Madame White Snake - Opera Boston
"Dong-Jian Gong wielded his rumbling bass like a weapon in the role of the Abbot Fahai, the dark, intrusive harbinger of death and destruction."
— Kalen Ratzlaff,
Opera News
|
Opera Review: 'Madame White Snake'
"Dong-Jian Gong, with experience in both Chinese and western repertory, brought a fine bass to the role of the Abbot."
— Caldwell Titcomb,
Arts Fuse
|
Madame White Snake Worthwhile Effort from Opera Boston
"Earthy bass Dong-Jian Gong [was] ... expressive as the Priest who sees through Mme. White Snake's magical disguise and engages her in war for Xu Xian's soul."
— David Shengold,
Boston Musical Intelligencer
|
Curtain rises on ancient Chinese myth
"Both Peter Tantsits and Dong-Jian Gong sang well as, respectively, Madame White Snake's lover and the stern Abbot Fahai, who unmasks the snake's real identity and summons her rage as well as the apocalyptic ending."
— Jeremy Eichler,
Boston Globe
|
'Snake' makes for charming opera
"Both Tantsits and Dong-Jian had parts that challenged their range, and sang with distinction."
— Keith Powers,
Boston Herald
|
The Umbrellas of Hangzhou: Opera Boston Premieres Madame White Snake
"Abbot Fahai (Dong-Jian Gong, heavily accented but powerful), shares the chorus's disapproval, arriving in autumn with his ancient gutterpunk robes and music like heavy footfalls and low, brassy doom."
— C. Fernsebner,
Bostonist
|
"The stalwart bass Dong-Jian Gong personified the dignified, yet pathetically gloomy and suspicious Philip. The power and mellow beauty of the singer's upper register were used to superb effect in `Ella giammai m'amò.'" [DON CARLO]
— Opera
|
"Dong-Jian Gong sang solidly and acted affectingly as Timur." [TURANDOT]
— New York Times
|
"Dong-Jian Gong made a fine debut as Ramfis, the High Priest. He sang suavely and with assurance." [AIDA]
— Seattle Post-Intelligencer
|
