Performances + Events
In March, soprano and NEC Concert Artist Dani Jingdan Zhang ’26 AD recorded a Studio Session in which she sang Schubert’s Im Freien, D. 880, the Nocturne from Barber’s Four Songs, Op. 33, and “Ach, ich fühl’s” from Mozart’s Die Zauberflöte, with collaborative pianist Hyojeong Ham ’26 GD. Later in the month, Zhang, who studies with NEC Voice Department Chair Bradley Williams, appeared in an Institute for Concert Artists Showcase. We spoke with Zhang about her craft and the collaborations she’s recently enjoyed.
Q: How did you choose the repertoire for this Studio Session?
A: The three pieces I selected for the NEC Studio Session each represent distinct musical styles that personally resonate with me. Each work challenges me to reveal different facets of vocal artistry while maintaining deep emotional authenticity.
Barber’s Nocturne came to my attention when pianist Hami invited me to perform a set of Barber songs for her recital in February. I was immediately impressed by its expansive, rich, and profound depth. During this collaboration, Hami also introduced me to Schubert’s rarely performed art song Im Freien. Its refreshingly delicate and lovely melody instantly captivated me.
Mozart’s “Ach ich fühl’s” has always been one of the most technically and emotionally demanding arias in the soprano repertoire. Working on this piece with Susan Graham recently gave me a fresh perspective on my interpretation. I’ve delved deeper into the aria not simply as sorrow, but as a fiery catharsis — a powerful outpouring of vulnerability and humanity beneath the pain.
Q: What kinds of conversations did you and Hami have in rehearsals?
A:In our rehearsals, we stayed open to new possibilities and found something fresh in the music every time. We explored subtle shifts in dynamics, phrasing, and tempo. Our collaboration was a true partnership built on trust and shared vision. Hami approached every rehearsal with curiosity — we’d dissect phrasing section by section, share our insights of emotional intent, then experiment freely. We often discover new colors I could mirror vocally.
Q: Is it a challenge to toggle between languages in one program?
A: Yes, switching between languages in one program can be challenging, particularly in maintaining linguistic authenticity, but it’s also one of the most enriching parts of the work. Each language has its own rhythm, color, and expression.
Q: Talk about the different headspaces you have to get into when singing opera arias and art songs.
A: Opera arias and art songs require different artistic approaches and mental frameworks. In opera, I must fully embody a character’s reality — arias demand dramatic presence and emotional vulnerability. I immerse myself in the moment, as each aria represents a climactic emotional expression, often a burst of feeling at a pivotal point in the story.
Art songs, on the other hand, are more like intimate confessions. Each one can stand alone as a complete story, open to different interpretations. The focus is more on the text as poetry, where every detail, every dynamic shift, every nuance of diction, can carry so much meaning. It is an intensely personal form of art for me.
Q: Can you take us back to the Institute for Concert Artists Showcase performance and tell us about collaborating with violinist Joshua Brown ’22, ’24 MM, ’26 AD and pianist Yutong Sun ’19, ’21 MM, ’22 GD, ’25 AD?
A: Absolutely — it was one of the most unexpected and special collaborations I’ve had in NEC’s Institute for Concert Artists. Performing alongside Joshua and Yuntong was truly a joy and an honor. I’ve been deeply inspired by their artistry — they’re not only exceptionally talented musicians, but also wonderful people. Everyone was kind, respectful, and highly professional throughout the process. I’m incredibly grateful to the ICA for bringing us together for such a meaningful performance.
Q: What do you learn about your voice when you hear it played back?
A: Honestly, I’m always very critical when I listen to recordings of my own singing. But I understand that perfection is not really the goal. What I focus on instead is growth. Listening back helps me recognize both the progress I’ve made and the things I still need to work on. At every stage, physical changes in my voice lead me to new awareness and a deeper level of thinking. It’s all humbling and an essential part of the lifelong journey of learning, evolving, and refining my voice.
Q: What are you reading, watching, and listening to lately?
A: Lately, I’ve been spending most of my time listening to vocal music and reading through a wide range of scores. I’m in the process of selecting repertoire I’d like to study and planning the program I’d love to perform for my next recital. So my focus has really been on discovering pieces that speak to me both musically and personally.
