REVIEWS

“Tenor Kang Wang is a sensation in acting and operatic vocals in his role as the wronged Macduff. Mr. Wang’s aria (“Ah, the paternal hand”) as he laments the death of his wife and children was received with thunderous applause the night I attended.”
– Broadway World

“The evening’s takeaway for me was the outstanding tenor Kang Wang. Since I no longer go to every production at the Kennedy Center, I’d missed his previous outings here as Ferrando in “Cosi fan tutte” in 2022 and Rodolfo in “La Bohème” in 2023, so I was entirely unprepared for the shining, heroic, easy, ringing sound he showed as a fabulous Macduff; I was so excited I spent the next morning perusing his YouTube videos, which demonstrated that the performance was no fluke and he really is that good. It’s a treat, as I age into the time-honored but annoying role of Opera Curmudgeon, to hear a young singer who jolts me out of my hand-wringing about The Decline of Singing and reawakens the excitement I’ve always felt about this art form. “
– Anne Midgette

“Kang Wang likewise delivers a standout performance in the role of Macduff. Wang’s dulcet tenor is as commanding as it is fierce, with the power to rally together not just Macbeth’s enemies but the audience as well. “Ah! la paterna mano,” Macduff’s mournful aria asking his murdered children to forgive him, deserves a performance of its own.”
– DC Theater Arts

“…but no way that Wayne or Damon could deliver Macduff’s aria of pain as drop dead beautifully as tenor Kang Wang… tenor Kang Wang, who as General Macduff, sang the showstopper aria of the evening, ridden with pain over the murder of his wife and family by Macbeth’s henchmen. “
– OperaGene

“…The night’s biggest vocal surprise was tenor Kang Wang as Macduff, whose “Ah, la paterna mano” in the fourth act earned one of the night’s longest ovations.”
– The Washington Post

“Alfredo, quant à lui, est servi par le ténor Kang Wang, au timbre chaud et la technique impeccable lui assurant une grande agilité dans les sauts les plus acrobatiques – le contre-ut sort facilement, sans force mais avec puissance. (Alfredo, for his part, is served by the tenor Kang Wang, with a warm timbre and impeccable technique ensuring great agility in the most acrobatic jumps – the high C comes out easily, without force but with power.)”
– Olyrix

“Tenor Kang Wang gave a powerful performance in the role of Hoffmann. He had immaculate French diction, and sang the difficult aria, “Il était une fois à la cour d’Eisenach” with comedic emphasis, leading the chorus on the German pronunciation of the ach-laut on the word, “Eisenach.” … Wang took care to communicate every word of the text beautifully in a wonderfully even tenor voice. He is an amazing actor, seeming to know intuitively if the energy dragged in a scene of extended bel canto, and single-handedly drummed up a chorus…“
– Palm Beach Daily News

“The tenor Kang Wang’s voice was particularly strong at the higher reaches, focused, vivid, powerful and sustained to the very end of the opera. He united this to a fine-drawn, naturalistic portrait of a man constantly frustrated in his attempts to find the right woman. In his ardent love song to Olympia, the intensity of his voice seemed to increase with every ascending phrase. He could lighten his voice and achieve a restless urgency in his duet with Antonia. In the scene with the courtesan Giulietta, he sang with a sustained legato in his love duet with the flinty-eyed object of his affection. “
– South Florida Classical Review

“As spunky Alfredo, Kang Wang not only looks the part but is blessed with a powerfully expressive tenor voice. Moreover, he is immersed in the role’s vocal highs and dramatic lows. His stage presence is handsomely compelling.”
– Stage Noise

“Kang Wang lent his seemingly effortless tenor to an unforgettable ‘Che gelida manina’“
– MD Theatre Guide

“His voice was intensely beautiful, and its scope was breathtakingly powerful in how far he could use it. In no sense is this voice a small one; there’s no strain to it and he can hold a note – and tail it off – magnificently. There was nothing linear about this singing, rather it was taken in a broad long arc; the care for detail was ear-catching. Singers don’t often become distractions for me in concert performances but Kang Wang did – and only in a very positive way.”
– Opera Today

“His singing in the Requiem was a revelation. ‘Ingemisco’ was utterly assured, culminating in a clarion sustained B flat. Wang was charismatically good in the ‘Hostias’ in ‘Offertorio’, with an elegant, sustained trill that few tenors would risk. What an elegant young tenor Wang is; “
– Australian Book Review

“Tenor Kang Wang crested the waves of the Ingemisco with effortless power and projection but also displayed sensitivity when required. “
– The Age

“Wang’s voice was a revelation, his rich mellifluous tenor immediately grabbing my attention, so sure and confident, so true and expressive. His rendition of the Brindisi boldly captured the feelings he felt for Violetta, soon followed by his passionately sincere “Un di felice”, giving voice to the torture and delight he felt. I could imagine that the whole universe was indeed pulsing with his love … In Act 2, Wang’s “De’ miei bollenti spiriti”, pouring out his contentment, relaxed and at peace, conveyed the hopes of a young man in love.”
– Bachtrack

“This promising lyric tenor has now grown into possessing a most beautiful voice that has been likened to liquid gold. It is a near-perfect instrument that is an absolute joy to listen to, matching a powerful and dramatic stage presence. His vocal technique seems faultless; absolutely rock solid throughout the range with dark lower notes, strength in his middle register and thrilling top notes.”
– Limelight Magazine

“Kang Wang has a herculean voice for the ages, striding through his arias with a rare ease and sheen.”
– The Australian

“Kang Wang has a superb, powerful tenor, the colour of polished bronze, which can ride over anything that Verdi can throuw at it.”
– Australian Stage

“And what an Alfredo. The heartfelt, golden tone pouring out of Kang Wang was enough to explain Violetta’s adoring him.”
– Q News

“As her lover Alfredo, Kang Wang has one of the finest tenor voices we have heard in recent years. It is a beautiful, seemingly effortless lyrics tenor with crystal-clear delivery, faultless technique and superb top notes. “
– Limelight Magazine

“Kang Wang, making his company début, was a revelation as Rodolfo. It’s little wonder that this young Australian tenor, born in China to opera-singer parents, is turning heads around the world. Singing and acting with extraordinary freedom and poise, he was a most plausible poet and lover. ‘Che gelida manina’ – clearly Wang’s kind of music – revealed a thrilling tenor, with real ping at the top, but there is also a pleasing baritonal quality to this arresting voice. Opera Australia may have just found its next real thing.”
– Australian Book Reviews

“Kang Wang’s full lyric tenor suited with Requiem perfectly, bringing Verdi’s operatic style to the religious work. His Ingemisco emanated from the stage with exquisite legato and tasteful phrasing. His trio with Pancella and bass Michael Dean in the Lux aeterna wove a wonderful web of somber melancholy.”
– Eugene Scene

“Opera North debutant Kang Wang, as Tamino, impresses immediately with the contrasting fevered dread and love-struck lyricism of his opening arias, delivered with dramatic authority and musicality. As a Mozartian hero, his portrayal carries a special charge throughout.”
– The State of Hearts UK

“Kang Wang was one of the main prize finalists in the Cardiff Singer of the World in 2017 and it’s easy to see and hear why in playing the role of Alfredo. There is an exceptional quality in his voice and while there is clearly power and control, he exhibits a soft tenderness in many of the intimate sections. In many of the quieter passages he is capable of judging perfectly the volume needed to express his character’s emotional state against the needs of clarity for his audience. Listening to him you feel certain that his talent and tone are very special, which, alongside his acting ability here, made for a very convincing portrayal of his character.”
– Behind the Arras

“Young Australian-Chinese tenor Kang Wang was a finalist in the Cardiff Singer of the World last year. His range is delivered smoothly throughout, especially across the break, and there is an admirable warmth of tone in his quieter passages as the love-sick Alfredo. This is a voice which will be welcome in the world’s great opera houses for many years to come.”
– Express and Star

“Kang Wang, another newcomer to the company, accomplished what tenors in the role of Don Ottavio rarely do – he gave the audience a believable understanding of why he was the grand Donna Anna’s fiancé. Usually the character comes across as a bit of a milksop, trailing in the formidable lady’s wake for no obvious reason, but he sang and acted the part in a manner that conveyed a strength that frequently is lost. In a spot or two his phrasing was not of the smoothest, but seeing this role in the hands of a singer who could make something of the part was such a refreshing change that it didn’t much matter.”
– onStage Pittsburgh

“The entire cast is worthy of kudos, but the leading roles are played by the best in opera today. Kang Wang who dazzled Austin audiences in LA BOHEMÈ last season returns to play the playboy Duke with his gorgeous tenor and depth of character. He takes the iconic “La donna è mobile” from frivolous to haunting in the final act.”
– Broadway World