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.
FINCANCIAL 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