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Vivian Yau was the picture of a tragic princess, resplendent in her white empire-waist gown. Her clear, silvery tone, by turns sweet and cutting, was complemented by a strong stage presence, expressive dynamic choices, and clear emotional arcs in each aria. She mostly sang laments, but in “Non è più tempo” she showed that she could also deploy soprano sass when offended.
/ san francisco classical voice /
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Rosina's famous aria, "Una voce poco fa," revealed a light, silvery, bright soprano with impressive coloratura in Hong Kong-born Vivian Yau, a million-watt smile endearing her to the audience.
/ aspen times /
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The Hong Kong-born, Juilliard-trained Yau was a delightful light-voiced coloratura. Yet she delivered “Caro nome,” from Verdi’s “Rigoletto,” with some real depth as well as exquisite delicacy. It was heartfelt and deeply touching.
Yau proved delightfully dexterous and brilliant in the virtuosic “Una voce poco fa” from Rossini’s “The Barber of Seville.” Her lyrical brilliance was showcased in “Prendi” from Donizetti’s “L’elisir d’amore.”
/ times argus /
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Ms. Yau's beautiful timbre was well suited to the ethereal nature of the songs.
/ voce di meche /
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Especially lovely was Liang Nan’s “You Asleep, I Awake” (2015), a song in a westernized style, beautifully sung by Vivian Yau, a soprano.