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  Tenors: Jung Soo Yun - Reviews
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Macbeth‚ Buxton Festival
MarkRonan.com (July 2017)


'Korean tenor Yung Soo Yun produced strongly emotional singing as Macduff‚ particularly within the excellent chorus of Scottish refugees...'

Macbeth‚ Buxton Festival
Planet Hugill (July 2017)


'Jung Soo Yun was a dignified and mature Macduff‚ fitting into the ensemble in Act One‚ and standing out for his moving solo in Act Two.'

Macbeth‚ Buxton Festival
Seen and Heard International (July 2017)


'...Jung Soo Yun as Macduff was virile of voice and stature.'

Macbeth‚ Buxton Festival
The Arts Desk (July 2017)


'Jung Soo Yun’s sweet toned Macduff won a deserved ovation'

Macbeth‚ Buxton Festival
The Stage (July 2017)


'...Korean tenor Jung Soo Yun brings lyrical eloquence to the aria Macduff sings in mourning for his murdered wife and children.'

Macbeth‚ Buxton Festival
BachTrack.com (June 2017)


'Jung Soo Yun’s Macduff delivered his terrifying aria of grief seated in the chorus line at the front of the stage‚ to make Macduff’s loss just one example of Scotland’s collective suffering: a fascinating idea from Moshinsky‚ though for me slightly diminishing Macduff’s unique power. When he finally confronts Macbeth in battle‚ compelling fight choreography by Philip D’Orléans brings Macbeth the closest I have ever seen him to winning before Macduff’s wild‚ final and successful stroke: we’re on the edge of our seats‚ spines tingling‚ right to the end. '

La Traviata‚ West Green House Opera
Opera Magazine (October 2016)


'Her Alfredo‚ Jung Soo Yun‚ initially somewhat stiff on stage‚ provided a beautifully caressed mezza voce and pulled off a ringing top C at the end of his cabaletta. To these ears‚ something in his timbre suggests he could excel in German repertoire. '

La Traviata‚ West Green House Opera
BachTrack.com (July 2016)


'...Alfredo was sung by an impassioned Jung Soo Yun‚ deploying his warm‚ silver sweet tenor to great effect in his act two aria “De’ miei bollenti spiriti”. A couple of moments in the first act saw a slight thinness in the voice‚ but there was generally enough substance in both higher and lower registers. His attention to phrasing and his voice’s inherent lyricism conjured up Carreras on more than one occasion. '

L’elisir d’amore‚ Opera North
Opera Magazine (April 2016)


'Jung Soo Yun was Nemorino‚ a member of the hotel staff. He started shakily but settled down nicely once the elixir had taken hold‚ finishing with a liquid ’Una furtiva lagrima’.'

L’elisir d’amore‚ Opera North
BachTrack.com (February 2016)


'It helps that lead tenor Jung Soo Yun as Nemorino (here‚ the character is a green-aproned waiter) has a well-established drunk act‚ which he can switch on and off with alacrity‚ depending on how much of Dulcamara’s powerful plonk has passed his lips. Possibly‚ he gives us too much of this act as he shambles about‚ but it does not detract from the effects of his voice‚ which is strongly memorable from the first scene when he gives us “Quanto è bella‚ quanto è cara” (How beautiful she is)‚ in which he is lightly lyrical‚ and sweet with a mysterious edgy quality. He seems to hold back a little‚ without savouring too many high notes‚ saving his full force for later‚ especially for the touch of pathos in Act II‚ Donizetti’s masterstroke “Una furtiva lagrima” (A furtive tear) which sets off everything else'

L’elisir d’amore‚ Opera North
Guardian (February 2016)


'The South Korean tenor Jung Soo Yun is equally impressive as Nemorino‚ played as a hapless hotel dogsbody blessed with the kind of voice that suggests he needn’t be waiting tables for very much longer'

L’elisir d’amore‚ Opera North
Huddersfield Examiner (February 2016)


'Gabriella Istoc (Adina) and Jung Soo Yun (Nemorino) are known to Opera North audiences solely in tragic parts and both reveal an unexpected talent for comedy. Jung‚ in particular‚ delights in matching his stylish Italianate tenor with sad-faced clowning and increasingly frenetic physical comedy'

L’elisir d’amore‚ Opera North
Leeds Guide (February 2016)


'Jung Soo Yun as Nemorino‚ who I have only ever seen in serious roles‚ was brilliant‚ adjusting so easily to the physical comedy of the role and with such wonderful facial expressions that said it all.'

L’elisir d’amore‚ Opera North
Seen & Heard International (February 2016)


'Nemorino is South Korean Jung Soo Yun who‚ since winning important singing competitions five years ago‚ has been burdened with the tag‚ “rising star”. This is on account of a fine‚ expressive tenor voice but he can act as well. The role demands the portrayal of an shy‚ naive young man trapped in his emotions who later‚ under the influence of drink‚ becomes loud and confident. Jung Soo Yun showed great operatic skill in maintaining a strong singing presence while at the same time drunkenly bumping into the furniture and rolling on the floor. Donizetti had a special affinity with the tenor voice and the role is a fine manifestation of this‚ displaying through melodic line and simple harmonies a considerable range of mood. Towards the end‚ the aria Una furtiva lagrima‚ which is the most well known in the opera‚ was sung by Jung Soo Yun alone on stage‚ starting at the rear and gradually moving to the front‚ delivering a long drawn out ending which he milked for all its worth but during which you could hear a pin drop in the auditorium'

L’elisir d’amore‚ Opera North
The State of the Arts.co.uk (February 2016)


'Jung Soo Yun sings Nemorino with appropriate passion. He has the role nailed technically and dramatically. His is a most persuasively comic drunkenness and vocally the show-stopping ‘Una furtiva lagrima’ (‘A furtive tear’) would make any Adina change her heart. '

L’elisir d’amore‚ Opera North
The Times (February 2016)


'From a modest beginning‚ Jung Soo Yun’s dimwit lover Nemorino gained in vigour the more elixir he drank‚ with comic facial expressions hiding enough of a tender soul to make his Una furtiva lagrima genuinely moving'

Eugene Onegin‚ Grange Park Opera
Opera (September 2015)


'The singing was generally first-rate: this was one of the best ensembles I’ve heard at Grange Park over these last few years...Jung Soo Yun as Lensky also negotiated successfully his ballroom transformation (in his case aided by liberal swigs of vodka)‚ and although the voice can be slightly harsh‚ with little of the plangency we tend to expect in this role‚ his big aria was a tour de force'

La Bohème‚ Den Jyske Opera
Århus Stiftstidende.dk (October 2014)


'I hovedrollerne som Rodolfo og Mimi præsenterede forestillingen i Randers den sydkoreanske tenor Jung Soo Yun og den rumænske sopran Gabriela Istoc. Begge havde det sanglige overskud til partierne og et fint differentieret udtryksregister‚ som i samspil med en overbevisende scenisk ageren gjorde dem helt troværdige /// In Randers‚ South Korean tenor Jung Soo Yun and the Romanian soprano Gabriela Istoc performed the main roles of Rodolfo and Mimi. Both had the vocal energy for their roles and a fine differentiation of expression‚ which‚ with compelling theatrical behaviour made their interactions quite credible'

La Bohème‚ Den Jyske Opera
GregersDH.dk (October 2014)


'I denne omgang en aldeles glimrende Rodolphe‚ den sydkoreanske tenor Jung Soo Yun /// This time an absolutely excellent Rodolfo‚ the South Korean tenor Jung Soo Yun'

Norma‚ Opera Holland Park
Opera (September 2014)


'Jung Soo Yun gave the role of Flavio a strong presence'

Norma‚ Opera Holland Park
Planet Hugill.com (August 2014)


'Jung Soo Yun as Flavio had the unenviable task of opening proceedings‚ with the duet with Wolverton’s Pollione‚ and did so with aplomb and some style'

Norma‚ Opera Holland Park
MarkRonan.com (July 2014)


'...a remarkably heroic tone from Jung Soo Jun in the minor role of Flavio'

Norma‚ Opera Holland Park
What’s On Stage.com (July 2014)


'...Jung Soo Yun‚ mellow of voice‚ fared better in the throwaway role of Flavio‚ Pollione’s confidant'

Macbeth‚ Opera North
Opera (April 2014)


'Jung Soo Yun made an ardent Macduff'

Macbeth‚ Opera North
BachTrack.com (February 2014)


'...but the real find of the evening is tenor Jung Soo Yun‚ who as Macduff produces the most stunning aria of the evening‚ a showstopper‚ as he sings of the lady and the offspring he has left behind him in the oppressed land of Scotland‚ in a powerful “sob” style which would have been recognized by the original Italian audiences‚ who would have responded with plenty of applause. That is what we did‚ anyway'

Macbeth‚ Opera North
Seen & Heard International.com (February 2014)


'Tenor Jung Soo Yun’s Macduff had little chance to shine until late in the opera when his wonderful aria came near to bringing the house down'

Macbeth‚ Opera North
The Arts Desk.com (February 2014)


'Jung Soo Yun’s Macduff sings sweetly and exudes dependable strength'

Macbeth‚ Opera North
The Times (February 2014)


'...the tenor Jung Soo Yun gives his all to the plangent grief of Macduff'

Macbeth‚ Opera North
The York Press (February 2014)


'Jung Soo Yun gives an intense Macduff'

Macbeth‚ Opera North
What’s on stage.com (February 2014)


'The minor parts are strongly cast...Jung Soo Yun‚ eloquently Italianate in Macduff’s lament for his family'

Macbeth‚ Opera North
Yorkshire Times (February 2014)


'Paul Whelan as Banquo and Jung Soo Yun as Macduff‚ despite being consigned to the margins by Giuseppe Verdi‚ added huge depth of feeling to their characters with their glorious voices'

Les pêcheurs de perles‚ Opera Holland Park
Opera (September 2013)


'...’Je crois entendre encore’ at the end of Act 1 had a winning blend of soft singing and well-managed falsetto. The famous duet worked its familiar‚ swooning magic'

Les pêcheurs de perles‚ Opera Holland Park
The Upcoming (July 2013)


'...the electrifying intensity of Jung Soo Yun as Nadir was gripping'

Les pêcheurs de perles‚ Opera Holland Park
BachTrack.com (June 2013)


'Tenor Jung Soo Yun (Nadir) was a convincing vocal and dramatic presence‚ who sang smoothly throughout. The two produced some poignant moments‚ fusing their voices with that of the orchestra in their Act I duet‚ “Au fond du temple saint” – the best-known piece in the opera'

Les pêcheurs de perles‚ Opera Holland Park
Independent (June 2013)


'...tenor Jung Soo Yun’s Nadir hits the heights with an exquisitely-spun falsetto'

Les pêcheurs de perles‚ Opera Holland Park
Stage (June 2013)


'Jung Soo Yun as Nadir sports an effortless combination of lyricism and ringing brightness'

Les pêcheurs de perles‚ Opera Holland Park
The Times (June 2013)


'...if you’re diving for musical pearls‚ Jung Soo Yun’s Nadir is one: the tenor sings with sweetly beguiling tone...this much-garlanded singer is going places'

Gianni Schicchi‚ Opera Holland Park
Opera (September 2012)


'Jung Soo Yun’s Rinnucio and Anna Patalong’s Lauretta got maximum mileage out of their duetting'

Gianni Schicchi‚ Opera Holland Park
Financial Times (July 2012)


'There were strengths and weaknesses in Buoso Donati’s ghastly family‚ Carole Wilson’s formidable Zita and Jung Soo Yun’s lyrical Rinuccio among the former'

Gianni Schicchi‚ Opera Holland Park
Mark Ronan Wordpress (July 2012)


'...when Jung Soo Yun as Rinuccio burst into song on the glories of Florence. His poetic phrasing was riveting‚ and the music swelled forth'

Gianni Schicchi‚ Opera Holland Park
Classical Source.com (June 2012)


'...vibrant and likeable as Lauretta’s lover'

Gianni Schicchi‚ Opera Holland Park
Musical Pointers.com (June 2012)


'Gianni Schicchi can’t fail‚ and it didn’t with a curmudgeonly Alan Opie as Schicchi‚ Anna Patalong his chaming daughter and Jung Soo Yun her forthright wooer'

Gianni Schicchi‚ Opera Holland Park
MusicOMH.com (June 2012)


'Jung Soon Yun’s tenor is vibrant and lively‚ and maintains a good balance between lightness and power'

Gianni Schicchi‚ Opera Holland Park
Opera Britannia.com (June 2012)


'Special mention goes to the Rinuccio of Jung Soo Yun – Mr. Yun’s tenor is agile and winsome‚ and he was one of the standouts of the evening'

Gianni Schicchi‚ Opera Holland Park
Seen & Heard International (June 2012)


'Jung Soo Yung was a most ardent Rinuccio‚ impulsive and full of life'

Gianni Schicchi‚ Opera Holland Park
Stage (June 2012)


'Jung Soo Yun’s buoyant Rinuccio'

Gianni Schicchi‚ Opera Holland Park
Times (June 2012)


'Anna Patalong and Jung Soo Yun seizing their lyrical opportunities as the young lovers'

Gianni Schicchi‚ Opera Holland Park
Whats On Stage.com (June 2012)


'...the tenor Jung Soo Yun’s vocal sturdiness allowed Rinuccio’s paean to Florence to ring forth exaltantly'

Gala‚ Opera North at Royal Hall‚ Harrogate
Harrogate Advertiser (May 2012)


'Jung Soo Yun from South Korea was‚ for me‚ the sensation of the evening – what a voice – I’m sure we shall be hearing‚ literally‚ much more from him‚ such a range from tender pathos to full blown emotional tenor. From Donizetti’s L’elisir d’amore’s Una Furtiva Lagrima to his wonderful interpretation of La Bohème arias and duets and Lensky’s aria in Eugene Onegin and finally in his duet in the Pearl Fishers‚ he was a delight...This was probably one of the most successful concerts to be performed at the Royal Hall and we had two wonderful encores Nessum Dorma sung by Jung Soo Yun…What a night to remember'

Solo Recital‚ Royal Conservatoire of Scotland Glasgow
The Scotsman (April 2012)


'As the first half of last night’s solo recital drew to a close with Rodolfo’s Che Gelida Manina from La Bohème‚ South Korean tenor Jung Soo Yun opened the emotional floodgates. Suddenly‚ in front of us‚ was a voice that utterly enthralled‚ topped by a personality that drew you in with disarming charm. It was a moment destined to arrive. To that point this former Royal Conservatoire student – on the brink of stardom and winner of major international prizes – had proved‚ with support from accompanist Tim Dean‚ that he had a lyrical operatic tenor voice of silken quality and breathtaking power. He tackled the complexity of emotions in Liszt’s Pace Non Trove with stoical courage; in Strauss’s Letze Blätter‚ Allerseelen was a sublime peroration; and in arias from Puccini’s Manon Lescaut and Tchaikovsky’s Eugene Onegin his operatic charisma was aching to burst forth. When it did‚ he never looked back. The second half went like a dream – the rapt tenderness and sizzling top note of Gounod’s Salut Demeure Chaste et Pure from Faust; the delicate simplicity of Reynaldo Hahn set in bold contrast to the ecstatic glow of Tosti’s L’Alba Sepàra dalla Luce l’Ombra; and a home straight that set two delicious Korean songs against the glorious resignation of Pourquoi Me Réveiller from Massenet’s Werther. Such openness of delivery revealed an artist with a bright future ahead of him'

Werther‚ Les Azuriales
Telegraph (August 2011)


'Les Azuriales singing competition won last year by Jung Soo Yun‚ one of the legion of Korean tenors who seem to be taking over the world...the season’s very promising Werther'

Lucia di Lammermoor‚ Clonter Opera
Manchester Evening News (July 2011)


'...in the Japanese baritone Koji Terada (the 2011 Clonter Prizewinner) as Enrico and the South Korean tenor Jung Soo Yun as Edgardo‚ fiercely confronting each other‚ vocally and physically‚ we have two more quite exceptional singers able to hold their own with Romaniw. I have never heard finer singing at Clonter than from this truly international cast'

Lucia di Lammermoor‚ Clonter Opera
Manchester Theatre Awards (July 2011)


'Clonter is known for giving future stars a beginning...the South Korean tenor Jung Soo Yun as Edgardo‚ fiercely confronting each other‚ vocally and physically‚ we have two more quite exceptional singers...I have never heard finer singing at Clonter than from this truly international cast'

Homecoming Recital‚ Dumfries and Galloway Arts Festival
Dumfries & Galloway Standard (June 2009)


'…when you first hear a voice‚ it takes only a brief moment to register the “wow” factor…Jung Soo Yun had just returned from competing in the Primio Manuel Ausensi singing competition in Barcelona where he came fourth in this event which is similar to our Cardiff Singer of the World. He began with the famous aria from Massenet’s Opera Werther and my instinctive reaction was a young Pavarotti! He has an immediately attractive voice with a free open top range‚ an effortless delivery of immense power and a relaxed but dynamic and dramatic interpretative style. In three songs by Richard Strauss he again beguiled us with a range of expression that was captivating and moving. In the Act 3 duet from La Boheme he was an impassioned Rodolpho and after the interval he reinforced his personal affinity to Pavarotti with La Mattinata‚ Core Ingrato and You Are My Heart’s Delight from Lehar’s the Land of Smiles'

Onegin‚ Royal Scottish Academy
Opera (April 2008)


'The singers maintained the RSAMD’s high standards. We had better speak first of Jung Soon Yun (Lensky)‚ since tenors of real international potential are rare‚ and he is one. The voice had an exciting skirl and could be pressed to breathtaking climaxes‚ as when he sang his tragic farewell to Olga after committing himself to the duel. You worried‚ in fact‚ about this outburst‚ because of course he had to sing his long aria in the next scene. But there was nothing to be concerned about. This set piece was delivered with the deepest pathos‚ the phrases bending and flexing across Tchaikovsky’s intricate accompaniment'

Verdi Requiem‚ Edinburgh University Music Society
The Journal (November 2007)


'Tenor Jung Soo Yun never ceases to impress as his strong tones and well controlled trills fill the hall. As the performance concludes‚ there is little doubt that the audience is in the presence of not only a substantial achievement‚ but of definite talent'