K-Classic News GS-Tak President of K-Classic News
In the 21st century, Hallyu is no longer limited to K-dramas and K-pop. K-Classic and K-Opera are emerging as evolved cultural content that brings Korea’s rich history and artistic excellence to the global stage. At the heart of this movement is K-Opera. However, the world has yet to fully understand this genre, and we, too, are not yet fully prepared to extend our hand to the global arena. For K-Opera to move forward, it must simultaneously open two critical doors: the creation of world-class, emotionally resonant operas and the establishment of active communication channels with international opera houses, particularly in Europe.
Masterpieces Are Born from People: Building a Composer-Centric Creative Ecosystem
Opera is, at its core, musical drama. No matter the subject, stage, or concept, if it cannot be embraced and expressed through music, it cannot reach the hearts of a global audience. Therefore, to bring K-Opera to the world, we must prioritize a strategy centered on composers. While we have a wealth of writers, librettists, and directors, we still lack the infrastructure to elevate these into true masterpieces through composition. It is now time to offer young composers opportunities for “responsible creation,” not just experimental trials. While increased funding for creative work is welcome, it must not fall into populism. A comprehensive production system that ensures completed works are staged is essential. Only through such a system can we see the birth of “Korea’s La Traviata” or “Korea’s Marriage of Figaro.”
When There Is No Stage, Connect to One: Strategic Linkage with European Opera Houses
Korea currently lacks a true “dedicated opera house” that meets international standards. While performance venues exist, there is no facility that fully supports opera production, repertoire management, or touring systems. This calls for a paradigm shift. We must adopt a reverse approach: by leveraging co-productions and residency programs with European theaters, K-Operas created in Korea can premiere abroad or enter through international exchange frameworks. To make this a reality, the following strategies are crucial:
Cultural Diplomacy Strategy: Collaboration with the Ministry of Foreign Affairs, cultural foundations, and advisors with ambassadorial experience is essential. Their diplomatic expertise and cultural networks can serve as powerful bridges to the global stage.
Content-Driven Promotion: Beyond brochures and press releases, the vision and narrative of each opera must be transformed into compelling video and digital content. Global SNS marketing, English-language YouTube channels, and targeted campaigns at international arts festivals must be pursued in parallel.
Developing a Corporate Mecenat Model: K-Opera is not merely art—it is a cultural diplomatic tool and a generator of brand value. Corporate sponsors must be shown clear ROI models and social value indicators to engage them in sustained support.
Proposals for a Sustainable Ecosystem
Establishment of a K-Opera Support Center or Research Institute: A specialized institute under the National Opera Company of Korea is needed to comprehensively support creation, education, criticism, and international expansion. This would serve as both a platform and strategic command center for K-Opera.
Formation of an International Network Platform: By hosting an annual K-Opera International Conference, we can invite theater directors, music directors, and producers from Europe, Asia, and the U.S. to Korea, showcasing the potential of new Korean operas and initiating global collaborations.
The time to wait for “someday” has passed. The world is open, and global interest in Korean content is at an all-time high. K-Opera must now open both doors at once: one to artistic creation and the other to the world stage. When we pass through these doors, K-Opera will truly become a global art form.
