[Review] Musical “Elisabeth”


For Kim Junsu, who is at his peak of his musical career, his husky voice and over-pronunciation which still clearly delivered the messages in his lines, were unfamiliar to the audiences but very much close to who he was: Der Tod. Kim’s relaxed voice and his evenly flowing breathing sound melted into Tod’s song, a particularly slow one among all 44 tracks. It embraced a strange atmosphere with Kim’s voice. Just like Kim promised that he will play an “active” version of Tod, every bit of his movement had a strong, yet soft, tension. His vocal technique of using his chest and head back and forth breathed life into the relationship between Tod and Elisabeth, who endlessly longed for the death of freedom.


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Credit: 10asia

Shared by With Junsu


[Fan Acct] 110619 7pm Mozart! – Unbelievable

What was that?

It feels like someone hit me on the head and whispered
“Excuse me, this is Xiah Junsu”

Right. He’s Xiah Junsu.
That’s what I mean.
I don’t recognize it by just his name or face.
However, when he suddenly makes a leap forward with his whole energy,
everytime he makes a flight that we, who watched him for the last 7 years, didn’t even imagine,
then, we realize he’s Xiah Junsu.

And it’s only the 3rd performance you know.


He changes the structure of ‘Can’t Avoid My Destiny’ as soon as he shows up. Oh my god. This is really, unspeakable. Can’t Avoid My Destiny is a huge, extremely strong song. And is also the theme song of this musical. More alike this song, which means, more larger and representative the song gets, it’s harder for a single actor to shake the song. Because it’s already difficult enough to follow the steps the song has set. We should clap when someone succeeds only following the steps. However, Xiah Junsu shakes the whole song as soon as he makes appearance in musical Mozart! 2011. He’ve been preparing. How did he change it?

I don’t know if you remember I said this part is the most difficult part of ‘Can’t Avoid My Destiny’

“How do I lose my shadow. How do I deny my destiny
How do I deny myself and be someone else.
Who should I ask to, about what I didn’t understand myself.
How do I remove the shadow and win my freedom back”

This part, is a tremendously heavy part, and Xiah Junsu is ‘the’ one who can make this part slop with the rythmic strength he has. However, it didn’t work well. Of course this ‘well’ is, our very very high standard that we only apply to Xiah Junsu.

However Xiah Junsu first breaks that during the 2nd Daegu performance on the 27th. We were so happy. And he does it once more at the last performance the following week. The first destruction was made. But the main strength there is somewhat ’emotional and acting’. It is a bit far from the ‘strength of the sound itself’ being aroused.

In fact, changing the ‘sound’ itself is the most difficult part. Especially, the sound we’re talking about here is not a sound that any singer can make, but a very rare and unusual sound. A sound that can be expected only from Xiah Junsu. The reason for the difficulty of changing the sound is because, it doesn’t work with only the change of conciousness. It needs a physical change, like changing a lengh of a hand or a leg. I said there was also a fault of the whole formation, but eventually it was all up to Xiah Junsu himself.

However, I wasn’t expecting for more, thinking the kind of change he made during the previous performance was excellent enough. That’s not something a human should expect of another human. However, this time…

Xiah Junsu, changes the ‘sound’ of that part of the song. This time it’s so obvious that everyone must have felt the strength. That part plays twice, and the change happens from the first time.

When he starts with “How do I lose my shadow~”, he pushes the sound to the back, putting a huge energy at the word “그” (it’s the first letter of shadow in Korean 어떻게 그림자를 잃고~). At the second line, he puts his energy at ‘자’ from ‘자신의~’. If you make a sound in this way, the rythm of the particular part is determined by the ‘first energy’. It’s not something on the score. The ‘strength/energy’ determines the rythm. When we mentioned about his blues vocal, we used the expression ‘elasticity of a stone’-now we don’t need another sample for explanation. You do it just like that. Hit it heavily, and that strength bounces. He does that in this part. Ahh.

And when he sings the same part for the second time-he builds up the strength, as if it’s so natural. And something surprising happens here. The sound literally bounces. When he sings ‘그림자 잃고~’, the note of the last letter ‘고’ bounces, and really goes up. This, is really a vocal seen from super heavy vocalists. The effect doubles the strength of the song. Ahh, this is indeed, a enormous scene.

And there is something else. The density of his ‘falsetto’ changed. However, let’s talk about that later.

Anyway, with all of these parts added up-a new ‘Can’t Avoid My Destiny’ appeared. People who watched the 2010 performance, wasn’t ‘Can’t Avoid My Destiny’ on the 19th so new and huge?

I’ll only mention ‘Can’t Avoid My Destiny’ this time, but Xiah Junsu shows a stronger, more dramatic, and fundamentally more free vocal. It’s not about his diction. This is something more of the whole performance, but I’ll postpone it.


Credit: http://www.piffania.com
Translated by With Junsu

(I think I will be translating&sharing a lot of fan account of both Tears of Heaven and Mozart!.
For fans who wasn’t able to attend to the performance, I want to deliver as much as I can about the performance, and Junsu’s greatness:) I hope it won’t be too boring for you…)

[Trans] Music critic Noh Junyoung’s review on In Heaven

In fact, the epithet ‘idol’ is a double-edged sword. To someone, it could be a real ‘idol’, but to someone, it could be a subject to prejudice. The idol fever that swept the whole world traces back to the 80s. On August 1st 1981, the pop music world changed as a lot of idols with fine appearances started to pour out when MTV, a station that airs music vidoes for 24 hours, was founded. Of course they each had star qualities and singing abilities, but it was true that somehow their appearance attraced more attention. This kind of prejudice is still valid. In many cases, for an idol, people expect a lower level of musical ability. However, as a lot of talented idols showed up, the twisted attitude is slowly disappearing, and ‘TVXQ’ is one of the artists who contributed largely to this situation. All of the members produced high quality, classy music. Eventually they gripped the whole Asian markets, and also guided the idol groups to the right path. In a bigger picture, they created a new methodology for singers to benchmark.

Their fans must have been more sorry for what had happened to them because of these reasons(he’s talking about the lawsuit). JYJ is still the most talented among idol groups in existence. This is becuase the collaboration of Jaejoong, Junsu, and Yoochun, who possesses singing, performance, and entertaining ablilities, is on the basis. They could target the worldwide market with their first album [The Beginning] because they were confident of their abilities. Isn’t it proved that their possiblities to comepete in the American market was confirmed, as the best hiphop producer Kanye West lent his voice without hesitation? There are three points to focus on [In Heaven], released in this kind of situation, when even spatial constraints are collapsing. Whether a Korean album-not an English one to target the worldwide market-can appeal as a hit keywod, if they can compete with only their music without enough appearance on TV, and if the music is good enough to cover three members’ singing ability. When you listen to all the songs of [In Heaven], you’ll get an answer of these three points easier than you thought.

The first thing we must focus on is that the members participated in every song in the album, taking a step forward to an musician. The single fact that they directly participated in the album and showed their leadership is a part that should be highly appreciated. It is a nice evidence that they are making an effort to be accepted as artists. In addition, since the members demonstrated their sense of trend that they felt during the tour, it is needless to comment on their possibilities. ‘Get Out’, produced by Jaejoong and Yoochun, is a trendy pop dance song. The lively composition and the texture of the sound makes the members’ charm stand out even more, and furthermore, as shocking shouting vocals were added, it became a nice song with a strong feeling. You can feel JYJ’s Asian sensitivity in ‘In Heaven’, ‘Fallen Leaves’, and ‘Boy’s Letter’. Especially the appeal in the climax of ‘In Heaven’, the nostalgic sensitivity of ‘Fallen Leaves’, and the unusual composition of ‘Boy’s Letter’ are outstanding. Because these songs have both the nostalgia for the past and the goal of present, you can meet the longing feeling and the delight at the same time.

Different from the former songs, ‘Mission’ and ‘I.D.S’ shows future-oriented aspects. ‘Mission’ with the powerful beat, and ‘I.D.S’ with the auto-tune technique, both has the trendy American sounds. Especially the addictive sound of ‘I.D.S’ is very high-leveled, and in my opinion it would recieve favorable responses even if it is released in the American market. ‘You’re’ and ‘Pierrot’ are pop dance songs with medium tempo, better if you watch the performance. Especially, ‘Pierrot’ refreshes the listeners’ logic by the ironic composition with pretty shocking lyrics, craving for freedom, and a bright melody. ‘Nine’ is a retro-stlye song, also a song that you must listen to. It is hard to define clearly, but ‘Nine’ kind of shows the old sound from the Britpop scene, and is a well made song that can gain sympathy from a whole generation. If [The Beginning] showed a beat centered sound with the American trend at the basis, [In Heaven] has a character capable of gripping domestic and Asian sentiment, emphasizing melodies. Their goal changed as they went through an ablum, but the quality is still high. The innate talent and musical instruments they have is unchanged, even though their target has changed.

I want to say JYJ’s new album is a ‘raw’ thing. The most honest stories and the most honest sounds of the members are realized in the album. In addition, their own songs, composed with understanding of various genres, are quite good in quality. Even though there are points lacking slightly in the overall composition of the album, I feel no need to mention it, since it is not about the quality of the music. Their musical ability is already beyond the highest level. The musical possibility that these men, JYJ who macthes with the term artist rather than idol, can show has just started.

original source: http://blog.naver.com/nohy/130118669561

Translated by With Junsu