“On 6 March 2021, on the International Women’s Day’s eve, I had the privilege of listening to a concert with the Goddess Hui He, the famous conductor Xu Zhong and the absolutely wonderful Suzhou Symphony Orchestra. The most precious moments of this concert were the famous prelude from Wagner’s Die Meistersinger von Nürnberg and the prelude and Liebestod from Tristan und Isolde. In between there was one of the most representative pieces of Mahler’s compositional style, the Rückert-Lieder. In these five pieces the ideal of an enchanted and peaceful world was conveyed to the listener through the dialectical and interpretative understanding of the Goddess Hui He. […] The Suzhou Symphony Orchestra is absolutely delicate in its portrayal of all the music and in its cooperation with Goddess Hui He in both the Mahlerian interpretations and in the Isolde’s Liebestod, and the Goddess is absolutely excellent in her control of breath and voice. The Isolde’s Death was a piece that Goddess Hui He had sung before and was a perfect manifestation of forbidden love. Throughout her performance, the divine Hui He interpreted the rising vibrations of this music – love, death, etc…- in an almost perfect way, fully realising the process of Wagner’s music growing in intensity step by step, where Isolde’s death reaches its climax, leaving the desperate reality to fly to Tristan, where night, death and love become one. The harmonious and intelligent Goddess Hui He conveys a perfect balance of desire and fulfilment.” Li Weiying, Suzhou Show Review

“[…]After the first part came Mahler’s Ruckert-Lieder, one of the high points of Mahler’s art. The Ruckert-Lieder consists of five pieces: “Blicke mir nicht in die Lieder!”, “Ich atmet’ einen linden Duft”, “Ich bin der Welt abhanden gekommen”, “Um Mitternacht”, “Liebst du um Schönheit”. The first piece is a lively and carefree piece, that highlights the author’s troubled mood. The fast and dense rhythm of the piece is a challenge for the singer’s breath, and soprano Hui He used a powerful breath technique to emphasise the musical lines. Hui He’s volume control in “Ich atmet’ einen linden Duft” with its rallentandi and dynamic changes, keeps the vocal line in great balance. Hui He’s phrasing is clear, her tone dense and mellow, and this music with her voice floating over the notes, create a harmonious and peaceful atmosphere. The text and music in “Ich bin der Welt abhanden gekommen” are perfectly blended, with a strong vocal melody, slow rhythms and a melancholic, mournful style. “Um Mitternacht” […] describes the composer’s anguish with notes, and the musical wind creates a strong atmosphere of despair. “Liebst du um Schönheit” expresses Mahler’s love for his wife, and Hui He used a delicate tone to convey this deep feeling, brilliantly overcoming all the technical difficulties. Hui He’s volume surprises with its great energy, her voice full of emotion, which can also be introspective and subtle. Her voice changes with the sensations of the music, moving from expressions of strength to expressions of delicacy with ease. Her style and technique are superb, her voice is thick and transparent, her interpretation of the Lieder and the quality of her voice are at the highest artistic level of a singer of world-class. The second part of the concert featured the Prelude from Tristan un Isolde and the Liebestod. Hui He’s musical and artistic qualities in the Liebestod were glorious, her artistic maturity and magnetism exceptional. Her great experience and personal artistic heritage mean that she has her own style in characterising this page. She sang the Liebestod with a soft and delicate tone, precise and clean diction, and impeccable use of the breath. She perfectly expressed the emotional tension of this piece, deeply expressing the melancholic nature of this character. Furthermore she accurately and sensitively captured the changes in the orchestra, and the emotions of the music: the singing and acting were fused together perfectly, forming a complete musical idea. Hui He’s singing was excellent, and she played all the music with great delicacy, understanding and excellent interpretative skills. She sang with a perfect vocal emission, fluent and transparent, and extremely expressive. She sang with dramatic tension to express the heartfelt feelings of the composers performed; her superb Belcanto overwhelmed the audience, striking their hearts; […] The concert was a perfect example of “love and beauty” that the audience enjoyed, thanks to the collaboration between Hui He, Xu Zhong and the Suzhou Symphony Orchestra.” Liu Luting, Classical Freedom Speaks