At a time when musical trends and commercial demands are constantly evolving, platforms dedicated to preserving the traditions and deeper expressive qualities of classical singing have a distinctive role to play. For vocal artists, these platforms offer not only an opportunity to demonstrate technique, but also a chance to explore cultural meaning, artistic discipline, and the ability of music to communicate enduring human values.
Organized by NTD Television, the NTD International Chinese Vocal Competition provides an international stage for classically trained singers to perform Chinese-language repertoire using the bel canto technique.
The competition will return to New York City for its 11th edition in 2027. We spoke with Jessie Hu, Head of the NTD International Chinese Vocal Competition, about the mission behind the event, the challenge of bringing bel canto and the Chinese language together, and the competition’s emphasis on the traditional artistic ideals of pure goodness and pure beauty.
Q: The NTD International Chinese Vocal Competition is preparing for its 11th edition in 2027. What is the core mission behind the competition?
Jessie Hu: From the beginning, our core mission has been to promote the traditional cultural ideals of reverence for the divine, moral integrity, pure goodness, and pure beauty through the art of classical singing.
We believe that great vocal art involves more than technical achievement. Technique is essential, but an artist’s understanding of the music, personal cultivation, and sincerity also come through in a performance.
The competition therefore emphasizes both artistic excellence and the deeper meaning of the repertoire. Through Chinese classical art songs and selected original works by Shen Yun Performing Arts, we hope singers can explore the cultural and spiritual dimensions of the music while continuing to develop their vocal artistry.
Another important part of our mission is to create an international platform where the Western bel canto tradition can meet the Chinese language and Chinese musical culture. We want audiences around the world to experience the depth and beauty of traditional Chinese culture through the human voice.
Q: Participants perform Chinese-language repertoire using the classical bel canto technique. What makes this combination artistically significant?
Jessie Hu: Bel canto developed within European languages, particularly Italian, while Chinese has a very different linguistic structure. Chinese pronunciation involves distinctive consonants, vowels, tones, and the relationship between the beginning, body, and ending of each syllable.
For singers, the challenge is to maintain the breath support, resonance, legato, and natural projection of classical singing while making the Chinese words clear and authentic.
Some people assume that the broad resonance of bel canto makes precise Chinese diction difficult. Our experience has shown that, with the right approach, classical vocal technique and accurate Chinese pronunciation can work very well together.
This also expands the expressive possibilities of classical singing. Western singers are accustomed to repertoire in Italian, German, French, Russian, and other European languages. Chinese repertoire introduces different melodic characteristics, poetic imagery, and cultural meaning.
For audiences, it offers another way to experience the beauty of the Chinese language—through the richness and expressive power of the classical human voice.
Q: The 2027 repertoire includes selected original works by D.F., Artistic Director of Shen Yun Performing Arts. What distinguishes these works, and what do they ask of the singers?
Jessie Hu: These works ask singers to bring several elements together: solid classical technique, precise Chinese diction, musical sensitivity, and a genuine understanding of the lyrics.
For singers whose first language is not Chinese, pronunciation can be a significant challenge. They have to understand how each word is formed and how to articulate it clearly without disrupting the vocal line or losing resonance.
At the same time, the repertoire requires strong breath control, range, and expressive discipline. But technique alone is not enough. The lyrics contain themes connected to traditional Chinese culture, moral values, the meaning of life, and spiritual reflection.
A singer therefore needs to understand what the words are communicating. When vocal technique, language, music, and meaning come together naturally, the performance can reach the audience on a much deeper level.
Q: The competition places great emphasis on the traditional artistic ideals of “pure goodness and pure beauty.” How do those principles influence the way singers prepare and perform?
Jessie Hu: They influence both technique and interpretation.
From a vocal perspective, we encourage singers to pursue a natural, pure, and balanced sound rather than relying on exaggerated effects. Breath, resonance, legato, and diction should work together so that the voice remains beautiful and the words remain clear.
But “pure goodness and pure beauty” goes beyond sound. It also asks the singer to understand the meaning of the music and approach the work with sincerity and respect.
Instead of thinking only, “How can I make this note more impressive?” a singer also begins to ask, “What am I communicating through this phrase? What does this song mean? What should the audience receive from it?”
We believe a singer’s understanding of the work, personal cultivation, and inner state naturally influence the voice and stage presence. That is why we also value dignity, elegance, and sincerity in the overall presentation.
For us, technique should ultimately serve the music and its meaning.
Q: The competition welcomes qualified singers from different nationalities and ethnic backgrounds. What does it mean to have non-Chinese vocalists perform Chinese repertoire?
Jessie Hu: This is one of the most meaningful aspects of the competition.
Bel canto originated in Europe, but the principles of healthy classical singing are not limited to one language or one culture. When singers from different backgrounds learn to apply classical technique to Chinese repertoire, they discover another dimension of what the human voice can express.
There is also a deeper cultural exchange taking place. A non-Chinese singer cannot fully communicate a Chinese song simply by learning the notes. The singer has to study the pronunciation, understand the lyrics, and explore the cultural ideas behind the work.
Through that process, Chinese culture becomes something they experience personally rather than something distant or unfamiliar.
At the same time, singers from different countries and backgrounds are meeting through a shared classical tradition. Music has become a common language.
That is one of our hopes for the competition: to create a place where Chinese traditional culture and Western classical vocal artistry can meet naturally, and where artists can learn from one another across cultural boundaries.
Q: The 2027 competition will take place in New York City and offers a total prize pool of $30,000. Beyond the awards, what do you hope participants will gain from the experience?
Jessie Hu: The awards are certainly an important recognition of a singer’s achievement, but we hope the experience offers much more than that.
Preparing for this competition gives singers an opportunity to deepen their classical technique while taking on the unique challenge of Chinese diction and repertoire. We hope that process encourages them to think more deeply about the relationship between vocal technique, language, culture, and artistic meaning.
They also have an opportunity to perform on a professional stage in New York and meet talented singers from different countries and cultural backgrounds. That exchange can broaden an artist’s perspective and create meaningful professional and artistic connections.
Through the competition and its media platforms, participants may also have an opportunity to introduce their artistry to audiences beyond their usual circles.
Most importantly, we hope contestants leave the competition having grown as artists. Whether or not they receive an award, the discipline involved in preparing the repertoire, learning the language, understanding the cultural context, and communicating its meaning can become a valuable part of their artistic journey.
The 11th NTD International Chinese Vocal Competition will take place August 6–8, 2027, in New York City. The registration deadline is July 6, 2027.
For eligibility requirements, designated repertoire, competition rules, and registration information, visit the NTD International Chinese Vocal Competition official website.
