About Audrey
Soprano Audrey Tsang
Audrey is a graduate (MMus) from the Alexander Gibson Opera Studio in The Royal Conservatoire of Scotland (RCS) in 2024, studied under the tutelage of Wilma McDougall. She received her Bachelor of Music (Honours) Degree in the Hong Kong Academy for Performing Arts (HKAPA) in 2022. She is also an Alvarez Young Artist in the 2024 season at Garsington Opera.
Operatic roles include: Cis in Albert Herring (Scottish Opera), 1st Ménade in Platée (Garsington Opera), Ilia in Idomeneo (RCS), La Fée in Cendrillon (RCS), Nedda in Pagliacci (HKAPA); Papagena in Die Zauberflöte (Musica Viva HK)
Opera Scenes roles include: Adina in L’elisir d’amore, Frasquita in Carmen, Soeur Constance in Dialogues des Carmélites, Lucia in The Rape of Lucretia, Romilda in Serse, Rodelinda in Rodelinda, Donna Anna in Don Giovanni etc.
She also participated in various productions as chorus member in both HK and UK, including Un giorno di regno, Platée, Die Zauberflöte, The tales of Hoffmann, Suor Angelica, Aida, Turandot etc.
Awards and Scholarships
- 2024 First Prize in the Ye Cronies Opera Award
- 2022-2023 The Hong Kong Jockey Club Music and Dance Fund Scholarship
- 2021 Special Prize (Best Interpretation of 1700s Neapolitan Arias) in the Domenico Cimarosa International Opera Singing Competition
- 2020-22 HKAPA Scholarships
- 2018-19 The Society of APA Local Scholarships
- 2018 First Prize in Category I - Emil Petrovics Vocal Competition in Hungary
- 2018 Michael Rippon Project-led Memorial Scholarship
Reviews and Comments
"The role of the Fairy is a tricky one to bring off. The French coloratura style can sometimes seem brittle and rather cold in tone, but that was not an issue with Audrey Tsang. Her technique is faultless and she produced a faultless stream of dazzling notes while still sounding sympathetic." – Opera Scotland
"Audrey Tsang’s spectacular coloratura as La Fee and the six-piece ensemble around her did their best to steal the show." – The Herald
"La Fée, the Fairy Godmother, is a vocally demanding role for a light coloratura soprano, with lots of trills and vocalise arpeggios at the top of the range, often in harmony and descant ornamentation of Cendrillon’s line. The aural effect is magical and Hong Kong soprano Audrey Tsang realised it magically, supported by the visual design elements, first appearing in the backlit ‘mirror’ over the fireplace in Madame’s apartment, dressed in white with a huge glistening white wig." – Edinburgh Music Review
"Audrey Tsang had the Fairy Godmother’s notes, deftly vocalised" – Opera Magazine
"Tsang was in superb voice from the start" – VoxCarynx