“The young Chinese soprano Hui He, intense and exciting Aida who really has the vocal charm, the softness, the shadows (unusually beautiful and seductive the low notes), the presence of the character; She did not miss, vocally and in terms of acting, any of the great occasions, being very convincing in particular in the great dialogue with her father Amonasro.” Elisabetta Torselli, (Aida at the Teatro La Pergola di Firenze, 2003)

“The soprano Hui He- that we have already heard in the role of Lina in Stiffelio- made her debut in the title role: her strength is sensational, her voice showed volume, energy and bright colours. But she can sing differently, with tender expression and devotion. A role musically well organised, that aroused the enthusiasm of the audience.” Oliver A. Lang, Neue Kronen-Zeitung (Aida at the Wiener Staatsoper, 2005)

“The clear, steady voice of the soprano Hui He could fill a stadium. She has a voice that enters each forte of the orchestra easily and furthermore has sure pianos.” Marie von Baumbach, Wiener Zeitung (Aida at the Wiener Staatsoper, 2005)

“At the Wiener Staatsoper a new Aida was welcomed: the Chinese soprano Hui He, who is already known in the Viennese Opera Theatres as Butterfly at Volksoper and in the role of Lina in “Stiffelio” at the Staatsoper, where she sang now the title role in the Verdi’s opera. Hui He has an enormous, expressive voice, that is carried perfectly and whereby she can touch the audience in the lyrical passages. In the Nile-Act she managed to arouse the enthusiasm of the spectators more than Daniela Dessi, that she replaced.” Gert Korentschnig, Kurier (Aida at the Wiener Staatsoper, 2005)

“In contrast, Hui He’s Aida looks even brighter. The perfect size of the Grand Theater allows her to respect the nuances and enhance the radiance of its voice. After having cautiously conserved her strength in the finale of the second act, she confirms the homogeneity of the emission, her smooth roundness, her musicality. The Nile scene hesitates but the effect of the pianissimo which closes the aria is enchanting, as is the suspended caress of “Fuggiam, fuggiam” in the following duet. A victim subjugated to Egyptian power much more than an Ethiopian princess, she plays a little creature in the Puccinian sense of the term, small but heavenly” Christophe Rizoud, ForumOpera (Aida at the Grand Theatre de Bordeaux, 2006)

“In the singing company she established herself, impetuous like her character, the Aida of the Chinese soprano Hui He, a revelation for her vocal gift: her sing-line is densly dramatic, nevertheless capable to create a full of atmospere lyric, thanks to the excellent technique and the dynamic thinnesses and phrasing. The high notes are natural and dense, the dark colour fascinates for its alter and authentically noble colour gives the right attributes to the character of the slave of noble birth” Cesare Galla, L’Arena (Aida at the Arena di Verona, 2007)

“The soprano Hui He, wonderful for her omogeneous and extended vocal instrument and for her interpretative resources: maybe the most expressive Aida in the present lyric scenary.” Mario Messinis, Il Gazzettino (Aida at the Arena di Verona, 2007)

“Revelation-Aida the Chinese soprano Hui He that, with her soft and full vocal mixture, she gave us some “pianissimo” as perhaps they were not heard from Caballé” Carla Maria Casanova, Il Giorno (Aida at the Arena di Verona, 2007)

“Hui He is a splendid Aida for voice and interpretation; the Chinese soprano has a warm timbre, rich in colors, a very pure singing line and a technique that allows her to always sing “sul fiato”. Her attacks in pianissimo and his sweet phrasing are beautiful. To her our convinced applause.” Alessandro Cammarano, Operaclick (Aida at the Arena di Verona, 2007)

“In the title-role, Hui He demonstrated in addition to a warm and powerful voice (singing in the Arena and being heard well is not for everyone), a beautiful voice, clean and sweet high notes, an excellent phrasing; to this It must be added her stage presence.” Francesco Rapaccioni, (Aida at the Arena di Verona, 2009)

“The trembling Aida of Hui He, a Chinese soprano specialist of this role, who already played under the conduction of Maestro Zubin Mehta in Wien, stands out above the entire singing company.” Samantha Russotto, FermataSpettacolo (Aida at the Maggio Musicale Fiorentino, 2011)

“In the singing company the real and unique source of real emotions is Hui He’s intense and bright Aida” Elisabetta Torselli, Il Giornale della Musica (Aida at the Maggio Musicale Fiorentino, 2011)

“Hui He is an Aida of great skills, who tackles the role with a solid technique and a great variety of accents; the mezzevoci are one of her strong point, as in the poignant “O patria mia” which fills, in solitude, the immense space; the whole performance is very musical, aided by adequate vocal registers.” Francesco Rapaccioni, (Aida at the Terme di Caracalla/Teatro dell’Opera di Roma, 2011)

“The night largely belonged to Hui He, who is making her company debut in the role of the captured Ethiopian princess. The Chinese singer made a stellar Chicago bow Tuesday, showing a classic Verdi soprano voice—big, gleaming, plush of tone, evenly produced and able to ride thrillingly over the massed ensembles. She also showed notable artistry in the quieter moments with her refined phrasing and shimmering pianissimos, as in her beautifully turned O patria mia, which earned a resounding ovation. This was an outstanding house debut by any measurement and one that should earn her a quick invitation back to Chicago.” Lawrence A. Johnson, Chicago Classical Review (Aida at the Lyric Opera of Chicago, 2012)

“Hui He seemed to us an even more splendid Aida than we remembered her. The voice has further matured: it has become more full-bodied, velvety but without losing anything in flexibility. The superlative technique allows her ethereal sounds at any pitch and thrilling dynamics, passing from fortissimo to pianissimo with amazing ease. In addition, the great temperament and intelligent interpretation make it, in our opinion, the greatest Aida currently on stage” Danilo Boaretto, Operaclick (Aida at the Arena di Verona, 2012)

“All the performers of the cast are good, starting with Hui He in the role of Aida whose voice has an extension that allows her to pass without any technical smudging from the lowest to the highest notes; the dynamics, excellently managed between pianissimo and fortissimo, make her one of the best interpreters of this character of the moment.” Sonia Baccinelli, OperaTeatro (Aida at the Arena di Verona, 2012)

Hui He’s Aida is a masterpiece of phrasing, of rapturous mezzevoci, enchanting filati. We felt a great beauty in “O cieli azzurri” sung always “sul fiato” and always between piano and pianissimo” Alessandro Cammarano, Operaclick (Aida at the Arena di Verona, 2013)

“Hui He is an Aida accurates in all the smallest details” Jörn Florian Fuchs, Deutschelandfunk (Aida at the Arena di Verona, 2013)

“Hui He is an extraordinary Aida, of great interpretative sensitivity and vocal perfection starting with very expressive mezzevoci and clear high notes bent to give the meaning of the words: “O Patria mia” has splendid colors but throughout the opera the soprano has lavished admirable filati and perfect phrasing.” Francesco Rapaccioni, (Aida at the Arena di Verona, 2013)

The Chinese soprano Hui He has made the character of Aida her most significative role. Her strengths are a vibrant and passionate but also languid and tender singing, combined with a great sensitivity of phrasing.” Tommaso Benciolini, GBOpera (Aida at the Arena di Verona, 2013)

“Hui He confirms herself once more as one of the most sensitive and emotionally involved interpreters of the eponymous role. By fully mastering the phrasing, Hui He gives voice and body to a palpitating and passionate Aida. The “O cieli azzurri” was perfect. Alessandro Cammarano, Operaclick (Aida at the Arena di Verona, 2013)

“Hui He plays Aida with great emotional participation, deep in the accents and accurate in the words, almost to sound Italian. But if the artist is of high rank, the singer is of a class that we could define, without fear of denial, of a higher level . The emission is uniform, free from forcing and always well supported on the breath. The beautiful amber color of the centers that radiates brightly on the high notes is particularly suitable for the role. Perhaps the vocal weight is more of a pure lyric than a spinto lyric, and this leads her to play a bit on the defensive, especially in the first act when the voice is still a little cold, but the masses of voice, the endless threads and the perfectly projected mezzevoci that she gives us in the next three acts are a marvel. It was undoubtedly since 1985, when Maria Chiara took on the role of the Ethiopian princess, that at La Scala we did not hear an Aida of this level.” Danilo Boaretto, Operaclick (Aida at the Teatro alla Scala, 2013)

“Aida seduces La Scala with Hui He’s voice […]I don’t know if soprano Hui He sings for the first time on the Milan’s main stage. For me she is really an epiphany. Beautiful and round voice, perfect vibrato, not too much, not too little, elegant “portamenti”, right sense of phrasing and perfect Italian diction”. Paolo Isotta, Corriere della Sera (Aida at the Teatro alla Scala, 2013)

“Hui He has beautiful timbre and solid emission that allows her to dominate the cast: her Aida is intense and chiseled in every detail with a voice that bends to express every details of the role with a rare adhesion; the high register is bright, the central register is full-bodied, the pianissimi and the lightening of sound are evocative to colours the phrasing with unusual suggestion.” Francesco Rapaccioni, (Aida at the Teatro alla Scala, 2013)

“Aida is once again the shining Hui He. The soprano is able to draw a character with light and almost celestial features; a woman victim of her destiny as a slave but strong in the royal dignity that she carries in her heart: her song is sweet, delicate and moving and if the interpreter lets herself go more, her very thin yarns outline a cry of the soul that shows great sensitivity.” Maria Teresa Giovagnoli, MTG Lirica (Aida at the Arena di Verona, 2014)

“In Aida returned one of the most loved singers in Verona and the greatest Aida of our days, the Chinese Hui He who, as usual, performed an impeccable line of singing that touched particularly us in the III and IV act. Great voice and great personality. A multiform Aida, not only a slave in love and desperation but also a resolute and aware woman, with a regal temperament. Each time you listen her again you will find new nuances of the character. Great vocal and artistic maturity.” Francesco Lodola, Ieri Oggi Domani Opera (Aida at the Arena di Verona, 2014)

“The stage gave way to the irresistible singing of Hui He’s Aida and Fabio Sartori’s Radamès in “Fuggiam gli ardori inospiti”, and He was totally convincing in these moments of exotic seduction, as she was throughout the entirety of a role that she has performed on this stage a number of times” James Imam, Bachtrack (Aida at the Arena di Verona, 2014)

“Extremely acclaimed Hui He in “Ritorna vincitor”, aria in which she demonstrated a wide and safe vocal excursion, concluding the finale pianissimo, but making it really audible until the last note of the score. Once again great Hui He in her romance “O patria mia”. Sonia Baccinelli, OperaTeatro (Aida at the Arena di Verona, 2014)

“Hui He confirms herself as an extraordinary Aida with great interpretative sensitivity and voice perfection from the most expressive mezzevoci and clear high notes to give the right sense to the words.” Francesco Rapaccioni, (Aida at the Arena di Verona, 2014)

“Hui He is the most distinguished Aida of our days. The projection of the voice is crazy and is the demonstration that even in a particular and difficult space like the Arena a singer can play and create all the colors that are done in Theatre indoors: you just need to have perfect control of the mask like her. His interpretation is a perfect balance between technique and heart. This is perceived by the public and for this it rewards her at the end of the show. The Chinese soprano is the character, she identifies with the unlucky Ethiopian slave to suggest the adoption of the Stanislavskij method.” Francesco Lodola, Ieri Oggi Domani Opera (Aida at the Arena di Verona, 2015)

“Hui He’s extraordinary Aida is flawless. We already applauded her this year in Tosca, she tackles the part with absolute technical perfection, flawless projection and captivating phrasing, sparking further curiosity and interest in her Leonora from La forza del destino who will inaugurate the Teatro Filarmonico on December 13th. Little more to add regarding the ideal Ethiopian slave.” Andrea R.G. Pedrotti, L’Ape musicale (Aida at the Arena di Verona, 2015)

“Hui He returns to “his” Aida, confirming to be one of the most distinguished interpreters of this role. The voice is perfectly masked, the sound projection is excellent. It is impossible to count all the colors and all the shades of this incredible interpretation. From the moment you enter you are struck by the creamy, sweet and clear tone throughout the range. If we had to choose a moment we will opt for the whole third act in which the Chinese singer shows off all her skills.” Francesco Lodola, Ieri Oggi Domani Opera (Aida at the Arena di Verona, 2015)

“In the title-role the beautiful voice of Hui He who shines in particular ih the mezzevoci, masterfully managed with elegance, delicates and vibrant, but at the same time perfectly audible also in the huge space of the Arena. She has also a confident stage presence, her high notes are ringing but perfectly used.” Riccardo Limongi, (Aida at the Arena di Verona, 2016)

“The soprano Hui He confirms himself as a professional and refined artist, showing an excellent voice, with a soft and mellow tone that perfectly suits the character of the Ethiopian princess, outlined with great expressive care and careful theatricality.” Silvia Campana, Operaclick (Aida at the Arena di Verona, 2018)

“The unhappy Aida torn apart between reason (love for her homeland) and passion (love for Radames), lives thanks to Chinese soprano Hui He with her melodious, full and powerful voice. Great acting.” Carmelo Toscano, (Aida at the Arena di Verona, 2019)

“Hui He, a beloved artist of the Arena, possesses the voice of Aida (both the dramatic singing and the softer and more languid one), the charisma to draw a character that imposes itself on stage, thanks also to a regal theatrical presence.” Paolo Mascari, Ieri Oggi Domani Opera (Aida at the Arena di Verona, 2019)


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