Kathleen Kim
Soprano

“Kathleen Kim as Madame Mao stole the show with her coloratura flights.” (Opera Today)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Biography

Kathleen Kim has been a regular fixture on the stage of the Metropolitan Opera for the past decade with appearances as Tytania (A Midsummer Night’s Dream) under James Conlon, Olympia in Bartlett Sher’s production of Les contes d’Hoffmann and Blondchen (Die Entführung aus dem Serail), both conducted by James Levine, Oscar (Un ballo in maschera) under Kirill Petrenko, Madame Mao (Nixon in China) directed by Peter Sellars and conducted by John Adams, and Zerbinetta (Ariadne auf Naxos) conducted by Fabio Luisi.

Kathleen Kim has been a regular fixture on the stage of the Metropolitan Opera for the past decade with appearances as Tytania (A Midsummer Night’s Dream) under James Conlon, Olympia in Bartlett Sher’s production of Les contes d’Hoffmann and Blondchen (Die Entführung aus dem Serail), both conducted by James Levine, Oscar (Un ballo in maschera) under Kirill Petrenko, Madame Mao (Nixon in China) directed by Peter Sellars and conducted by John Adams, and Zerbinetta (Ariadne auf Naxos) conducted by Fabio Luisi.

This season Kathleen Kim returns to the Seoul Philharmonic Orchestra for Carmina Burana under Yves Abel and Beethoven’s Symphony No.9 under Christoph Eschenbach. Elsewhere, she makes her debut with the Los Angeles Philharmonic performing her celebrated interpretation of Madame Mao under John Adams, and sings Mahler’s Symphony No.2 with the Charlotte Symphony under Christopher Warren-Green.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Reviews

“cool beauty typified much of Kathleen Kim’s singing as Tytania” (Opera magazine, October 2016)

“Kim was meticulous in articulating the skittering diamantine staccati that Britten scatters over her coloratura” (Telegraph, August 2016)

“The soprano Kathleen Kim brought a nimble and golden voice to the part, and finely honed physical comedy.” (New York Times, April 2016)

“cool beauty typified much of Kathleen Kim’s singing as Tytania” (Opera magazine, October 2016)

“Kim was meticulous in articulating the skittering diamantine staccati that Britten scatters over her coloratura” (Telegraph, August 2016)

“The soprano Kathleen Kim brought a nimble and golden voice to the part, and finely honed physical comedy.” (New York Times, April 2016)

“With breezy ease, Kathleen Kim's pint-sized Blondchen was an alluring, plucky soubrette. She shaped the role with enormous, generous personality, performing in admirably unselfconscious shades. "Durch Zärtlichkeit und Schmeicheln" highlighted a plush, shimmery timbre tamed with great control.” (Bachtrack, April 2016)

“Of the other lovers, Kathleen Kim’s Blonde was the clear winner of the verbal battle with Osmin and had Pedrillo pretty well under her thumb. Her sparkling expression of joy upon learning of Belmonte’s arrival and plans for their escape was spectacularly sung.” (Classical Souce, April 2016)

“an outstanding Oscar whose bright soprano showed itself well able to ride the fortissimos of Verdi’s big ensembles” (John McCan, Opera Magazine, September 2015)

“Soprano Kathleen Kim (Oscar) is perfectly crisp and precise. Her tone is bright, pleasant and handles agility with ease.” (GB Opera, May 2015)

“The young page Oscar is sung by soprano Kathleen Kim - very accurate in pitch and full of charm and wit in interpretation” (Forum Opera, May 2015)

“Kathleen Kim provided a sparkling Oscar” (Diapason, May 2015) 

“With the quartet completed by Kathleen Kim’s effortless, soaring soprano…you were again reminded of the high calibre of Korea’s musicians.” (Peter Reed, Classical Source, July 2014)

“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 Lesoiseauxdans 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)

Discography

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