Press

"In the Bellini, Park had been a charming, silver-voiced Amina, who I wanted to hear more of.... I got my wish in this all-Verdi concert, with Park showing her growth as an artist and range of her dramatic chops, in excerpts from RIGOLETTO (Gilda)--alongside the smooth baritone of Kidon Choi as her father--and FALSTAFF (Nanetta)."

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Richard Sasanow, BroadwayWorld.com

“Smaller roles were well cast and contributed to the overall success of the evening. … Another standout was Hyesang Park as Barbarina, with her gleaming and strong voice.” (Metropolitan Opera, Le Nozze di Figaro)

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Ako Imamura, Bachtrack.com

“… special attention should be paid to Hyesang Park, a member of the Lindemann program, whose pliant, silvery soprano enlivened the minor Barbarina.”(Metropolitan Opera, Le Nozze di Figaro)

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Patrick Clement James, parterre.com

"Hyesang Park, [as Barbarina] made a strong impression, offering a smoky soprano and lively stage presence."(Metropolitan Opera, Le Nozze di Figaro)

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Eric C. Simpson, New York Classical Review

"And just as Spagnoli’s Alfonso pulled the strings for the men, it was Hyesang Park’s Despina doing the same for the women. Park’s lighter sound provided a nice contrast to the sisters and her comedic chops were also evident in how she cleverly moved through the different characters within Despina. Perhaps most surprising was the connection her Despina formed with Spagnoli’s Don Alfonso as the duo had as strong a camaraderie as either of the two couples – or is that four couples as the story goes?" 8 October 2017

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Santosh Venkataraman, Operawire

Notable debuts bring fresh energy to Strauss's opera about opera

"Supporting roles are well cast: as the Music Master, Sir Thomas Allen does what he can to whip the Prologue into shape, and Hyesang Park (Naiad), Avery Amereau (Dryad) and Ruzan Mantashyan (Echo) make a strong and beguiling trio of companions to Ariadne." 27 June 2017

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Peter Quantrill, Theartsdesk.com

in Glyndebourne's Ariadne  "Even the smaller roles were more than simply notable, from Thomas Allen’s well-delineated Music Master (44 years on from his first solo appearance at the festival),... to a beautifully blended trio of nymphs from Hyesang Park, Avery Amereau and Ruzan Mantashyan." - 26 June 2017

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Matthew Rye, Bachtrack.com
The Magic Spell of Water Music.

"Top marks belong to two artists making their Met debuts - soprano Hyesang Park, a comely First Wood Sprite, and mezzo Daniela Mack, a deft, nimble Kitchen Boy." - Opera News May 2017

F. Paul Driscoll, Opera News

A rising star from SOUTH KOREA makes her Met debut this season.

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F. Paul Driscoll, Opera News - Article - Sound Bites
The gala lilies are in bloom again

"... the famous Act IV quartet from Rigoletto. Baritone Kihun Yoon as Verdi’s Jester with soprano Hyesang Park as his ill-fated daughter were joined by mezzo Renée Rapier as Maddalena and tenor Joshua Guerrero as the Duke. It went like clockwork with excellent contributions from all four singers. Ms. Park was especially distinguished and did some lovely messa di voce effects in the upper part of her crystalline soprano. ...Mr. Guerrero and Hyesang Park returned for the Act I duet from Lucia di Lammermoor and the Korean soprano brought an intensity of devotion to the duet that was most welcome. Ms. Park recently had a success at the Juilliard School as Bellini’s Amina and one waits eagerly to see what will come next from this young woman. From the strength of her voice and easy ornamentation I hear a Violetta in the not too distant future. She had breath control to spare and moved and acted with a real glamour that’s rare. ...Hyesang Park then tottered on with a nearly full champagne flute for Angelita’s waltz from Caballero’s Chateau Margaux. Nothing from her previous appearances would have led me to believe she would be such a hilariously skilled and physically adept comedienne. As she sang of her uneasiness and fought her queeziness she consistently dipped and swayed yet never spilled a drop. She was charm itself and displayed an enormous amount of skill and confidence." (Los Angeles Opera Gala, LA, CA) 5 April 2017

Patrick Mack, Parterre Box

"It was a cold and nasty late winter day outside, but inside the vast St. Michael's Church on the Upper West Side, Spring was in the air and in the ear. Ushering in the delights of the upcoming Spring was star soprano Hyesang Park with the incredibly sensitive accompaniment of Ken Noda. The occasion was a Neighborhood Concert produced by the Weill Music Institute of Carnegie Hall in partnership with St. Michael's church. The concert is part of the Marilyn Horne Legacy at Carnegie Hall, and the divine Ms. Horne was in the audience for this very special event. ...Her [Hyesang's] instrument is bright but never shrill; her technique is flawless; but it is something else that draws the listener in, as if the fragrance of a rose slipped around your heart. To hear her is to love her. Her voice is like a bell that summons one away from whatever dark place you may have been stuck in. ... We don't know of another singer who can close her eyes in rapture without losing contact with the audience. ...As encore, she offered "O, mio babbino caro" from Giacomo Puccini's Gianni Schicchi. As the true artist she is, Ms. Park made this oft-heard aria completely her own. She made the church her own. She made the audience her own. This beautiful young woman is destined for stardom on the world's stages; and she deserves it!" 19 March 2017

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Meche Kroop, www.vocedimeche

"The voice is sumptuous, of incredible magnitude for a singer of this template. The work in New York over the last two years is evidence of an expansion of the low medium, cultivated by the airs of Bellini. ...In short, Hyesang Park builds a profile of future diva. You will have been warned." 6 March 2017

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Christoph Huss, LeDevoir.com
Review: Bellini’s ‘La Sonnambula,’ Sung by Promising Young Voices

“Over the last few years, the Juilliard School has become a hotbed for inventive opera productions. So it’s hard not to wish that the beautiful concert performance of Bellini’s “La Sonnambula” on Tuesday evening at the school’s Peter Jay Sharp Theater had been staged. … If this production lacked scenery and costumes, it offered expressive singing from a gifted cast. As Amina, the fragile, guileless title character of “La Sonnambula” (“The Sleepwalker”), the Korean soprano Hyesang Park showed she has the vocal endowment for this touchstone bel canto role. When we meet her, Amina is brimming with ncredulous joy the night before her marriage to Elvino, a prosperous young farmer. The beguiling aria “Come per me sereno” conveys Amina’s contentment in fine-spun phrases. Yet the music is suffused with curious melancholy, suggesting that this young woman has a troubled psyche. For the most part, Ms. Park shaped the lines beautifully and sang with melting sound and gleaming top notes. Amina’s climactic sleepwalking scene requires both delicate lyricism and daring coloratura agility; Ms. Park had both. ...Yet even at the start of her career, she reveals the sadness below the surface of this music.”
Bellini, La Sonnambula, Julliard (Semi-staged concert collaboration of the Met’s Lindemann Young Artists and the Juilliard School) Feb. 11, 2016

Anthony Tommasini, The New York Times

“Hyesang Park looked and sounded genuinely lovely, approaching the great role in the old-fashioned, pre-Callas tradition of tonal purity and ethereal roulades. Her downward chromatic scales were most impressive…. Unaffected and gracious onstage, this soprano already exudes star quality.”  Bellini, La Sonnambula, Julliard (Semi-staged concert collaboration of the Met’s Lindemann Young Artists and the Juilliard School) 13 Feb  2016

Opera News

“Soprano Hyesang Park, a South Korea native, was spectacular, walking this bel canto tightrope with ease and elan. She spun out the long, melodic lines purely, dazzled with her coloratura, sparkled with intelligence. Sure, the young soprano didn't take a Callas-like approach-leaning more toward the traditional, light-voiced interpretation--but she had a personal triumph nonetheless. Winner of a clutch of awards, at 26, she's only at the start of her career (she made her American debut last year as Fiorilla in Juilliard's production of Rossini's comedy UN TURCO IN ITALIA). One can only imagine what lies ahead when she finishes her studies, though I noticed she has a Glyndebourne debut ahead in ARIADNE AUF NAXOS.” Bellini, La Sonnambula, Julliard (Semi-staged concert collaboration of the Met’s Lindemann Young Artists and the Juilliard School) Feb. 17, 2016

BroadwayWorld.com

“La Sonnambula,” neither rarity nor standard repertory, is an opera that young singers should experience, and Amina, the relatively hapless eponymous sleep walker, mistaken for a phantom, then condemned, and once again embraced by all, is an appropriate role for Park to sing, lending sensitivity and a flexible, silvery instrument, as much lyric as leggero, to Bellini’s long bel canto lines, in cavatinas “Come per me sereno,” at her happy entrance, and the elegiac “Ah non credea mirarti,” near the end of the opera, and gracefully ornamenting and adding climactic high notes to their cabalettas, “Sovra il sen” and “Ah! non giunge” respectively. Park’s bright top tones capped the first act finale and came between repetitions of “Ah! non giunge” as well.” Bellini, La Sonnambula, Julliard (Semi-staged concert collaboration of the Met’s Lindemann Young Artists and the Juilliard School)
Feb. 10, 2016

Q on Stage

“Two star sopranos took the stage last night and showed their mettle as masters of bel canto style. As Amina, we heard Hyesang Park, who first impressed us exactly two years ago when she performed the famous aria from this selfsame opera "Ah, non credea mirarti" in a master class with Renée Fleming. Clearly she has been working on this role for some time and appeared to inhabit it with ease. Here, she had the opportunity to portray the modest and innocent Amina, in contrast with the flirtatious Florilla she portrayed in Rossini's Il turco in Italia. She colored her bright voice just right for the role, sounding as young and
innocent as the character is meant to be. Her command of the trills, swoops, turns and other embellishments was definitive. Her petite stature abetted the
characterization.” Feb. 10, 2016

 

Voce di meche

“Heysang Park made her American debut a year ago courtesy of the Juilliard program as the witty Fiorilla in Il Turco in Italia. Amina is quite a different matter. She must sing a great deal, displaying sincerity without much variation, and it would be easy to overdo, with intricacy, the feelings of this simple girl who is, by turns, happy, happier, asleep but happy, miserable, asleep and miserable, and at last ecstatic. Park has a coolly beautiful voice, tasteful restraint with ornament, an attractive trill, an impressive F in alt to conclude the opera, and a gently convincing stage personality.” Bellini, La Sonnambula, Julliard (Semi-staged concert collaboration of the Met’s Lindemann Young Artists and the Juilliard School) Feb. 10, 2016

Parterre Box

“HYESANG PARK is a born performer.” – October 2015 — Vol. 80, No. 4

Opera News

Charisma wins at Montreal International Musical Competition finals
“The 2015 Montreal International Musical Competition finals began with faint noises in the woods as singers who had astonished in a little hall with piano
accompaniment struggled in the Maison symphonique with an orchestra. Only one competitor made the move with her charisma intact. Soprano Hyesang Park opened with the marriage-avoiding aria from Gounod’s Roméo et Juliette, and she instantly commanded the stage. Her extraordinary sound had more bite in the big room, with an exquisite edge like a stiletto made for stabbing Borgias. Her Lucia di Lammermoor was stupefying, aside from some lumpy consonants, and her weightless entrances made the orchestra sound like a St. Bernard lumbering after a sparrow. Nobody thought she’d finish second.”
Montreal Gazette, June 4, 2015

Montreal Gazette, Montreal International Musical Competition

FAN FAVORITE

"In the finals, Korean soprano Hyesang Park's impeccable performance of the mad scene from Donizetti's Lucia di Lammermoor won the hearts of the Montreal
public and online viewers.

Our phantom jury unanimously predicted Park would win first prize, but the MIMC jury felt differently.

Park was awarded the $5,000 Radio-Canada audience prize in addition to her $15,000 second prize." June 2015

CBC Music - Montreal International Musical Competition 2015
Comic Complications Swathed in White Terry Cloth ‘Il Turco in Italia,’ a Rossini

“The soprano Hyesang Park’s bright, clear voice and impressive coloratura technique are ideal for Fiorilla.” -November 20, 2014

Anthony Tommasini, The New York Times
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