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Artist Profile

Konu Kim - Profile picture
©

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

Marcin Kopec
marcin@tact4art.com
+44 79 81 91 88 14

Anna Kovtun
anna@tact4art.com

Representation

General World


Now on - Konu Kim - Back to Overview   BACK TO ARTISTS OVERVIEW
Upcoming Past
Oct 2021
17.
19:15

19:15

Jonathan Bloxham, Conductor
Mariame Clément, Stage Director

Oct 2021
19.
19:15

19:15

Jonathan Bloxham, Conductor
Mariame Clément, Stage Director

Oct 2021
25.
19:15

19:15

Jonathan Bloxham, Conductor
Mariame Clément, Stage Director

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Oct 2021
12.
19:15

19:15

Jonathan Bloxham, Conductor
Mariame Clément, Stage Director

Oct 2021
10.
19:15

19:15

Jonathan Bloxham, Conductor
Mariame Clément, Stage Director

Aug 2021
27.
15:20

15:20

Riccardo Minasi, Conductor
Nicholas Hytner, Stage Director

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Biography Highlights

 
 

Upcoming Engagements

Ernesto Don Pasquale Glyndebourne Festival and Finnish National Opera, Ferrando Cosi Fan Tutte Glyndebourne Festival and San Diego Opera, return to the Royal Opera House, and concert debut with Wexford Opera Festival under Maestro Mariotti.  

 
 

Recent Engagements

Debuts with GDonizetti Opera Festival Bergamo as Leone L’Ange de Nisida, Royal Opera House Covent Garden as Count Almaviva Il Barbiere di Siviglia*, debut with the Irish National Opera as Arnold Melchtal William Tell*, at the Swedish National Opera and  Teatro Verdi di Busseto as Duke Rigoletto*, at Daegu Opera Don Ottavio Don Giovanni*, Capellio Giulietta e Romeo at Belcanto Opera Festival in Japan*, Garsington Festival as Edoardo Un Giorno di Regno, Elvino La Sonnambula Budapest Müpa Palace of Arts, Nadir Les Pêcheurs de perles Korean National Opera, Edoardo Il giorno, Count Almaviva Il Barbiere di Siviglia for Theater Rudolstadt and in concert at the Carnegie Hall. * cancelled  

 
 

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

Konu Kim - Picture nr #17
©

Roméo et Juliette

Roméo

Roméo et Juliette

Roméo

Lucia di Lammermoor

Edgardo

Lucia di Lammermoor

Edgardo

Rigoletto

Il Duca

Rigoletto

Il Duca

 

Reviews & Press

 
 

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.
 

- Louise Flind

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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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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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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