“Hanna Hipp was simply a wonderful Composer. Passionate, intense and self-absorbed, her glorious monologues in the Prologue (sung in German) were a highlight. She has the physique du rôle too, and made an intriguing romantic hero in her liaison of France’s Zerbinetta. There interactions during the Prologue were superbly done, and it was clearly during the Opera that this Zerbinetta was paralleling Ariadne, moveing from one man (Dominic Sedgwick’s Harlequin) to another (Hanna Hipp’s Composer).”
(Opera Today, February 2023)

“Gaitanou, meanwhile, does wonderful things with the growing attraction between Hipp [as the Composer] and Jennifer France’s glamorous Zerbinetta, enacted with telling sincerity, the pair of them thrown off balance by their feelings for each other.
France […] is finely lyrical in her duet with Hipp. The latter sounds impulsively passionate throughout, though her soft singing is exquisite in moments of introspection.”
(The Guardian, February 2023)

“The Composer, who is not scripted to reappear, does so in this production, to the end. Mezzo Hanna Hipp sang this trouser role with great energy and thought, her voice conveying her emotions superbly, from impetuous anger to growing love for the commedia leader Zerbinetta: her lofty assertions about music as a sacred art, beautifully rendered, were terminated by the commedia troupe armed with brass instruments and a harsh rasping sound.”
(Bachtrack, February 2023)

“Hanna Hipp makes a powerful fist of The Composer, which is a soprano trouser role and carries some musical weight (remember this is Richard Strauss, who took these things seriously even when in comedy mode). She sang “You Venus’ boy” (Du Venus’ Sohn) with beautiful, gently floated tone, and rose to real heights for her later hymn to “the sacred art” of music (Sein wir wieder gut).”
(The Arts Desk, February 2023)

“A third lead is the young Composer of the opera seria, designated a soprano role by Strauss, but here (as usual) allotted to a mezzo, Hanna Hipp, whose emotional investment in the character’s vulnerable idealism is touchingly captured in lithe, soaring tone.”
(The Stage, February 2023)

“Hanna Hipp, beautifully focussed vocally, hyper-active physically, is perfect casting [as the Composer].”
(The Reviews Hub - Yorkshire & North East, February 2023)

“The Composer is a trouser role sung by mezzo-soprano Hanna Hipp who was in fine form. She seemed highly engaged emotionally, particularly in revealing the Composer’s feelings for Zerbinetta.”
(Seen & Heard International, March 2023)

“As a rule she is the most talented woman singer in the threatre… the Rosenkavalier is the only possible casting for the young Composer.” Strauss’ comment in one of his letters to Hofmannsthal is brilliantly illustrated in Opera North’s choice of Hanna Hipp, Garsington’s Rosenkavalier in 2021, certainly the most talented singer in the Grand Theatre in Leeds last night. It was a brilliant touch on the part of the director Rodula Gaitanou, to have this character on stage for some of the second part, since the Composer’s passionate advocacy of Music as the holiest of arts is so amply demonstrated throughout the score.”
(musicOHM, March 2023)

“Hanna Hipp was convincingly boyish as the Composer, protesting at his masterpiece being hacked about to fit the new time frame, without overdoing the petulance.”
(Classical Music Daily, March 2023)

“Polish mezzo-soprano Hanna Hipp’s dark-hued timbre was the perfect accompaniment.”
(Seen and Heard, December 2022 – Stabat Mater by Szymanowski with LSO at the Barbican)

“Clarinet and bassoon brought plangency to ‘Can the human heart refrain’, in which the expressive low hues of mezzo-soprano Hanna Hipp were complemented by the operatic radiance of soprano Iwona Sobotka whose repetitions, “Matko, matko” (Make me feel as thou has felt; make my soul to glow and melt with the love of Christ my Lord) had a quasi-sensuous intensity. How wonderful to have two Polish singers communicating this text, and when they sang in unison, “Rodzonego, męczonego” (Holy Mother! Pierce me through in my heart) they reached out powerfully.”
(Opera Today, December 2022 – Stabat Mater by Szymanowski with LSO at the Barbican)

“[…] there was strong support from mezzo-soprano Hanna Hipp...”
(The Times, December 2022 – Stabat Mater by Szymanowski with LSO at the Barbican)

“Equally impressive was the mezzo-soprano of Hanna Hipp, whose wonderfully deep and expressive chest tones were a feature of the middle movements and who created a rich earthiness in her duetting with Sobotka.”
(Bachtrack, December 2022 – Stabat Mater by Szymanowski with LSO at the Barbican)

“Polish mezzo-soprano Hanna Hipp embodies the central role of Offred. She confidently deploys her voluminous instrument in a wide-ranging vocal line, particularly fruity in the bass… Her timbre is dark and the phrasing gains in elegance as the pit decreases the extent of its accompaniment. As a result, her duet with her double, June, is the height of tenderness and the highlight of the evening.”
(Olyrix, November 2022)

“The singers’ enormous commitment is true of everyone. Hanna Hipp in the main role as Offred must, however, be singled out. Not only is she singing marvellously, she also manages to act with such commitment and honesty that her character’s despair and loss is conveyed beyond the stage itself. One of the most moving moments in the opera is Hipp’s duet with Sarah Champion where the present and former Offred harmonically and heartrendingly remember the daughter.”
(Den4Væg.dk, November 2022)

“One can take pleasure from Det Kongelige Kapel’s making Ruders’ nightmare shine with overwhelming sounds of doom and that Hanna Hipp is strong and clear as the abused Offred.”
(Iscene.dk, November 2022)

“Offred is interpreted heartrendingly and with increasing dramatic despair by mezzo-soprano Hanna Hipp. Not a heroine, just an ordinary woman whose story is in fragments…”
(Kristeligt Dagblad, November 2022)

“Polish mezzo-soprano Hanna Hipp is superlative as Offred…”
(Magasinet KBH, November 2022)

“On several occasions, past and present blend together, when Offred [Hanna Hipp] remembers the time before the revolution. And already at the start, when she almost tearfully sings: ‘I apologise, my story is in fragments’, one understands that the traumatic experience of being separated from her family and subjected to something which can perhaps best be described as a life of oppression and torture, has become deeply rooted in and in some ways destroyed her…”
(Artitektur/Design, November 2022)

“The dominant main role as Offred was written for Marianne Rørholm who died last year. She created a moving, memorable character but Polish mezzo-soprano Hanna Hipp is also very convincing. Offred is probably the kind of role which makes a singer take off.”
(Tidskriften Opera, November 2022)

“When the main character Offred (Hanna Hipp) sings of her emptiness, her feeling of not knowing what she needs to know at the same time as we see the person she once was (Sarah Champion) it is as if I fully experience this emptiness, this loss. The atonal lament collides heartrendingly with an unreachable, unwitting ‘then’. In terms of emotional range, I must say that this staging is completely successful for director John Fulljames, the orchestra under Jessica Cottis and of course above all Hipp. Quite simply, it hurts…”
(Expressen, November 2022)

“Polish mezzo-soprano Hanna Hipp sings the demanding role of Offred. She delivers a phenomenal performance, where the handmaid’s deep pain, but absolutely also strength and will to survive are expressed not only vocally but also dramatically. […] The performance overall is just as fine as the story is gruesome and Hanna Hipp’s Offred beautiful and yet painful.”
(Ungt Teaterblod, November 2022)

“Polish mezzo-soprano Hanna Hipp is phenomenal as Offred.”
(Weekendavisen, November 2022)

“[...] mezzo Hanna Hipp as Dorabella sings with punch and grace. […] Hipp develops deliciously from frosty to flirty.”
(The Guardian, March 2022)

“Of the singers, Hipp and Wilson are the standouts. [...] Hipp has acting chops for days and is a vivacious presence whenever she appears.”
(Broadway World UK, March 2022)

“[...] the voices of Nardus Williams as Fiordiligi and Hanna Hipp as Dorabella work very well together. […] Hipp's (voice) is richer and more sumptuous and she delivers a first rate vocal performance.”
(Opera Online, March 2022)

“The two women in particular — Nardus Williams as Fiordiligi and Hanna Hipp as Dorabella — act with plenty of personality and sing with expressive power...”
(The Times, March 2022)

“Two fabulous ladies took the female roles, with beautifully contrasting voices: Nardus Williams as Fiordiligi and Hanna Hipp [as Dorabella], whose Cherubini (at Covent Garden and here at the Coliseum) about:blankhave previously impressed, as a light-voiced and characterful counterpart, offering a ‘Smanie implacabili’ from strength. The voices need to work together, though, and so they did, beautifully.”
(Seen & Heard International, March 2022)

“[…] it is a treat to see Hipp in full Dirty Dancing mode in the flouncy gown (costume Laura Hopkins) that rapidly replaces the prim pullover, bobby socks and pencil skirt of her first romance [as Dorabella].”
(Culture Whisper, March 2022)

“Hanna Hipp is an excellent Cherubino, capturing his boyish persona so well that the character indeed looks awkward when dressed as a girl, and delivering a spine tingling performance of 'Voi che sapete'.”
(Opera Online, January 2022)

“Beautifully androgynous, Hipp’s quicksilver reactions were a real joy, but most of all she brought a sense of real depth to the part [of Cherubino].”
(Seen & Heard International, January 2022)

“Mezzo-soprano Hanna Hipp pops up everywhere as lusty teenage boy Cherubino...”
(Culture Whisper, January 2022)

“When Cherubino, delightfully played and sung by Polish mezzo Hanna Hipp, performs the love song he has written to the Countess, it is done with real sincerity and to great effect.”
(The Express, January 2022)

“Hanna Hipp as Cherubino…sings ‘Voi che sapete’ to the Countess with devastating charm.”
(The Telegraph, January 2022)

“Hanna Hipp is a suitably boyish Cherubino with bags of charm and a winning smile. She superbly imitates a hip-swinging gait when dressed as a woman while supposedly being a boy.”
(Opera Today, January 2022)

“[...] and Hanna Hipp, one of the few non-Italians, makes a delightfully kooky Cherubino.”
(The Financial Times, January 2022)

“[…] the Count’s young page Cherubino charmingly played by mezzo-soprano Hanna Hipp.”
(London-Unattached, January 2022)

“Ein besonderes musikalisches Vergnügen ist in „Nozze“ stets der Cherubino, in dieser Produktion gesungen und subtil dargestellt von der aus Polen stammenden lyrischen Mezzosopranistin Hanna Hipp. Den schalkhaften Amor verkörperte sie mit Charme und stimmlicher Leichtigkeit, die sie mühelos alle musikalischen Klippen umschiffen ließ.”
(Klassik begeistert, January 2022)

“Hanna Hipp sang Octavian with sensually burnished tone.”
(Frankfurter Allgemeine Zeitung, July 2021)

“Hanna Hipp’s impassioned Octavian...”
(Opera Magazine, July 2021)

“As Octavian, her young lover, Hanna Hipp is equally astonishing, with a ravishing voice (a wonderful pianissimo in the highest register) and the subtle skill as she navigates her changes of identity and gender with wit and charm.”
(Pride Life, July 2021)

"W tytułowej roli wystąpiła polska śpiewaczka Hanna Hipp. Była ona sensacją wieczoru. Śpiewała pewnie i naturalnie. Jej głos był wyrazisty, a aktorstwo niezwykle subtelne. Tą rolą Hipp udowodniła, że należy do wokalnej czołówki swojego pokolenia.”
(Presto, July 2021)

“Hanna Hipp offering a strong-voiced Octavian...”
(The Times, June 2021)

“Hanna Hipp was a most moving Octavian.”
(Financial Times, June 2021)

“Hanna Hipp’s finely executed Octavian...”
(The Stage, June 2021)

“Hanna Hipp’s ideal, vivacious Octavian was well matched by Madison Leonard’s free-spirited Sophie.”
(The Guardian, June 2021)

“Hanna Hipp and Madison Leonard as the young lovers do well to stop Persson stealing the show.”
(The Daily Mail, June 2021)

“It is one of the many achievements of Hanna Hipp’s terrific portrayal of Octavian – Strauss’ reimagining of Mozart’s Cherubino – that we believe his tears of protest; there’s a genuine frailty underneath the boyish swagger. And musically this is a perfect partnership, the warmth and colour of Hipp’s mezzo a delicious complement to Persson’s silvery soprano.”
(Bachtrack, June 2021)

“Hanna Hipp’s Octavian looked authentically boyish and had the exact bearing of a young aristocrat: her singing was intensely expressive, and the Presentation of the Rose can seldom have been bettered.”
(musicOMH, June 2021)

“Hanna Hipp’s Octavian is the very image of handsome young masculinity, insecure and bursting with ardour. When this brilliant Polish mezzo comes on in the next scene as a boy masquerading as a housemaid, the effect is comic but no less convincing.”
(The Independent, June 2021)

“There’s Hanna Hipp’s Octavian: as boyish as you like, channelling all that youthful verve into rich-toned, thrillingly ardent singing…”
(The Spectator, June 2021)

“The real pain belongs to Octavian, impulsively sung with flaming top notes by Hanna Hipp.”
(The Arts Desk, June 2021)

“Since Octavian is a trouser role (à la Cherubino), three outstanding female singers are required; and in Miah Persson (the Marschallin), Hanna Hipp (Octavian), and Madison Leonard (Sophie), Garsington had them in spades.
[…] The Polish-born Hipp complemented her [the Marschallin] with a steely glint in her forthright mezzo-soprano that suited the masculinity of her role…”
(Musical America, June 2021)

“And what soloists! First up, Hanna Hipp as Octavian, the mezzo-soprano in a trouser role adding to the layers of ambiguity in Der Rosenkavalier. This devoted lover is wrecked when the Marschallin warns that their affair cannot last. You completely believe in this earnest 17-year-old youth, whether he is frisking around the bedroom or chivalrously coming to Sophie’s rescue, a boyishness bouncing through the ever certain voice.”
(Culture Whisper, June 2021)

“Hanna Hipp gab einen streitbaren Oktavian, der (die) sich von der verehrten Marschallin nicht unterkriegen lässt und sich mit dem Mut der Verzweiflung an diese dem Untergang geweihte Beziehung klammert. Ihre Stimme besticht durch Stärke, ihr Gesang durch wohlbeherrschte Präzision.”
(Klassik begeistert - Der Klassik-Blog, June 2021)

“We were on blissfully safe ground with Hanna Hipp’s lusty imp of a Cherubino.”
(Opera Magazine, May 2020)

“Hanna Hipp is the sassy and delightful Cherubino.”
(Opera Now, April 2020)

“Hanna Hipp’s gangly, gawky, hyperactive Cherubino was another striking characterisation.”
(The Sunday Times, March 2020)

“Hanna Hipp was a joy to behold as a skater boy Cherubino.”
(The Guardian, March 2020)

“Hanna Hipp’s Cherubino had a delicious upper-register lustre.”
(The Arts Desk, March 2020)

“I enjoyed Hanna Hipp’s teenage brat of a Cherubino.”
(The Telegraph, March 2020)

“It is a nice touch to have a convincingly androgynous Cherubino in Hanna Hipp, who must have had a ball, not least with the costumes (a tropical shirt, or lurid lime-green shirt and short trousers). She was a brilliant actress as well as a brilliant singer, her rhythms absolutely spot-on in ‘Non so più’.”
(Seen & Heard International, March 2020)

“Hanna Hipp milks the comic potential out of the quivering Cherubino…”
(The Financial Times, March 2020)

“This was a terrific cast with Hanna Hipp as a rather pretty and irritating Cherubino…”
(Mark Ronan Threatre Reviews, March 2020)

“Hanna Hipp’s gawky but sexually precocious Cherubino is everywhere, all the time, getting in the way when he’s not getting into trouble.”
(The Stage, March 2020)

“[Louise Alder’s] complex Susanna cultivated a delicious frisson with Hanna Hipp’s grungy Cherubino. In another superb house debut, Hipp found lusty richness in her voice alongside effervescence.”
(Bachtrack, March 2020)

“The appropriately named Hanna Hipp is the Hippest Cherubino I’ve ever seen. Her comic dance routine is a show stopper.”
(LondonTheatre1, March 2020)

“Hannah Hipp is a wonderfully brattish Cherubino, who is clearly making the same assumptions about women as the Count.”
(ENO Response: The Marriage of Figaro reviews, Patrick Shorrock, March 2020)

“I usually find the breeches role in opera a little crass, but Hanna Hipp gives a very refreshing interpretation, it is full of life and licentious energy without being too churlish.”
(ENO Response: The Marriage of Figaro reviews, Tacita Quinn, March 2020)

“Hanna Hipp shines as Cherubino.”
(Opera Today, March 2020)

“Hanna Hipp’s Cherubino is engagingly sung and acted.”
(The London Evening Standard, March 2020)

“[…] Cherubino, played by Hanna Hipp was endearingly cheeky, loveable and naughty.”
(London-Unattached, March 2020)

“Then you add Hanna Hipp’s Cherubino, whose instinctive comedy softens the more contrived situations.”
(The Spectator, March 2020)

“Hanna Hipp makes for a believably randy teenage Cherubino.”
(The Times, March 2020)

“Hanna Hipp made a wonderfully brattish Cherubino, mining a vein of androgyny which brought out his youth and uncertainty beneath the confident posing veneer. Hipp was wondmerfully engaging in her Act One aria.”
(Planet Hugill, March 2020)

“Hipp’s title role performance [of Zanetto], hot and impetuous, stole the show.”
(The Scotsman, September 2019)

“Hanna Hipp played Zanetto with wide-eyed charm and her stylish mezzo.”
(Seen & Heard International, September 2019)

“The high quality of the vocal work in [Mascagni’s Zanetto] had been matched by the perfect casting of Hanna Hipp.”
(The Herald, September 2019)

“But it’s easy to sit back and let the swooning melodies overwhelm, especially here given the richly sung performances, Campbell-Wallace’s powerful but burnished soprano sinuously intertwining with Hipp’s seductive darker hues”.
(The Guardian, September 2019)

“Hanna Hipp invested the title role with good-humoured energy and let her plangent mezzo-soprano drive Fantasio’s emotional journey”
(Opera Magazine, September 2019)

“Her trouser-role love-match, Hanna Hipp as Fantasio, was a perfect foil both dramatically and vocally.”
(All Opera Now, August 2019)

“In the trouser role of Fantasio, Hanna Hipp mesmerises with her dark tone”
(Financial Times, June 2019)

“Hanna Hipp, passionate and genuinely touching in the title role [of Fantasio]”
(The Times, June 2019)

“Hanna Hipp’s sappy, velvety mezzo is a great advantage. Hipp’s part is the trickier as she
has to engage with the audience much more than the others and she does so with engagement and charm.”
(The Classical Source, June 2019)

“Hipp as Fantasio is a delight, funny, feisty and in fine voice, her solid low notes suitably and
comically masculine. She is one of the treasures of Garsington after her eye-catching
appearance in 2018 in the spellbindingly beautiful Strauss Capriccio. London audiences also
saw her over Christmas as Hansel in Hansel and Gretel. The many ‘real’ chaps seem leaden by comparison, but that’s part of the joke in Martin Duncan’s production.”
(Culture Whisper, June 2019)

“Musically, though, the evening was a dream. […] Mezzo-soprano Hanna Hipp, in the trouser role of Fantasio himself, did her utmost to give her character a sense of the realism lacking in the direction, with plenty of warm bloom to her voice and wit in her use of the text.”
(Bachtrack, June 2019)

“Hipp made an engaging and intriguing Fantasio, a melancholy dreamer with a strong
personality. Hipp’s song to the moon in Act One (sung in broad daylight) was entrancing and
set the scene […] Hipp and France really made a connection in their wonderfully romantic scene in Act Two, disguise and darkness meaning that each reveals something of their private self to the other. The prison scene was similarly touching, and the unresolved resolution at the end of the opera made you long to know what happened to these characters.”
(Opera Today, June 2019)

“W tytułowej roli wystąpiła Hanna Hipp. Polska śpiewaczka stopniowo podbija Wielką Brytanię. Wystąpiła już w Garsington w zeszłym roku, poza tym kilkakrotnie występowała w Royal Opera House. Jej Fantasio brzmiał pewnie i naturalnie. Hipp ma piękny głos i wyśmienitą technikę, co w połączeniu z doborowym aktorstwem tworzy niezapomnianą kreację sceniczną.”
(Presto, June 2019)

“Hipp’s mezzo-soprano feeling quite dreamy, as befits the character, but being made special
by the shape and evenness of tone that she brings to it.”
(e-News.USA, June 2019)

“Hanna Hipp sings richly and persuasively in the trouser role of Fantasio”
(Seen & Heard International, June 2019)

“In zwei Liebesduetten verweben sich der melancholisch gefärbte Mezzosopran von Hanna
Hipp als Fantasio mit dem schimmernden Sopran von Jennifer France zu einem hinreißenden Geflecht.”
(Frankfurter Allgemeine Zeitung, July 2019)

“[…] a strong cast is well led by Hanna Hipp in the ‘trouser role’ of Fantasio himself.”
(The Mail on Sunday, June 2019)

“Fantasio, a trouser role brilliantly handled by mezzo-soprano Hanna Hipp.”
(Oxford Times, July 2019)

“With Varvara, Hanna Hipp added another part to her growing armoury of out-and-out successes”
(Opera Magazine, May 2019)

“All in all, the passion is strangely underplayed, except for Vanya and Varvara, whose ripe
performances by Trystan Llŷr Griffiths and Hanna Hipp inject a juiciness and lust.”
(The Scotsman, March 2019)

“The pair of young lovers almost stole the show with their strongly sung performances, Trystan Llŷr Griffiths’ Vanya fully relishing the challenges of the Czech words and Hanna Hipp’s courageous Varvara, her onstage change from dowdy peasant to racy ‘girl on a night out’, a welcome light relief.”
(Bachtrack, March 2019)

“Hanna Hipp, an excellent communicator, made a vampish Varvara”
(Seen & Heard International, March 2019)

“Vocal performances are all strong, and Hanna Hipp as Varvara shone, as did Vanya in the form of Trystan Llyr Griffiths.”
(Edinburgh Festival, March 2019)

“We get to know Ványa Kudrjás (the school-teacher played by Trystan Llyr
Griffiths) and Varvara (a foundling played by Hanna Hipp) for all too brief a period, and this is a pity as they are the two people who give this story in this production its contemporary relevance by the way they dress and act.”
(South Side Advertiser Edinburgh, March 2019)

“Hanna Hipp’s Varvara had tenderness and dash.”
(The Guardian, March 2019)

“Hanna Hipp’s pleasure-seeking Varvara and Trystan Llyr Griffiths’ laddish Vanya all register strongly.”
(The Stage, March 2019)

“Hipp’s mezzo-soprano feeling quite dreamy, as befits the character, but being made special
by the shape and evenness of tone that she brings to it.”
(e-News.USA, June 2019)

“Hanna Hipp sings richly and persuasively in the trouser role of Fantasio”
(Seen & Heard International, June 2019)

“In zwei Liebesduetten verweben sich der melancholisch gefärbte Mezzosopran von Hanna
Hipp als Fantasio mit dem schimmernden Sopran von Jennifer France zu einem hinreißenden Geflecht.”
(Frankfurter Allgemeine Zeitung, July 2019)

“[…] a strong cast is well led by Hanna Hipp in the ‘trouser role’ of Fantasio himself.”
(The Mail on Sunday, June 2019)

“Fantasio, a trouser role brilliantly handled by mezzo-soprano Hanna Hipp.”
(Oxford Times, July 2019)

“With Varvara, Hanna Hipp added another part to her growing armoury of out-and-out successes”
(Opera Magazine, May 2019)

“All in all, the passion is strangely underplayed, except for Vanya and Varvara, whose ripe
performances by Trystan Llŷr Griffiths and Hanna Hipp inject a juiciness and lust.”
(The Scotsman, March 2019)

“The pair of young lovers almost stole the show with their strongly sung performances, Trystan Llŷr Griffiths’ Vanya fully relishing the challenges of the Czech words and Hanna Hipp’s courageous Varvara, her onstage change from dowdy peasant to racy ‘girl on a night out’, a welcome light relief.”
(Bachtrack, March 2019)

“Hanna Hipp, an excellent communicator, made a vampish Varvara”
(Seen & Heard International, March 2019)

“Vocal performances are all strong, and Hanna Hipp as Varvara shone, as did Vanya in the form of Trystan Llyr Griffiths.”
(Edinburgh Festival, March 2019)

“We get to know Ványa Kudrjás (the school-teacher played by Trystan Llyr
Griffiths) and Varvara (a foundling played by Hanna Hipp) for all too brief a period, and this is a pity as they are the two people who give this story in this production its contemporary relevance by the way they dress and act.”
(South Side Advertiser Edinburgh, March 2019)

“Hanna Hipp’s Varvara had tenderness and dash.”
(The Guardian, March 2019)

“Hanna Hipp’s pleasure-seeking Varvara and Trystan Llyr Griffiths’ laddish Vanya all register strongly.”
(The Stage, March 2019)

“Hanna Hipp is the ideal interpreter for the demanding task that is Berlioz’s Les nuits dété. With her dark tone and beguiling timbre, she brought a touching character to the intimate songs of loss and hope.”
(Vorarlberger Nachtrichten, January 2019)

“Restrained, intimate and melancholic in Berlioz’s Les nuits d’été, Hanna Hipp demonstrated her shining middle and silvery, shimmering higher register.”
(Neue Vorarlberger Tageszeitung, January 2019)

“Im Mittelpunkt stand die Mezzosopranistin Hanna Hipp mit ihrer Interpretation der Orchesterlieder „Les nuits d’été“ von Hector Berlioz. Die Sängerin gestaltete die Lieder um ersehnte, enttäuschte und verlorene Liebe emphatisch aus und zog die Zuhörenden in ihren Bann. […] Die persönliche Ausstrahlung der aus Polen stammenden Mezzosopranistin Hanna Hipp passte sehr gut zum Orchesterliederzyklus „Le nuits d’été“ von Hector Berlioz. Einesteils formte die Sängerin die Naturschilderungen in den rahmenden Liedern „Villanelle“ und „L’ile inconnue“ mit feinen Stimmführungen aus. Andernteils verbreitete Hanna Hipp eine sensible Aura rund um die von Verlust und enttäuschter Liebe kreisenden Liedinhalte. Den Höhepunkt ihrer Deutung bildete die mitteilsame
Entfaltung von „Le spectre de la rose“, in der das Timbre der Stimme sehr schön zur Geltung kam. Getragen wurde sie vom Orchester, das die Seelenlandschaften des hochromantischen Textes eindrücklich illustrierte.”
(KULTUR. Zeitschrift für Kultur und Gesellschaft, January 2019)

“Hipp has a slightly bigger voice than we sometimes find in the title role […] she was an engaging Hänsel, wide-eyed, impulsive and impishly mischievous.”
(Opera Magazine, February 2019)

“[…] todos cantaron magníficamente. Hanna Hipp fue un Hansel ágil vocal y escénicamente”
(Mundo Clasico, December 2018)

“The highest accolades, however, should go to the pair who are on stage for the vast majority of the evening, namely Hanna Hipp as Hänsel and Jennifer Davis as Gretel. Both enter completely into the spirit of playing the children, with Hipp revealing extremely well observed boyish mannerisms, and Davis brimming with ‘girlish glee’. Both execute some effective steps in ‘Mit den Füßchen, tapp tapp tapp’, while Hipp’s mezzo-soprano also works well with Davis’s soprano to delineate the different genders.”
(Opera Online, December 2018)

“First the good news: the Royal Opera’s new production of Hänsel und Gretel was certainly well sung… Jennifer Davis and Hanna Hipp made for a highly likeable sister and brother. From the front of the stalls, where I was fortunate enough to be seated, their facial movements and other body language were just as telling as their musical performances, diction as excellent as vocal line. Lucy Burge’s skilled movement direction proved a definite boon, here and elsewhere.”
(Seen & Heard International, December 2018)

“The singing is very good. Hanna Hipp is a big-voiced, energised and convincing Hansel, Jennifer Davis slips easily into Brünnhilde-sized power as Gretel, the sibling rivalry and affection are sharply observed, and they are very untwee in the dance scene.”
(The Classical Source, December 2018)

“These children are big, sturdy figures with voices to match: Jennifer Davis brings a Wagnerian tone to Gretel, while Hanna Hipp has equal vocal weight as her brother.”
(The Independent, December 2018)

“As the two children, Jennifer Davis and Hanna Hipp created an engaging and believable interaction, though these were fairy-tale children and the games never descended into nastiness or awkwardness. […] Davis brought lightness and flexibility to her performance as well as admirable depth of tone. And she was well matched by Hanna Hipp's engaging Hänsel, so that there were none of the balance problems incipient in the opera when youthful voices collide with Humperdinck's neo-Wagnerian orchestrations.”
(Opera Today, December 2018)

“Hanna Hipp’s Hänsel and Jennifer Davis’ Gretel are bright-voiced, eager, and play the sibling relationship to perfection.”
(Bachtrack, December 2018)

“Elsewhere, Hanna Hipp and Jennifer Davis are flawless in their brother-and-sister double-act, neatly executing Lucy Burge’s deliberately naïve choreography and with their voices blending immaculately.”
(The Stage, December 2018)

“Hanna Hipp and Jennifer Davis are admirable in the title roles.”
(The Evening Standard, December 2018)

“Hanna Hipp, […] is another great actor with a mischievous, delightful voice.”
(The London Magazine, December 2018)

“Polska mezzosopranistka Hipp zaprezentowała interpretację na najwyższym poziomie. Hipp imponowała techniką wokalną, ale także subtelną interpretacją oraz spontanicznością sceniczną. Niemal w każdej scenie przyciągała ona uwagę publiczności. Była ona w stanie przekazać prawdziwe emocje, rozśmieszyć widzów, a momentami nawet wzruszyć.”
(Presto, December 2018)

“The two children of the title are gloriously played by Hanna Hipp as the mischievous boy Hansel and Jennifer Davis as his older and slightly more mature sister Gretel. They both capture the essence of their characters splendidly with Hanna Hipp particularly effective in portraying the sulky movements of the naughty Hansel.”
(The Express, December 2018)

“The Polish mezzo-soprano Hanna Hipp delights as a comic and rubber-limbed Hansel.”
(The Guardian, December 2018)

“La difficulté qui en résulte, une exigence vocale sur une grande tessiture, n’éprouve aucunement la mezzo-soprano Hanna Hipp. […] La voix résonne somptueusement sur tout son ambitus sans amais être couverte par l’orchestre, la chanteuse n’hésite pas à poitriner les sons graves (« ni Messe ni De Profundis ») sans pour autant les écraser. La magnificence du timbre vibré et rond éclate dans l’envolée exaltée « j’arrive du paradis ». Hanna Hipp possède la voix idéale pour soutenir aisément l’ampleur des longues phrases de la musique de Berlioz. [...] Elle sait également colorer son chant de nuances subtiles, variant les reprises Sur les Lagunes (« Ah! s’en aller sur la mer ») ou sur Absence (« Reviens, reviens ma bien aimée! »). Sur un fil de voix elle entame Au cimetière, se jouant des limites sonores et marie sa voix aux sons enharmoniques des cordes afin de créer une ambiance surnaturelle. La mezzo-soprano répond à l’appel de l’orchestre dans L’Île inconnue de sa voix charnue et profonde (« Dites la jeune belle où voulez-vous aller »).”
(Olyrix, September 2018)

“Hanna Hipp played Clairon as the ultimate ‘actressy’ stage personage, her voice as smoky as that of any Hollywood diva."
(musicOMH, June 2018)

“superbly funny and characterful, Hanna Hipp as the actress Clairon”
(The Guardian, June 2018)

“Hanna Hipp a bracing presence as the actress Clairon.”
(The Stage, June 2018)

“Hanna Hipp wittily channels Bette Davis in All about Eve as the acid-tongued actress Clairon.”
(The Telegraph, June 2018)

“As Clairon, Hanna Hipp wears her tailored cream trouser-suit with style; always in character, she acted superbly and her rich mezzo added plushness and passion to the conversational ensembles.”
(Opera Today, June 2018)

“Hanna Hipp’s strongly sung Clairon.”
(Bachtrack, June 2018)

“Hanna Hipp is stylish, with fruity chest tones, playing arch actress Clairon as a 1940s Hollywood film star (shades of Bette Davis’s Margo Channing?).”
(The Arts Desk, June 2018)

“Hanna Hipp is sultry and creamy-voiced as the actress diva Clairon.”
(Culture Whisper, June 2018)

“Hanna Hipp brings allure and good humour to the role of Clairon”
(Seen & Heard International, June 2018)

“Hanna Hipp is excellent as the wise, flamboyant Clairon”
(The Classical Source, June 2018)

“the glamorous actress Clairon (the excellent Hanna Hipp, looking like a cross between Rita Hayworth and Katharine Hepburn)”
(The Sunday Times, June 2018)

“Paula Murrihy and Hanna Hipp both gave solid performances in the part of Frances, Countess of Essex”
(Seen & Heard International, April 2018)

“mezzo Hanna Hipp gives life to a pleading and desperate Frances”
(Opera World, May 2018)

“Hanna Hipp a spirited Beatrice”
(Opera Magazine, August 2018)

“Hanna Hipp was queen of the evening (as Beatrice). Her sung and spoken English a model for everyone else on stage, her character, sprightly, furious and rueful by turns”
(Opera Today, February 2018)

“Hanna Hipp’s intense Emilia sounded opulent, betraying no strain in the crucial exclamations in Act 4”
(Opera Magazine, March 2018)

“Hanna Hipp is a mezzo-soprano who clearly puts her own stamp on Dorabella. She displays good legato lines, precise diction, and ease in the voice, particularly in her central register…She is convincing in this role as a frivolous lover, ready to explore new erotic horizons and overcoming social conventions, and responds with great spontaneity in her recitatives.”
(Operaclick.com, February 2018)

“[there is] much to admire in Hanna Hipp’s more yielding, lyrical Dorabella”
(Seattle Times, January 2018)

“Hanna Hipp gloriously fulfils the difficult role of Isabella”
(Concertclassic.com, September 2017)

“With some spectacular effects in the higher register and impressive musicality, the Polish mezzo-soprano Hanna Hipp is a charming Isabella who plays the determined femme fatale to perfection.”
(Opéra Online, September 2017)

“The audience was charmed by the beautiful Anna of Hanna Hipp”
(L’Avant-Scène Opéra, April 2017)

“As Anna, Hanna Hipp’s velvety mezzo blended well with DiDonato”
(Bachtrack, April 2017)

“Allan Clayton and Hanna Hipp make an enchanting David and Magdalene”
(The Telegraph, March 2017)

“David and Hanna Hipp’s Magdalene fused beautifully.”
(Bachtrack, March 2017)

“In the modern way, Hanna Hipp’s Magdalene was more typically girly than Wagner’s ‘old maid’. She began perky and high-spirited…and her rich mezzo impressed by making this relatively small supporting role seem much bigger than it is.”
(Seen & Heard International, March 2017)

“Hanna Hipp’s lovely burnished mezzo is ideal for Magdalene”
(musicOMH, March 2017)

“Hanna Hipp does full justice to Mozart’s music, and gets the mix of infatuation and petulance just right.”
(The Opera Critic, November 2016)

“Of the singers, Hanna Hipp’s bit-part Beppe was the most convincing performance, coquettish and smirking”
(The Guardian, October 2016)

“Hanna Hipp’s opening salutation to Fritz grabbed our attention. Her performance throughout was confident with a hint of gallusness.”
(The Opera Critic, October 2016)

“In the “pants role” of the young boy Isolier, Hanna Hipp sang and acted with easy alacrity.”
(Seattle Times, August 2016)

“Much more vivid were David Portillo and Hanna Hipp – just about perfect as that most unlikely of operatic couples David and Magdalene”
(The Telegraph, May 2016)

“However, for stage energy and presence, both [Eva and Walther] were comprehensively outpointed by David Portillo’s David and Hanna Hipp’s feisty Magdalene.”
(The Guardian, May 2016)

“Eva and Walther were overshadowed by the lovely pairing of Hipp’s Magdalene and David Portillo’s David.”
(The Guardian, May 2016)

“Hanna Hipp and David Portillo are excellent as lovers Magdalene and Sachs’s assistant David”
(The Express, June 2016)

“Hanna Hipp’s sweetly projected Magdalene.”
(WhatsOnStage, May 2016)

“Hanna Hipp offered a forthright Magdalene”
(Bachtrack, May 2016)

“Hanna Hipp’s affectionately acted, warmly sung Magdalene was an ideal companion for [Eva].”
(musicOMH, May 2016)

“As the composer…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.”
(Twin Cities Pioneer Press, September 2015)

“Hanna Hipp was an ardent Composer – aptly vulnerable”
(Star Tribune, September 2015)

“Polish-born mezzo Hanna Hipp is terrific in the trouser role, and she returns at the end of the show for a touching moment.”
(The Post Bulletin, October 2015)

“Polish mezzo-soprano Hanna Hipp, a graduate of the Royal Opera House’s Jette Parker Young Artists programme, took the trouser role of Ramiro. A striking characterisation and clear tone”
(Seen & Heard International, October 2014)

“Polish mezzo Hanna Hipp contributes a thrillingly sung and touchingly acted trouser performance as the lovelorn Ramiro”
(WhatsOnStage, October 2014)

“Hanna Hipp brings a metallic, yet refined, vibrato to her impressive performance as Ramiro”
(musicOMH, October 2014)

“Hanna Hipp as Suzuki is excellent, with a knowing, competent demeanour and a glowing mezzo timbre.”
(The Guardian, May 2014)

“Hanna Hipp was a rich, throaty Suzuki”
(Seen & Heard International, May 2014)

“the maid Suzuki, an eloquent Hanna Hipp”
(The Opera Critic, May 2014)

“Hanna Hipp’s singing of Butterfly’s maid [was] wonderfully executed.”
(Scotland Herald, May 2014)

“Special mention among the many smaller roles to the excellent Hanna Hipp”
(Forum Opéra, February 2014)

“Hanna Hipp, with her dark, enveloping mezzo, played a characterful Maman, provided the necessary verve for the Chinese Cup and cloaked us in melancholy as the Dragonfly.”
(GBOpera.com, February 2014)

“There [is a] star turn from Hanna Hipp, as a manic, menacing Mad Hatter”
(The Telegraph, July 2013)

“Hanna Hipp’s stirring Emilia”
(The Telegraph, July 2012)

“Jette Parker Young Artist Hanna Hipp brought some dramatic intensity to the few lines Verdi gives Emilia”
(Seen & Heard International, July 2012)

“There [is an] outstanding cameo from the warm-toned Hanna Hipp as Anna”
(The Telegraph, June 2012)

“the singing overall is strong, especially that of the mezzo-soprano Hanna Hipp as Anna, Dido’s attentive sister”
(The New York Times, June 2012)

“the strong vocal and dramatic presence of Hipp’s Anna”
(The Arts Desk, July 2012)

“The young Hanna Hipp is a revelation as Anna, the sister of the Queen of Carthage, sung with style and finesse.”
(Altamusica, July 2012)

“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 & Heard International, July 2012)