The L.A. Opera's Madama Butterfly was a perfect showcase for Jinyoung Jang, due to those robust pipes and dashing good looks. But it's not the first time he's made a splash as a vocalist. Jang explains his musical journey to APA.
Jinyoung Jang has taken a circuitous route, arriving at the L.A. Opera as a Resident Artist via Seoul, Dallas, and Tennessee. A lifelong love of song and drama fostered in his childhood, where church led the bass to study voice at Seoul National University, where he became actively involved in the opera community, culminating in a performance as Mephistopheles in Faust. A chance visit with a professor sent him on a scholarship hunt to further his skills in the U.S, where he eventually landed at Southern Methodist University in Texas. From there he went on to earn a Masters at the University of Tennessee before moving on to do more advanced studies at the University of Southern California. He's performed with companies all over the nation, including the Bakersfield Symphony, Pasadena Symphony, Knoxville Opera, Chattanooga Symphony, Oak Ridge Symphony, the Pacific Music Festival in Japan, the L.A. Philharmonic, and as a bass soloist with the Los Angeles Master Chorale in Handel's Messiah sing-along, Mozart's Requiem, Handel's Israel in Egypt and Bach's Christmas Oratorio. He has won numerous awards in his time here, including Regional Finalist in the Metropolitan Opera National Council Auditions, a winner in the Pasadena Opera Guild competition, second place in the Los Angeles chapter of the NATS Competition in the Career Division, Nunzio Crisci Opera Auditions and first place in the NATS competition in Houston. Most recently Jang sang the role of the Commissioner in the arresting Robert Wilson production of Madama Butterfly. His next role with the L.A. Opera will be as Doctor Grenvil in La Traviata, one of Verdi's most beloved works.
Interview with Jinyoung Jang
Interviewed by Jennifer Flinn
Transcription by Jennifer Flinn and Chi Tung
APA: Could you start by briefly introducing yourself?
Jinyoung Jang: My name is Jinyoung Jang and I'm from Seoul, Korea. I went to Seoul National University, and after I graduated, on New Year's Day, we had a tradition that we bowed to our teachers. I visited my teacher and he said, "I have some recommendations from SMU in Dallas, Texas, and if anyone or any student is interested in applying for that, call me." I applied for it, and then I called him and asked him, "Can I go for that?" And he said, "Try it." And he said I had to make a tape, so I auditioned and I was accepted. That's why I came to SMU in Dallas, Texas. Now I'm a bass, and a resident artist in my third year at this opera company.
APA: Going back a little further, how did you first become involved in opera? Were you always musical as a child?
JJ: Yes, I think I loved to sing since I was a church choir member. Actually, I remember when I was in third grade my teacher said, "Somebody want to sing in class?" I raised my hand and I sang it and he said, "Jinyoung, I think you'd
better to be a singer later," so I thought I could be a singer later. But I don't know why I thought this, but at the time I thought, "I want to be an opera singer." I remember thinking that and also, people, whenever I sang at church or school, told me, "Jinyoung, I think you'd better be a singer; you have a wonderful voice." And opera just fascinated me when I watched it on TV or on stage. It has everything -- costumes, lighting, dancing. So I wanted to not only be a singer, but an opera singer.
APA: So this started very early for you.
JJ: Yes, but there was no opportunity to sing opera until I entered the university, but even after I entered the university it was very limited because they were doing one production a year and mostly the people who are expecting to graduate are doing the major roles and the freshmen are doing the choruses. But I auditioned for a production when I was a graduate student, and I got the role, and sang some major roles. That was my first time joining as a member of an opera production.
APA: So what was that first role you played at Seoul National?
JJ: I was Mephistopheles in Faust. It was a great experience because Mephistopheles -- that's the devil -- has to show a lot of characters. Sometimes he has to manipulate people, other times, he has to pretend. He sings as a devil and has the character of a devil, so I had a great time.
APA: It's a very flamboyant role.
JJ: Exactly! All the time, he shows up and plays to people.
APA: How popular is opera in Korea?
JJ: I think these days it's very popular. But I think not everyone can go to the theater because it's still very expensive, especially compared with movie tickets. I mean, here it is too, but especially so in Korea. I think there are still a few people who enjoy it. It's very popular these days, but still...
APA: So you went to give traditional New Year's greeting to your professor. He recommended you for Southern Methodist University in Dallas. That must've been a big transition for you.
JJ: Honestly, I hadn't focused on studying English at that time. It was very hard to decide, but I thought I had to overcome that. So I signed up, even though at the time I had just gotten married. Then I moved to the United States, but I think it was a good decision because we were young, and eager to learn everything, even though we didn't have enough money or whatever. So I thank God we came over.
APA: Was there much of a Korean community in Dallas?
JJ: Yes. At that time, maybe 30,000.
APA: After Dallas, you went to Tennessee.
JJ: That's right. Actually, at that time I auditioned in New York, but I didn't get it. I didn't have any money, so I applied for some schools to get full scholarships. So I found University of Tennessee -- they have a great program and relationship with Knoxville Comapny, and I got into the master's program. I spent three years there, they trained me very hard; it was truly a blessing.
APA: How is it different studying here in the United States versus when you were in Korea?
JJ: In the United States, they're more practical. They study a lot of vocal performance, that uses a lot of organs. In Korea, it was great, the teachers were great, but for me, I had to study very hard in Korea. They know how to deal with the students though.
APA: Do you think Korea has the infrastructure to produce a lot of great vocalists?
JJ: Absolutely. I realize that there are a lot of great Korean singers, great voices. It depends on the language. The Korean language makes a lot more resonance, a lot of ing-consonants and wonderful vowels. The Chinese too. So maybe that's why there are a lot of good voices.
APA: I think the Chinese used to call the Koreans the people who loved dancing and singing...
JJ: [laughs] I agree. We are very passionate.
APA: How did you end up as one of the residential artists in Los Angeles?
JJ: The first time, I applied as a chorus member. So I was a chorus member for two years. While I was singing as a chorus member, I prayed to God a lot. I wanted to be on stage more than I did chorus. So one day, I asked them if I could audition for a position as resident artist. They said, "try it." I auditioned, and they liked me. So I joined as a residential artist.
APA: What's been your favorite role to date?
JJ: My voice fits really well for the Mozart operas. I'd love to sing, if I can, Figaro. I can show off more of my character that way.
APA: I'd like to ask what it's like to be one of the few Asian performers.
JJ: There are a lot of difficulties. First of all, language. And also, status; if you don't have a working visa, even if you are a great singer. Maybe that's why there are few Asian singers, even though there are great ones. But it's very hard to work with the companies in America.
APA: Is the situation different at all in Europe?
JJ: There is no difficulty getting a visa there -- that's what I've heard. It is also very competitive there though. I've heard it's a little easier than America.
APA: Do you think racial prejudice plays a role in the difficulties?
JJ: Not in America, no. But if your figure is too short, or certain roles have to have certain voices. But I don't have any problem with that. I've been treated very well.
APA: What's it like performing in Madama Butterfly, especially since it's set in Asia. Does that make a difference for you?
JJ: Yeah, the first time, I asked them, "Do I have to make up, since I'm Asian?" I was just joking, but they said, "Of course, you have to." As a singer singing in Madama Butterfly, it means a lot. I hope that they perform more operas like that here, so there will be more interest. For me, singing in Madama Butterfly, actually, this is the second time singing with the same production, but I think in terms of Asian culture, it's going to be a little weird for Americans. The woman loves only one man till she dies -- I think it might be shocking for Americans. In Asian culture, the women used to love one man until death.
APA: So you think Puccini's opera really reflects something of Asian values?
JJ: I don't know too much, but I think Puccini was very interested in Asian culture and Asian stories. I wish Puccini wrote some operas using Korean background, so that Korea would be more popular in opera.
APA: Would you like to see more operas set in Korea?
JJ: Yeah. The good thing is that they're making their own operas these days. Like the great hero, General Lee, they made an opera about his story. So these days, there is that kind of movement, so we can show everyone using our own operas. There are a lot of good singers too. So in a few years, we'll see how it goes.
APA: Would you like to be involved in any of them?
JJ: Absolutely.
APA: What is your next step after your residency is finished?
JJ: This is my third year, my last year. I got an agent last December, she wants to work with me, maybe next year, debut at Carnegie Hall. And after that, I don't know. Of course, God has a plan. My wife and children are here, so I want to look int schools.
APA: So no immediate plans to return to Korea?
JJ: Not yet, no.
APA: So you view the United States as the place where your career will develop?
JJ: Yes -- there are big companies and small companies, so I want to get more experience here.