Shu-Ying Li describes herself modestly as just “a Chinese girl trying to be a Japanese girl.”
This week, she is at the end of a run of six performances at New York City Opera in the title role of Madama Butterfly, perhaps the most famous Japanese character in all of opera. If you look at Shu-Ying’s schedule for the past few years, you will see that Cio-Cio-San has become her calling card; she sings it everywhere from Hawaii, Texas, and Oregon to Hong Kong, Connecticut, and Japan. Fortunately, she says that more than anything else she loves singing Puccini.
The soprano, a native of Shandong, China, studied at Shanghai Conservatory and then lived and studied in New York for seven years; she now makes Shanghai her home when she is not on the road. When in New York, she studies with Ruth Falcon, one of the city’s most prominent voice teachers, and she has coached the role with one of its most famous interpreters: Renata Scotto.
In part 2 of the interview, Shu-Ying talks to Jennifer Melick about her favorite singers, what it’s like being halfway around the world from home, the opera business in China, and what it’s like singing Cio-Cio-San in Japan.
Jennifer Melick: So you lived in New York for seven years, but you have moved back to Shanghai. What is it like for you when you come to New York now?
Shu-Ying Li: Back when I lived here, I subletted an apartment. This time around I am staying with a friend who has an apartment in the Bronx, which is great. There is a piano where I can practice.
Jennifer Melick: Your English is excellent. Where did you learn to speak so well?
Shu-Ying Li: From the people everywhere when I travel; from television; and from magazines. At first I didn’t understand, but gradually I began to learn. For that first performance in Budapest, in rehearsal, I had a translator. I do get lost sometimes, but I try to follow as much as I can. I went to Italy a couple of times just to study. Because language is so important for me as an opera singer, I have to be able to understand. My English is poor, perhaps, but I can communicate! I wish I could study more. Or have more time to, but there is never enough time to study as much as you want. read more
Shu-Ying Li modestly describes herself as just “a Chinese girl trying to be a Japanese girl.”
This week, she wraps up a run of six performances at the New York City Opera in the title role of Madama Butterfly, perhaps the most famous Japanese character in all of opera. Over the past few years, Cio-Cio San has become Shu-Ying Li’s calling card; she sings it everywhere from Hawaii, Texas, and Oregon to Hong Kong, Connecticut, and Japan. Fortunately, she says she never gets tired of singing it.
The soprano, a native of Shandong, China, studied at Shanghai Conservatory and then lived and studied in New York for seven years. These days, she lives in Shanghai when she is not on the road performing. When in New York, she studies with Ruth Falcon, one of the city’s most prominent voice teachers, and she has coached the role of Cio-Cio San with one of its most famous interpreters: Renata Scotto.
Last Thursday, over lunch at Rosa Mexicana restaurant (right across the street from the New York City Opera stage door), Shu-Ying talked to Jennifer Melick about how she got her start, what she loves about Mark Lamos’ current production at City Opera, how she used to play hooky in kindergarten, what she does to look like and act like a realistic Japanese teenager, and roles she plans to sing in the future.
Jennifer Melick: What was your first professional opera role?
Shu-Ying Li: My first professional role was after I won second prize in the Budapest International Voice Competition. I was hired to sing two performances in La Bohème at the Budapest Opera. Musetta—not Mimì. I only knew Chinese at the time! I did not speak any other language. But I performed the whole opera. I had a translator to help during rehearsals, at least. I could watch the people, see what the director was telling me to do, and the music just moved me around. It is such a great memory for me. At that time, I thought, “Wow, that is the world I am looking for!” All I wanted, more than anything else, was to be an opera singer. Those were the performances that got me started. I made my American debut in New York in March 1999 when I came to sing at a Metropolitan Museum concert called Asian Voices. A gentleman who supports many aspiring Asian opera singers sponsored the concert. So he changed my life—he brought me from Shanghai to New York. There were fifteen singers in this one concert! They came from Japan, Korea, and China. read more
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