ALICE CHUNG, mezzo-soprano
HELEN ZHIBING HUANG, soprano
EILEEN DOWNEY, piano
A NOTE FROM THE CREATORS
Thank you for attending Girls of Yellow Diamonds this evening. We are so excited to share this program as part of the Knoxville Opera Salon Series, a new recital series presented and at and partnered with the historic Eugenia Williams House.
When we first created this recital in 2022, it was to honor the one-year anniversary of the Atlanta spa shootings and International Women’s Day.
As we delved in, however, we began to understand that the oppression of Asian women in America runs much deeper than one horrific event. It stretches back to the very foundations of this country, from the Page Act, which effectively banned the immigration of Asian women, to the ongoing fetishization, sexual exploitation, and trafficking of Asian women. These are not stories of the past—these "invisible shackles" persist in the present day, embodied in everything from the model minority myth to everyday acts of violence.
We want to break free of those expectations and program a recital uplifting the many and diverse narratives of Asian American women - the "Girls of Yellow Diamonds." This recital is our way of telling the real stories of Asian women in America—how we live, how we feel, and how we exist as human beings. This reaches beyond stereotypes, and without needing to fit into any mold.
This program is divided into four parts: birth, youth, womanhood, and the future, reflecting the universal cycle of life. So, while the subtitle of this recital is "Songs of Asian American Women," many of these stories are, ultimately, universal. Through this program, we stand together as a diverse group of women that hope to create, communicate, and continue to empower women in spite of cultural and language barriers, gender expectations, and acts of violence.
We dedicate this recital to all the "girls of yellow diamonds"—the countless women who birthed, raised, and loved us, and to those who continue to fight for their place in the world.
Thank you for being here with us, and we hope you find resonance and strength in these stories.
— Alice Chung & Helen Zhibing Huang
MEET THE ARTISTS
ALICE CHUNG
Lauded by Opera News as “one of America’s most gifted young singers,” Korean American mezzo-soprano Alice Chung is recognized for her "operatic tonal glamour" (parterre box) and being “a force of nature with a sound both powerful and appealing” (San Francisco Classical Voice).
Ms. Chung’s 2025-2026 season saw her international debut as Olga in a new production of Eugene Onegin at The Grange Festival as well as her role debut as Laura Adorno in La Gioconda with Pittsburgh Festival Opera and Mother in Hansel and Gretel with Annapolis Opera. Recent seasons include Suzuki (Madama Butterfly), Amneris (Aida), Dinah (Trouble in Tahiti), the title role in Carmen, mezzo soloist in Verdi’s Requiem, and Mother in the world premiere of Derrick Wang’s Fearless.
Ms. Chung has also performed with companies such as Houston Grand Opera, Kansas City Symphony, Naples Philharmonic, and San Francisco Opera. She is an honored recipient and winner of grants and competitions, including the Cooper-Bing Competition, Olga Forrai Foundation, Shoshana Foundation, the William Matheus Sullivan Foundation Audition Awards, and the Loren L. Zachary Society Competition. Ms. Chung has trained at prestigious programs including the Academy of Vocal Arts, Ravinia Steans Music Institute, and the Merola Opera Program.
As the artistic director and co-founder of the arts and advocacy initiative Wear Yellow Proudly, Ms. Chung works to raise awareness of Asian and AAPI narratives and culture by showcasing and celebrating Asian art and artists worldwide.
Learn more about Alice at https://www.alicechungmezzo.com/
HELEN ZHIBING HUANG
Helen Zhibing Huang is a Chinese-born soprano, praised as “impressive” by The New York Times for her portrayal of Pamina in The Magic Flute at The Glimmerglass Festival. She is known for her versatility across standard repertoire, contemporary opera, and artist-driven projects centered on storytelling and cultural identity.
Highlights of Huang's 2026–2027 season include role debuts as Mabel in The Pirates of Penzance with Annapolis Opera, Setsuko in the world premiere of the opera Tea by Carla Lucero with Hawaiʻi Opera Theatre, and Adina in L'elisir d'amore with Pensacola Opera. She also returns to Knoxville Opera with Girls of Yellow Diamonds.
Huang’s other operatic roles include Juliette (Roméo et Juliette), Lauretta(Gianni Schicchi),Susanna
(Le nozze di Figaro), Zerlina (Don Giovanni), Monica (The Medium), Josephine (H.M.S. Pinafore), Baby Doe (The Ballad of Baby Doe), and le rossignol (Le rossignol). Her concert repertoire includes Bach’s Magnificat, Fauré’s Requiem, Handel’s Messiah, and Mahler’s Symphony No. 4.
She has worked with companies such as Washington National Opera, the New York Philharmonic, Deutsche Oper Berlin, The Glimmerglass Festival, Opera Theatre of Saint Louis, Hawai’i Opera Theatre, Washington Concert Opera, Nashville Opera, and the Alabama Symphony Orchestra. Huang is the executive director and co-founder of Wear Yellow Proudly, a nonprofit organization amplifying Asian American voices by telling the stories of Asian American communities using the power of music. In her spare time, she enjoys cooking and eating traditional Chinese dishes.
Learn more about Helen at https://www.athloneartists.com/artists/helen-zhibing-huang/
EILEEN DOWNEY
Eileen Downey currently serves as Distinguished Lecturer of Collaborative Piano at the University of Tennessee’s Natalie L. Haslam College of Music, where she teaches diction and collaborative piano and is Principal Coach and Chorusmaster for UT Opera Theatre. Highly sought-after as a vocal coach and collaborative pianist, her work spans the opera house, recital stage, and university studio. Downey has held coaching appointments at SongFest and the American Institute of Musical Studies (AIMS) in Graz and served as Music Director of the Janiec Opera Company at the Brevard Music Center. An active performer, she collaborates frequently with singers and instrumentalists and maintains a long-standing relationship with Knoxville Opera and the Knoxville Symphony Orchestra. She holds degrees in piano performance and collaborative piano from Michigan State University.
Learn more about Eileen at https://music.utk.edu/about/directory/faculty/eileen-downey/
PROGRAM & TRANSLATIONS
At the request of our artists, please your applause until the end of the performance of Girls of Yellow Diamonds.
I. SONGS OF MY CHILDHOOD
Beautiful Dreamer
Stephen FOSTER (1826 - 1864)
Beautiful Dreamer, wake unto me,
Starlight and dewdrops are waiting for thee;
Sounds of the rude world heard in the day,
Lull'd by the moonlight have all pass'd away!
Beautiful dreamer, queen of my song,
List while I woo thee with soft melody;
Gone are the cares of life's busy throng
Beautiful dreamer, awake unto me!
Beautiful dreamer, awake unto me!
Beautiful dreamer, out on the sea.
Mermaids are chaunting the wild lorelie;
Over the streamlet vapors are borne,
Waiting to fade at the bright coming morn.
Beautiful dreamer, beam on my heart,
Een as the morn on the streamlet and sea;
Then will all clouds of sorrow depart,
Beautiful dreamer, awake unto me!
Beautiful dreamer, awake unto me!
The little conch shell, doot doot it plays,
Seagulls soar high, in graceful display.
The little conch shell, doot doot it plays,
Waves hear the tune, and smile all the way.
The little conch shell, doot doot it plays,
Calling the ships to come back and stay.
The little conch shell, doot doot it plays,
Father hears it and hurries this way.
Vast is the shoreline,
Blue is the sea,
With the conch shell blowing,
My heart fills with glee.
The little conch shell, doot doot it plays.
Seagulls soar high, in graceful display.
The little conch shell, doot doot it plavs.
Waves hear the tune, and smile all the way.
The little conch shell, doot doot it plays,
Calling the ships to come back and stay.
The little conch shell, doot doot it plays,
Father hears it and hurries this way.
小螺号（Little Conch Shell）
FU Lin (b.1946)
The ramie, jade-colored skirt, that gilt hair ribbon
As I kick the blue sky, they flutter in the clouds
The sparrow, as if startled, rested and watched.
After the first kick, almost touching the tip of the tree
Kicking twice, the world was underneath my feet
The wind carries away the ten thousand worries of my heart.
그네 (The Swing)
GUM Soo-hyun (b. 1980)
The moon is shining, the wind is quiet,
The tree leaves cover up the windows,
Crickets sing softly,
Just like the sound of strings plucking.
The soft plucking, the beautiful tune,
The cradle rocks slowly,
Mom's little babe, close your eyes,
Fall deeply into your dreams.
The bell tower rings,
The night is dark, and all is quiet.
Little babe, grow up fast,
So you can make your mark on the world.
The moon is shining, the wind is quiet,
The cradle rocks slowly,
Mom's little babe, deeply asleep,
Smiles gently.
东北摇篮曲 (North East Lullaby）
Folk
Outside the long pavilion, by the ancient road,
Fragrant grass stretches to the blue sky.
The evening breeze brushes the willows. The flute’s melody lingers.
Beyond the mountains, the sun sets.
To the edge of the heavens, the corners of the earth,
Friends are scattered and few.
A jug of turbid wine to celebrate our joy,
To say farewell to tonight’s cold dream.
Outside the long pavilion, by the ancient road,
Fragrant grass stretches to the blue sky.
I ask, when will you return from this journey?
When you come back, do not hesitate.
To the edge of the heavens, the corners of the earth,
Friends are scattered and few.
In life, it’s rare to have moments of joyous gathering,
But partings are always many.
送别 (The Farewell)
John P. ORDWAY (1824 - 1880)
II. GROWING PAINS
I can’t understand a word you’re saying
Michele CHENG
Twelve years old, three days from China
First day at Pocahontas Middle School
Home room teacher showed me my locker
Blah blah blahblah**#@@!
What is this? Blah blah blahblah**#@@!
I can’t understand a word you’re saying
Blah -–blah- -blahblah- - **-#- @@! [slower]
Blah -–blah- -blahblah- **-#- @@! [And louder]
Class time! It’s Chorus time
I’ll be good at this, I know
I started singing and playing the piano at three
Blah blah blahblah**#@@!
I can’t understand a word you’re saying
Blah -–blah- -blahblah- - **-#- @@! [slower]
Blah -–blah- -blahblah- **-#- @@! [And louder]
Reading, science, math
Blah blah blahblah**#@@!
I can’t understand a word you’re saying
Blah -–blah- -blahblah- - **-#- @@! [slower]
Blah -–blah- -blahblah- **-#- @@! [And louder]
You’re swinging your arms
Blah blah blahblah**#@@!
Shall I swing my arms too?
You’re trying to tell me something with your arms?
I can’t understand a word you’re saying
Can’t understand, don’t understand
I’ll never understand
Lunch time! The worst time
Got my food
Tried to find a place to sit down
I sat silently, alone
And ate my tasteless food
My classmates laughed and chatted
Blah blah blahblah**#@@!
Blah -–blah- -blahblah- - **-#- @@! [slower]
Blah -–blah- -blahblah- **-#- @@! [And louder]
The young, young girl had never known
What to do around old, old, old, old men
What if anything to say to them?
When if ever to give way to their
Strange demands and casual slurs
That don’t offend her personally
But she certainly has dear, dear, dear, dear friends
Who would be
Everyone must be good to their best, best friends
The old man said, his eye neither milky nor cracked
His head neither spotted nor shiny
She took pause.
She took pause, and then he continued
In a reluctant, truncated manner:
Truth is patient.
Truth waits.
Truth will be there
When you get home today.
Truth from Six Gupta Songs
Cynthia Lee WONG (b. 1982)
Struggle and pain,
I am invisible.
Struggle and pain,
Are you invisible?
It hurts inside
But don’t ignore your pain.
When pain turns to anger
We find someone to blame,
Even though we are the same.
We all need to feel
And be seen and heard.
We all need to heal.
Can we be real?
Treat each other with respect.
Struggle and pain,
I am invisible.
Struggle and pain,
Are you invisible too?
We are the same.
Invisible
Beata MOON (b. 1969)
EXCUSE ME? MAY I ASK... WHAT’S GOING ON?
“WE SAW PEOPLE IN THE STREET, WAITING IN FRONT OF THAT DOOR. SO NOW WE’RE WAITING TOO.”
HOW LONG?
“TEN MINUTES. WE DON’T WANT TO MISS IT.”
MISS WHAT?
“A CELEBRITY. SINGER. SENATOR. SOMEBODY. HEY, WHY DON’T YOU
ASK
THEM?”
...
EXCUSE ME? MAY I ASK...
“WE GOT OFF THE SUBWAY...
...I WAS ON MY LUNCH BREAK...
...ME AND MOMMY TURNED THE CORNER...
...AND SAW ALL THESE PEOPLE...
...FOUR OR FIVE PEOPLE...
...TONS AND TONS OF PEOPLE...
... WAITING IN FRONT OF THAT DOOR. SO NOW WE’RE WAITING TOO.”
HOW LONG?
“NOT LONG...
...TWENTY MINUTES...
...FIVE MILLION HOURS!
...BUT WE DON’T WANT TO MISS IT...
...WE WOULDN’T...
...WE HAVE TO SEE THEM!”
SEE WHO?
“AN ACTOR...
...A SUPERMODEL...
...A REALLY TALL MAN...
SOMEBODY. HEY, THEY’RE OPENING THE DOOR!”
...
WHAT AM I WAITING FOR?
I SAW PEOPLE IN THE STREET, WAITING IN FRONT OF THIS DOOR. SO NOW I’M
WAITING TOO.
HOW LONG?
I DON’T KNOW. BUT I DON’T WANT TO MISS IT.
IT’S SOMEBODY.
In Front of a New York Hotel
Ania VU (b. 1994)
III. WOMANHOOD
Birthday Party from Cantos of a Narcissistic Roommate
Lingbo MA (b. 1996)
Jennifer didn’t come to my birthday.
My thirtieth birthday.
After I told her that it was the most important day of my life.
I probably won’t have a wedding.
This is my wedding.
I go to all my friend’s weddings. Even though I never enjoy them.
They are expensive. And I never liked the food.
Still, I go.
At least they can do is return the favor.
And come to my thirtieth birthday.
I told Jennifer all of this.
It’s not like she can’t afford the trip.
But she said she was busy.
That she couldn’t take the time off of work.
Couldn’t take time off work for my thirtieth birthday?
And so I had no choice.
Our friendship is finished.
Outside my window bright moonlight
Kissing the grassland,
Kissing the grassland
Near in front, far away,
Given to the earth with consonance.
Look at the window bright moonlight
Missing my homeland,
Missing my homeland;
Near in front, far away,
Yearning for the world of consonance.
Bright Moonlight
CHEN Yi (b. 1953)
I may be the only one
Who suffers
When you put on your coat and hat,
I may be the only one
Who hurts when you do that.
But if you take off your shoes,
Then I’ll know
You surely mean to stay.
Oh if you take off your shoes
I’ll be okay.
And I will fade to nothingness
If you ask
Shy away to nothingness
If you ask
Make a life from sweet, complete nothingness
If you only ask…
The things that were supposed to keep you close
Pushed you far, far away.
The things they said would keep you close
Have stifled you and you will not stay
And I may be the only one
Who thinks of you today.
The Only One from Six Gupta Songs
Cynthia Lee WONG (b. 1982)
When I lost my boy
I did not try to have another.
I could not bear the thought—
another boy burning in another blaze.
Like a snake, I did not cry.
Childless, my sisters called me strange.
Childless, I pursued my studies
to fill the void he left behind.
I chose reason. Science. Biology.
Childless, I studied the science of tears.
Childless, I shed my sisters’ scrutiny.
Childless, I shook off the weight of A-Ma’s shroud.
I was a snake; she was my skin—
I shook her off.
I chose to be brave.
But childless, the prickle and burn and salve
of my boy’s seven-year-old soul
stays with me. Always.
Childless from Seven Sisters
Justine F. CHEN (b. 1975)
forked
Emily Koh
performed by Eileen Downey
Split stream, doubled soul,
Forked paths make one whole.
Two worlds: entwined.
The three of you would wait,
willing your mother home from work,
longing for spuds, roasted, the aroma
of stew, hoping for calm, smooth as velvet
she’d weave into your hair. That neat.
Your braids grew long. Auburn.
Later there would be shouts, tears
(your father had lost his tune),
shattered glass. Whiskey. Tobacco burns.
You hid your sisters below the stairs.
You hummed to them, each night old old songs.
The Plaits from Weave Me a Name
René ORTH (b. 1985)
I buried my father in my heart.
Now he grows in me, my strange [child],
My little root who won't drink milk,
Little pale foot sunk in unheard-of night,
Little clock spring newly wet
In the fire, little grape, parent to the future
Wine, a [child] the fruit of his own [child],
Little father I ransom [you] with my life.
Note from the composer: I chose a different author for the last poem of the cycle because this poem was much more explicit about my relationship with my father. For many years, I had doubted the love and dedication my father was giving me, because it did not appear like the Western portrayal of affection and love. I buried this father figure inside of me. I am ashamed to have doubted that love, yet I know I was too young to see it, and too naive to realize it. I owe to my father my life, and being his daughter and continuing the legacy of educated women in our family is one of the greatest honors to carry. With my father however, always stood my mother, quietly supporting him and all of us. I hope one day to learn to love the world as much as they love me, and to be loved as much as they love me.
Father Mine from Father Mine
Bosba PANH (b. 1997)
IV. FUTURE
From the Ashes She Became from Four Poems of Nikita Gill
Melissa DUNPHY (b. 1980)
Before she became fire, she was water.
Quenching the thirst of every dying creature.
She gave and she gave
until she turned from sea to desert.
But instead of dying of the heat, the sadness, the heartache, she took all of
her pain and from her own ashes became fire.
She was a girl of yellow diamonds
Inside a sunlit gleaming shop window
Her single braid swaying as she moved
Upon a quintessential airy summer day
Her micro worlds of rosy capillaries
Either side nose aquiline, refined
Illumined keen eyes, dark and bright
Attuned with purpose, so much confidence.
Below her knees in front. her apron
Showed legs lovely, curves behind
And her movements in the sun
Made me ever stay upon a summer’s day
She was a girl of yellow diamonds
Patterned in tile upon the deli floor
Sweeping the shop at close of day
In shadows of the neon sign
Her movements took my breath that way
Why should I linger
Longer on the bench outside
Desire aroused sans opportunity
From four doors down the street
I turned to catch a glimpse
Saw swinging braid gavotte
With every stride she took
One hand held purse
The other gripped tobacco stick
Sweet pristine elegance dis'peared
Like Monet’s sunlight shimmers
Dark after gallery has closed
Still I hold my sunny visions, rosy views
Her moves and smile
But the girl of yellow diamonds
Is but a vision on the deli floor.
Diamond Impression from Sentiments
Chihchun Chi-sun LEE (b. 1970)