Contact
Kerstin Altka@karstenwitt.com+49 30 214 594-235
Victoria Monterovm@karstenwitt.com+49 30 214 594-237
General Management
Johann Sebastian Bach, Magnificat D-Dur BWV 243
Johann Sebastian Bach, Wachet! betet! betet! wachet! BWV Kantate 70
Yeree Suh, soprano
Thomas E. Bauer, baritone
Rüdiger Lotter, conductor
Hofkapelle München
Christmas Concert
Orchester der Komischen Oper
Achim Zimmermann, conductor
Ludwig van Beethoven, Symphony No. 9 in D minor, Op. 125
Brandenburgisches Staatsorchester Frankfurt
Jörg-Peter Weigle, conductor
Christoph Spering, conductor
Das Neue Orchester, Musikforum e.V.
James MacMillan, Ordo virtutum for choir and percussion
MDR Rundfunkchor, choir
Philipp Ahmann, conductor
Johann Sebastian Bach, Johannespassion
Tilman Lichdi, tenor
Württembergisches Kammerorchester Heilbronn
Case Scaglione, conductor
Her voice has a rich palette of expression between velvety-soft mezzo and shimmering metallic highs, coupled with a fine sense of smooth dynamics. VOLKSBLATT
Yeree Suh delights audiences and critics with her radiant yet finely nuanced soprano, making her an internationally sought-after interpreter of 17th and 18th century repertoire as well as contemporary music. Since her debut as Ninfa in Monteverdi's opera L'Orfeo under René Jacobs at the Innsbruck Festival in 2003, followed by engagements at the Staatsoper Unter den Linden Berlin and the Theater an der Wien, the Korean singer has worked regularly with specialists in historical performance practice such as Philippe Herreweghe, Ton Koopman, Andrea Marcon, Jean-Christophe Spinosi, Midori Seiler, Rubén Dubrovsky, Enrico Onofri and Masaaki Suzuki, as well as with ensembles such as Anima Eterna, the Akademie für Alte Musik Berlin, the Venice Baroque Orchestra and the Finnish Baroque Orchestra. She toured with Concerto Köln and Harald Schmidt as Mademoiselle Silberklang in Mozart's Schauspieldirektor, and as Semele she made her debut at the Beijing Festival in 2010, a role with which she could last be seen at the Halle Handel Festival in 2022.
With her exceptional vocal control and clear timbre, the soprano is also one of the outstanding interpreters of 20th and 21st century music. Together with Kent Nagano and the Deutsches Symphonie-Orchester Berlin, Yeree Suh gave the European premiere of Matthias Pintscher's with lilies white, and with the hr-Sinfonieorchester under Paavo Järvi she sang George Benjamin's A Mind of Winter, Unsuk Chin's Acrostic-Wordplay with the Nieuw Ensemble Amsterdam, Wolfgang Rihm's Mnemosyne with the Scharoun Ensemble of the Berlin Philharmonic, and Ligeti's Mysteries of the Macabre with the Ensemble intercontemporain under Susanna Mälkki. She also participated in the world premiere of Rihm's Three Women at the Theater Basel (director: Georges Delnon). Other highlights of her repertoire include works by Pierre Boulez, such as Le soleil des eaux with Pablo Heras-Casado and Peter Eötvös, Pli selon pli with Jonathan Nott and Thierry Fischer, and Le Visage Nuptial with Cornelius Meister.
At the 40th anniversary concert of the Ensemble intercontemporain in 2016, the singer celebrated an outstanding success with songs by Anton Webern. In 2017 she returned to the Musikfest Berlin with Toshio Hosokawa's Lament under Shiyeon Sung. Another highlight since then was Mahler's 4th Symphony with the Concertgebouw Orchestra under Daniele Gatti in Seoul. In 2019 she appeared with the SWR Symphony Orchestra under Peter Rundel at the Salzburg Festival with Luigi Nono's Il canto sospeso and with the Bochumer Symphoniker and Steven Sloane at the Ruhrtriennale in a new production by Kornél Mundruczó based on Ligeti's Requiem. Most recently, the soprano interpreted Brahms' A German Requiem at the Ravinia Festival with Matthias Goerne, the Chicago Symphony Orchestra and Marin Alsop.
She has a close working relationship with Jos van Immerseel, both as a conductor and as a song accompanist; their joint Schubertiade evening has also been released on CD, as has Carmina Burana. The starting point of Yeree Suh's discography was the highly acclaimed 2008 CD Musik der Hamburger Pfeffersäcke with the Elbipolis Barockorchester Hamburg. Since then, she has recorded works by Purcell, Handel, Bach, Haydn, Sacchini and Respighi, among others, as well as contemporary works by Judith Bingham and Michael Jarrell.
In the 2023/24 she will return to the Brucknerhaus Linz and to the Ensemble Contrechamps in Geneva. She will also give her debut in the main hall of the Elbphilharmonie Hamburg, sing Handel’s Samson with the Gaechinger Cantorey under Hans-Christian Rademann as well as Mozart’s Requiem at the Musikverein Wien. A highlight will be Penderecki’s The Black Mask with the Polish National Radio Symphony Orchestra and Marin Alsop. Further concerts will be at the Tongyeong International Musik Festival with the Klangforum Wien as well as Nono’s Como une ola de fuerza y luz with the Orchestra de Radio France in Paris.
Yeree Suh studied at Seoul National University, Berlin University of the Arts with Harald Stamm, in Leipzig with Regina Werner-Dietrich and at the Schola Cantorum Basiliensis with Gerd Türk. She has been a professor of voice at the Akademie für Tonkunst - University of Cooperative Education in Darmstadt since 2019. She has been appointed professor at the Staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart as of the summer semester 2023.
Season 2023/24
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With Hartmut Höll
Isan Yun: Early Songs (Art Songs with texts from Kim Sang-ok and Park Mok-wŏl)
G. Mahler: Lieder with texts from Friedrich Rückert
F. Schubert: Die Forelle, Lied der Mignon, Ganymed, Nacht and Träume
M. Ravel: Cinq Mélodies populaires grecques
A. Schönberg: Brettl-Lieder
Full programme available here.
Chansons contre raison
with Adele Bitter, cello and Holger Groschopp, piano
E. Satie: Préludes flasques (pour un chien) (for piano solo) [3‘]
L. Berio: Sequenza III (Text: M. Kutter; for soprano solo) [8‘]
V. Suslin: Chanson contre raison (sonata for cello solo) [11‘]
U. Chin: snagS & Snarls (from Alice in Wonderland; for soprano and piano) [16‘]
-- interval --
E. Satie: Embryons désséchés (for piano solo) [5‘]
L. Berio: Sequenza XIV (for cello solo) [13‘]
G. Ligeti: Mysteries of the Macabre [10‘]
„Soprano Yeree Suh’s light, clear tone aptly conveys the wonder of life before the fall.“
Limelight Magazine, Tony Way, 05.01.2022
“With theatrical flair, Yeree Suh gave full life to the soprano role of Merab (especially impressive in the aria 'Author of Peace', accompanied only by the continuo).”
Stuttgarter Nachrichten, Susanne Benda, 26 October 2020 – on Handel's Oratorio "Saul"
“Soprano Yeree Suh, confident in all registers up to a high C and bold in her style, mastered all classical and modern singing and articulation techniques and knew how to shine gesturally and mimically.”
Westdeutsche Zeitung, Hartmut Sassenhausen, 3 March 2019
“The solo event of the evening manifested itself in the 'Et incarnatus est' of the mass, sung by the Korean soprano Yeree Suh. Her voice has a rich palette of expressions – between velvety-soft mezzo and whirring-metallic highs, coupled with a fine flair for soft dynamics.”
VOLKSBLATT, Paul Stepanek, 13 October 2018 on Mozart's "Great Mass" in C minor KV 427
“Soprano Yeree Suh sang the extreme vocal part with effortless purity, expertly accompanied by the Philharmonia soloists and conductor Pascal Rophé.”
FINANCIAL TIMES, Richard Fairman, 03 March 2017 on "Teile dich Nacht" by Isang Yun
“The quality of soprano Yeree Suh's voice is perfect for this piece, her singing lucid and unambiguous: it is hard to imagine it could ever be sung better than this. It is a truly remarkable tribute to Boulez’s work.”
THE WEE REVIEW, Robert Dow, 13 August 2016 on "Pli selon Pli" by Pierre Boulez
“The opening sequence of ‘Cour d’amours’ is among the tenderest and most affecting on record, Yeree Suh’s soprano floating high notes with seraphic ease and a welcome absence of operatic rhetoric. The choral singing throughout combines precision with exuberance. For its palate-tingling revelations and suffusing musicality, this would now be my Carmina of first reference.”
CLASSICAL-MUSIC.COM, Thierry Blain, 08 June 2015, on the CD "Carmina Burana", recorded with Anima Eterna Brugge under Jos van Immerseel
“The blend between her pure, leaping soprano and the timbres of plucked, bowed, and struck instruments created worlds of exquisitely sensuous enchantment.”
THE INDEPENDENT, Michael Church, 23 March 2015 on "Pli selon Pli" by Pierre Boulez
Schönberg - String Quartet No. 2 with Ensemble Resonanz and Peter Rundel
Unsuk Chin: Akrostichon-Wortspiel – Seven scenes from fairy tales
Nieuw Ensemble, Ed Spanjaard, Muziekgebouw aan 't IJ Amsterdam
EIC 40 - Hommage à Pierre Boulez
Ensemble intercontemporain, Matthias PintscherPhilharmonie de Paris
George Gershwin: Summertime
Anima Eterna Brugge, Jos van ImmerseelElbphilharmonie Hamburg
Villa-Lobos: Bachianas brasileiras No. 5, Aria
W. A. Mozart: Exultate Jubilate
H. Purcell: Thanks to these lonesome vales
Pierre Boulez: Pli selon pli
G. F. Handel: Tu del ciel ministro eletto
Yeree Suh, Tilman Lichdi, Matthias Winckhler, La Capella Reial de Catalunya, Le Concert des Nations, Jordi Savall AliaVox, DDD, 2020, 10740897
Yeree Suh, Thomas E. Bauer, Anima Eterna Brugge, Jos van Immerseelalpha classics / outhere music (2015)
Yeree Suh, Kristine Larissa Funkhauser, Krystian Adam, Rundfunkchor Berlin, Polyphonia Ensemble Berlin, Maris Sirmais, Nicolas FinkCarus, 2014/2015, 8310165
Yeree Suh, Thomas E. Bauer, Collegium Vocale Gent, Anima Eterna Brugge, Cantate Domino, Jos van ImmerseelZigZag, 2014, 6014866
Yeree Suh, La Petite Bande, Sigiswald KuijkenAccent, 2013, 2908917
Yeree Suh, Elbipolis Barockorchester HamburgRaumklang, 2008, 3531627