Hannah Xiong has, over the years, become a presence in Chiang Mai’s musical world — performing at consulate events, taking the title role of Christine in a concert version of The Phantom of the Opera, teaching voice at a leading harp centre and music school, and appearing regularly at Le Crystal Restaurant. A graduate of Payap University and Chengdu University, the soprano recently achieved the highest mark in the Chiang Mai International Music Competition, earning a scholarship to compete in Taipei, where she will perform “Ich gehör’ nur mir” from the German musical Elisabeth at the Eslite Performance Hall. Let’s sit down with her to talk about family influences, crossing genres without losing integrity, and what it means to keep moving forward as an artist.
Q: Can you tell us a little about your musical journey? When did singing first become important to you?
A: Singing has always been part of my family life. My dad always dreamed of becoming a singer himself, so music was something he really valued and encouraged at home. My older sister also had a big influence on me — she entered and won several singing competitions, and watching her perform gave me the confidence to try it myself. I think that’s when singing started to feel personal to me — not just something around me, but something I wanted to pursue in my own way.
Q: You perform under the name Hannah Xiong. Can you tell us about that choice?
A: My given name is Watthanee Saensong, and growing up my nickname was “Fun,” but I found that both could be difficult for international audiences to remember or pronounce. Choosing the name Hannah Xiong was a way of making things clearer and more accessible, while also marking a new stage in my development as a performer. It’s a simple change, but it’s helped me feel more confident in how I present myself professionally.
Q: You’re pursuing a path as a classically trained crossover singer. What draws you to crossover as a genre?
Q: How does your classical training influence the way you approach other styles of singing?
A: My classical training is really the foundation of everything I do. It’s given me the technique and stamina I need to sing demanding repertoire in a healthy and sustainable way. Naturally, a lot of people want to hear me sing roles like Christine in The Phantom of the Opera or popular songs from Les Misérables, and that kind of repertoire really shows how important classical training is. Performing that music consistently — sometimes six nights a week — is only possible, even with a microphone, because I can rely on my technique. I’ve learned how to support the voice properly, how to warm up effectively before singing, and just as importantly, how to warm down afterwards. That discipline allows me to move between styles while keeping my voice healthy and responsive.
Q: How do you react when people ask if you are an opera singer?
A: I’m actually quite clear about this — I’m not an opera singer. I’m a singer with a strong classical foundation, and while I enjoy performing small parts of opera repertoire, that’s not the same as being an opera singer. For me, a true opera singer follows a very specific path. It requires a particular kind of vocal development, repertoire focus, and lifestyle that is quite distinct, and I have a great deal of respect for that discipline. I think there’s a common misconception that singing is about how many high notes you can produce, or — especially for men — how loud you can be. But for me, singing is much more about control, colour and communication. That’s why I don’t feel the need to fit into a single category.
Q: You also spent several years studying in China. Can you tell us about that experience?
Q: Who are some artists or influences that inspire your musical direction?
A: I’m really inspired by artists who are able to move between styles while still maintaining a strong sense of identity. Singers like Katherine Jenkins and Sarah Brightman are great examples of that — they show that you can stay grounded in classical technique while reaching a much wider audience. More generally, I’m drawn to performers who prioritise storytelling and connection. I recently performed “Take Me to the World” from Stephen Sondheim’s Evening Primrose, and that experience really stayed with me. It’s such a restrained and intimate piece, and it made me realise how challenging — and powerful — it can be to communicate emotion in a very controlled way. That experience actually led me to choose Elisabeth for the competition in Taiwan, because I wanted to continue exploring that balance between emotional depth and vocal control in a different context.
Q: What challenges have you encountered while developing your voice across different genres?
A: There are definitely artistic challenges in moving between styles, but some of the biggest difficulties are actually very practical. Finding the right accompaniment can be a real challenge — especially when you’re working across different genres and need musicians who understand that flexibility. There are also limited opportunities to perform regularly in venues with good acoustics, which makes a huge difference when you’re trying to develop a classically grounded sound. Another challenge, which people don’t always talk about, is the cost of presenting yourself professionally. As a young female singer, there’s a certain expectation in terms of appearance, and that can be expensive to maintain alongside training, coaching and performance preparation. All of these factors require persistence, but they’ve also made me more resourceful and determined to create opportunities where I can continue to grow.
Q: What are your hopes for the future?
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Q: What would you say to young singers considering a similar path?
A: I think it’s very important to be honest about what you can sing, and just as importantly, what you shouldn’t sing — at least not yet. It can be tempting to push too quickly into repertoire that isn’t right for your voice, but that can do more harm than good in the long run. I’ve also learned how important it is to listen to your teacher. A good coach really understands your voice, often better than you do yourself, and has your long-term development at heart. At the same time, it’s important to be prepared for the reality of this path. There will be moments when you feel like giving up — that’s completely normal. It can be a very hard and sometimes lonely journey. But it’s also incredibly rewarding, and you won’t really know what’s possible unless you try. For me, that’s what makes it worth continuing.
Hannah Xiong can be followed on YouTube at www.youtube.com/@hannahxionghmongTube
