Conducting across borders: Roderick Cox makes Asia debut with visionary Shostakovich performance
Roderick Cox, a rising American conductor based in Berlin, is set to make his long-anticipated Asia debut with the Seoul Philharmonic Orchestra on May 30, leading a performance of 'Shostakovich 10: Oh To Believe in Another World' — a visually reimagined rendition of Shostakovich's Symphony No. 10 by renowned South African artist William Kentridge.
Cox, making his first appearance in the region, was drawn to the project not only by his long-standing affinity for Shostakovich, but also by curiosity sparked by the interdisciplinary nature of the work.
'Sometimes one can be quite cautious when pairing a great symphony with something else — a piece of art that already stands powerfully on its own,' he said during an interview Tuesday at GS Arts Center in Seoul. 'But in this case, it looked very interesting, very new and something that could be very intriguing for our new audiences in 2025."
While Cox has previously worked on programs that included video elements aimed at reaching younger listeners, this marks his first experience with a full-scale visual collaboration of its kind. Behind the orchestra, Kentridge's film — featuring cardboard sets, cut-out masks and stop-motion animation — creates a constructivist aesthetic that echoes the stark imagery of Stalinist Russia.
'I think it's fascinating when you can engage multiple senses — to hear and see simultaneously. Maybe it allows for deeper connections, especially for those already familiar with this work. I'm looking forward to exploring that shared experience with our audience,' Cox added.
Still, Cox acknowledged with a laugh — and a note of concern — that the immersive visual setting might present an unusual challenge. 'I'm hoping that the video is not so interesting that it takes my focus off the actual music,' he said. 'Because performing Shostakovich's music requires such intensity, focus and concentration to really enter into this dark world the composer is conveying.'
Cox's career took off after winning the 2018 Sir Georg Solti Conducting Award, one of the most prestigious honors for young conductors in the United States. The award provided him with international mentorship and the opportunity to expand his artistic horizons across Europe. He has since led performances with major orchestras and opera houses and is now the director of Opera National Montpellier Occitanie in France.
Raised in Macon, Georgia, Cox first encountered classical music through public school and community programs at the age of 8. Initially planning to become a teacher, he became intrigued by conducting in high school after watching his instructors shape sound and guide ensembles with physical gestures. 'I remember thinking, 'I want to do that,'' he recalled.
That early exposure gave him time to internalize the physical language of conducting before settling into fixed habits. 'Just like with an instrument, the earlier you start, the more natural it becomes.'
He went on to study at Northwestern University, where two key mentors — Mallory Thompson and Victor Yampolsky — shaped his path.
Yampolsky, in particular, encouraged him to take conducting seriously and pursue it professionally. Cox admitted that he was in a bubble while studying. Pointing out that the majority of his most influential teachers were female, he later found it surprising that there was an issue of a shortage of female conductors. Thompson, he recalled, always told him to never ever think he got or did not get an opportunity because of his identity.
'I think that sort of training at an early age really helped me not dismiss my identity or forget about it, but really focus on the music and the art and trying to be the best artist I can be,' he added.
Cox later served as assistant conductor at the Minnesota Orchestra under music director Osmo Vanska, further refining his skills in front of a top-tier ensemble. Vansaka served as the music director of the SPO from 2020 to 2022.
Having once received support from a local foundation when he chose to pursue music, Cox felt compelled to pay it forward. Nearly two decades later, he founded the Roderick Cox Music Initiative — a nonprofit that offers scholarships and mentorship to young musicians from historically underrepresented communities.
'It's about opening doors,' he says, 'for students who might not otherwise see a place for themselves in classical music.'
gypark@heraldcorp.com
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Korea Herald
a day ago
- Korea Herald
Can Korea‘s 'text-hip' reading craze outlive the hashtag?
As reading habits evolve alongside technology and lifestyle shifts, South Korea's 'text hip' moment may be less about returning to old routines and more about inventing new ways to engage with books When Gim Ji-min arrived at the Seoul International Book Fair 2025 in June, she thought the buzz on social media was exaggerated. 'I honestly assumed people were just hyping it up on Instagram,' said the 26-year-old sociology Ph.D. student. 'But the moment I stepped inside, I knew this was different. Every trendy book-themed tote bag, keychain, and bookmark had already sold out.' She wasn't alone in her surprise. Over five days, more than 150,000 people packed Seoul's Coex convention center. Tickets sold out weeks in advance, prompting official apologies from organizers. Rumors spread of scalpers reselling passes for triple the original price. Most attendees were women in their 20s and 30s, snapping photos of minimalist book covers and whimsical literary merchandise. Gim doesn't see herself in the stereotype of a 'heavy' reader. 'I read a lot, especially nonfiction and social science, but I borrow more than I buy," she said. But the "festival-like mood" of the book fair reignited her interest in actually purchasing one. At the center of the frenzy is a Korean trend called "text hip." The phrase refers to the idea that reading is not just enriching or productive, but stylish, trendy and socially shareable. After American model Kaia Gerber said in an early 2024 interview with The Guardian that 'reading is so sexy,' the expression took off globally, including Korea. By the time Han Kang won the Nobel Prize in literature in October, the phrase text hip had already become a recognizable trend among younger readers and across reading communities. But does this enthusiasm reflect a return to reading in South Korea? Or is it just another lifestyle craze, more about looking literary than actually reading? What the numbers say According to the country's authoritative biannual National Reading Survey, the data complicates the common notion that Koreans don't read. In fact, it suggests that people in their 20s and 30s have long maintained relatively high reading rates. It helps explain the strong turnout for events like the book fair. The most recent 2023 report showed 74.5 percent of Koreans in their 20s had read at least one book (excluding textbooks) over the previous year. While this was still the highest rate among all age groups, it also represented a steep decline from 91.1 percent recorded eight years earlier. The number of physical books young Koreans consume annually fell sharply during that same period, dropping from an average of 11.4 books per person to just 2.5 books. What prevented the numbers from plunging even further was the rise of digital reading; e-book consumption among Koreans in their 20s more than doubled in the same span. Yet even with this increase, the overall reading trend confirms that even younger Koreans today are reading far fewer books than before. Still, that doesn't mean they aren't engaging with books at all. Kim Nam-young, who is part of the National Reading Survey team at the Ministry of Culture, Sports and Tourism, told The Korea Herald that the survey only captures part of the picture. 'To survey reading rates, we only count completed books,' she explained. 'But what we're missing are all the new ways people are interacting with books now. While this isn't unique to Korea, it does mean we're probably underestimating how many people are actively participating in reading culture." "At some point, we may need to rethink how we define reading altogether.' Yoo Ji-eun, a 29-year-old project manager in Seoul, considers herself part of the 'text hip' generation. But she rarely reads books cover to cover. In April, she joined Hip Dok Club, a new reading initiative launched by Seoul Outdoor Library. The name combines 'hip' and 'reading,' and the concept struck a chord. All 10,000 membership slots filled in under two hours, with the website initially overwhelmed by traffic. Hip Dok Club rewards a wide range of book-related activities, from logging titles and posting quotes to sharing handwritten excerpts. Members earn points, level up, and receive exclusive items like reading lights and limited-edition merchandise. It functions less like a book club and more like a literary social platform. An outdoor club-exclusive discussion with novelist Park Sang-young, author of "Love in the Big City," drew hundreds. Yoo attended that talk and said the experience rekindled her interest in Park's novel, even though she hadn't finished it the first time. 'It felt like a music festival,' she said. 'People were there not just to read, but to experience books together.' Will Korea's 20-somethings still read in their 40s? To skeptics, 'text hip' and the craze over events like this might look like style over substance. But Baek Won-geun, former research head of the National Reading Survey and now director at the Book and Society Research Institute, isn't so quick to dismiss it. 'Sure, it's easy to roll your eyes,' Baek said. 'But if buying book-related merchandise, joining clubs or posting literary quotes eventually draws someone deeper into reading, then the trend serves its purpose.' Baek's larger concern is South Korea's steep decline in reading among older adults. While other countries experience a gradual decline, in South Korea reading drops dramatically as people age. Only 36.9 percent of Koreans in their 50s read even one book in the past year, and for those 60 and older, the figure plunges to just 15.7 percent. 'The challenge is building lasting habits,' Baek explained. 'The million-dollar question I'm interested in is this: whether young people will sustain their interest in reading, or text hip as they call it, even as life becomes busier and responsibilities increase.' "Reading has long been treated as something we outgrow once school ends. But if text hip helps people see books as part of adult life, not just academic life, then the habit can survive the busyness. Not necessarily because we are trying to be readers in the traditional sense, but because books can become part of how we live," said Gim Ji-min.
Korea Herald
2 days ago
- Korea Herald
Can Korea's 'text-hip' reading craze outlive the hashtag?
As reading habits evolve alongside technology and lifestyle shifts, South Korea's 'text hip' moment may be less about returning to old routines and more about inventing new ways to engage with books When Gim Ji-min arrived at the Seoul International Book Fair 2025 in June, she thought the buzz on social media was exaggerated. 'I honestly assumed people were just hyping it up on Instagram,' said the 26-year-old sociology Ph.D. student. 'But the moment I stepped inside, I knew this was different. Every trendy book-themed tote bag, keychain, and bookmark had already sold out.' She wasn't alone in her surprise. Over five days, more than 150,000 people packed Seoul's Coex convention center. Tickets sold out weeks in advance, prompting official apologies from organizers. Rumors spread of scalpers reselling passes for triple the original price. Most attendees were women in their 20s and 30s, snapping photos of minimalist book covers and whimsical literary merchandise. Gim doesn't see herself in the stereotype of a 'heavy' reader. 'I read a lot, especially nonfiction and social science, but I borrow more than I buy," she said. But the "festival-like mood" of the book fair reignited her interest in actually purchasing one. At the center of the frenzy is a Korean trend called "text hip." The phrase refers to the idea that reading is not just enriching or productive, but stylish, trendy and socially shareable. After American model Kaia Gerber said in an early 2024 interview with The Guardian that 'reading is so sexy,' the expression took off globally, including Korea. By the time Han Kang won the Nobel Prize in literature in October, the phrase text hip had already become a recognizable trend among younger readers and across reading communities. But does this enthusiasm reflect a return to reading in South Korea? Or is it just another lifestyle craze, more about looking literary than actually reading? What the numbers say According to the country's authoritative biannual National Reading Survey, the data complicates the common notion that Koreans don't read. In fact, it suggests that people in their 20s and 30s have long maintained relatively high reading rates. It helps explain the strong turnout for events like the book fair. The most recent 2023 report showed 74.5 percent of Koreans in their 20s had read at least one book (excluding textbooks) over the previous year. While this was still the highest rate among all age groups, it also represented a steep decline from 91.1 percent recorded eight years earlier. The number of physical books young Koreans consume annually fell sharply during that same period, dropping from an average of 11.4 books per person to just 2.5 books. What prevented the numbers from plunging even further was the rise of digital reading; e-book consumption among Koreans in their 20s more than doubled in the same span. Yet even with this increase, the overall reading trend confirms that even younger Koreans today are reading far fewer books than before. Still, that doesn't mean they aren't engaging with books at all. Kim Nam-young, who is part of the National Reading Survey team at the Ministry of Culture, Sports and Tourism, told The Korea Herald that the survey only captures part of the picture. 'To survey reading rates, we only count completed books,' she explained. 'But what we're missing are all the new ways people are interacting with books now. While this isn't unique to Korea, it does mean we're probably underestimating how many people are actively participating in reading culture." "At some point, we may need to rethink how we define reading altogether.' Yoo Ji-eun, a 29-year-old project manager in Seoul, considers herself part of the 'text hip' generation. But she rarely reads books cover to cover. In April, she joined Hip Dok Club, a new reading initiative launched by Seoul Outdoor Library. The name combines 'hip' and 'reading,' and the concept struck a chord. All 10,000 membership slots filled in under two hours, with the website initially overwhelmed by traffic. Hip Dok Club rewards a wide range of book-related activities, from logging titles and posting quotes to sharing handwritten excerpts. Members earn points, level up, and receive exclusive items like reading lights and limited-edition merchandise. It functions less like a book club and more like a literary social platform. An outdoor club-exclusive discussion with novelist Park Sang-young, author of "Love in the Big City," drew hundreds. Yoo attended that talk and said the experience rekindled her interest in Park's novel, even though she hadn't finished it the first time. 'It felt like a music festival,' she said. 'People were there not just to read, but to experience books together.' Will Korea's 20-somethings still read in their 40s? To skeptics, 'text hip' and the craze over events like this might look like style over substance. But Baek Won-geun, former research head of the National Reading Survey and now director at the Book and Society Research Institute, isn't so quick to dismiss it. 'Sure, it's easy to roll your eyes,' Baek said. 'But if buying book-related merchandise, joining clubs or posting literary quotes eventually draws someone deeper into reading, then the trend serves its purpose.' Baek's larger concern is South Korea's steep decline in reading among older adults. While other countries experience a gradual decline, in South Korea reading drops dramatically as people age. Only 36.9 percent of Koreans in their 50s read even one book in the past year, and for those 60 and older, the figure plunges to just 15.7 percent. 'The challenge is building lasting habits,' Baek explained. 'The million-dollar question I'm interested in is this: whether young people will sustain their interest in reading, or text hip as they call it, even as life becomes busier and responsibilities increase.' "Reading has long been treated as something we outgrow once school ends. But if text hip helps people see books as part of adult life, not just academic life, then the habit can survive the busyness. Not necessarily because we are trying to be readers in the traditional sense, but because books can become part of how we live," said Gim Ji-min.
Korea Herald
2 days ago
- Korea Herald
With 'nervous fear,' producer Shin Chun-soo brings 'The Great Gatsby' to Korea
Broadway musical runs simultaneously in Broadway, West End and Seoul On Aug. 1, 'The Great Gatsby' musical will mark a milestone with simultaneous performances in three of the world's major musical theater hubs — New York, London, and Seoul — just 15 months after its Broadway premiere. Behind this ambitious endeavor is Korean producer Shin Chun-soo, founder and CEO of OD Company. 'On Broadway or the West End, it's nervous excitement. In Seoul, it's a nervous fear,' Shin told reporters during a press conference on Tuesday. 'Korean audiences are terrifying. They're smart, discerning and critical,' he noted. Last year, when unveiling 'The Great Gatsby' on Broadway, making his long-time dream come true, Shin said he wanted to bring the musical to his hometown within two years. What he had in his mind then was a production in Korean, but his desire to share the musical in its original form and language led him to present a production featuring Broadway actors. Shin emphasized that the English-language performance is intended to preserve the universality of the original. 'A Korean-language version may be more emotionally resonant for local audiences,' he acknowledged, 'but this run aims to show the original in its most powerful form.' Though based on the original, the Seoul staging brings its own creative flair. All sets and costumes were newly designed, and the cast was completely reassembled. 'Every production adds new layers,' said Shin. 'But the biggest difference in Seoul is the actors. The chemistry among the Korean, American and British creative teams is something special.' For 15 weeks, Broadway actors Matt Doyle and Senzel Ahmady portray Jay Gatsby and Daisy Buchanan, respectively, at GS Arts Center in Gangnam-gu, Seoul. 'I've been on Broadway for 20 years,' said Doyle. 'But I realized that not leaving the city for two decades had narrowed my view. There's so much more to explore, and this was my chance to step outside my comfort zone.' Doyle, who won the 2022 Tony Award for Best Featured Actor in a Musical for his role in "Company," said he connected with Gatsby's intensity and emotional longing, and promised to bring 'honesty' to the role. 'For me, I always concentrate on coming from a place of honesty,' he said. 'And if it's coming from what I know and what I've experienced, then that will translate to the audience — and that will only lift the character up.' Ahmady said she has long admired the show and particularly Eva Noblezada, who originated the role of Daisy on Broadway. 'I was actually a big fan of 'The Great Gatsby' when it first opened on Broadway a year ago,' she said, adding that it was a bit harder to leave New York because the actress known for her role as Jasmine in the "Aladdin" tour felt like she was just beginning there. "I'm so honored to be performing with Matt, and I learn something new every single day, whether it's about performing or just about life," she said. Premiered in April 2024, the Broadway production has grossed $7.8 million as of June 29, while the West End version has recorded 1.13 million pounds ($1.45 million) in sales as of June 23, according to OD Company. The Seoul run will begin with preview performances on Aug. 1, officially opening in early August and continuing through Nov. 9.
