Chinese soprano Yujin Zeng, celebrated for her luminous vocal tone and pinpoint coloratura artistry, has been rapidly ascending in acclaim across America’s operatic landscape. Rooted in New York City’s vibrant operatic scene, she weaves a deliberate tapestry of technical rigor and emotional resonance into her performances—securing her place among a new cohort of globally honed sopranos leaving an indelible impression on stages nationwide. Her artistic odyssey has been shaped by two guiding forces: insatiable curiosity and unyielding tenacity—qualities that still steer her trajectory as both a performing artist and classical musician.
During her studies in New York, Zeng joined forces with Opera Camerata New Jersey to embody Adina in L’elisir d’amore—a portrayal that marked her New York City role debut, staged at Opera America’s performance hub. The experience would emerge as a pivotal turning point in her artistic evolution.
Adina, with her quicksilver wit and playful boldness, stood in striking contrast to Zeng’s own demeanor—rendering the role both alien and profoundly enriching. Rehearsals demanded she navigate emotionally charged scenes and step into bold exchanges with multiple male characters; at first, nerves and self-consciousness crept in, particularly amid certain stage movements. Yet as she delved into exploring vulnerability and expression, she gradually unlocked a new openness: finding her rhythm, embracing the dynamic physicality of operatic performance, and forging a deeper bond with the stage’s dramatic potency.
In that process, she not only opened herself up but rediscovered the sheer delight of storytelling—how voice and presence together breathe life into narrative. It was a revelation that would linger long after the final curtain.
This breakthrough would soon bear fruit in her portrayal of Lucia in Lucia di Lammermoor, another iconic heroine crafted by the same composer, Donizetti—this time plunging her into the realm of psychological intensity and vocal bravura.
In 2024, Zeng claimed the title role of Lucia in Lucia di Lammermoor with New York’s Regina Opera, earning the part through a standout audition that won unanimous artistic approval from the company’s conductor and stage director. One member of the artistic team later reflected in a recommendation letter that she brought “startling emotional precision and a natural instinct for shaping musical line”—qualities rarely seen in young singers at this stage. Arriving at rehearsals steeped in the character’s musical language and emotional journey, she delivered a tour de force in the iconic Mad Scene: top notes as clear as cut glass, fearless vocal agility, and a haunting gravity that captivated audiences. Critics and patrons later cited her performance as pivotal to one of the company’s triumphant recent productions.
Later that year, she embodied Juliette in Roméo et Juliette at Utah Valley Operafest, showcasing her gift for lyrical phrasing and nuance. Seamlessly shifting from youthful effervescence to tragic resolve, she grounded the role in humanity rather than glamour—unearthing Juliette’s innocence, heartbreak, and quiet strength with revelatory sincerity. The audience leaned in, drawn to the raw truth of her performance as much as the music.
Zeng’s stage repertoire spans further: she has embodied Gilda in Rigoletto, dual roles as La Princesse and Le Feu in L’Enfant et les Sortilèges, and Musetta in La Bohème. Notably, she took on Lu Mu-Zhen in Huang Ruo’s Dr. Sun Yat-Sen—a modern Chinese-language opera that became a bridge to her cultural roots, allowing her to channel heritage through a contemporary musical lens.
In the summer of 2024, Zeng took the stage at the “Deborah Voigt and Friends” concert, sharing the spotlight with luminaries including Metropolitan Opera soprano Christine Goerke. Her rendition of the French aria “Je veux vivre”dazzled audiences, its brilliance matched only by her poised stage presence.
Following directly after Goerke—a moment that might unnerve even seasoned performers—Zeng infused the piece with a sparkling vitality and stylistic panache that felt uniquely her own. What lingered was the mark of an artist unafraid to shine: confidence tempered by grace, and a polish that belied the youthful exuberance of her delivery.
Zeng’s artistry has earned recognition across prestigious platforms: she claimed an Encouragement Award at the Metropolitan Opera Laffont Competition (South Carolina District), reached the finals of the Premiere Opera Foundation International Vocal Competition, and took First Prize at the Vincenzo Bellini International Vocal Competition (Greater Bay/China Area). These distinctions speak not only to her technical finesse but also to the breadth of her artistic potential—proof that her talent resonates across a spectrum of repertoire, from classical pillars to contemporary works.
Zeng’s artistry is built on rigorous training: a Bachelor of Arts from Guangzhou’s Xinghai Conservatory, a Master of Music from Mannes, and a Professional Studies Certificate from Manhattan School of Music. She further refined her craft at Chautauqua Institution and Utah Valley Operafest, honing vocal technique and stage command under mentors from top American opera houses.
Buoyed by her Lucia di Lammermoor acclaim, Zeng continues her Regina Opera partnership, set to return in 2025–2026 for excerpts from Bellini’s I Puritani (Elvira) and Verdi’s La Traviata (Violetta)—roles expanding her range into bel canto elegance and Verdi’s sweeping lyricism, with richer emotional depths.
With layered artistry, technical precision, and global vision, Zeng is carving a distinct place in opera. Her agile, expressive, and authentic voice animates characters while echoing a new generation of artists forging international careers on their own terms—proving talent paired with purpose transcends borders.
