top of page


As "Amour" in Orphée+ (Edmonton Opera)

“Fung not only showcases impressive vocals but does so while suspended in midair- often upside down- in a billowing web of aerial silks.”
-Broadway World

“Then there’s Etta Fung, who nearly steals the show despite short bookend appearances as Cupid, climbing the hanging silks and twirling in the air, singing impeccably as she does.”
-Edmonton Journal

“Edmonton’s audience gave her vigorous applause after she had descended to the stage. They clearly loved the conceit of the ‘flying’ Cupid, and the exertions of climbing into position and ‘floating’ above the action had no impact on Fung’s clear, insistent delivery.”
-Opera Canada

As "Keiko" in Beauty and Sadness: (Hong Kong)

"In a work whose success depends as much on acting as singing, Fung not just held her own in this rather exalted company but created a complex character out of whole cloth."
-Asian Review of Books

"In the all-Asian cast, the most outstanding singer was undoubtedly Etta Fung who played the role of Keiko. Aside from excelling vocally, Fung also gave a full display of her acting talents, leaving a strong impression."
-Hong Kong Economic Journal

As "Queen of the Night" in The Magic Flute:
(Hong Kong)

"Fung had previously impressed around town, for stage presence as well as singing. Mozart gives the best music of the night—the show-stopping aria “Der Hölle Rache”—to the Queen of the Night (which was originally premiered by Mozart’s sister-in-law Josepha Hofer), which Fung managed with aplomb. It’s a shame she wasn’t on stage longer."
-Asian Review of Books

"...soprano Etta Fung made a stunning Queen of the Night and showed herself as a singer to watch."
-China Daily


As "Amour" in Orphée: (Banff)

“Soprano Etta Fung performed the miraculous feat of not only singing Amour with charm and verve, but also by simultaneously clutching, twisting and cavorting around and about two billowing cloths in a display of aerial artistry.”
 -James Sohre, Opera Today

“but best of all, the hanging silks that would suspend an acrobatic (vocally and aerobically), brilliant Etta Fung as an eternally hyperactive and interventive Amour, could be at once pillars of marble, fire, or smoke depending on the scene we were viewing.”
-Stephan Bonfield, Calgary Herald

“But the show-stealer may have been Etta Fung’s performance as Amour. You have to see the performance to believe it but it might best be described as Cirque du Soleil meets opera at points. The character of Amour acts as a guide for Orpheus throughout his journey. In Orphée+, Amour’s character does just that but performs aerials while singing soprano. Fung was simply superb. She is a highly-trained aerialist artist and coloratura opera singer who is sought out worldwide and it is clear why.”
-Maureen McEwan, Bow Valley Crag and Canyon

As Annina + Flora in La Traviata: (Hong Kong)

Fung merits mention not just, again, for the voice but also for her distinct portrayals of the two characters. In these she was helped by good costumes, but nevertheless, if the program has not let on that the that lascivious Flora and trim, professional Anina were performed by the same person, one might never have known.
-Asian Review of Books

As Gretel in Hänsel und Gretel: (Germany)

"Die Solisten, aus Amerika mit angereist, überraschten mit starker Bühnenprsenz, allen voran die aus (Hong Kong) stammende, sehr mädchenhafte und sehr spielfreudige Etta Fung mit einem kräftigen Sopran, der die Wagner-Anklänge noch weiter verdeutlichte.”

-- Hamburger Abendblatt

(Translation:"The soloists from America surprised us with strong stage presence, especially soprano Etta Fung who acted with great enthusiasm, her powerful soprano voice underscoring the Wagnerian sounds of the score.")

bottom of page