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Making his Met debut in the role of Ismaele, the upstart nephew of the King of Jerusalem, tenor SeokJong Baek was in excellent voice, presenting a dignified bearing and singing with bright, robust tone.
Bachtrack,
September 2023
Baek came on stage like gangbusters, but settled quickly to reveal a vivid stage presence and gleaming tenor voice which carried easily into the house. Ismaele is a relatively small role, so hopefully this exciting young tenor will return soon in something more substantive.
New York Classical Review,
September 2023
South Korean tenor SeokJong Baek, whose portrayal of Radames is convincing as both heroic soldier and anguished lover.
Express,
May 2023
As Radames, Seokjong Baek… delivered a fine, ringing ‘Celeste Aida’… His is a voice I would like to encounter again, and soon; dramatically, he was engaged (and engaging) throughout.
Seen and Heard International,
May 2023
Radames (SeokJong Baek) was stunning, bringing pathos and rich tenor in buckets. Beginning as an ambitious young buck and later dying with solemnity and stoicism, he delivers his character’s arc beautifully.
London Unattached,
May 2023
SeokJong Baek’s Radamès also had no trouble being heard… …what emerged was power tempered and sustained by committed legato singing. But the warmth and tenderness of the final scene suggested a dramatic journey from the impetuosity of Act one through the anguished conflict of Act three into reconciliation.
Opera Wire,
May 2023
“SeokJong Baek brings the same intensity and clarity to Turridu that audiences here heard in his Samson – bright, lithe, ringing, and classically Italianate in style. Baek displayed a pinging vocal exuberance in the “libiamo” number. Meanwhile, the lightness of the voice has a touching fragility in his final scene with Mamma Lucia.”
Opera Wire,
13 July 2022
“Based on how wonderful SeokJong Baek (Turiddu) and the ageless Alagna (Canio) were could anyone really think Kaufmann – at this stage of his career – would have sung both roles as well as them.”
Seen and Heard International,
July 2022
“Baek’s voice is full of heat.”
City A.M.,
July 2022
“SeokJong Baek, recently seen here as Samson in Saint-Saëns’ Samson et Dalila, is extremely strong as Turiddu with his full tenor possessing a certain light quality, even as it proves to be immensely powerful.”
Opera Online,
July 2022
“SeokJong Baek, recently seen here as Samson in Saint-Saëns’ Samson et Dalila, is extremely strong as Turiddu with his full tenor possessing a certain light quality, even as it proves to be immensely powerful.”
Opera Online,
July 2022
“Baek sang Turiddu with plenty of Italianate ping, particularly his catchy brindisi…”
Bachtrack,
July 2022
“In the South Korean tenor SeokJong Baek… the Royal Opera has found a new talent, making his company and role debut as Samson. He has pinging top notes and no weak parts to the voice; he can also sing well in French, arguably the hardest operatic language for any non-native speaker.”
The Observer,
June 2022
“SeokJong Baek made his House and role debut. And, he did so with aplomb. Samson’s phrases are extended, unfolding in broad steps, and Baek crafted smooth, firm melodic contours which communicated Samson’s unwavering nobility… his top notes never faltered, and that final top C rang out strong and true.”
Opera Today,
May 2022
“…the tenor SeokJong Baek’s back as he makes a mightily impressive Royal Opera stage debut… Baek sounds every inch the hero, his bright tenor cutting through above the dark orchestral sonorities…”
The Guardian,
May 2022
“South Korean SeokJong Baek… has a glorious young lyric-heroic tenor voice, wielded with technical perfection from stentorian battlecries to tenderest soft singing…”
The Arts Desk,
May 2022
“Indeed, this is a vocal pairing made in heaven, with Baek’s warm, sweet tenor piteously complementing Garanca’s lethally perfect sound.”
The Independent,
May 2022
“The South Korean tenor was not just making his Royal Opera debut, but it was also his role debut plus his debut as a tenor… Baek did a terrific job. There was plenty of plangent tone, fine French diction and lovely shaping of phrases…”
Bachtrack,
May 2022