REVIEWS

“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 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)