CUHK Lives and Legends

17 she has since had include Santuzza in Cavalleria Rusticana  (Rustic Chivalry), Fiordiligi in Così fan tutte  (Women Are Like That), and Kang Tongbi, daughter of Kang Youwei, in Datong  (Great Unity). What introduced her to the local opera aficionados, however, was perhaps her title role in Heart of Coral , which also marked her first foray into opera singing in Chinese. Is it easier to sing in Chinese than in a foreign language? ‘No, it’s actually more stressful. You’ll get caught out by the audience even if you falter slightly. Most Italian operas were written over a century ago. You can easily find different versions of virtuoso performances on YouTube but the same cannot be said of opera singing in Chinese. You can only try and work out on your own—word by word, the best way to go about it.’ In 2016, she sang the title role of Cio- Cio-San in Madama Butterfly , a role craved most by Asian female opera singers. ‘It’s the first time I’ve tried my hand at this role. But there were only 10 days for rehearsal and it’s the longest and most challenging singing part I’d ever attempted. That’s why the experience was exceptionally rewarding,’ Louise remarked. Two years later, she beat 350 candidates to get into the Young Artist Programme of the Rome Opera House, where her rendition of Mimì in  La Bohème , Micaëla in Carmen and the First Lady in  The Magic Flute  dazzled the Italian audience. According to a local review, ‘Kwong combines volume and an extremely pleasant timbre with a pleasant stage presence, and admirably gave body and voice to the romantic character of Mimì.’ Apart from performances, she also gives private singing lessons. She makes no bones about the fact that the private lessons accounted for over half of her income: ‘Private music tutors in Hong Kong make more money than virtuosos who have released albums in Europe, because Hong Kong parents want all sorts of certificates and diplomas for their kids. Money is not a problem. Passing exams is all that matters.’ What is the age of the youngest student she has taught? ‘Just three, not long after the kid learned to say her first words. The idea was to get a diploma in preparation for the Primary One admission interview,’ she responded in a resigned tone. According to Louise, to deliver one’s voice to the last row of seats in an opera house without using a microphone calls for a robust vocal technique. ‘Unlike musical instruments, which can be replaced, we have only one vocal cord. To protect it and to make the best of it, we must not damage our voice through overexertion,’ she added. To demonstrate, she sang on the spot O mio babbino caro  (Oh My Beloved Father), an aria from Puccini’s Gianni Schicchi . Despite her petite stature, her mellifluous soprano voice, without being overpowering, instantly spiralled into every corner of the studio. As the young girl in the opera, for the sake of love, her subtle pleading with her father is so powerful that it leaves this writer profoundly touched. In fact, in Louise’s previous roles as Liu, who remains ever loyal to her master, as Xiao Hong, who fights against the odds in turbulent times, and as Cio-Cio-San, a gentle but desperate soul, she was also able to impart to her audience, in the same vicarious manner, the joys and sorrows of the characters. Louise had set her goal to get on the top of her game and build an international career by the age of 30. Now her dream has come true. c c Playing the title role of Cio-Cio-San in Madama Butterfly c c As Liu in Turandot