English version An interview with Soprano Natasha Kung: Transcending Cultures and Languages by Singing the Melody of Life

In 2018, San Francisco's Verismo Opera staged a full-length Madama Butterfly. As the music swelled, Taiwanese soprano Natasha Kung, dressed in a kimono, resembled the young geisha Cio-Cio-San, Puccini's tragic heroine who adored her American military officer boyfriend but was doomed to tragedy. This was Kung's first full-length performance of a classic opera in her nearly 20-year singing career. (original Chinese version)

It tested not just her voice technique and consistency but also her memory and cross-cultural interpretive abilities. She managed to find her footing while balancing the demands of her everyday life and her musical career during six months of intense preparation, with her second child only a few months old. She reached a significant milestone in her career and gracefully and slowly bowed to the cheers of the audience.

From Literature to Vocal Music: Passion Guides Her Calling

 

I have already given you my heart;
my love will be faithful.
Never will I be cruel to you, my dearest hope.
— “Tornami a vagheggiar”  from Alcina

 

Natasha Kung, known for her high vocal range and natural musical talent, discovered her love for vocal music during her freshman year and dedicated herself to soprano training. Western styles dominate vocal education in Taiwan, so she proactively sought out teachers to learn multiple languages, enabling her to deliver lyrics accurately. She now speaks English, Italian, French, and German fluently, which greatly supports her work and international collaborations.

“Every language has a unique musicality. This, combined with my passion for and study of literature, has deepened my understanding of how to use sound to tell stories more effectively,” says Natasha Kung. Her love for opera stems from her literary interests. Before engaging with the music of a piece, she thoroughly researches its narrative, drawn to the historical context and origins of classical stories. This approach allows her voice to naturally express the emotions and imagery evoked by the story during performances, resonating deeply with audiences.

During her college years, she pursued her dream of studying abroad independently. Alongside continuing her French studies at the Sorbonne in Paris, she traveled to Milan with friends to audition for music academies. Although unforeseen circumstances prevented her from attending her first-choice dream school, she returned to Taiwan to complete her music degree at the National Taiwan University of Arts. Throughout her studies, she never ceased seeking knowledge, actively participating in opera performances and immersing herself in local history and culture—believing that “only through these can one truly enter the soul of a nation.”

 

After graduation, she chose to go to the United States, where she successfully earned her Master of Music and Doctor of Musical Arts degrees. During this time, she studied under renowned vocal coaches such as Marianna Bushing. She completed her studies in 2003 and subsequently embarked on her teaching career.

Crossing Languages and Cities: Seeking the Soul of Stories Through Songs

 

Meng Jiangnu lifts her gaze to the endless sky.
Tears like mist in her misted eyes.
When shall I meet my Qi Liang again?
In the Double Ninth Festival, the wine of chrysanthemum brews in vain.
In vain we gaze—the autumn leaves drift by.
The wind turns cold, and the moon frosts the sky.
— "Meng Jiangnu", a Chinese folk song with lyrics by Liu Lin and music by Wang Zhixin

 

This July, Natasha Kung showcased her ability to sing in multiple languages during her solo performance at Taipei's Forum Music Auditorium. She sang excerpts from the Western classical opera repertoire as well as specially adapted works like "Meng Jiangnu," "The Drunken Noble Consort," and "Wang Zhaojun's Departure for the Frontier" that were influenced by Chinese classical literature. Her skill and brilliance as a Chinese repertoire interpreter captivated the audience with her vocal artistry. In the meantime, her commitment to conserving literature, culture, and history was embodied in her singing.

After years of study and research, Dr. Natasha Kung earned her doctorate and went on to secure a teaching position. She has since taught in China, Taiwan, and the United States. Her tenure at the Music Department of Southwest University in Chongqing, China, proved particularly influential. There, she not only shared her expertise generously but also immersed herself in Beijing Opera, Sichuan Opera, and Cantonese Opera. At the same time, she compared these forms with regional operas in Taiwan, such as Taiwanese Opera and Hoklo Opera, recognizing that most of these theatrical traditions share common historical roots, resulting in similar narratives and texts.

Furthermore, she made connections with numerous notable modern Chinese composers and lyricists during this time through her students, including some who had suffered during the Cultural Revolution. She introduced their vibrant works into the field of vocal music by adapting and reinterpreting them. Through her performances, she offered new platforms for expression and helped preserve these literary masterpieces so they could continue to be sung and passed on to future generations.

 

 

Natasha Kung has remained open to diverse cultures through continuous learning and cultural exchange. For her, music is not only a means of self-expression but also a bridge that fosters understanding and connection among people. “By performing roles from different cultures, I can transcend my own limitations,” she says. Through immersing herself in these varied characters, she continues to deepen both her artistry and her life.

 

Overcoming Obstacles in a Foreign Land to Develop Independence and Resilience

 

See? He has come!
I will not go down to meet him.
No, not I. I’ll stand there, on the edge of the hill,
and wait, and wait for a long time,
and the long waiting will not weary me.
──“One Fine Day, We Shall See” from Madama Butterfly

Yet even a professional woman like Natasha Kung has faced societal discrimination. As a mother of two, she acknowledges that pregnancy often became a convenient excuse for workplace unfairness—a pattern still common in the arts and academia. After relocating to California with her family, she continued to pursue her career. To maintain flexibility and financial independence, she balanced teaching with her work as a business manager at a tech company, allowing herself greater freedom of choice.

 

“It’s common to feel confined when you’re not in control of your own destiny,” she reflected. “Since moving to the United States, I’ve always insisted on running my own small business and music studio to preserve my independence and self-reliance.” She emphasized, however, that for many professional women and female musicians, career advancement often takes precedence over personal well-being—at the cost of their physical and mental health. Natasha herself experienced the toll of stress on the body when she was unexpectedly diagnosed with cancer while juggling demanding work and family responsibilities.

She stressed that everyone experiences stress differently and that it’s essential to listen carefully to the body’s signals. Now able to speak about her illness with ease, she looks back with perspective: “As long as you’re alive, finding a job or making money isn’t the real issue,” she said. “What truly matters is finding balance between body and mind. Becoming ill forced me to re-evaluate my priorities and reminded me of the fundamental importance of health—in a way, it set me on a more positive path.”

 

Establishing Chapters of Art and Life and Utilizing Music to Bridge the World

 

Ah! What supreme joy.
I feel it in this very moment!
t is the purest joy
that I shall ever know.
──“The Night Was Calm and Silent” from Il Trovatore

 

In addition to serving as the music director of First Lutheran Church in California, Natasha Kung regularly accepts invitations from Verismo Opera to participate in various opera productions. Her roles have included the lead in Mascagni's L'amico Fritz (2015), the Countess in Verdi's Il Trovatore (2022), and her first full-length opera challenge as Cio-Cio San in Madama Butterfly (2018). Her recorded Mandarin opera performances have been featured in Google VR development projects at Google's Mountain View headquarters, where she also works as a contracted artist.

“I see a connection between life, art, and technology. Music connects people, emotions, and the world; it is more than just a performance,” says Natasha Kung, an unconventional soprano. She believes her experiences have pushed her beyond her comfort zone to pursue new opportunities. Constantly linking literature, culture, and life through music, she sings with resilience whether exploring opera or cross-linguistic interpretations.

She believes that music is always created, sung, and performed by people, and it is people who give it life. Therefore, she is unconcerned that technology will replace musicians' skills. “In the end, music is a human and emotional expression,” she says firmly. Genuine singing and interpretation, she insists, are the only things that can truly touch people's hearts. She continues to perform live each year, finding that every performance evokes stronger feelings and serves as a reminder of art's power.

 

(Translated into English with AI assistance; reviewed by editors.)