The commanding Bass, Young-Bok Kim, has recently dazzled audiences and critics as in the title role of Attila, Colline in La Boheme, Massimiliano in I Masnadieri, Nilakantha in Lakme, Basilio in Il Barbiere di Siviglia and Sarastro in Die Zauberflote, all with Sarasota Opera.
The 2017-2018 season sees Young Bok Kim returning to South Korea with the Seoul Metropolitan Opera as Don Alfonso in Cosi fan tutte and returns to Sarasota Opera as Oroveso in Norma and the Sergeant of the Archers in Manon Lescaut.
This past season Mr. Kim joined Opera Delaware as Alidoro in Cenerentola and with Opera Delaware and Baltimore Concert Opera sang Nino’s Ghost in Semiramide. With City Opera of Seoul he sang Basilio in Il Barbiere di Siviglia and with Seoul Metropolitan Opera was seen as Abbot in Curlew River. Finally, he spent another successful season with Sarasota Opera as the Bonze in Madama Butterfly, Marquis in Dialogue of the Carmelites and covered Archibaldo in L’amore de tre re.
Young-Bok Kim made his New York City Opera debut as Colline in La Boheme, Zuniga in Carmen, Bonze in Madama Butterfly for which has was awarded the prestigious Emmy Award for this production and was heard as Don Basilio in Il Barbiere di Siviglia with Dallas Opera, Banquo in Macbeth with Utah Opera, Seneca in L'incoronazione di Poppea with Opera North. Mephistopheles in Faust with Opera New Jersey, as the Marquis de la Force in Dialogues of the Carmelites with Juilliard Opera Center; and as Bartolo in Il barbiere di Siviglia, Colline in La Boheme, and the Sacristan in Tosca with Aspen Opera Theater Center. Silva in Ernani with Opera Boston. Ramfis in Aida with the Arkansas Symphony Orchestra; Raimondo in Lucia di Lammermoor with National Opera of Korea and Nashville Opera; Timur in Turandot with Jacksonville Symphony Orchestra and Nevada Opera; Courtois in Leoncavallo's Zaza, and Robin in Mascagni's Guglielmo Ratcliff with Teatro Grattacielo; the Old Hebrew in Samson et Dalila with El Paso Opera; as Bartolo in Le nozze di Figaro with Opera North.
His extensive repertoire includes, title role in Attila, Federico in La Battaglia di Lagnano, Ramfis in Aïda, Massimilliano in I Masnadieri, Ferrando in Il Trovatore, Phillip II in Don Carlos, Lodovico/Montano in Otello, Fiesco in Simon Boccanegra, Frere Laurent in Romeo et Juliette, Padre Guardiano in La forza del Destino, Capellio in I Capuleti e I Montecchi and Mephistopheles in Faust, Oroveso in Norma, Commendatore in Don Giovanni, Alvise in La Gioconda , Angelotti in Tosca, Alidoro in La Cenerentola, Old Hebrew in Samson et Dalila, Truffaldino in Ariadne auf Naxos , Prince Gremin in Eugene Onegin and Trulove in The Rake's Progress.
Young-Bok Kim made his Aspen Opera Theater Center debut as Colline in La Boheme with Maestro Julius Rudel and sang the First Apprentice in Wozzeck with Maestro James Conlon. He also performed as Simone in Gianni Schicchi, Talpa in Il tabarro and Trulove in The Rake's Progress with Maestro Alan Gilbert. He performed the role of Salieri in Rimsky-Korsakov's Mozart and Salieri at SUNY Stony Brook.
A native of Seoul, Korea, bass, Young-Bok Kim obtained his bachelors and masters degrees in music from Chung-Ang University in Korea. He received his masters degree and professional studies certificate from the Mannes College of Music and continued further music studies at the prestigious Juilliard Opera Center. During his years at Mannes, Young Bok performed the role of Sarastro in the Mannes production of Die Zauberflöte, and was the recipient of the Marion Marcus Wahl Award for Excellence in performance.
Oroveso - Norma
Sergeant of the Archers - Manon Lescaut
Sarasota Opera, Spring 2018
The suavely authoritative bass
by Zachary Woolfe - NY Times
Young-Bok Kim offered an acting performance: the bass had considered stance, gait, gesture, and facial expression, listened to his colleagues' words, and phrased his own music with commendable artistry in a flowing, pleasantly vibratoed basso cantante."
by David Shengold - Opera News
Young Bok Kim, as courtier Don Ramiro, coupled a heavy, ringing bass to a self-assured nefariousness.
by Matthew Guerrieri - Boston Globe