PRESS
Suzuki (Madama Butterfly)
Boston Lyric Opera
"Academy of Vocal Arts graduate Alice Chung - one of America's most gifted young singers - sounded wonderful as Suzuki; as Christa Ludwig...one could have followed the whole tragedy through her impassioned performance." - Opera News
"One of the best moments in the evening was the "Flower Duet," in which Butterfly and Suzuki (the imposing Alice Chung) decorated the camp with handmade paper flowers in anticipation of Pinkerton's arrival; the relationship between the two women felt the most real in the opera." - Wall Street Journal
"Another graceful surprise was Alice Chung’s Suzuki. Instead of a silly submissive housemaid, she is a grumpy waitress whose alliance with Butterfly comes from her genuine feelings of compassion for her—and a sincere disdain for Pinkerton. Chung’s mezzo tone is rich in lower harmonics, especially in the medium range of the voice. She is perfectly capable of commanding the stage in the most dramatic moments of the opera, especially in the final act. She is efficiently lyrical and tender when necessary." - OperaWire
La zia Principessa (Suor Angelica)
Out of the Box Opera
"Chung leans into La Principessa with a severe elegance; she filled the tiny chapel to overflowing with her magnificent voice." - Lavender Magazine
"Chung brings a beautiful and strong mezzo-soprano voice to her performance as La Principessa, conveying an icy exterior casting judgement on her distraught niece." - Talkin' Broadway
Ježibaba (Rusalka)
Academy of Vocal Arts
"Hers is a gleaming, formidable, take-no-prisoners mezzo. That alone is rare enough in a singer so young, and Chung deploys it with real panache and theatrical flair (including the best operatic cackle I’ve heard since Christa Ludwig’s fabulous recording of the Hansel und Gretel Hexe.)" - Parterre
"Chung...particularly excels in a role too often ceded to hooting character mezzos. Her rich, well-supported instrument thunders through Jezibaba’s warnings to Rusalka about the vagaries of human nature — and when her pessimism proves true, she’s chilling." - Broad Street Review
Azucena (Il trovatore)
Excerpts
"Here, she sang Azucena’s “Condotta ell’era in ceppi” with an actual feel for the score’s intricacies—it is bel- canto, as you said—and a riveting dramatic intensity." (Cameron Kelsall)
"Here, in a long and famously outlandish melodramatic narrative, every word and emotion had specificity and punch, and the voice rings out with grandeur.' (David Fox) - Parterre
"In the role of Azucena, mezzo-soprano Alice Chung was stupendous! Her husky voice is admirably suited to the role of this tormented Gypsy woman; and Alice Chung sang with great gusto and enormous vocal range." - The Berkeley Daily Planet
"In the latter mezzo Alice Chung brought as much depth to the character of Azucena as Salvatore Cammarano’s libretto and Verdi’s music allowed." - The Rehearsal Studio
La reine (Hamlet)
Excerpts
“Hamlet” is a tough sell musically, but on this occasion it had a formidable advocate in the person of mezzo-soprano Alice Chung, whose ringing, magisterial performance as Gertrude — abetted by baritone Timothy Murray in the title role – lent Thomas’ limp score a soaring grandeur it might otherwise have lacked." - San Francisco Chronicle
"The duet “Hamlet, ma douleur est immense!” found the regal-sounding Chung as Gertrude (Hamlet’s mother) moving from emotion to emotion – concern, confusion, denial and guilt – all within a single scene; it was truly a formidable experience!" - Parterre
In Concert
Various
"Chung’s command of her resonant chest tones sets her apart from most mezzos and gives credence to thoughts of her voice as that of a true and rare contralto." - Chestnut Hill Local on Pergolesi's Stabat Mater
"Chung was clearly in her comfort zone singing the entire collection. The control of her intensity made for viable compensation for the absence of that rich instrumentation." - The Rehearsal Studio on Mahler's Rückert-Lieder
"Alice Chung, a mezzo-soprano with a big, brave voice — I would not be surprised to hear her sing Wagner sometime — delivered her part with fine conviction and total clarity. The orchestra supported her in perfect proportion." - The Boston Musical Intelligencer on Bernstein's Symphony no. 1