“Zheng Jiang made an engaging Sesto, creating an earnest and eager schoolboy. Jiang's tone was warm yet light, and definitely very fluent in the faster numbers. His approach to Sesto's bravura passagework had a lightness of touch and fleetness to it.”

– Planet Hugill 25 June 2026 (Giulio Cesare, The Grange Festival)

“...while Zheng Jiang’s limpid countertenor made for a pleasing Sesto...”

– Mark Pullinger, Bachtrack 8 June 2026 (Giulio Cesare, The Grange Festival)

“A grieving widow and her vengeful son steal an opera…countertenor Zheng Jiang (Sesto) are the absolute standouts…Jiang captures the volatile transition of a boy pushed to the brink with a countertenor of striking purity.”

– Soyoon Koo, Plays to See 10 June 2026 (Giulio Cesare, The Grange Festival)

“...while in the third countertenor part, Sesto, Zheng Jiang sings with tender agility, enlisting compassion for their characters’ predicament.”

– Curtis Rogers, Opera Today 8 June 2026 (Giulio Cesare, The Grange Festival)

“Zheng Jiang as Sesto … with impressively fresh, beautifully phrased singing.”

– Melanie Eskenazi, MusicOMH 14 June 2026 (Giulio Cesare, The Grange Festival)

“Two rising stars acquit themselves honourably as the widow and son respectively of Caesar’s rival Pompey... countertenor Zheng Jiang as Pompey’s son Sesto, bent on vengeance on Tolomeo for beheading his father. His singing is clean and focused.”

– George Hall, The Stage 22 June 2026 (Giulio Cesare, The Grange Festival)

“...Zheng Jiang’s bright-toned Sesto, whose transition from public schoolboy to blood- streaked quarterback is one of Alden’s most original touches. Their moving duet, Son nata a lagrimar is a highlight.”

— Clive Paget, The Guardian 22 June 2026 (Giulio Cesare, The Grange Festival)

“Jiang sang well, and has an attractive, creamy voice”

— Colin Clarke, Seen and Heard International 30 January 2026 (Mozart Birthday concert with The Mozartists)

“For me there was another strong contender: the countertenor Zheng Jiang, who sang with a chorister’s purity. He turned Schubert’s Nacht und Träume into something ineffably beautiful, and compelled and devastated with ‘Dawn, still darkness’ from Jonathan Dove’s Flight.”

— Rebecca Franks, The Times 27 April  2025 (Kathleen Ferrier Finals)