ARTIST OVERVIEW - ARTIST PROFILE
Return to Donizetti Festival in Bergamo as Leone L’Ange de Nisida, debut with the Irish National Opera as Arnold Melchtal William Tell, Duke Rigoletto at the Teatro Verdi di Busseto* and Royal Swedish Opera, Don Ottavio Don Giovanni at the Daegu Opera, Capellio Giulietta e Romeo at Belcanto Opera Festival in Japan, return to the Royal Opera House as Count Almaviva Il Barbiere di Siviglia (c)
Tonio La Fille du régiment, Arturo Bucklaw Lucia di Lammermoor, Malcolm Macbeth, Gastone La Traviata, Chaplitsky The Queen of Spades, all for Royal Opera House London, Almaviva Il Barbiere di Siviglia Nouvel Opera Fribourg, Budapest Mupa Palace of Arts as Elvino La Sonnambula and Edoardo Un Giorno di Regno Garsington Festival, Nadir Les Pêcheurs de perles Korean National Opera, Count Almaviva Il Barbiere di Siviglia in concert at Carnegie Hall.
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.
Roméo et Juliette
Roméo et Juliette
Lucia di Lammermoor
Lucia di Lammermoor
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
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
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
"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
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