“Hui He recently sang the role in Verona between March and April. The public applauded this slim figure that gracefully holds the long turquoise dress and its great interpretation. A dangerous situation to make his debut in Salzburg, above all being the Opera in concert version and not on stage. But the Chinese have the security, a warm voice and a beautiful technique. Only a few looks to the conductor seemed to be looking for some insurance. In the long scene of agony and finding with her lover, she will die with expression, clinging to the pulpit, before settling gracefully between two chairs.” Marie-Aude Roux, Le Monde (Adriana Lecouvreur at Salzburg Festival)

“The singing talent of Hui He, who replaced Anna Netrebko, and Anita Rachvelishvili made this Adriana Lecouvreur one of the best of all time. […] Thanks to the Chinese soprano, who replaced at the last moment the sick Anna Netrebko, in the title role, it was possible to listen to a singer who turned out to be one of the brightest stars of the moment. […] first of all it is the passionate and seductive singing of Hui He that fascinates the audience from the beginning. The shades of red that can be heard in his voice flowed like light waves carrying the emotions of a summer night sky to the theater. Wearing a turquoise dress is particularly successful in the air “Poveri fiori” in an impressive and passionate interpretation of this very difficult role of Adriana. ….. it is above all thanks to Hui He that Cilea, compared to Puccini, in this evening seems just as brilliant, when with light, but right thickness, those passages from piano to forte are chanted that seem like phoenixes that rise from the ashes, with remarkable crescendos that emerged in dizzying heights. After carefully curated chains of eighths, there were suddenly passages of legato which gave Cilea’s drama a rarely heard musical depth. Fabulous!” Raphael Eckardt, Klassik begeistert (Adriana Lecouvreur at Salzburg Festival)

“Hui He, on her role debut, held the test very well, both from a vocal and interpretative point of view. Particularly touching in the finale, and well set in the recital of Phaedra’s monologue which closes the third act and which for an oriental artist is still a beautiful challenge of expressiveness and diction.” Andrea Merli, I Teatri dell’Est (Adriana Lecouvreur at the Teatro Filarmonico di Verona, 2019)

“The soprano Hui He plays “l’ancella” on the scene, that conquer the audience with her interpretation, full of nuances, filati, mezzevoci and, when necessary, with determination. She is good also in the “Phaedra Monologue”, in which the acting was very effective and sought after.” Salvatore Margarone, Musicandosite (Adriana Lecouvreur at the Teatro Filarmonico di Verona, 2019)

“Adriana Lecouvreur represents the dream of every actress: to die on the scene. Adriana lives, loves, dies as a great Diva. And the quirks, the caricatural attitudes, are not enough to make the deep dimension of his beautiful soul. It takes courage to immerse oneself in his feelings, in his sighs, in an almost transcendental way. Hui He last night succeeded in this endeavor, arousing emotion in every sentence and in every accent. From the very beginning we found ourselves in front of an authentic Diva, endowed with natural magnetism, to which great gestures were not needed to manifest all its charm. The (now de facto) Veronese soprano knows the secret of “taking” the light and moves into sumptuous clothes with a looseness that few primedonne possess. The voice is always beautiful, of a rare splendor, thanks to the extraordinary roundness and softness, to the sweetness of the mezzevoci and of the filati and to the volcanic grit of the dramatic lunges. We also praise the wise, mature, impeccable use of the chest voice. We are unable to choose a moment of this interpretation, but perhaps we will mention Fedra’s monologue in which Hui He managed to catch the mark, playing really great actress with taste and intense dramatic force. Everything in his interpretation, however, was really at such an artistic level (although it was the debut in the role) that it is difficult to give a single definition, perhaps it would only need one word: thank you.” Francesco Lodola, Ieri, Oggi, Domani, Opera! (Adriana Lecouvreur at the Teatro Filarmonico di Verona, 2019)

“Hui He immediately tries her ability in the best known aria: Adriana Lecouvrer enchants her supporters already in the first act with the modesty of “Io son l’umile ancella”. The Chinese soprano is well prepared for this challenge, which is the calling card of the work, and it surprises everyone by always putting in the right place splendid filati, mezzevoci and the right energy when It’s necessary. But it is in the recitative and in the air of Phaedra’s monologue that this character must show off all his interpretative abilities and Hui He brilliantly sung it.” Federico Scatamburlo, L’Idea Magazine (Adriana Lecouvreur at the Teatro Filarmonico di Verona, 2019)

“Hui He Chinese soprano for twenty years Italian, so to all effects Veronese, was expected at her debut both by the public of the Venetian city that loves it and has been following it for years in her areniane performances, but also and above all by critics. Of the vocal aspect we cannot but reiterate how the timbre of the artist’s voice is always beautiful and endowed with great softness; what has pleasantly surprised us is the interpretative side: in Phaedra’s monologue, Hui He showed great taste and interpretative skills without ever emphasizing, but calibrating the accents in absolute demonstration of the mastery of the language.” Anna Annaloro Patti, Facciunsalto.it (Adriana Lecouvreur at the Teatro Filarmonico di Verona, 2019)

“Her performance was engaging from all points of view: the beautiful, resonant voice, emitted with great uniformity over the entire range, well projected, and without forcing was used with great intelligence and beautifully folded for expressive purposes. The duet “Sia! Non risponde” was sung by the oriental soprano with considerable dramatic charge. But it is with Phaedra’s monologue that Hui He reaches the peak of his convincing interpretation declaiming it with perfect diction as consummate and authentic theater actress. In the fourth intense and poignant act was his interpretation of “Poveri fiori” and the subsequent death scene.” Danilo Boaretto, Operaclick (Adriana Lecouvreur at the Teatro Filarmonico di Verona, 2019)

“The voice that “corre”, the filati, the softness, the pasty homogeneity of the range, the ability to return the emission that the Veronese public – in particular areniano – well knows in Hui He emerges to outline the ostentatious divismo of Adriana. A feature that the soprano has translated into a drama that could be defined under the skin, however, very perceptible, and resulted in a melancholy yearning in the moments of delirium and death” Maria Luisa Abate, DeArtes Giornale (Adriana Lecouvreur at the Teatro Filarmonico di Verona, 2019)

“Great debut for Hui He in the title-role. […] Hui He offers for the first time her wonderful voice to Adriana, with a more than a convincing performance for the brightness of her filati and with a homogeneous use of different registers.” Gianni Villani, L’Arena (Adriana Lecouvreur at the Teatro Filarmonico di Verona, 2019)

“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)