WFIMC Café: Samueol Park

WFIMC: Could you tell us about your experience at the ARD competition?

Samueol Park: It was incredibly fun, though it didn't go exactly as planned at first. I initially had to decline the invitation because of a production I was involved in a production at the theater at the same time as the final round. It was my first season as a soloist at the Staatstheater Wiesbaden, and I wanted to focus on that. However, after discussing about the schedule with the director, I received permission to join the competition, which was quite a surprise, and very unexpected. The ARD organizers then told me that they had never had someone cancel and then re-register before, but luckily, they allowed me get back in.

That must have been quite dramatic! The ARD competition is known for its challenging repertoire. What stood out to you about the rounds?

Yes, it was tough. In fact, one of the biggest challenges was learning the commissioned piece required for the semi-finals. The music was modern, with difficult rhythms and intervals, and learning and memorizing it in such a short time was definitely tough.

One of the things that makes ARD particularly difficult is the number of rounds—there are five stages, including the semi-finals, where you perform with an orchestra. The competition also requires to perform pieces from various periods and in different languages. For the final, I chose two pieces I had never performed before, which added another layer of difficulty.

That sounds incredibly demanding.

Yes, it was! It’s rare to have to perform pieces from three different periods in one setting. The vocal techniques required for Baroque, Classical, and Romantic music are all different. Switching between those styles within one performance was a significant challenge, but also a great learning experience.

Beyond the pressure of the competition, did you have any memorable or fun experiences?

Definitely. International competitions are different from those in Korea because you stay much longer- for several days or even weeks. For example, during last year's Zandonai competition in Italy, five of us from Berlin went together. We shared rooms, cooked meals, and had a lot of fun. The same thing happened in Japan recently when I spent about two weeks with Jihoon Park, the winner of the Eva Marton Competition. We had such a great time.

At ARD, I spent time with Taehan Kim, who won the Queen Elisabeth Competition, and Geonho Lee, who’s now competing in Domingo Operalia. Geonho invited us to stay at his place in Munich, and we spent the days cooking and cheering each other on during the competition. It was so enjoyable that I didn’t even feel nervous!

What’s next for your career?

I’ve signed a soloist contract with the Wiesbaden State Theater for this season. Although I feel that the Italian repertoire suits me best, this season I’ve been assigned a lot of German repertoire, including Papageno from The Magic Flute. It’s been a challenge, especially since it involves a lot of dialogue in German, but it has helped me grow as an artist. 

Do you have any long-term goals or dream roles?

Yes, I’ve been told that my voice could be suited for "Heldentenor" roles, though I’m still young. Eventually, I would like to specialize in Verdi and Wagner. Some of the most successful Korean singers have excelled in these repertoires, and I’d like to follow in their footsteps.

Many performers have specific pre-performance rituals or comfort foods. Do you have any?

I used to have a lot of routines, but after an experience in 2017 when I lost my voice for 11 minutes before a competition, I realized that routines don’t matter as much. Now, I try to go with the flow, eat normally, and not worry too much about rituals. I no longer need hot soup before a performance, and I’ve learned to control those habits.

That sounds like a healthy approach! Finally, what’s one piece of advice you’d give to young singers entering competitions?

Competitions are a great way to improve your skills and build your career, especially as an Asian artist working in Europe. But one of the most valuable things you can gain from competitions is the friendships you make along the way. These are the people you’ll be working with for the next 30 years, and those connections are just as important as winning first place.

Thank you so much for your time. We wish you all the best in your upcoming performances!

©︎ WFIMC 2024 / JK