«Many people from the audience had come for Hui He, and I was no exception, having had the privilege of seeing this world-class soprano live in 2017 when she sang her 154th Aida at the Shanghai Grand Theatre. Now, in the midst of an opera famine, due to the epidemic, I was looking forward to hearing the soprano’s beautiful and melodious voice, and enjoying this ‘feast for the hearing’. Throughout the evening, Hui He was the unrivaled ‘soul of the stage’. She not only held up to the demands of the two operas, but also combined her fine technical-vocal skills with her excellent acting qualities, singing to move people’s hearts and acting with a sense of style and character, and switching quickly and easily between the two female characters, who truly have different situations and personalities.Santuzza, in Cavalleria Rusticana, is strongly emotionally repressed, complaining to Mamma Lucia, arguing with Turiddu about her lost love. She wears a long black dress, her movements are dramatic and her voice is more theatrical, with these arias sung with an open heart, with a sense of tragic and desperate sorrow. With her wide register, skilful use of breath and explosive voice, Hui He not only intensified the emotional force, but also intensified the dramatic conflict through variations in the colours of her voice and her masterful technique. She portrayed the tension of a whirlwind of emotions, love and hate. […]Both characters are a test for a singer, and it is very rare for an actress to be able to play two characters in one evening, as the musical styles are different and the physical effort impressive. But Hui He was brave enough to accept this challenge, immersing herself in these roles and their changes, and her passion was so strong that her voice won hearts. She is worthy of the title “Chinese Opera Queen”!» 𝐂𝐡𝐞𝐧𝐠 𝐂𝐡𝐞𝐧𝐠, 𝐋𝐢𝐭𝐭𝐥𝐞 𝐒𝐨𝐧𝐠

«After making her house role debut in Turandot, Hui He is back at the Shanghai Opera for Cavalleria Rusticana and her debut in Pagliacci. In her opinion, playing two operas in a row in one day is not too physically difficult, but the main challenge was the difference between the two roles. Santuzza’s internal pains are really “heavy”, while Nedda’s is very “frivolous”, so it is a test of professionalism to hold the challenge, especially it needs to change emotions during the 20-minute interval. […] but Hui He was clearly at ease, not only successfully completing her debut performance of Pagliacci, but also allowing the majority of the audience, including myself, to see for the first time the same soprano in the same venue, to use her voice to portray two vivid and distinctly different characters» 𝐂𝐡𝐞𝐧𝐠 𝐂𝐡𝐞𝐧𝐠, 𝐋𝐢𝐭𝐭𝐥𝐞 𝐒𝐨𝐧𝐠

«Hui He’s large, strong, solid and fiery voice brought Santuzza to the extreme point at times, both in the aria “Voi lo sapete, o mamma” and the Easter Hymn. The voice is full of passion. Even more involving were the scenes with her lover Turiddu and Alfio, in which her voice conveyed the complex tangle of love and hate, resentment and guilt at the same time. In Pagliacci, in her first appearance of Hui He as Nedda, she again gathered her voice with a light and joyful elasticity that was a revelation. In Nedda’s aria “Stridono lassù”, her voice is young, light, fanciful and energetic, perfectly embodying and evoking the role.» 𝐂𝐡𝐞𝐧𝐠 𝐋𝐢𝐧𝐠, 𝐌𝐮𝐬𝐢𝐜 𝐖𝐞𝐞𝐤𝐥y