Hanne Fischer, mezzo-soprano
Mezzo-soprano

Hanne Fischer

Website
Represented By:

Michael Morelli
mm@crescendiartists.com
+45 21 95 28 28

Ole Justesen
oj@crescendiartists.com
+45 21 85 58 60

BIOGRAPHY

TEST Hanne Fischer, Knight of the Dannebrog is a much sought-Danish mezzo soprano both at home, where she frequently performs at Royal Danish Opera – as well as abroad. Her strong presence of expression is often highlighted. Her role interpretations range from baroque, through Wagner, to contemporary music. Right now she performs the role of Sister Helen Prejean in “Dead Man Walking” at the Opera in Copenhagen and she has received a great amount of star reviews.

Recently the artist has performed Prins Orlovsky/Flagermusen, Vores stemmer, Nancy T’ang/Nixon in China and Brangäne/Tristan und Isolde at Royal Danish Opera.

Future highlights include among others Annina/La Traviata and Serena Joy/The Handmaid’s Tale at Royal Danish Opera.

Past engagements in recent years also include Waltraute in the concert performance of “Götterdämmerung” in Odense, under the direction of Alexander Vedernikov and Blanca/The Exterminating Angel at Royal Danish Opera, København in 2018.

At the Royal Opera House Copenhagen, she has performedmany roles, such as  The composer in “Ariadne auf Naxos”, Melibea in “Journey to Reims” Charlotte in “Werther,” Penelope in “Odysseus”, Ottavia in “Poppea’s Coronation” and La Frugola in Puccini’s “Il Tabarro” and also Carmen. This year marks her 25th anniversary as an opera singer.

During the period 1993-1997 Hanne Fischer was part of the ensemble at Opera Kiel. She also performed at Glyndebourne Festival in England, at Staatsoper Berlin, Hamburger Staatsoper, Opera in Antwerp and Ghent and at Theatre de Champs-Elysee.

Since 2005, when the Royal Danish Opera inaugurated it’s new waterside Opera House in Copenhagen, she was among the first performers in the world premiere of “Shakespear Sonnet”, composed by Poul Ruders and dedicated to Hanne Fischer.

After her success as Fricka in Wagner’s “Das Rheingold” and “Valkyrie” in Strasbourg, Hanne Fischer debuted in 2011 as Waltraute in Wagner’s “Götterdämmerung” under the direction of David McVicar. She received great critical acclaim from international opera magazines, who all praised her unique voice character with poignant expression abilities and also her strong role interpretation.

As a concert singer Ms. Fischer has performed with all major Danish Orchestras and internationally in the big concert halls in Amsterdam, München, Berlin, Paris and London.  In 2009, on the 60th birthday of the European Council, she performed Mahler’s 3rd Symphony under the direction of Marc Albrecht. She has performed also with many other grat conductors, such as Daniel Barenboim, Andrew Davis, Mark Elder, Marko Letonja, Mark Minkowski, Giancarlo Andretta, Hartmut Haenchen, Manfred Honeck, Michael Jurowski, Ton Koopman, Susanna Mälkki, Leif Segerstam, Michael Schönwandt, Yuri Temirkanov, Alexander Vedernikov, Carlo Rizzi, and Kirill Petrenko.

Ms. Fischer has received numerous awards and prizes including the Noilly Prat Price in 1993, Elisabeth Dons Memorial Award in 1995, Danish Music Critics Artist Award in 2004, Holger Bruusgaards Award of the Royal Orchestra in 2007 and Axel Schiøtz Award in 2010. She has been many times nominated for the Reumert award with her performances of Sextus in Mozar’s “Titus”, Orpheus in “Orpheus and Eurydice” and Händel’s “Jephta”. In 2014 she received the Ellen Gilbergs scholarship.

Her discography includes CD’s with The Danish Radio Symphony Orchestra and Berlin Radio Symphony Orchestra (Lehar’s “Tatjana”) and Aalborg Symphony Orchestra.  She also performs Verdi’s “Requeim” in a recording of Trinitatis Kantori og Orkester.

On DVD she performs at the production of Wagner’s Ring, Carl Nielsen’s “Masquerade” and also “Selma Jezkova” (Dancer in the Dark) by Poul Ruders.

REPERTOIRE

REPERTOIRE

Opera
Delius, F. TEST A Village Romeo and Juliet Wild girl
Gluck, C.W. Orfeo ed Euridice Orfeo
Gounod, C. Faust Siebel
Humperdinck, E. Hänsel und Gretel Hänsel
Janacek, L. The Cunning Little Vixen the fox
Korngold, E.W. Die tote Stadt Lucienne
Lehar, F. Tatjana Raisa
Ligeti, G. Le grand macabre Amando (Spermando)
Massenet, J. Werther Charlotte
Monteverdi, C. Il ritorno d’Ulisse in patria Penelope
L’incoronazione di Poppea Ottavia
Mozart, W.A. Cosi fan tutte Dorabella
Die Zauberflöte Zweite Dame
Don Giovanni Zerlina
Idomeneo Idamante
La clemenza di Tito Annio
La clemenza di Tito Sesto
Le nozze di Figaro Cherubino
Nielsen, C. Maskerade Pernille
Offenbach, J. La Perichole La Perichole
Les contes d’Hoffmann The Voice
Les contes d’Hoffmann Nicklausse
Prokofiev, S. L’amour des trois oranges Smeraldina
Puccini, G. Madama Butterfly Suzuki
Rossini, G. Il viaggio a Reims Marchesa Melibea
La Cenerentola Angelina (Cenerentola)
Le comte Ory Isolier
Ruders, P. Kafka’s Trial Washer Woman
Kafka’s Trial Hunchback
The Handmaid’s Tale Offred’s double
Schönberg, A. Moses und Aron Solostimme II
Moses und Aron 3. Jungfrau
Strauss, R. Ariadne auf Naxos The composer
Der Rosenkavalier Octavian
Salome Page
Tchaikovsky, P.I. Pikovaya dama Polina
Wagner, R. Das Rheingold Flosshilde
Das Rheingold Fricka
Die Walküre Waltraute
Die Walküre Fricka
Götterdämmerung Second Norn
Götterdämmerung Waltraute
Concert
Bach, J.S. Johannes-Passion
Magnificat
Matthäus-Passion
Weihnachtsoratorium
Beethoven, L.v. C major Mass
Symphony no. 9
Berlioz, H. Les nuits d’ete
Britten, B. The Rescue of Penelope
Duruflé, M. Requiem
Dvorak, A. Requiem
Stabat Mater
Gade, N.W. Elverskud
Händel, G.F. Messiah
Haydn, J. Harmoniemesse
Langgaard, R. Sfærernes Musik
Mahler, G. Das Lied von der Erde
Des Knaben Wunderhorn
Kindertotenlieder
Rückert-Lieder
Mozart, W.A. Alma grande e nobil core
Ch’io mi scordi di te?
Coronation Mass
Requiem
Vesperale solennes de confessores
Nordby, E. Rilke-Lieder
Pape, A. Vølvens spådom
Rosing-Schow, N. Archipel des Solitudes
Rossini, G. Petite messe solennelle
Stabat Mater
Ruders, P. Shakespeare Songs
Schumann, R. Des Sängers Fluch
Vom Pagen und der Königstochter
Sibelius, J. Orchestral Lieder
The Tempest
Vivaldi, A. Gloria

AUDIO & VIDEO

Hanne Fischer – Götterdämmerung by R. Wagner – Höre mit Sinn

REVIEWS

Rodney Milnes, Opera

“Hanne Fischer’s Waltraute was outstanding, delivering her Narration—most cannily accompanied by Letonja (i.e. he kept it going)—with lovely sound and verbal insight. She doubled as Second Norn, and Nancy Weissbach similarly shared Gutrune and Third Norn.”
– Rodney Milnes, Opera

Laurent Barthel, ConcertoNet.com

“Le contraste entre son magma inintelligible de consonnes amorties et l’aisance de la Waltraute de Hanne Fischer, véritable conteuse qui sait faire vivre un récit jusque dans ses moindres détails, est particulièrement criant.”

– Laurent Barthel, ConcertoNet.com

François Lehel, Opéra Magazine

“On pourra regretter que Daniel Sumegi, de beau caractère, force par moments la basse de son Hagen, pour connaître des moments de fatigue au III, et passer plus vite sur un Alberich correct mais qui, depuis Das Rheingold, tend inutilement à la caricature, pour mettre en évidence l’émouvante Waltraute de Hanne Fischer, que nous avions appréciée dès sa prise de rôle de Fricka. Voix chaude et d’expressivité soutenue, qui ne cesse de capter l’attention dans le long récit du I.”

– François Lehel, Opéra Magazine

Opernwelt

“Die packendste stimmliche Leistung bietet Hanne Fischer als eine in jeder Hinsicht grandiose Waltraute.”

– Opernwelt

Das Opernglas

“Hanne Fischer verband ind der groszen Erzählung der Waltraute Schöngesang und Aussage zu berührender Einheit; auch ihre zweite Norn gerieft ergreifend”

– Das Opernglas

Pierre-Emmanuel Lephay, Forumopera.com

“Hanne Fischer, qui fut une remarquable Fricka, incarne ici une extraordinaire Waltraute. La beauté toujours intacte de la voix, vibrante et prenante, mais surtout cet art du chant qui repose sur une excellente diction et une grande intensité dans le récit, tout cela rend sa scène avec Brünnhilde au premier acte absolument splendide. Notons encore l’excellence du chœur et on aura décidément saisi combien la soirée fut anthologique.”

– Pierre-Emmanuel Lephay, Forumopera.com

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