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BIOGRAPHY

Since her Metropolitan Opera debut in 2007, Korean soprano Kathleen Kim has enjoyed both glowing reviews and major international interest.

2013/14 sees Kathleen Kim’s return to the Metropolitan Opera as Tytania in A Midsummer Night’s Dream under James Conlon as well as her Italian debut for Teatro dell’Opera di Roma in Laurent Pelly’s production of L’enfant et les sortilèges under Charles Dutoit.  Further highlights include her company debut at San Diego Opera as Oscar in Un ballo in maschera and concerts with the Seoul National Orchestra under Myung-whun Chung.

Kathleen’s recent seasons have included several role debuts including: the title role in Donizetti’s Lucia di Lammermoor at Sarasota Opera, La Fée in Massenet’s Cendrillon at Opéra de Lille, and Fire, Princess and the Nightingale in Laurent Pelly’s highly-acclaimed production of Ravel’s L’enfant et les sortilèges at the Glyndebourne Festival. Kathleen Kim also made a critically acclaimed BBC Proms debut in John Adams’ Nixon in China with the BBC Symphony Orchestra conducted by the composer and debuted with the Oslo Philharmonic with Mozart’s Mass in C minor under Manfred Honeck. Further highlights include Oscar in David Alden’s production of Un ballo in maschera at the Metropolitan Opera and Olympia (Les contes d’Hoffmann) in both Richard Jones’ acclaimed production for the Bayerische Staatsoper under Emmanuel Villaume and Laurent Pelly’s new production at the Gran Teatre del Liceu under Stéphane Denève.

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REVIEWS

"As the page boy Oscar, Kim was spritely. Her coloratura soprano was a marvel, perfectly in tune with splendid ease of motion." (Matthew Richard Martinez, Concerto Net, March 2014)

“The soprano Kathleen Kim sang Tytania, the fairy queen, with fresh, sensuous lyricism.” (Zachary Woolfe, New York Times, October 2013)

“Kathleen Kim’s feathery and easy coloratura singing in the role of his fairy queen was a perfect pairing.” (Sophia Vastek, Classical Review, October 2013) 

“Davies's countertenor was in good shape and as countertenoring often goes, scene-stealing - although no one steals scenes from Kim, whose clarion voice continually prevailed.” (Huffington Post, October 2013)

“Korean-American soprano Kathleen Kim had a great success as Olympia, with brilliantly clean accuracy in the famous aria Les oiseaux dans la charmille.” (Concert Net, June 2013)

“Fireworks ensued with the arrival of the mechanical doll Olympia – Kathleen Kim, darling of The Met… She displayed her flawless coloratura with ease, including intriguing variations and a touch of madness that characterizes the role: all in all an excellent execution. Also noteworthy is that she managed to sing the aria sitting at the end of a mechanical arm that allowed her to “fly” around the stage suspended above the orchestra!” (Opera Click, February 2013)

“Kathleen Kim was an outstanding Olympia, both as a singer and as an actress and was the big hit of the opera.” (Seen & Heard, February 2013)

“Kathleen Kim brought something of the world-weary, androgynous allure of Marlene Dietrich in Morocco to her nimble, brightly sung portrayal of the page Oscar.” (Classical Review, December 2012)

“But with Chiang Ch’ing sung by Korean soprano Kathleen Kim, the wait was worth it as she grabbed the opera by the lapels and gave it a damn good shaking – her rendition of I am the wife of Mao Tse-tung allowed her to display her stratospheric coloratura, pinpoint accurate and pinning the audience to their seats. The ovation which greeted its conclusion, Kim defiantly holding aloft the Little Red Book of Chairman Mao’s quotations to the Prommers in the Arena, was tumultuous and richly deserved.” (Opera Britannia, September 2012)

"The US-trained Kathleen Kim glittered with astonishing accuracy as Fire, Princess and Nightingale" (Glyndebourne Festival Opera: L’Enfant et les sortilèges – Opera Magazine, September 2012)

“Brandishing her little red book and hurling top notes about with terrifying precision, she brought the house down with her second-act aria – a career-making interpretation, one suspects, of a scene-stealing role” (The Guardian, September 2011)

“Kathleen Kim, with perfect coloratura, electrified the hall as scary Madame Mao” (The Observer, September 2011)

"The child tends the wound of the nightingale (sung by the dazzling Kathleen Kim, who also sings his fairy-tale princess, and tantalises him as fire)" (L'enfant et les sortileges - Glyndebourne - The Sunday Times, August 2012)

"...there are many musical pleasures along the way, including Gadelia’s whispered lament and the plaintive singing of Kathleen Kim’s Princess. (L'enfant et les sortileges - Glyndebourne - The Times, August 2012)

"There is a good ensemble of singers, led by Kathleen Kim in the glittering high soprano roles of Fire and the Princess..." (L'enfant et les sortileges - Glyndebourne - Financial Times, August 2012)

"Kathleen Kim was flawless in her coloratura number and created a enchantingly mischievous fairy" (Cendrillon - Opera de Lille, ResMusica, May 2012)

"The jewel of this evening is certainly the soprano Kathleen Kim... who delivers crystal clear singing, secure high notes and a timbre of exquisite freshness." (Cendrillon - Opera de Lille, ClassiqueInfo, May2012)

"Kathleen Kim as Madame Mao stole the show with her coloratura flights in the bravura number that concludes Act II, and was amusing in her down-and-dirty duet with
the Chairman." (Opera Today, February 2011)

“The coloratura soprano Kathleen Kim delivered the skittish, shrieking vocal lines of the malevolent Madame Mao with maniacal intensity." (The New York Times, February 2011)

“Kathleen Kim’s Olympia was distinguished not just by the brilliance of her acuti but by the charm and sparkle of her voice throughout its range" (Opera News, March 2010)