Hongni Wu




Chinese mezzo-soprano Hongni Wu is a recent graduate of the Jette Parker Program at the Royal Opera House Covent Garden. She has garnered praise from The New York Times for her “technical agility, warm colorings, and ample sound” and from Operawire for her “remarkably outstanding voice.”

Operatic highlights of Ms. Wu’s 2023/24 season include Rosina in Il Barbiere di Siviglia at both Macau International Music Festival and with Opera Theater of Saint Louis under Jonathan Brandani, a reprise of Dvorak’s Kuchtik with Opera Royal de Wallonie under Giampaolo Bisanti, and a return to Royal Opera House, Covent Garden in her role debut as Suzuki in Madame Butterfly, conducted by Kevin John Edusei. In concert, she will perform Schumann’s Requiem with the Philharmonia Baroque.

In the 2022-2023 season, Ms. Wu returned to the Royal Opera House, Covent Garden as Kitchen Boy in Rusalka, and Opera Maine as Angelina in La Cenerentola. In addition, she made her role debut as Dorabella in Così fan tutte at Pacific Opera Victoria. In concert, she performed the solo in Mahler’s Third Symphony with Philharmonia Orchestra at Royal Festival Hall in London.

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“As Angelina (Cinderella), Hongni Wu met all the coloratura challenges set by Rossini and sang with an elegance and emotive beauty that transformed even simple phrases into meaningful sentiments. At the beginning of the opera, Wu’s Angelina was seen as the sheepish daughter of an abusive father; Wu effectively developed her character into the self-assured Princess she was destined to be. Angelina’s final aria was particularly moving: Wu effortlessly displayed the entirety of her range, moving through explosive rapid-fire passages with silky smoothness.”

Opera News

“I hate to doom a singer to a single role, but Hongni Wu could have a career singing nothing but Cenerentola. The beautiful Chinese mezzo had everything needed, vocally and every other way, at her disposal; expressive features, a voice with a big bright top, a girlishly warm middle voice, and an easy plunge into the lower register.  The speed and accuracy of her coloratura was never less than dazzling, even possessing an impeccable old-school trill that thrilled. There were subtle differences in her acting as well. The first time we hear Cinderella’s opening, wistful ballad Una vola c’era un Re (There once was a king) it’s plaintive . . . almost mournful, but when she repeats it in the second act, there is a change both vocally and visually, and it’s these subtle little details that stand out and make all the difference.  Ms. Wu was an absolute delight in every aspect of the role, and in Nacqui all’ affanno … Non piu mesta one of the composer’s great razzle-dazzle ending scenas, she quite brought down the house. Once again, as at the first act curtain, the audience went wild with applause and cheering. Bonkers would not be inaccurate, as the ovation went on and on.”

Sharkon Arts