SaeKyung Rim: “Over 100 Performances of ‘Aida’—Plenty of Unforgettable Mishaps”...Cho Sun-hyung: “Viva! Verdi” [Interview]

[The Financial News] “'Aida' is the pinnacle of total art. After 'Madama Butterfly,' 'Aida' is the opera I have performed the most.”
The opera 'Aida,' co-hosted by The Financial News and Sejong Center for the Performing Arts, will open on the 13th of next month at the Sejong Center for the Performing Arts in Jongno-gu, Seoul.
Soprano SaeKyung Rim, who will take the lead in 'Aida' to mark the 40th anniversary of the Seoul Metropolitan Opera, is a world-renowned lyric spinto soprano who has already performed 'Aida' over 100 times. Known for her deep emotional range and powerful high notes, she garnered international attention in 2015 as the first Korean to play the title role in 'Aida' at the Verona Arena Festival in Italy.
SaeKyung Rim explained, “The reason 'Aida' has been staged every year for over a century at Verona Arena is its nature as a total work of art. As a petite Asian singer, standing on that stage was a source of immense pride for me.”

SaeKyung Rim admitted, “Every time I perform 'Aida,' it feels challenging. This time, I feel a bit more relaxed. In the past, I focused solely on my own voice, but now I enjoy listening to the other cast members. That’s the biggest change for me on this stage.”
Cho Sun-hyung, who shares the role, is also a soprano with a similar timbre, perfectly suited for 'Aida.' Having won first prize at international competitions in Bilbao, Spain and Parma, Italy, she is active on European stages. “Since my studies in Italy, SaeKyung Rim has been my idol,” she said. “When I was cast in the same role on a Korean stage in 2017, I couldn’t believe it. It’s an honor to share the stage with her again this time.”
Originally conceived in 1869 to commemorate the opening of the Suez Canal in Egypt, 'Aida' is a masterpiece of grand opera. Set in ancient Egypt, the story follows Aida, a princess of a conquered nation taken captive, General Radames torn between honor and love, and Princess Amneris, consumed by jealousy and love. Their tragic drama unfolds through magnificent and delicate music. In particular, the 'Triumphal March' in Act II remains an immortal classic performed across generations.
SaeKyung Rim remarked, “It’s difficult to fully understand the agony for one’s homeland, but I plan to focus on Aida’s heart as she chooses death with Radames for love, despite being caught in a love triangle and bound by her father’s will.”
“In 'Aida,' the emphasis is on contrasting extreme emotions. When everything collapses, it collapses completely; when it’s time to fight, I face it with strength,” she explained. She highlighted the Act III duet with her father after singing 'O patria mia,' noting, “When my father curses me, saying I am not his daughter but a slave, the grief is so overwhelming that it always gives me chills—it feels like the climax of the entire work.”

For Cho Sun-hyung, 'Aida' is a labyrinth of emotions. “When I clash with my father, when I love Radames, when I long for my homeland—my emotions shift in every moment. It feels like my head will explode trying to navigate all these within a single performance,” she confessed. She added that she is often moved to tears while singing the Act I aria 'Ritorna vincitor!' “It’s a scene where I pray for my beloved’s victory, yet I’m tormented by the fear that he might destroy my country. Every word and phrase shakes me deeply. In the Act II duet with Amneris, my heart completely breaks as well.”

Directed by Lee Hoesu, conducted by Kim Bong-mi, and choreographed by Kim Seong-hun, this production faithfully recreates the classical beauty of the original. Over 200 performers, including the Gyeonggi Philharmonic Orchestra, Seoul Metropolitan Chorus, and Winner Opera Choir, will showcase the grandeur of this masterpiece.
SaeKyung Rim said, “The Sejong Center for the Performing Arts is a space with little resonance, so I imagine myself singing in a vast arena, and the energy aligns perfectly. Thanks to the presence of powerful singers, we will present a true ‘grand opera.’ Audiences can expect a majestic experience during scenes like the ‘Triumphal March,’ and we are working hard to meet those expectations.”
On this stage, SaeKyung Rim will perform with tenor Shin Sang-geun, who was the first Asian to play Romeo in the Metropolitan Opera’s ‘Romeo and Juliet.’ “We’ve been friends for over 20 years,” she said. “We’re so close that sometimes we burst out laughing before a kiss scene, but we understand each other with just a glance. While sopranos and tenors often compete, we build the stage through mutual consideration.”
Cho Sun-hyung will perform with tenor Yoonjong Kook, winner of the Concours de Genève and Marseille International Opera Competition. “We’re so in sync that people say we’re like siblings,” she said. “The stage feels more alive when we’re together.” SaeKyung Rim added, “The two teams have completely different styles. Each singer’s interpretation of their character is so distinct that watching both versions will make for a much richer experience.”

Having performed 'Aida' around the world for many years, SaeKyung Rim has experienced her share of unforgettable mishaps.
“Once, in a performance in Spain, the tenor playing Radames was over two meters tall and weighed more than 150 kilograms. There was a scene where he had to get on a horse, but in the end, the horse couldn’t support him, so they ended up leading the horse onto the stage,” she recalled, laughing. “These days, some tenors are really into fitness. In the scene where Radames is sentenced to be buried alive and trapped in the tomb beneath the temple, a muscular tenor once tore his bloodstained shirt and shouted, ‘Aida, I will protect you!’ It was hard to keep a straight face.”
Of course, there are no such comic moments in the Seoul Metropolitan Opera’s ‘Aida.’ Instead, audiences can expect a grand stage where majestic choruses, the triumphant march, and lyrical arias blend seamlessly. Both singers agreed that this production will be “the best opera of the year.”
SaeKyung Rim said, “Some operas are known for their beautiful arias, while others are perfectly crafted as a whole. ‘Aida’ is the latter. The music,

drama, and emotions are in perfect harmony,” she said. “The aria ‘Celeste Aida,’ sung by Radames at the very start of the opera, is so difficult that even legends like Luciano Pavarotti and Mario Del Monaco called it ‘the aria of terror,’ but it’s also incredibly powerful and captivating for the audience.”
Cho Sun-hyung stated, “In Italy, it’s always ‘Viva Verdi!’ The music alone is deeply moving and grand, but with the director’s touch and the harmony of the chorus and orchestra, the synergy is now explosive. Whether you’re a newcomer or a seasoned fan, everyone will be moved.”
jashin@fnnews.com Shin Jin-a Reporter