Critically acclaimed mezzo-soprano Hanna Hipp makes several important role debuts in the current 2017-18 season. She begins by adding Isabella (L’italiana in Algeri) with Opéra Orchestre National Montpellier, then returns to Seattle Opera for Béatrice (Béatrice et Bénédict) and Dorabella (Così fan tutte), followed by performances of Clairon in a new production of Strauss’ Capriccio for Garsington Opera. She will make her house debut at Madrid’s Teatro Real as Frances, Countess of Essex in David McVicar’s new production of Britten’s Gloriana, conducted by Ivor Bolton.
A former member of the Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden, she recently returned as an “enchanting” Magdalene (The Telegraph) in Kasper Holten’s new production of Die Meistersinger von Nürnberg, conducted by Sir Antonio Pappano. Previous roles at the Royal Opera House include Flora (La traviata), Emilia (Otello), Modestina (Il viaggio a Reims) and Anna in Berlioz’s Les Troyens, which was also presented at the BBC Proms and released on DVD by Opus Arte.Read more
Following her debut at the Glyndebourne Festival as Flora (La traviata) 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 (Ariadne auf Naxos) under Cornelius Meister.
Further performances include a recent debut at Dutch National Opera as the Page in Strauss’ Salome under Daniele Gatti in a new staging by Ivo van Hove, 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, in a new production by Tom Allen, for Scottish Opera. As Suzuki (Madama Butterfly), Hanna Hipp has appeared at Scottish Opera, Bergen Opera and Teatr Wielki in her native Poland. A successful North American debut as Der Komponist for Minnesota Opera in the 2015/16 season led to an invitation to join Seattle Opera last season as Isolier in Rossini’s Le comte Ory under Giacomo Sagripanti.
In concert, Hanna Hipp joined Orchestre de la Suisse Romande for L’enfant et les sortilèges under Charles Dutoit, and Orchestre Philharmonique de Strasbourg for Les Troyens under John Nelson, recorded for release on Warner Classics. With a repertoire of works including Berlioz’s Les nuits d’été, Handel’s Solomon and Messiah, Hipp has performed with the Oxford Bach Choir, London Mozart Players, Classical Opera, and at the Schleswig-Holstein Musik Festival and London Handel Festival and is a graduate of the Stanisław Moniuszko Academy of Music in Gdańsk, the Guildhall School of Music & Drama, and London’s National Opera Studio.
“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.”