Hye-Young Moon was a gentle, graceful Gilda. Her high notes were light and polished, and her duets with Rigoletto were filled with true emotion. You could really feel the father-daughter connection in their musical lines.

Opera Diary

highlight was Gilda’s (Hye-Young Moon) ‘Caro Nome’ lovesick aria, and the famous Act 3 quartet "Bella figlia dell'amore" ("Beautiful daughter of love") and the storm scene…

The Navhind Times, Goa, India.

Hye-Young Moon es una soprano coreana de estatura diminuta, pero de presencia imponente: se mueve con autoridad felina y, si se añade una coloratura feroz e impecable su Reina de la Noche, fue realmente temible.

Eduardo Benarroch, Proopera

In her Der Hölle Rache kocht in meinem Herzen, everything was there: beauty, accuracy and the power necessary to convey the character’s rage and reach every member of the audience.

Opera Diary

“Hye-Young Moon fascinates with her coloratura as his wife Chiang Ch’ing. Her bravura aria “I am the wife of Mao Tsu-tung” sparkles like the entrance of a queen of the night.”

OPERANEWS

“As Elvira, soprano Hye-Young Moon offered a delightful portrait of wounded dignity that gradually transformed into spirited resilience. Petite yet formidable, she gave the neglected wife a touching humanity that grounds the opera’s comic excess.

Zenaida des Aubris, Bachtrack

Soprano Hye-Young Moon, Arabella, Premiere, Buehnen Bern,

“Particularly noteworthy is the performance of the young soprano Hye-young Moon, who as Fiakermilli played this short role with a lot of temperament and coloratura confidence.”

Ed. DAS OPERNMAGAZIN-CH

Let’s not forget the delight of hearing Hye-Young Moon’s Fiakermilli: with such petulance and panache she sings her fabulous Die Wiener Herrn verstehn sich auf die Astronomie! Undoubtedly the sunniest and funniest moment of the evening.

Opera Diary.

“Hye-Young Moon exhibited an attractively dusky middle voice, her soprano flowering into gleaming high notes. ‘No word from Tom‘ was compellingly interior and thoughtful, and she negotiated the tricky piece impressively, ending on a shining, confident high C.”

May 2022 / OPERA NEWS

To Biography

Hye-Young Moon was a gentle, graceful Gilda. Her high notes were light and polished, and her duets with Rigoletto were filled with true emotion. You could really feel the father-daughter connection in their musical lines.

highlight was Gilda’s (Hye-Young Moon) ‘Caro Nome’ lovesick aria, and the famous Act 3 quartet "Bella figlia dell'amore" ("Beautiful daughter of love") and the storm scene…

Hye-Young Moon es una soprano coreana de estatura diminuta, pero de presencia imponente: se mueve con autoridad felina y, si se añade una coloratura feroz e impecable su Reina de la Noche, fue realmente temible.

In her Der Hölle Rache kocht in meinem Herzen, everything was there: beauty, accuracy and the power necessary to convey the character’s rage and reach every member of the audience.

“Hye-Young Moon fascinates with her coloratura as his wife Chiang Ch’ing. Her bravura aria “I am the wife of Mao Tsu-tung” sparkles like the entrance of a queen of the night.”

“As Elvira, soprano Hye-Young Moon offered a delightful portrait of wounded dignity that gradually transformed into spirited resilience. Petite yet formidable, she gave the neglected wife a touching humanity that grounds the opera’s comic excess.

“Particularly noteworthy is the performance of the young soprano Hye-young Moon, who as Fiakermilli played this short role with a lot of temperament and coloratura confidence.”

Let’s not forget the delight of hearing Hye-Young Moon’s Fiakermilli: with such petulance and panache she sings her fabulous Die Wiener Herrn verstehn sich auf die Astronomie! Undoubtedly the sunniest and funniest moment of the evening.

“Hye-Young Moon exhibited an attractively dusky middle voice, her soprano flowering into gleaming high notes. ‘No word from Tom‘ was compellingly interior and thoughtful, and she negotiated the tricky piece impressively, ending on a shining, confident high C.”

Hye-Young Moon, Soprano