With key debuts in recent seasons including Dorabella (Così fan tutte), Der Komponist (Ariadne auf Naxos) and Beatrice (Beatrice and Benedict) to name just a few, Hanna Hipp continues to prove her versatility in the lyric mezzo-soprano repertoire.
A former member of the Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden, Hanna Hipp made her first guest appearance there as an “enchanting” Magdalene (The Telegraph) in Kasper Holten’s new production of Die Meistersinger von Nürnberg, conducted by Sir Antonio Pappano. While a young artist, one of Hanna’s more prominent roles was Anna in Berlioz’s Les troyens, which was subsequently presented at the BBC Proms and released on DVD by Opus Arte, and she recently recorded the role again in concert with Orchestre Philharmonique de Strasbourg under John Nelson (released on Warner Classics). She returns to London this season in her debut as Hänsel in Antony McDonald’s new production of Hänsel und Gretel.
Elsewhere this season, Hanna joins Vladimir Jurowski and the London Philharmonic Orchestra for Die Walküre, and returns to Scottish Opera for her first Varvara in Stephen Lawless’ new production of Katya Kabanova.Read more
Following her debut at the Glyndebourne Festival as Flora under Sir Mark Elder (released on DVD by Opus Arte), Hanna Hipp has maintained a strong relationship with the Company returning every season since: as Ramiro (La finta giardiniera) on tour under Christopher Moulds, La chatte and L’écureuil in Laurent Pelly’s acclaimed production of L’enfant et les sortilèges under Robin Ticciati, Magdalene under Michael Güttler and, in 2017, as Der Komponist under Cornelius Meister.
Further recent debuts include at Teatro Real Madrid as Frances, Countess of Essex in David McVicar’s new production of Gloriana under Ivor Bolton, and at Dutch National Opera as the Page in Strauss’ Salome under Daniele Gatti in a new staging by Ivo van Hove. Other highlights include Mercédès (Carmen) at Teatro alla Scala under Massimo Zanetti, L’enfant et les sortilèges at Teatro dell’Opera di Roma under Charles Dutoit, and Cherubino (Le nozze di Figaro) at both the Turku Music Festival and for Scottish Opera in a new production by Sir Thomas Allen. A successful North American debut as Der Komponist for Minnesota Opera in the 2015/16 season led to an invitation to join Seattle Opera as Isolier in Rossini’s Le Comte Ory under Giacomo Sagripanti, and performances there last season as both Dorabella and Beatrice.
In concert, Hanna Hipp joined Orchestre de la Suisse Romande for L’enfant et les sortilèges under Charles Dutoit, and has a repertoire of works including Berlioz’s Les nuits d’été, Handel’s Solomon and Messiah. A keen recitalist, Hanna released her debut solo CD on Resonus Classics featuring the songs of Ildebrando Pizzetti, with pianist Emma Abbate.
“As the composer fit to be tied by his beloved new opera being turned into a farce, Hanna Hipp captures the ethereal aspirations of the dedicated artist and makes a captivating case for them in a show-stopping aria at first act’s end.”
“Polish mezzo Hanna Hipp, in her local debut, was an ardent and sympathetic Composer—perhaps the best of Strauss’s trouser roles—capturing the character’s impetuousness and mercuriality. Passionate without being strident, she made her sudden infatuation with Erin Morley’s Zerbinetta seem plausible.”
“Hanna Hipp’s ultra-randy (and gorgeously sung) Cherubino”
“Hanna Hipp offered a forthright Magdalene”
“Hanna Hipp’s feisty Magdalene with her ‘outpointing stage energy and presence'”
“Polish-born mezzo Hanna Hipp is terrific in the trouser role, and she returns at the end of the show for a touching moment.”
“Polish mezzo Hanna Hipp (The Mother, The Cup, The Dragonfly, A Shepherd) charmed the listener with her dark coloured instrument and an impeccable diction.”
“Polish mezzo Hanna Hipp, who is already a familiar name on the UK opera circuit, contributes a thrillingly sung and touchingly acted trouser performance as the lovelorn Ramiro.”
“Hanna Hipp’s Suzuki is warm and supportive, her voice blending in the flower duet, and deeply moving when she realises her mistress’s fate.”
“Hanna Hipp as Suzuki is likewise excellent, with a knowing, competent demeanour and a glowing mezzo timbre.”
“”With her captivatingly dark timbre, mezzo soprano Hanna Hipp expertly embodied the characterful Maman, employed the requisite verve and vivacity for her role as “Cup” and, with a pensive expertise, performed the woeful chant of the Dragonfly. ” “
“(…) with her incisive bottom register and magnetic stage-presence, the young Polish mezzo Hanna Hipp will surely make a fine Queen of Carthage herself (…)”
“There are outstanding cameos from the warm-toned Hanna Hipp as Anna.”
“The singing, over all, is strong, especially that of the mezzo-soprano Hanna Hipp as Anna, Dido’s attentive sister (…)”
“A singer to look for in the future, Hanna Hipp, a Jette Parker Young Artist, made more of the role of Dido’s loyal sister, Anna, than probably Berlioz actually gives her and sang with subtle feeling in their sentimental Act III duet. “
“Hanna Hipp, displaying her well-nourished mezzo, entered into the realm of death as the woman addressing her departed lover in the long sustained lines of ‘Le Spectre de la rose’; in ‘Sur les Lagunes’, she switched to the male role, mourning the loss of a belle amie, finally plunging down into the mattress as though into quicksand to join her. “
Opera Magazine, by Margaret Davis (Les Nuits d’été, Royal Opera House)
“This mezzo is one of those performers who not only lights up the stage when she appears, but also pervades infectious enthusiasm. “
Opera Britannia, by Miranda Jackson
“Hanna Hipp sparkled and fizzed the moment she took the stage. There seems to be a plethora of really fine mezzo-sopranos at the moment, but Ms Hipp has something special to bring to the table. Vocally she stole the show in the first half of the evening. Her voice is pure and yet well-rounded; she has sufficient tonal focus and control of her vibrato to lead me to suppose she excels at singing Handel, and she can also act a convincing ‘pants’ role. She even transcended the oddest moment in this production which was when the young lovers opened the desk drawers to reveal what looked like overlong astro-turf – presumably a reference to their duet about a garden, but still puzzling nonetheless”
Opera Britannia, by Miranda Jackson
“Hanna Hipp was outstanding in ‘Le Spectre de la rose’, with a sensuous range of half-lit colours and singing those exquisite turns with perfectly judged sensuous languor.”