Ying Fang



“Peter Sellars brings a message of love to Mozart’s Idomeneo at Salzburg Festival. There’s plenty to admire at the Felsenreitschule, but the evening belongs to soprano Ying Fang….This diminutive singer has a voice that can stop time, pure and rich and open and consummately expressive.” – Financial Times

Ms. Fang’s operatic season in 2019-20 is comprised of a house debut with Lyric Opera of Chicago as Zerlina in Mozart’s Don Giovanni led by James Gaffigan; a return to the Metropolitan Opera for a role debut as Sophie in Sir Richard Eyre’s production of Massenet’s Werther under the baton of Music Director Yannick Nézet-Séguin and Pamina in Julie Taymor’s magical production of Mozart’s Die Zauberflöte conducted by Lothar Koenigs, a role she will reprise for a house debut at Houston Grand Opera in a breathtaking production by Barrie Kosky and Suzanne Andrad with Jane Glover conducting; and finally Susanna in Mozart’s Le Nozze di Figaro at Los Angeles Opera directed by celebrated filmmaker James Gray and conducted by Music Director James Conlon which marks a third house debut for the season. Ms. Fang will sing concerts of Mahler’s Symphony No. 2 Resurrection led by Gianandrea Noseda at the Tsinandali Festival in Georgia, as well as song recitals for Philadelphia Chamber Music Society, Celebrity Series of Boston, and Parlance Chamber Concerts. The summer will mark her third return to the Verbier Festival as she performs a concert version of Don Giovanni under Gábor Takács-Nagy as well as a performance of Mozart’s Requiem conducted by Sir András Schiff.

In the 2018-19 season, Mozart was the foundation for two auspicious debuts for Ms. Fang. Her debut at the Salzburger Festspiele in a new production of Idomeneo reunited her with director Peter Sellars. She also returned to the Metropolitan Opera for a role debut as Servilia in the Jean-Pierre Ponnelle production La Clemenza di Tito. Another season highlight included Ms. Fang rejoining the Los Angeles Philharmonic at Walt Disney Hall, in collaboration with The Old Globe Theatre of San Diego, as Juno for performances of the incidental music to Shakespeare’s The Tempest by Sibelius conducted by Susanna Mälkki. She made a return to the New York Philharmonic for performances of the Brahms Requiem under Jaap van Zweden. Ms. Fang debuted with several orchestras last season including the Cleveland Orchestra under the baton of Franz Welser-Möst as Echo in Strauss’s Ariadne auf Naxos; the Boston Symphony Orchestra under Andris Nelsons and the Hong Kong Philharmonic conducted by Jaap van Zweden for Mahler’s Symphony No. 2; the San Francisco Symphony and Houston Symphony with Jane Glover conducting Handel’s Messiah; the Malaysian Philharmonic under Roberto Abbado and North Carolina Symphony under Carlos Miguel Prieto for Orff’s Carmina Burana; and a Carnegie Hall concert with Orchestra of St. Luke’s under Bernard Labadie for Mozart’s “Venga la morte….Non temer, amato bene.”

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“Ying Fang, the production’s Susanna, is already so sure in her instincts and so focused on her aesthetic goals that she can surmount any obstacle put in her path. For she gave a treasurable performance. The basic sound was pure and true; she colored it through judicious application of vibrato, as well as an alertness to the timbral implications of the Italian text, resulting in singing that was both deeply musical and full of character. This Susanna was never cute but always enchanting: any Figaro would be lucky to have such a woman as his bride. It would be a misnomer to call Fang “promising” — she is already a fully achieved performer. I personally can’t wait to hear more.”

Fred Cohn


“Ying Fang might well be the production’s best Shepherd since Kathleen Battle made her Met debut in the part when the production was new.”

George Loomis


More Reviews

“The youthful cast, led by the beguiling soprano Ying Fang in the title role, was excellent…. Ms. Fang brought a sweet, penetrating voice to Iphigénie, singing with an aching blend of vulnerability and dignity…. This performance feels like a gift to opera lovers.”

Anthony Tommasini, The New York Times 

“The evening’s Iphigénie, Ying Fang, possesses a lyric soprano of such verdant beauty that she could merely exhibit it and score a success. But she showed real artistry, coloring her voice to fit her expressive intent at each moment; for instance, in her first-act scene “L’ai-je bien entendu?” musing on the supposed perfidy of her lover Achille, she shifted in a flash from amorous reverie to sorrowful anger, the voice retaining its inherent sweetness through it all. Fang’s stage deportment, too was that of an true artist. She made not one extraneous gesture, but in her bearing and marvelously expressive face rendered the princess’s sentiments viscerally comprehensible.”

Fred Cohn, OPERA NEWS 

“The young soprano Ying Fang is the sweet-voiced Barbarina, an age-appropriate match for Cherubino, whom she appears to win over by the end.”

Anthony Tommasini, The New York Times 

“Everything about Ying Fang’s portrayal of Cleopatra suggested the likelihood of a sparkling future for the soprano. She negotiated coloratura with aplomb and, notably in “Piangerò,” spun out long-breathed phrases with an exceptionally tender tone; ornamentation was deftly, subtly applied. The voice was not large and thinned out in the low register, but the soprano’s vocalism exuded so much sureness and personality that she lit up the stage. She demonstrated equal confidence as an actress, every bit the coquette early on (emerging sexily from under the covers of a huge bed for the seduction scene), and just as persuasive when asserting her regality.”

Tim Smith, OPERA NEWS 

“The Chinese-born soprano Ying Fang, in the first of three roles on this program, brought a warm, agile and appealing voice to Konstanze. … Ms. Fang, again impressive, brought vocal bloom and sassiness to Teresa, Cellini’s beloved….Ms. Fang, a star in the making, as the enterprising Adina.”

Anthony Tommasini, The New York Times 

“The scores of minor parts were divided among dozens of singers. Among the more impressive performances were those of the soprano Ying Fang, in her Met debut, singing with pure, alluring tone as Mme. Podtochina’s Daughter and soaring effortlessly over the chorus as the Female Voice in the cathedral scene.”

James Oestreich, The New York Times