delights audiences and critics with her radiant yet nuanced soprano voice, and has become internationally renowned as an interpreter of 17th and 18th century repertoire as well as of contemporary music.
Since her debut as Ninfa in Monteverdi’s L’Orfeo under René Jacobs at the Innsbruck Festival 2003 and her appearances at the Berlin Staatsoper and Theater an der Wien, the Korean singer has regularly worked with early music conductors such as Philippe Herreweghe, Ton Koopman, Andrea Marcon, Jean-Christophe Spinosi and Masaaki Suzuki and with ensembles such as Anima Eterna, the Akademie für Alte Musik Berlin, the Venice Baroque Orchestra and the Finnish Baroque Orchestra. She took the part of Mademoiselle Silberklang in Mozart’s Der Schauspieldirektor on tour with the Concerto Köln under Harald Schmidt, and debuted at the Beijing Festival in 2010 as Semele.
With her extraordinary voice control and clear timbre, the soprano is also a prominent interpreter of 20th and 21st century music. Under the direction of Kent Nagano with the Deutsches Symphonie-Orchester Berlin, Yeree Suh gave the European premiere of Matthias Pintscher’s with lilies white. She has also performed George Benjamin’s A Mind of Winter with the Frankfurt Radio Symphony Orchestra under Paavo Järvi, Unsuk Chin’s Akrostichon-Wortspiel with the Nieuw Ensemble Amsterdam, Wolfgang Rihm’s Mnemosyne with the Scharoun Ensemble of the Berlin Philharmonic and Ligeti’s Mysteries of the Macabre with the Ensemble Intercontemporain under Susanna Mälkki. Further she performed in the premiere of Rihm’s Drei Frauen at the Theater Basel (direction: Georges Delnon). Highlights of her repertoire also include works by Pierre Boulez, such as Le soleil des eaux, which she performed with Pablo Heras-Casado and Peter Eötvös; Pli selon pli, with Jonathan Nott and Thierry Fischer; and Le Visage Nuptial, with Cornelius Meister.
As part of the 40th anniversary celebrations of the Ensemble Intercontemporain under Matthias Pintscher in 2016, the Berlin-based singer performed songs by Anton Webern with phenomenal success. In September 2017 she returned to the Musikfest Berlin with Toshio Hosokawa’s Klage under Shiyeon Sung, having given her debut at the festival in 2015 with Schoenberg’s Die Jakobsleiter under Ingo Metzmacher. A further high point of her 2017/18 season was when she stepped in at short notice as a soloist in Mahler’s 4th Symphony with the Concertgebouw Orchestra under Daniele Gatti in Seoul.
Yeree Suh has a close relationship with Jos van Immerseel, who has worked with the singer as a conductor and accompanist – their Schubertiade performance as well as Carmina Burana has been released on CD. Her discography started in 2008 with her celebrated CD Musik der Hamburger Pfeffersäcke with the Elbipolis Barockorchester Hamburg. This was followed by recordings of works by composers included Purcell, Handel, Bach and Respighi as well as contemproary works by Judith Bingham and Michael Jarrell.
The season 2018/19 begins with a series of appearances at the Takefu International Music Festival in Japan in September. Later that month she will give another performance of Unsuk Chin’s Akrostichon – Wortspiel at the Opéra du Rhin as part of a staged concert with Ensemble Linea. She will return to baroque repertoire at the end of the year in a performance with the Budapest Festival Orchestra led by Midori Seiler. In spring 2019 she will appear with the Lucerne Symphony Orchestra under Michael Sanderling for performances of Johannes Brahms’ Ein Deutsches Requiem in Lucerne and Tongyeong, before a major premiere at the Musikfest Hamburg at the Elbphilharmonie: together with the Ensemble Resonanz under Peter Rundel and trombonist Mike Svoboda she will give the first performance of Beat Furrer’s Spazio Immergente III.
Yeree Suh studied at the Seoul National University, Universtät der Künste Berlin with Harald Stamm, in Leipzig with Regina Werner-Dietrich and at the Schola Cantorum Basiliensis with Gerd Türk.