“After a long tradition of slavic and Scandinavian Turandot the surprise was to find in Hui He a Chinese soprano with a right and bright voice in the high notes and with an Italian diction (the limit of all the singers of this role) really clear.” Marco Beghelli, Il Resto del Carlino (Turandot at the Teatro Comunale di Bologna)

“Hui He, after many Butterfly, Liù and Tosca, takes over the role of Turandot. A role that she solves in her way, towering with her bright and pure timbre, and in her luminous voice, and in this way the reenactment of the death of her ancestress Lou-Ling, revealing pity and torment, and also willingness of atrocious revenge.” Gilberto Mion, Teatro.it (Turandot at the Teatro Comunale di Bologna)

“In the title-role stars Chinese soprano Hui He, often performer at Arena di Verona. Her performance was so good, with solid and controlled high notes, showing a stentorian voice and portraying an hallucinating character coherent with the direction” Marco Faverzani e Giorgio Panigati, OperaLibera (Turandot at the Teatro Comunale di Bologna)

“Very good also soprano Hui He as Turandot, a role that gives also to the most brilliant artists the shivers. […] Her performance was excellent.” Giovanni Neri, Kurneval: le recensioni musicali (Turandot at the Teatro Comunale di Bologna)

“The cast shines starting with the star, Hui He, gifted by big and luminous voice, always homogeneous and well emitted in every register, fascinating timbre, warm voice color and towering temperament, aspect that makes her a complete and credible princess in a performance to remember” Grigorij Filippo Calcagno, Ieri, Oggi, Domani, Opera! (Turandot at the Teatro Comunale di Bologna)

“As Turandot, Hui He is a welcome surprise. She plays her cards as more lyrical than dramatic soprano but accustomed to onerous parts like Aida and Cio Cio San. As hard as it is, the commitment in Puccini’s work is more circumscribed, concentrated in the enigmas scene and in the final duettone, allowing the soprano to measure out her strength well and indulge with her own tonal quality the lyrical softness that is also present in this Puccini line, but also showing edges and roughness. A little more burdensome, but still well resolved is the Alfanian duet.” Roberta Pedrotti, L’ape musicale (Turandot at the Teatro Comunale di Bologna)

“The soprano Hui He, in the role of Turandot, has surprised with her timbre able to comply the lyrical softness letting shine out where required the edges and asperities of the score.” Giulia Clai, Rumorscene (Turandot at the Teatro Comunale di Bologna)

“The role of Turandot is devilishly difficult to sing and the audience rarely has much sympathy for the uncompromising princess, who will only marry the man who successfully solves her three riddles. Chinese soprano Hui He was fearsome in the role, not overacting or allowing that icy façade to slip. She made her way to the centre of the stage in act one and ordered the execution of a young prince with sinister calculation and showed rare restraint during her first aria, “In questa reggia”. If only other sopranos singing the role of Turandot would take note and ease up on the shrieking.” Rupert Hawksley, The National (Turandot at the Dubai Opera)