Meet the Student: Q&A with Mezzo-Soprano Judy Zhuo
Mezzo-soprano Judy Zhuo, from Nanning, China, stars as Marcellina in Curtis Opera Theatre’s contemporary production of Wolfgang Amadeus Mozart’s Le nozze di Figaro, February 27–28, and March 1–2, 2025 at the Perelman Theater, Kimmel Center. Ms. Zhuo entered Curtis in 2023 and is a student of Julia Faulkner. All students at Curtis receive merit-based, full-tuition scholarships, and she is the Horace W. Goldsmith Fellow.
What drew you to a career in opera and classical music?
The first time I realized I had fallen in love with opera was when I stumbled upon a clip from Act II of Puccini’s La bohème on YouTube. The way he captured the love, dreams, and struggles of young artists through such delicate, romantic, and passionate melodies was simply breathtaking. From that moment on, I became utterly obsessed with classical music and opera.
What fascinates me most is how it delivers a grand, lavish, yet profoundly peaceful emotional experience in such a direct way. For me, classical music is more of an inner connection—it encourages self-reflection rather than imposing ideas onto the listener.
What have you enjoyed the most about preparing the role of Marcellina in Le nozze di Figaro and learning Ravel’s Shéhérazade?
Marcellina is a very interesting character to portray, and as I delved deeper into this role, I grew to love her even more. She plots and schemes, so many might see her as a villain, but in the end, she really just wants love.
Having the opportunity to perform Ravel’s Shéhérazade is truly incredible for me. I deeply admire how Ravel weaves the orchestra and voice together with such seamless harmony.
At first glance, the music appears quite challenging, but once you grasp Ravel’s compositional style, it transforms into a language of its own—one that becomes intuitive and deeply expressive. I initially approached the piece with a metrical focus, but over time, I developed a more natural connection to its flow. The most significant part of my learning process was turning the abstract, poetic text into vivid, concrete imagery that naturally comes to mind while singing.
This journey has been profoundly meaningful and emotionally impactful for me. I am also incredibly grateful for everything from the Curtis voice department; the belief and support they give you are unparalleled.
What has been one of your favorite moments on stage or in the classroom here at Curtis since you arrived?
Since coming to Curtis, one of my most exciting moments was the season-opening Curtis Symphony Orchestra concert in 2023— my very first time performing with an orchestra. I stood in Gould Hall, rehearsing the Act II opening from Strauss’s Der Rosenkavalier with Maestro Nézet-Séguin and the Curtis Symphony Orchestra—the moment the music began, it felt almost surreal. Being part of that experience and realizing that I am part of Curtis, the sense of honor and pride is unparalleled.
Audiences can also catch Judy Zhuo later this spring in the chorus of Leonard Bernstein’s outrageous, philosophical operetta, Candide, on April 11 and 13 at the Forrest Theatre, and performing Maurice Ravel’s Shéhérazade, Three Poems of Tristan Klingsor for Voice and Orchestra, with the Curtis Symphony Orchestra in Yuja Wang Plays Rautavaara on Saturday, April 26, 2025, at 3:00 p.m.
Portraits of Judy Zhuo by Nichole MCH Photography, and production image of Ms. Zhuo as Chocholka (Hen) in Curtis Opera Theatre’s The Cunning Little Vixen by Tracie Van Auken. Q&A by Ryan Lathan.
