot” features various star Korean vocalists, including soprano Lilla Lee as the main character Turandot.
Lee is one of the most-sought-after sopranos for the role of Turandot in European theaters, especially in Italy. She made her debut in Italy as Turandot in 2008 and this icy Chinese princess role is one of her many representative repertoires, along with Verdi's “Lady Macbeth” and Puccini's “Tosca.”
Considering her established status as Turandot in European theaters, it is surprising that this production is her debut in the role in Korea. During the performance that runs through Aug. 18, she will alternate in the lead role with soprano Lee Dami, while tenors James Lee and Han Yoon-seok will alternate in the male title role of Calaf.
Soprano Lilla Lee. Courtesy of Seoul Arts Center
During a recent interview with The Korea Times, Lee said that from about 2014, some six years after her Turandot debut in 2008, she felt she could really pull off the Chinese princess role in comprehensive aspects of not only singing but also performance.
“I think the role of Turandot requires both Italian vocal techniques and authoritarian dignity as a princess,” Lee said. “Italian people often say Puccini's melodies, from pianissimo to fortissimo, penetrate into the blood; yet as a singer myself, I shouldn't be carried away in it. You do not lose your cool and, rather, you need to draw in the audiences with charisma.
“In other words, qualities of vocal techniques, charisma and elegance should all blend together and attract listeners. Also, your singing voice should never be drowned out by the sound of an orchestra, but cut sharply through the orchestra. All of these elements are required.
“It might be a little difficult to naturally perform the character of Turandot, who is not only elegant, but also cold and alluring. She also grew up in a very sheltered environment. I was trained very hard by various directors who taught me Turandot is more than just about technical virtuosity or brutal personality.”
Soprano Kim Kim Shin-hye, left, performs the role of Liu, while tenor James Lee performs Calaf during a dress rehearsal at Seoul Arts Center's CJ Towol Theater, Tuesday. Courtesy of Seoul Arts Center
Although she sings as Turandot, Lee stressed that the role of Liu is paramount in Puccini's final opera. Liu is Calaf's servant girl, who secretly loves Calaf and takes care of his father Timur after the loss of his kingdom. In the plot, Liu sacrifices herself to protect Prince Calaf from a brutal execution by Turandot. Seeing her pure and uncalculating love and sacrifice for Calaf, Turandot's cold heart starts to melt.
“Turandot is a vulnerable girl trying to be strong herself, in order to protect her royal lineage,” Lee said. “She uses legends, killing and brutality to make herself strong. But seeing Liu, a feebler girl who endures torture in the name of love, Turandot begins to change. Her defense mechanism of brutality starts to disappear.
“Turandot learned love from Liu's sacrifice. I think this is the key moment of the opera. Everyone has an empty space in oneself. People try to fill that space with things like addictions, but the space never closes; it only grows with a sense of futility.
“Turandot realized love from Liu, and only love can fill a human's heart. So I think the very last part of the opera, where Turandot announces that the name of Calaf is 'love,' is the highlight of the entire show.”
Lee grew up in Korea and later moved to Italy to further study singing. She graduated from the Giuseppe Verdi Conservatory and then the Novara Conservatory, followed by numerous competition wins, including the Iris Adami Corradetti Competition in 2009.
Until she completed her study at the conservatories, she was a mezzo soprano. But a crucial meeting with renowned bass Bonaldo Giaiotti, with whom she refined her operatic repertoires, has changed her path.
“I was originally trained as a mezzo soprano, but I turned into a soprano after completing vocal studies at conservatories,” Lee said. “This is almost impossible. But Bonaldo Giaiotti, who was specialized in the Italian repertoires of Puccini and Verdi at the Metropolitan Opera for many decades, told me I should be a spinto soprano after hearing my voice. Finally, he won and I became a soprano.”
Lee encouraged those who are not familiar with opera to come to a theater and watch it.
“Although CDs and DVDs are all great, you absolutely need to watch an opera production as a live performance,” she said. “Novice opera fans told me that they were so surprised to experience that vocalists' singing voices directly penetrate into their hearts at theaters.
“In particular, Puccini's works are known to directly go into the blood and heart. The music goes into the blood and flows around the heart. With the climax of a plot, you can feel the heart begins to beat faster, and ultimately leave audiences with goose bumps and deeply lingering emotional resonances.”
Soprano Lilla Lee, center left, and tenor James Lee, center right, perform during a dress rehearsal at CJ Towol Theater, Tuesday. Courtesy of Seoul Arts Center
Lee stressed that she hopes her audiences receive more than just a goose-bumps experience from the beauty of her singing.
“I hope to convey the light of love; the love Liu showed in this opera, love that can endure pain,” she said. “I wish to see audiences liberated from any sort of grudges or resentment. It is so sad to see that many people, especially in Korea, are captivated by past grudges and hurts, just like Turandot. Turandot did not know light, but was changed by the sacrifice of Liu. I hope to convey such light to my audiences with my singing that we need to look forward, not backwards.”
As an ardent Christian, the soprano lastly shared her dream; she has recently launched the Raham Foundation in Warsaw, Poland, where she often performs.
“I have a lot of interest in Jewish people,” Lee said. “I see lots of common ground between the Jewish and the Koreans. Warsaw also had Auschwitz, as well as Jewish museums. The city was heavily bombarded during World War II, but it started all over again.
“I haven't yet held an inaugural music concert of the foundation, but plan to hold it in the near future. I always have this vision of sharing the light with other people, healing pain and hurt and providing consolation.”