INTERVIEW | Sumi Jo | "For me, music is never about genres"
In conversation with Sumi Jo (조수미 인터뷰)
Interviewed on 23 January 2019
It must have been a cool winter's afternoon when I rang Ms Sumi Jo in January from my flat. The truth is, the weather outside was difficult to tell. It was not that the air was uncertain of its own coldness or that I'd become fiercely habituated to my room's climate by my shy presence outdoors. Rather, and simply, I was overly concerned about my conversation with Ms Jo as to divert enough attention to nature's details that day. How could I have not been concerned? I had conducted no more than half-a-dozen interviews so far, and there I was, sitting at my rudely barren desk, ready to talk about life with one of Korea's greatest living musicians.
So it only took Ms Jo picking up her phone and a short exchange of greetings for me to confess my nervousness to her. With Ms Jo replying with a graceful "don't worry", we soon took flight into a brilliant set of exchanges. Whether it was my question about her adaptability across numerous musical genres, her training in Italy, her mastery of bel canto, her relationship with conductor Herbert von Karajan, her self-perception of her musical gifts, or her view on the relationship between life and music, Ms Jo's answers were full of detail, life, and light. Meaning does not preclude joy; the conversation was replete with insight yet equally with ease and laughter, my earlier nerves nowhere to be seen.
Below is a transcript of our conversation, translated from Korean.
Sumi Jo (SJ): Hello. It is a pleasure, likewise. Are you calling from London?
YH: Yes, that is right. I understand you are currently not in South Korea?
SJ: I am currently in Rome. Here, I am giving masterclasses at the Teatro dell' Opera di Roma, as part of the Fabbrica Young Artist Program. In the programme, around eight scholarship-awarded students are given opportunities to make their debut at the opera house.
YH: I see. I associate Rome with sunshine and warmth. But now being January, is it cold in Rome?
SJ: Oh, it is cold, and... singers have a tendency to dislike winters. But it's much better than London's winter, I'm sure.
(both laugh)
YH: Why is it that singers don't like winters?
SJ: It's easy to fall ill in winters. The cold wind can also give you a sore throat.
YH: You say that, yet still you receive great reviews for your performances all year long.
SJ: Thank you.
YH: Talking about performing, you've now been on stage for more than three decades. Do you feel different on stage these days compared to when you first started your career?
SJ: Physically speaking, I can sense that being on stage is not getting any easier. Psychologically, however, I feel freer than how I was when young. While I still give recitals in places like London's Wigmore Hall, I also enjoy performing pieces with more popular appeal. I notice I am increasingly eager to expand my repertoire. So, all in all, my career is now shaping up in a distinct way, different from the typical opera singer who performs standardised opera roles from theatre to theatre and from city to city.
YH: Looking at your recent activities, you've indeed been active in various genres outside of classical music. You've been involved in cross-overs, film music, collaborations with Kenny G, and also in musicals.
SJ: In addition to what you've mentioned, I also sang K-pop music in the style of classical music. All this happened on top of my classical music activities. I still give soloist recitals, sing cantatas, and sing in opera productions. I hope to maintain this wide spectrum of performance repertoire.
YH: Do you approach each style with a distinct vocal style or a preparation method?
SJ: Yes. Even within classical music, different genres require different approaches. Needless to say, the ways I engage with cross-overs, film music, and K-pop music, for example, are different from each other. This is not to say, however, that I have systematic ways to meticulously prepare for these differences. My body simply knows how to naturally adapt to each style once on stage.
YH: How fascinating!
YH: Was this love for pop music a common trend among classical music singers and students around you?
SJ: I am not too sure. For me, music is never about genres. I admire all kinds of music styles from around the world, be it jazz, pop, or even traditional music from the Middle East, South Asia, and Africa. By immersing myself in these various sounds and rhythms, I was able to be in touch with a wide range of cultures and artistries. From youth, I was curious about all forms of music. Of all these genres, I suppose that the one that fit the sensibilities of Sumi Jo the teenager was pop music from the USA.
[Note. I have always had a keen interest in the music that classical music musicians listen to every day. In my previous interview with Denis Matsuev, we talked about the influence of jazz and pop music on Matsuev's development as a pianist. Likewise, pianist Sunwook Kim and conductor Thomas Søndergård talked about jazz and conductor Shiyeon Sung, about heavy metal. Pianist Seong-Jin Cho and pianist-conductor Vladimir Ashkenazy, on the other hand, did not seem to hold extensive interests in genres outside of classical music. There does not seem to be one way of becoming an established musician in classical music.]
SJ: Yes. In terms of vocal range, colour, and many other characteristics, my voice is best suited for bel canto roles. These roles are prominent in the operas by Bellini - apart from Norma -, Rossini, Donizetti, and, on some occasions, Verdi. This means that for much of my career, I sang heroine roles - usually young females - who are often confronted with tragic circumstances. However, with Puccini, the singing generally becomes heavier because the voice has to survive Puccini's characteristic heavy orchestration. Given that my voice is light, it is not natural for me to sing in roles that require loud singing. It's not that I don't like the music - I simply cannot sing those roles well.
YH: If I understood you correctly, you are saying that vocal characteristics are innate and that one can sing in musical styles that mostly match those characteristics. However, when I looked at your repertoire list on your website before our interview, I noticed that you sang Alban Berg's Lulu Suite. This piece demands a heavy and voluminous voice. Is this a sign that you are trying to expand your vocal style?
SJ: In concert performances, it is not uncommon that I insert short extracts of an opera even though I won't sing in an entire production of that opera. In some occasions, I can also get the help of microphones, which will inevitably increase the audibility of my voice. The microphone is a truly magical invention.
SJ: I also didn't put in much effort for my weekly classes in university. I barely looked at the weekly tasks we were given until 10 minutes before each lesson. I just knew I was able to do well even without much preparation. At one point, a teacher found out about my lack of input and I was severely reprimanded. So this changed my attitude afterwards. In essence, I had the ability to prepare very little but present myself as if I prepared thoroughly. These were tricks I felt proud about back then.
YH: In a way, I think your pride is justified.
YH: We've talked much about your wide-reaching artistic endeavours. It almost sounds as if your life is an art form in itself. How important is it for you to keep life separate from the arts?
SJ: Life and the arts are so closely intertwined with each other. Despite this relatedness, the two things are entirely different. Of course, this is a difficult claim for me to make because my life is already so immersed in music. I cannot imagine existing without music - it is impossible to detach music from my life. From the moment I wake up to the time I go to sleep, music is everywhere. Even so, my life is not entirely musical.
YH: What do you mean?
SJ: I do not love everything about music. For example, I have never been interested in the lives of other musicians. I am also not hugely interested in what theatres or opera houses play each season. In other words, I am solely interested in what I do. I follow my own life, not music. Of course, there can be times I feel like supporting or criticising other musicians, but I keep these opinions just for myself. And in the few hours each day that I am not involved in music, I live a surprisingly normal life.
YH: Your life sounds practical and quite self-centred, if I may say so.
SJ: It's more that I have my own island of music-making, and I know its boundaries. Because of this, I know how to maximise my non-musical life. While it is important to be locked in one's own world and master one's ideals, I also realise that life is much more than music. For example, since a young age, I've always been fascinated with veterinary - I often enjoy watching documentaries and television programmes about animals. Furthermore, I also spend a lot of time to support social causes. I've raised money for animal shelters and for individuals with blindness, autism, and other disabilities. I've also collaborated with UNICEF and UNESCO to support a wide range of humanitarian programmes. Thus, while I am able to protect my private and musical life, I devote a lot of attention to lives around me.
My father always wanted to become an ambassador. While he didn't achieve his dream in the end, I've achieved his dream for him by becoming a cultural ambassador of Korea. The job is not there to lead people but to connect people through music, such as through charity concerts. I feel happy about taking part in these activities, and I see myself continuing in these areas in the future. I see all this as being part of my personality of being infinitely curious about the world. And while I am curious, I am also a systematic person who plans everything. I am in a lucky position where I can vigorously plan my life to consequently be involved in numerous musical and non-musical activities.
YH: You live a life that so many people can look up to. This was a hugely enjoyable conversation. Thank you so much for your time.
SJ: I also enjoyed our conversation. Thank you, goodbye.
Young-Jin Hur
Interviewed on 23 January 2019
 |
| Sumi Jo, © Universal Music |
So it only took Ms Jo picking up her phone and a short exchange of greetings for me to confess my nervousness to her. With Ms Jo replying with a graceful "don't worry", we soon took flight into a brilliant set of exchanges. Whether it was my question about her adaptability across numerous musical genres, her training in Italy, her mastery of bel canto, her relationship with conductor Herbert von Karajan, her self-perception of her musical gifts, or her view on the relationship between life and music, Ms Jo's answers were full of detail, life, and light. Meaning does not preclude joy; the conversation was replete with insight yet equally with ease and laughter, my earlier nerves nowhere to be seen.
Below is a transcript of our conversation, translated from Korean.
I.
Young-Jin Hur (YH): Hello Ms Jo. It is a pleasure to be able to talk to you today.
Sumi Jo (SJ): Hello. It is a pleasure, likewise. Are you calling from London?
YH: Yes, that is right. I understand you are currently not in South Korea?
SJ: I am currently in Rome. Here, I am giving masterclasses at the Teatro dell' Opera di Roma, as part of the Fabbrica Young Artist Program. In the programme, around eight scholarship-awarded students are given opportunities to make their debut at the opera house.
YH: I see. I associate Rome with sunshine and warmth. But now being January, is it cold in Rome?
SJ: Oh, it is cold, and... singers have a tendency to dislike winters. But it's much better than London's winter, I'm sure.
(both laugh)
YH: Why is it that singers don't like winters?
SJ: It's easy to fall ill in winters. The cold wind can also give you a sore throat.
YH: You say that, yet still you receive great reviews for your performances all year long.
SJ: Thank you.
YH: Talking about performing, you've now been on stage for more than three decades. Do you feel different on stage these days compared to when you first started your career?
SJ: Physically speaking, I can sense that being on stage is not getting any easier. Psychologically, however, I feel freer than how I was when young. While I still give recitals in places like London's Wigmore Hall, I also enjoy performing pieces with more popular appeal. I notice I am increasingly eager to expand my repertoire. So, all in all, my career is now shaping up in a distinct way, different from the typical opera singer who performs standardised opera roles from theatre to theatre and from city to city.
YH: Looking at your recent activities, you've indeed been active in various genres outside of classical music. You've been involved in cross-overs, film music, collaborations with Kenny G, and also in musicals.
SJ: In addition to what you've mentioned, I also sang K-pop music in the style of classical music. All this happened on top of my classical music activities. I still give soloist recitals, sing cantatas, and sing in opera productions. I hope to maintain this wide spectrum of performance repertoire.
YH: Do you approach each style with a distinct vocal style or a preparation method?
SJ: Yes. Even within classical music, different genres require different approaches. Needless to say, the ways I engage with cross-overs, film music, and K-pop music, for example, are different from each other. This is not to say, however, that I have systematic ways to meticulously prepare for these differences. My body simply knows how to naturally adapt to each style once on stage.
YH: How fascinating!
(both laugh)
SJ: I don't plan these things. For example, if I am asked to publically sing the Korean national anthem, I notice that my national pride affects my mindset on stage. This, in turn, can influence my singing voice - on these occasions, I can sing in a grander way, for instance. However, if I sing for purposes of light entertainment, I tend to produce a different tone of voice. I think this flexibility comes under the general idea of musicality. Musicality, where one can appropriately adapt one's musical expressions to varying situations and purposes, isn't something that one learns from someone - in fact, I think this is something that one has to be born with. This is the case with other musicians, too.
YH: How was your first experience of experimenting with genres outside of classical music? Were you surprised?
SJ: Actually, it was pop music instead of classical music that was my first musical love. Of course, I began my professional training with classical music. However, from youth, I was entirely in love with American pop music much more than I liked operas or symphonies. My mother was a devoted admirer of Italian opera and she loved Maria Callas. This means that from a young age, I was inevitably surrounded by classical music. I would go as far as to even say that I felt suffocated in this musical surrounding, being forced too much classical music from a very young age.
(both laugh)
SJ: So I was drawn to music that was not classical music.
YH: What musicians did you like in particular?
SJ: There were many, mostly from the 70s and the 80s. For example, I loved the Eagles, ABBA, Earth, Wind & Fire, and so on. I listened to these musicians in parallel with my operatic singing lessons.
II.
YH: How was your first experience of experimenting with genres outside of classical music? Were you surprised?
SJ: Actually, it was pop music instead of classical music that was my first musical love. Of course, I began my professional training with classical music. However, from youth, I was entirely in love with American pop music much more than I liked operas or symphonies. My mother was a devoted admirer of Italian opera and she loved Maria Callas. This means that from a young age, I was inevitably surrounded by classical music. I would go as far as to even say that I felt suffocated in this musical surrounding, being forced too much classical music from a very young age.
(both laugh)
SJ: So I was drawn to music that was not classical music.
YH: What musicians did you like in particular?
SJ: There were many, mostly from the 70s and the 80s. For example, I loved the Eagles, ABBA, Earth, Wind & Fire, and so on. I listened to these musicians in parallel with my operatic singing lessons.
YH: Was this love for pop music a common trend among classical music singers and students around you?
SJ: I am not too sure. For me, music is never about genres. I admire all kinds of music styles from around the world, be it jazz, pop, or even traditional music from the Middle East, South Asia, and Africa. By immersing myself in these various sounds and rhythms, I was able to be in touch with a wide range of cultures and artistries. From youth, I was curious about all forms of music. Of all these genres, I suppose that the one that fit the sensibilities of Sumi Jo the teenager was pop music from the USA.
[Note. I have always had a keen interest in the music that classical music musicians listen to every day. In my previous interview with Denis Matsuev, we talked about the influence of jazz and pop music on Matsuev's development as a pianist. Likewise, pianist Sunwook Kim and conductor Thomas Søndergård talked about jazz and conductor Shiyeon Sung, about heavy metal. Pianist Seong-Jin Cho and pianist-conductor Vladimir Ashkenazy, on the other hand, did not seem to hold extensive interests in genres outside of classical music. There does not seem to be one way of becoming an established musician in classical music.]
YH: Would you say that your preference for pop music was somehow linked with the bel canto tradition, the operatic style that eventually became synonymous with your fame? I ask because I want to believe that all these musical preferences may be eventually linked with one another.
SJ: My involvement with bel canto happened "purely" [sic] because I went to Italy to study. But my musical development was formed on multiple stages of coincidences and hard work. The first person to seriously guide me to classical music singing was a student of Elisabeth Schwarzkopf. In other words, my first encounter with classical music singing was distinctively Germanic, especially in the lieder tradition. The literature I learned, thus, involved art songs by the likes of Franz Schubert and Hugo Wolf. Despite the disadvantage of me not being able to understand German poetry at all, the reason that I, as a 16-year old girl, could sing these songs with some musical merit was that I had a good musical instinct. This musical instinct is innate, as I briefly said before; on my own, I could understand how to ideally express a piece in the best musical way.
I left for Italy after my first year at Seoul National University. At the time of my departure from Korea, I couldn't speak Italian - I busily took Italian lessons once I arrived in Italy. The start of my musical education there was memorable; I was commended by my good Italian pronunciation and also by the fact that I seemed a natural bel canto singer. I was told I sounded like an experienced bel canto singer despite my young age. A funny story is that when I started off in Italy, I considered myself a mezzo-soprano - I was used to singing things like Donizetti's O mio Fernando. Before long, a teacher suggested I am suited better as a coloratura. This suggestion really shocked me, but for the next three month, I was determined and I worked very hard on the high registers. After these months of training, there came a day when I suddenly became comfortable with high notes typical of coloraturas. All in all, I see my development as an operatic singer to have been driven by my curiosity to explore novelty. I always had this curiosity anyway. That's how I also quickly got interested in bel canto. And because Italy happened to be my main stage, I was able to develop myself to the eventual mastering of the bel canto style.
I left for Italy after my first year at Seoul National University. At the time of my departure from Korea, I couldn't speak Italian - I busily took Italian lessons once I arrived in Italy. The start of my musical education there was memorable; I was commended by my good Italian pronunciation and also by the fact that I seemed a natural bel canto singer. I was told I sounded like an experienced bel canto singer despite my young age. A funny story is that when I started off in Italy, I considered myself a mezzo-soprano - I was used to singing things like Donizetti's O mio Fernando. Before long, a teacher suggested I am suited better as a coloratura. This suggestion really shocked me, but for the next three month, I was determined and I worked very hard on the high registers. After these months of training, there came a day when I suddenly became comfortable with high notes typical of coloraturas. All in all, I see my development as an operatic singer to have been driven by my curiosity to explore novelty. I always had this curiosity anyway. That's how I also quickly got interested in bel canto. And because Italy happened to be my main stage, I was able to develop myself to the eventual mastering of the bel canto style.
YH: That's really insightful. What you said about being able to express Schubert songs without understanding his German-language song texts reminds me of the writings of Arnold Schoenberg. He wrote that he appreciated Schubert's songs although he didn't know what was going on in the texts at all.
SJ: That's a fascinating story.
(both laugh)
SJ: That's a fascinating story.
(both laugh)
III.
YH: You have described Italy as the main stage of your operatic career and you also spoke of your ability in the Italian language. However, this does not mean that you sing every Italian opera. Is it true that you don't perform many Puccini operas, for example, or roles that stray too far away from the bel canto style?
SJ: Yes. In terms of vocal range, colour, and many other characteristics, my voice is best suited for bel canto roles. These roles are prominent in the operas by Bellini - apart from Norma -, Rossini, Donizetti, and, on some occasions, Verdi. This means that for much of my career, I sang heroine roles - usually young females - who are often confronted with tragic circumstances. However, with Puccini, the singing generally becomes heavier because the voice has to survive Puccini's characteristic heavy orchestration. Given that my voice is light, it is not natural for me to sing in roles that require loud singing. It's not that I don't like the music - I simply cannot sing those roles well.
YH: If I understood you correctly, you are saying that vocal characteristics are innate and that one can sing in musical styles that mostly match those characteristics. However, when I looked at your repertoire list on your website before our interview, I noticed that you sang Alban Berg's Lulu Suite. This piece demands a heavy and voluminous voice. Is this a sign that you are trying to expand your vocal style?
SJ: In concert performances, it is not uncommon that I insert short extracts of an opera even though I won't sing in an entire production of that opera. In some occasions, I can also get the help of microphones, which will inevitably increase the audibility of my voice. The microphone is a truly magical invention.
(both laugh)
SJ: In most cases, however, I try to sing pieces that suit my natural vocal tendencies. Specifically, these are pieces that prioritise the voice, meaning that the orchestra is generally toned down and does not interfere with the singing. In these heavy pieces we talked about, the voice is always in battle with the orchestra. This extra exertion from my side can damage my vocal cords, which, in turn, might reduce the length of my singing career.
It is a philosophy of mine that no matter how eager I am to perform in famous theatres with great productions, I will gladly - but with a lot of courage - forgo opportunities if I see myself straining my voice. For this reason, I had to decline maestro Herbert von Karajan's request for me to record Norma with him. This was back in the 80s when I first met him.
[Note. In my previous interview with Seong-Jin Cho, Seong-Jin Cho compared an individual's musical style with the human voice. Just as it is impossible to change one's voice intentionally, musical decisions and styles seem often based on what is naturally endowed to an individual. The same theme was alluded to in Part 2 of my interview series with Seong-Jin Cho.]
YH: How did maestro Karajan's respond when you declined his offer?
SJ: He told me that my voice could be slightly enhanced using technology. After all, technological interventions are part of the recording process. For example, one can link up phrases that would otherwise be impossible to execute in a single breath. But I felt uncomfortable about these external modifications. So I eventually had to tell the maestro my honest opinion. Still to this day, I cannot sing the lead in Norma. While I did record the entire opera with Cecilia Bartoli recently, I did not play the lead - I played Adalgisa instead. I am very careful about these things. Looking back at the 50 or so recordings I have made, I have never used technology to sing something I couldn't naturally produce myself.
YH: Karajan, I heard, was incredibly keen on technology. To my understanding, his Alpensinfonie recording is the first recording to be released as a CD.
SJ: Yes, he was very keen on technology.
YH: I was about to ask you some more follow-up questions about your career. But now that you mentioned Karajan, I feel I cannot miss this opportunity to hear some stories about the great conductor from you. How was your experience with him like?
SJ: I think he had the sharpest and the most powerful gaze in the entire world. However, even such a gaze was softened at my presence. It all happened within the first minutes of our initial encounter. Let me explain. When I was little, I used to live in a tiny room in Korea. It was part of an apartment complex, and my room was so small that just a bed and a modest-sized table. However, on the wall above this small table hung a photograph of Karajan. This photograph was even larger than the table itself. Essentially, Karajan was both the first person and the last person I saw every day.
It is a philosophy of mine that no matter how eager I am to perform in famous theatres with great productions, I will gladly - but with a lot of courage - forgo opportunities if I see myself straining my voice. For this reason, I had to decline maestro Herbert von Karajan's request for me to record Norma with him. This was back in the 80s when I first met him.
[Note. In my previous interview with Seong-Jin Cho, Seong-Jin Cho compared an individual's musical style with the human voice. Just as it is impossible to change one's voice intentionally, musical decisions and styles seem often based on what is naturally endowed to an individual. The same theme was alluded to in Part 2 of my interview series with Seong-Jin Cho.]
YH: How did maestro Karajan's respond when you declined his offer?
SJ: He told me that my voice could be slightly enhanced using technology. After all, technological interventions are part of the recording process. For example, one can link up phrases that would otherwise be impossible to execute in a single breath. But I felt uncomfortable about these external modifications. So I eventually had to tell the maestro my honest opinion. Still to this day, I cannot sing the lead in Norma. While I did record the entire opera with Cecilia Bartoli recently, I did not play the lead - I played Adalgisa instead. I am very careful about these things. Looking back at the 50 or so recordings I have made, I have never used technology to sing something I couldn't naturally produce myself.
YH: Karajan, I heard, was incredibly keen on technology. To my understanding, his Alpensinfonie recording is the first recording to be released as a CD.
SJ: Yes, he was very keen on technology.
YH: I was about to ask you some more follow-up questions about your career. But now that you mentioned Karajan, I feel I cannot miss this opportunity to hear some stories about the great conductor from you. How was your experience with him like?
SJ: I think he had the sharpest and the most powerful gaze in the entire world. However, even such a gaze was softened at my presence. It all happened within the first minutes of our initial encounter. Let me explain. When I was little, I used to live in a tiny room in Korea. It was part of an apartment complex, and my room was so small that just a bed and a modest-sized table. However, on the wall above this small table hung a photograph of Karajan. This photograph was even larger than the table itself. Essentially, Karajan was both the first person and the last person I saw every day.
(both laugh)
SJ: Given how Karajan was so present in my day-to-day life, one could jokingly say I was closer to Karajan than I was to my parents. He almost felt like a childhood friend or a relative. So when I finally met the maestro in flesh, it was like a family reunion. I didn't feel nervous whatsoever. I even touched his white hair and saw him up close to see if he is truly like the person from my old room's photograph. I was 22 or 23 when this meeting happened - I was young and fearless. I didn't know anything about the world. Given my sociable personality, I rarely felt intimidated by people anyway. I think one way or another, Karajan took a great liking of me. We always kept a very amicable and close relationship.
YH: What a story.
YH: What a story.
IV.
YH: Throughout our conversation, we discussed much on the innateness of musical behaviours. From a young age, were you aware that you were different from your peers?
SJ: Absolutely. From when I was around three years of age, I was able to memorise any melody that came out from the radio or the television. I would immediately play those melodies on the piano. I was always told that I have a special musical talent. But it wasn't just music; I learned that I also had talent in other artistic activities such as ballet and painting. My mother played a pivotal role. Because she was an enthusiastic and competitive person, she wanted me to be involved in everything. Eventually, if there was an international painting competition, I would enter the competition representing Korea and return home with awards. When I tried out ballet, all my teachers told my mother that I should go professional. Equally, when I tried out gayageum, all my teachers told me I should go professional. So all in all, I was gifted in anything that was artistic.
I also had the advantage of having a stage personality. If you feel nervous from people looking at you on stage, you cannot become a performer. But I had plenty of practice of being on stage from a young age, and I even enjoyed all the attention I received. For this reason, I thrived in improvising on stage, playing pieces I was not that prepared to perform. I loved the feeling of entertaining people.
[Note. In my previous interview with Denis Matsuev, we talked about having a stage personality.]
I also had the advantage of having a stage personality. If you feel nervous from people looking at you on stage, you cannot become a performer. But I had plenty of practice of being on stage from a young age, and I even enjoyed all the attention I received. For this reason, I thrived in improvising on stage, playing pieces I was not that prepared to perform. I loved the feeling of entertaining people.
[Note. In my previous interview with Denis Matsuev, we talked about having a stage personality.]
YH: Given that you knew about your talents, were there times when became arrogant or even lazy?
SJ: It would be a lie if I said I was free from those things. I was especially arrogant when I entered university. Even though I didn't prepare much, I was accepted to Seoul National University with the highest entrance examination mark among all applicants. In fact, I received the highest mark given to any applicant in the entire history of the university. I was also on a scholarship. All this truly filled me up with arrogance and pride.
(both laugh)
SJ: It would be a lie if I said I was free from those things. I was especially arrogant when I entered university. Even though I didn't prepare much, I was accepted to Seoul National University with the highest entrance examination mark among all applicants. In fact, I received the highest mark given to any applicant in the entire history of the university. I was also on a scholarship. All this truly filled me up with arrogance and pride.
(both laugh)
SJ: I also didn't put in much effort for my weekly classes in university. I barely looked at the weekly tasks we were given until 10 minutes before each lesson. I just knew I was able to do well even without much preparation. At one point, a teacher found out about my lack of input and I was severely reprimanded. So this changed my attitude afterwards. In essence, I had the ability to prepare very little but present myself as if I prepared thoroughly. These were tricks I felt proud about back then.
YH: In a way, I think your pride is justified.
(both laugh)
[Note. In my previous interviews with Denis Matsuev, Nikolai Lugansky, and, to a certain extent, Maxim Vengerov, we discussed how one deals with musical gifts.]
V.
YH: We've talked much about your wide-reaching artistic endeavours. It almost sounds as if your life is an art form in itself. How important is it for you to keep life separate from the arts?
SJ: Life and the arts are so closely intertwined with each other. Despite this relatedness, the two things are entirely different. Of course, this is a difficult claim for me to make because my life is already so immersed in music. I cannot imagine existing without music - it is impossible to detach music from my life. From the moment I wake up to the time I go to sleep, music is everywhere. Even so, my life is not entirely musical.
YH: What do you mean?
SJ: I do not love everything about music. For example, I have never been interested in the lives of other musicians. I am also not hugely interested in what theatres or opera houses play each season. In other words, I am solely interested in what I do. I follow my own life, not music. Of course, there can be times I feel like supporting or criticising other musicians, but I keep these opinions just for myself. And in the few hours each day that I am not involved in music, I live a surprisingly normal life.
YH: Your life sounds practical and quite self-centred, if I may say so.
SJ: It's more that I have my own island of music-making, and I know its boundaries. Because of this, I know how to maximise my non-musical life. While it is important to be locked in one's own world and master one's ideals, I also realise that life is much more than music. For example, since a young age, I've always been fascinated with veterinary - I often enjoy watching documentaries and television programmes about animals. Furthermore, I also spend a lot of time to support social causes. I've raised money for animal shelters and for individuals with blindness, autism, and other disabilities. I've also collaborated with UNICEF and UNESCO to support a wide range of humanitarian programmes. Thus, while I am able to protect my private and musical life, I devote a lot of attention to lives around me.
My father always wanted to become an ambassador. While he didn't achieve his dream in the end, I've achieved his dream for him by becoming a cultural ambassador of Korea. The job is not there to lead people but to connect people through music, such as through charity concerts. I feel happy about taking part in these activities, and I see myself continuing in these areas in the future. I see all this as being part of my personality of being infinitely curious about the world. And while I am curious, I am also a systematic person who plans everything. I am in a lucky position where I can vigorously plan my life to consequently be involved in numerous musical and non-musical activities.
YH: You live a life that so many people can look up to. This was a hugely enjoyable conversation. Thank you so much for your time.
SJ: I also enjoyed our conversation. Thank you, goodbye.
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| Sumi Jo, © SMI Entertainment |
Young-Jin Hur
@yjhur1885
© Where Cherries Ripen / Young-Jin Hur