Karah Son - Soprano - W
Sydney, Opera House

“Karah Son’s Desdemona had something close to a perfection of beauty in the sound with rich colour, soft finish and quiet poised presence to match. After the first three acts of male intrigue, her Willow Song and Ave Maria in Act IV were the musical centre of the work for their still moments of quiet simplicity, comely melodic shape and poignant expressiveness.”

(Peter McCallum, The Sydney Morning Herald)

“Fresh from their success as Calaf and Liu in Opera Australia’s Turandot, South Koreans Yonghoon Lee and Karah Son triumphantly returned to the Sydney Opera House for Verdi’s tale of love destroyed by jealousy. Son was equally compelling, expressing Desdemona’s love and sorrow with beautifully rounded soprano notes, and carefully considered and executed vocal dynamics – as well as physical stillness and graceful gestures. In a consistently excellent performance, her poignant Act 4 double aria was particularly exquisite”

(Patricia Maunder, Bachtrack.com/)

La Bohème
Sydney, Opera House

“Karah Son, the Korean born, Italian trained soprano was an enchanting Mimi. Passionate when well, fragile in her illness. A beautiful voice, clean and clear hitting her notes beautifully.Her previous roles for OA were Asian characters, Cio-Cio San in Madama Butterfly and Liu in Turandot. This was her first “Western “ role. May there be many more.

Melbourne, State Theatre

“As Liu, Karah Son gets Puccini’s most sincere, impassioned music and she doesn’t waste it. In her poignant final scene, Son’s voice was full of heartbreak with huge, glorious high notes. The tenor might get the big tune but the sopranos soar in everything else.”

(Bridget Davies, The Age)

“Korean soprano Karah Son gave a heartfelt interpretation of Liù. She has a powerful vocal range and threw herself into the role with utter conviction. The audience greeted her with massive approval at the final curtain.”

(Gregory Pritchard, ConcertoNet.com)

Turandot, Bologna

“Karah Son[…] la più applaudita tra i solisti (anche dopo l’aria “Signore ascolta….”), e senza dubbio la più aderente alla missione drammatica del personaggio pucciniano per antonomasia”

Luca Baccolini, (la Repubblica)

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