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Tenor
Konu Kim
"secure with a delicious creamy tone to the middle and upper parts of his voice — you just want him to keep singing." - Louise Flind
Represented by
Representation
ARTIST OVERVIEW - ARTIST PROFILE
Artist Profile
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Upcoming Past
Nov 2024
24.
15:30
15:30
Alberto Zanardi, Conductor
Bruno Ravella, Stage Director
Dec 2024
1.
15:30
15:30
Alberto Zanardi, Conductor
Bruno Ravella, Stage Director
Jan 2025
25.
19:30
19:30
Gabriel Felz, Conductor
Barbora Horáková Joly, Stage Director
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Nov 2024
16.
20:00
20:00
Alberto Zanardi, Conductor
Bruno Ravella, Stage Director
Nov 2024
2.
19:30
19:30
Rossini, G. - Il barbiere di Siviglia - Count Almaviva
Deutsche Oper am Rhein Deutsche Oper am Rhein
Antonino Fogliani\Jason Tran\ Marco Alibrando, Conductor
Maurice Lenhard, Stage Director
Oct 2024
5.
19:30
19:30
Rossini, G. - Il barbiere di Siviglia - Count Almaviva
Deutsche Oper am Rhein Deutsche Oper am Rhein
Antonino Fogliani\Jason Tran\ Marco Alibrando, Conductor
Maurice Lenhard, Stage Director
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Biography Highlights
Upcoming
Deutsche Oper am Rhein as Count Almaviva Il Barbiere di Siviglia and Beatrice di Tenda in concert, he also will be seen at Fondazione Teatro Donizetti as Almuzir Zoraida de Granata and at the Prague National Theatre as Il Duca Rigoletto.
Recent
Return to The Royal Opera House and to the Royal Swedish Opera as Count Almaviva Il Barbiere di Siviglia, as well as to Deutsche Oper am Rhein as Tonio La Fille du regiment and to the Garsington Opera Festival as Edoardo di Sanval Un giorno di regno, , debut with the Irish National Opera as Arnold Melchtal William Tell.
Awards
Awards include first prizes at Placido Domingo’s Operalia competition in 2016, the Concours musical international de Montréal, second prize at the Seoul International Music Competition.
Portraits
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Guillaume Tell
Operalia Gala-concert
Guillaume Tell
Operalia Gala-concert
CD PREVIEW
CD PREVIEW
Rigoletto
Il Duca
Rigoletto
Il Duca
Reviews & Press
Rossini - William Tell/Guillaume Tell - Arnold Melchtal
But the evening was seized by Konu Kim's astonishing, ringing Arnold, a great, concentrated physical performance expressed through fabulously vivid and fearless singing, including a ten-second top C and some real distilled angst as Tell and Walter worked him over to rouse his patriotism.
Opera Now
Glyndebourne on Tour - Donizetti - Don Pasquale - Ernesto
Konu Kim gave a terrific, Italianate account of Ernesto; his big moments “Sogno soave e castro” and particularly “Povero Ernesto!” were sung with a real attention to the text and a bold ardent tone ... some very accomplished singing.
- Dominic Lowe , Bachtrack
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Konu Kim flaunts a high-flying tenor as Ernesto: his personality and charm combine with remarkable vocal gifts to suggest a star career in the making.
The Stage
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Kim rose to his set-piece arias, and bathed the gorgeous garden serenade “Com’è gentil” with a lovely sunset glow to match the painted clouds.
The Arts Desk
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Müpa Budapest - Bellini - La sonnambula - Elvino
Elvino, Konu Kim from South Korea, is the greatest discovery of la sonnambula performances with his impressively flexible, affectionate, melodious bel canto tenor material, full of emotions, with warm velocity
- Bóka Gábor , operavilag.net
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Donizetti Festival - Donizetti - Ange de Nisida - Leone
la sua è una prestazione maiuscola per adesione all’estetica di un Belcanto che già si piega ai languori e ai furori di un pieno Romanticismo. La voce è bella, omogenea, svettante in acuto, encomiabile l’attenzione alla parola e alla musicalità della lingua francese.
- Fabio Larovere , Connessi all'Opera
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Konu Kim sang Leone with a lavish timbre and vocal power, splendidly delivered mezze-voci, piercing high notes and a big personality.
- Renato Verga , Bachtrack
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"A Shining Tenor" Konu Kim gave a profound performance filled with different colors and emotions. No one could ever anticipate what Kim would do with the role as he first entered Act one, singing with a bright timbre and giving each phrase a smooth and delicate color. His phrases starting out with a piano sound and would eventually crescendo to a forte with smoothness and facility. That bright optimism could be seen in the aforementioned duet with Sylvia. While Fridman sang with delicacy and darker hues, Kim’s timbre contrasted with gleam, his high notes projecting beautifully into the hall. That brightness continued into his first aria “Quelle ivresse et quel délire,” a marchlike cavatina. Here, Kim displayed power and heroism in his tone. He did, however, show some torment in the B section, singing with a more desperate and breathy timbre, his interpolated high note adding to that desperation. But that happiness for his renewed freedom returned in the ensuing section. That authoritative and controlled vocal quality returned particularly as he ascended into his high notes and a final gleaming B. During the finale to Act three when Leone discovers that Sylvia is in fact the king’s mistress, Kim sang with desperation, repeating “La maîtresse del re” each time with more fury and agony. The voice rang into the hall with great power and one could understand the suffering that he was conveying. The final act finally saw the Kim’s Leone turn to a man filled with pain. One of the highlights of the evening was without a doubt his aria, “Hélas! Envolez-vous, beaux songes!” He began the aria with a delicate, piano sound that was reminiscent of a whimper. Then when he was asked to ascend into the higher tessitura, he gave the high notes a forte dynamic that expressed a cry of desperation. At one point he delivered an exquisite mezza di voce that while a display of virtuosity, effectively conveyed how he felt more and more trapped after becoming a monk. This was of course beautifully displayed in the images of kings that continuously appeared and surrounding him. In his final duet with Sylvia, Kim initially sang with anger, accenting the text and singing with shorter lines. His timbre also took on a heavier and darker hue. But in the final portion part of the duet, his voice returned to that brightness from the beginning and he sang with that same elegance, gorgeous pianos, and gleaming high notes. There was also a tenderness to this moment as his voice harmonized gorgeously with Fridman’s. That would once again turn to torment when Sylvia dies. Kim’s Leone’s final notes were pleas and cries of lament. (...) this is a tenor to look out for in the coming years."
- Francisco Salazar , Opera Wire
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Royal Opera House - Jette Parker Young Artists Programme Recital
Being in the audience for South Korean tenor Konu Kim’s Jette Parker recital was like having a luxuriously warm bath on a dank January day — an excuse to wallow. Kim has a beautiful voice He’s one of those rare tenors who’s secure with a delicious creamy tone to the middle and upper parts of his voice — you just want him to keep singing Kim studied in Germany, which explains his exemplary German, and has just started on the ROH Programme. With his easy charm and stage presence, natural musicality and that voice - watch this space.
