Hanna Hipp



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.

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“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.”

Rob Hubbar

Twin Cities

“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.”

Opera News

Larry Fuchsberg

More Reviews

“Hanna Hipp’s ultra-randy (and gorgeously sung) Cherubino”

Thom Dibdin, thestage.co.uk 

“Hanna Hipp offered a forthright Magdalene”

Bachtrack.com, by Mark Pullinger 

“Hanna Hipp’s feisty Magdalene with her ‘outpointing stage energy and presence'”

The Guardian, Andrew Clements 

“Polish-born mezzo Hanna Hipp is terrific in the trouser role, and she returns at the end of the show for a touching moment.”

Post bulletin, by Jay Furst (Ariadne auf Naxos, Minnesota Opera) 

“Polish mezzo Hanna Hipp (The Mother, The Cup, The Dragonfly, A Shepherd) charmed the listener with her dark coloured instrument and an impeccable diction.”

ResMusica, by Jacques Schmitt (L´enfant et les sortilèges, Orchestre de la Suisse Romande) 

“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.”

Whats On Stage, by Mark Valencia (Ramiro in La Finta Giardiniera, Glyndebourne On Tour) 

“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.”

The public reviews, by Val Baskott (Suzuki in Madama Butterfly, Scottish Opera) 

“Hanna Hipp as Suzuki is likewise excellent, with a knowing, competent demeanour and a glowing mezzo timbre.”

The Guradian, by Kate Molleson (Suzuki in Madama Butterfly, Scottish Opera) 

“”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. ” “

GB Opera Magazine, by Massimiliano Maurizi (Maman, Cup and Dragonfly in “L’enfant et les sortilèges” at Teatro dell´Opera di Roma) 

“(…) with her incisive bottom register and magnetic stage-presence, the young Polish mezzo Hanna Hipp will surely make a fine Queen of Carthage herself (…)”

Presto Classical , by Katherine Cooper about the ROH Les Troyens DVD release 

“There are outstanding cameos from the warm-toned Hanna Hipp as Anna.”

Telegraph, by John Allison (Anna in Les Troyens, BBC Proms) 

“The singing, over all, is strong, especially that of the mezzo-soprano Hanna Hipp as Anna, Dido’s attentive sister (…)”

NYTimes, by Anthony Tommasini (Anna in Les Troyens, BBC Proms) 

“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. “

Seen and Heard, by Jim Pritchard (Anna in Les Troyens, BBC Proms) 

“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.”

Classicalsource, by Peter Reed (Les Nuits d’été, Royal Opera House)