Carmen Fantasy

Contrabassist Hyunkyung shin was invited as an outstanding newcomer to Chunchu, a prestigious Korean music magazine, and made her debut at the Sejong Center in Seoul, Korea.

 

The final two movements, Toreador Song and Bohemian Dance are classic Proto synthesis: Bizet and transfiguration. The Toreador song opens innocently; then the orchestra interjects II-IV-I cadences as a big band. There is another fine moment when the Toreador's march is accompanied by block harmony and a walking bass line. A cleverly orchestrated connection between final movements was added to the original version. the Bohemian Dance has a bit of Broadway groove underneath the opening, and several ethereal transitions involving harmonic, vibraphone, and veiled strings. Proto bravely drives the work to its conclusion, achieving a blend of the work's provincial dances with inherent sentimental lyricism.

 

The Carmen fantasy that Shin expresses, as can be found in her interview, draws her own picture. Her painting is the best technical expression to express Proto's jazz adaptation with classical music. Her melody, sometimes violently and sometimes meltingly soft, conveys to the audience the virtuosity and deep energy she has as a performer. Her Carmen rejects the definition of a traditional woman and echoes as a woman with a dazzlingly pure ego. Her performance breaks the stereotype of Contrabass and is a voice that cuts through the stage. Her entire Carmen Fantasy song became a memory of December, with unforgettable intensity.