KANG WANG Tenor

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CONTACT


Gianluca Macheda
Worldwide Representation
gmacheda@gmartandmusic.com

Martina Biagini
Logistics
mbiagini@gmartandmusic.com
+39 3479762848

“Strikingly handsome in demeanour and voice” and hailed for his “radiant, distinctively timbred tenor” that is “boundless in its metallic high notes”, with “delicious ping”, “velvety legato” and “sonorous pianissimos”, Australian-Chinese Kang Wang is quickly establishing himself as one of the most sought-after tenors in the opera world.

In season 2025-26, Kang Wang will perform as Alfredo in La traviata at the Metropolitan Opera in New York, Rodolfo in La bohème at the Teatro San Carlo in Italy and Sydney Opera House in Australia. He will also make his house debuts at the San Francisco Opera in the title role of their world premiere of The Monkey King by Huang Ruo, at the Bavarian State Opera in Munich as Ismael in Nabucco, at the Vienna State Opera as Rinuccio in Gianni Schicchi and role debut of Edgardo in Lucia di Lammermoor at the Tiroler Festival in Erl, Austria.

The 2024-25 season saw Mr. Wang appear as Roberto in Le Villi with the Munich Rundfunkorchester, Macduff in Macbeth at the Washington National Opera, Pinkerton in Madama Butterfly at the Canadian Opera Company, Rodolfo in Luisa Miller at the Washington Concert Opera, Roméo in Roméo et Juliette and Rodolfo in La bohème at the Semperoper Dresden and Alfredo in La traviata with the Seiji Ozawa Music Academy and the Tiroler Festival of Erl in Austria.

In the previous seasons, Mr. Wang made his debuts as Rodolfo in La bohème at the Canadian Opera Company and Teatro del Maggio Musicale Fiorentino, as Don Ottavio in Don Giovanni at the Houston Grand Opera in Texas, as the title role of Les contes d’Hoffmann at the Palm Beach Opera and at the Metropolitan Opera as the Italian Singer in Der Rosenkavalier. Moreover, he made his house debut at Teatro di San Carlo as Alfredo in La traviata. He has also performed at renowned houses including Opernhaus Zürich, Washington National Opera, Seattle Opera, Opera Australia, Opera Queensland, Toscanini Festival in Italy, Welsh National Opera, the Glimmerglass Festival, Opera North in Leeds, Pittsburgh Opera, and Opera Hong Kong, delivering compelling portrayals of Rodolfo in La bohème, Alfredo in La traviata, Duca di Mantua in Rigoletto, Ferrando in Così fan tutte, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni as well as Roberto in Le villi.

In concert, Mr. Wang had joined the NDR Radio Philharmonic Orchestra, Melbourne Symphony Orchestra, Beijing Symphony Orchestra, Los Angeles Philharmonic Orchestra, the National Philharmonic Orchestra of Russia, London Philharmonic Orchestra, San Antonio Symphony, American Classical Orchestra, Guangzhou Symphony Orchestra, Hong Kong Philharmonic Orchestra, Philadelphia Orchestra as well as Queensland Symphony Orchestra, for works such as the Verdi Requiem, Mahler’s Das Lied von der Erde, Rossini’s Stabat Mater, Mendelssohn’s Elijah, Beethoven’s Symphony Nineth, Britten’s War Requiem, Tan Dun’s Buddha Passion and various operatic gala concerts. Mr Wang had also given recitals in the United Kingdom, United States, Estonia, Russia, China, and Australia.

SEASON 2025/2026

More performances being added as they are announced officially

REVIEWS


KlasikaPlus : "Outstanding were not only the chorus and orchestra, but also the soloists — especially Kang Wang as Roméo, who took on this challenging role with absolute mastery. He impressed not only with his solid high notes, which rang out fully even above the entire orchestra, but also with the dynamic nuance he brought to the whole role, including sonorous pianissimos. His acting was also extremely natural. Wang is a singer we will certainly hear much more from in the future."

Pizzicato : "Ja, der Romeo des chinesisch-australischen Sängers Kang Wang, er ist die eigentliche Sensation dieser Dresdner Opernproduktion: jung, gutaussehend und damit absolut glaubwürdig zum Verlieben und das mit einer fülligen, immer freien, nie engen Stimmgebung seines herrlichen Tenors. (Yes, the Romeo of the Chinese-Australian singer Kang Wang, he is the real sensation of this Dresden opera production: young, handsome and therefore absolutely believable enough to fall in love with, and all this with a rich, always free, never tight voice from his magnificent tenor.)"

Operalounge : "Einen Tenor von enormer Pracht ließ der australisch-chinesische Tenor Kang Wang hören, der als Roméo an der Semperoper debütierte. Die reich timbrierte Stimme schien ohne Grenzen in der metallischen Höhe, ohne Limit in der Durchschlagskraft. (Australian-Chinese tenor Kang Wang, who made his debut as Roméo at the Semperoper, delivered a tenor of tremendous splendor. His richly timbred voice seemed boundless in its metallic high notes, without limit in its penetrating power.)"

Sächsische Zeitung : "Dabei führte Jindra unaufgeregt zu großen, mitreißenden Höhen, die ihre Glanzpunkte in exzellent besetzten Solisten hatten. Allen voran beeindruckt der scheinbar ermüdungsfreie, geradlinig gestaltende Tenor Kang Wang als Roméo. Er ist ein junger, unkomplizierter Mann, charmant und gefühlvoll, einer zum sofortigen Verlieben. (Jindra calmly led the way to great, thrilling heights, culminating in excellently cast soloists. Above all, the seemingly tireless, straightforward tenor Kang Wang impresses as Roméo. He is a young, uncomplicated man, charming and sensitive, the kind you'll instantly fall in love with.)"

Opera Magazine June 2025 Issue : "He's a full-throated tenor who sang with outpourings of smooth but impassioned coloratura and high notes of remarkable purity. His voice had warmth, pathos, vigour and, above all, majesty of tone."

…

Oper! Magazin : "Der australisch-chinesische Tenor Kang Wang verlieh seinem Romeo kraftvollen Wohlklang und spielerisch glaubwurdige Darstellung, war ein ebenburtiger Partner auf Augen (und Ohren) hohe. (The Australian-Chinese tenor Kang Wang sang his Romeo powerfully and sonorously, a playfully credible performance, and an equal partner on eye (and ear) level.)"

Concerti : "Der Tenor Kang Wang lässt als Roméo im Strahl und in der kräftigen, aber lyrischen Vokalkonsistenz sogar an Neil Shicoff denken. (Tenor Kang Wang's radiance as Roméo, combined with his powerful yet lyrical vocal consistency, even brings to mind Neil Shicoff. )"

IOCO - Kultur im Netz : "Als Roméo konnte der Hausdebütant Kang Wang einen strahlenden, apart timbrierten Tenor für die technisch anspruchsvolle Partie mit einer geschmackvollen Gesangslinie auf die Szene bringen. Wang entwickelte seinen Gesang musikalisch souverän geführt, stilvoll und ohne Kitsch. Seine Stimme passte in den Duetten sehr harmonisch zu der Takalas und seine Arien waren von bezwingender Eindringlichkeit. Wie Wang die zarten Töne auf das Fundament des Orchesters auflegte, war beeindruckend. In der Höhe schien seine Stimme keine Grenzen zu kennen, blieb stets geschmeidig. Alles klang elegant und ohne Forcierung mit großem Atem gesungen. In den Ensembles brillierte er mit Durchschlagskraft. Zudem war Kang Wang ein ausgezeichneter, lebensechter Roméo-Darsteller und beeindruckte mit seiner Lauterkeit. (As Roméo, house debutant Kang Wang brought a radiant, distinctively timbred tenor to the stage for the technically demanding role, with a tasteful vocal line. Wang developed his singing with musical mastery, style, and without kitsch. His voice fit perfectly with Takala's in the duets, and his arias were captivatingly powerful. The way Wang layered the delicate notes onto the orchestral foundation was impressive. In the high register, his voice seemed to know no bounds, remaining consistently supple. Everything sounded elegant, sung with great breath and without forcing. He shone with his power in the ensembles. Furthermore, Kang Wang was an excellent, lifelike Roméo performer and impressed with his clarity of voice.)"

Parterre Box : "Kang Wang, a highlight of Washington National Opera’s fall production of Macbeth, impressed again here as Rodolfo with an ardent, throwback style and big notes that opened up with a delicious ping. Wang showed restraint with all that firepower, however, reserving some thrilling surprises for the audience as he revealed additional gears in Act I’s climax and the final depths of despair in Act III. He also earned the biggest applause of the night for his handling of the show’s breakout number, 'Quando le sere al placido,' using subtle gradations between mezza voce and full voice effects to create an irresistible sense tension and release. Wang’s ability to generate real pathos with arguably one of the dumbest tenor characters in the Verdi library (c’mon dude, she did not leave you for your dad’s henchman Wurm) was no small feat."

Maryland Theatre Guide : "Tenor Kang Wang played Rodolfo magnificently, singing powerfully and with full-throttled emotion as he feels betrayed by Luisa, having read the false letter. His performance of “Quando le sere al placido,” the show’s most celebrated aria, was stellar. "

OperaClick : "Wang ha mostrato una vocalità da tenore lirico belcantista perfetta per la parte. L’emissione era sempre in maschera, con acuti squillanti e un fraseggio elegante. “Quando le sere al placido” è stata interpretata con la freschezza e il trasporto dei giovani amanti traditi e la ricchezza degli armonici con la qualità della grana vocale hanno scatenato l’applauso più acceso della serata."

The Washington Post : "A brilliant young tenor gets a role worthy of his voice"

Washington Classic Review : "In his dramatic scena that ended Act II, Wang purred with velvety legato in the cavatina “Quando le sere al placido.” In the concluding cabaletta of despair, “L’ara o l’avello apprestami,” he drew the evening’s loudest ovations with room-filling volume on the piece’s B-flat climaxes."

Pizzicato : "Kang Wang is an excellent choice for Roberto. The Australian-Chinese tenor’s voice has truly Italian qualities. This is great vocal artistry, intense in expression, vocally dedicated to bel canto."

My Entertainment World : Skilled tenor Kang Wang is a particularly dreamy Pinkerton in an intriguing piece of casting that unlocks new intellectual ideas about the story’s commentary on race and identity"

Stage Door ： "With his good looks, ringing voice and phenomenal lung-power Wang should go far. One would never know that this was Wang’s role debut as Pinkerton since has the full measure of role, smirking at quaint Japanese customs but clearly enraptured by Butterfly’s beauty. Pinkerton may be the villain of the opera, but Wang almost makes us forget this when he sings “Dovunque al mondo” or “Addio, fiorito asil” with such power and clarity of tone."

La Scena Musicale : "Tenor Kang Wang makes a welcome return to the COC stage, after his acclaimed performance as Rodolfo in last season’s La bohème. His handsome looks befit the dashing Pinkerton who is both flamboyant and callous. His anguish and remorse upon discovering the consequences of his actions was genuine. Wang’s gorgeous tenor has a hint of darkness reminiscent of a young Jonas Kaufmann. Along with Nakamura, he offered one of the performances’ musical highlights as they both soared to a high C in the beautiful love duet “Vogliatemi bene.” "

Luwig van Toronto : "Australian-Chinese tenor Kang Wang as Pinkerton delivers a powerful performance that elicits the nuanced facets of Pinkerton. There is a richness and clarity to his singing that demonstrates Pinkerton’s bravado and confidence. And yet, Wang reveals a tenderness and compassionate side of Pinkerton when he consoles Butterfly after she renounces her religion. Wang’s Pinkerton is one of the most compelling aspects of this production. With his exceptional singing and acting, he is a talent I’m looking forward to seeing again on stage."

Opera Canada : "Australian Chinese tenor Kang Wang, returning to the COC after his marvelous Rodolfo in La bohème last season. As Pinkerton, his big ringing tenor and brilliant top register was a real pleasure, and the couple had great chemistry in their love scene. Pinkerton is an anti-hero, but Wang’s gorgeous vocalism almost makes one forget that the character is such a cad."

Bachtrack : "Kang Wang, strikingly handsome in demeanour and voice...brought much sincerity and affection to his portrayal of Pinkerton"

Ludwig van Toronto : "Australian Chinese tenor Kang Wang, in town for Pinkerton in Madama Butterfly, sang Alfredo’s Act Two aria from La traviata with beautiful, clarion tone and a great top as well as a lovely diminuendo. His next piece was “Nessun dorma,” practically an obligatory choice in gala concert programming these days. His gorgeous spinto tone with plenty of squillo is ideal in this aria. The audience showed its appreciation with huge ovations. "

The Tower : "Macduff, brought to life by Kang Wang, gave a wonderful performance; in fact, his sole triumphant aria left the audience cheering, and they gave him applause longer than any other performer."

Opera Canada : "And the evening’s biggest internal ovation went to tenor Kang Wang for his unaggressively clarion delivery of Macduff’s “Ah, la paterna mano.” My, how that voice has grown since 2016, when I first heard him at Juilliard as Bellini’s Elvino! "

Medium : "When Kang Wang as Macduff takes center stage for his aria in Act Four, the audience collectively holds its breath. His tenor voice carries such raw emotion that when he finishes, the theater erupts in an explosion of approval that feels less like typical opera house appreciation and more like a primal recognition of shared humanity."

Broadway World : "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."

Anne Midgette : "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. "

DC Theater Arts : "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."

OperaGene : "...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. "

The Washington Post : "...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."

Olyrix : "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.)"

Palm Beach Daily News : "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..."

South Florida Classical Review : "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. "

Stage Noise : "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."

MD Theatre Guide : "Kang Wang lent his seemingly effortless tenor to an unforgettable 'Che gelida manina'"

Opera Today : "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."
Australian Book Review : “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; “

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

Bachtrack : "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."

Limelight Magazine : “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.”

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

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

Limelight Magazine : "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. "

Australian Book Reviews : "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."

Eugene Scene : "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."

The State of Hearts UK : "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."

Behind the Arras : "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.”

Express and Star : “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.”

onStage Pittsburgh : "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."

Broadway World : "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."