| OPERA PERFORMANCES
|
as Poppea in
L'Incoranazione di Poppea:
"...Dana Hanchard, in the role of Poppea,
filled each formulaic appoggiatura, trill and tremelo with eroticism,
coquettishness or delight." |
| — New York Newsday |
| |
| "Dana Hanchard made a silkily insinuating
Poppea." |
| — The London Times |
| |
| "An insidiously understated Poppea,
Dana Hanchard was no less effective as she went about her dirty
work looking and sounding like a dream." |
| — New York Magazine |
| |
| "Dana Hanchard (Poppea) is the most
musically stylish singer, and the countertenor David Daniels
is an unsettling Nero... their scenes, especially the exquisite
duet finale, are among the best in the opera." |
| — The Wall Street Journal |
| |
| "What lingers most in the memory
are those glorious, ravishing vocal duets, all beautifully performed
by Jennifer Lane and Dana Hanchard..." |
| — The New York Times |
| |
as Nerone in
L'Incoranazione di Poppea:
"Nero was originally written for a
castrato. Gardiner, in search of the right register and
vocal abilities, cast...American soprano Dana Hanchard as the
Emperor. Her performance was superb." |
| — International Herald Tribune
|
| |
| "...Hanchard gains in assurance,
petulantly volatile in her dealings with Seneca and awe inspiring
when she condemns Drusilla to a horrible death; but that bat-squeak
of sexuality is there too, enthralling with the quivering repetitions
of "ahi" in Act 2, scene 5." |
| — Classic CD |
| |
as Asteria in
Tamerlano:
"While the eyes are being ravished, so are the
ears...a scintillating performance... singers of passionate
virtuosity --notably countertenor David Daniels in the title
role and soprano Dana Hanchard as his reluctant Turkish prize...hypnotically
human-- opera on a level of taste, imagination and musicality
that would do any of the world's most celebrated opera houses
proud." |
| — Time Magazine |
| |
as Tigrane in
Radamisto:
" Dana Hanchard sang Tigrane's five arias with
such exquisitely firm and creamy tone that it was impossible
to regret Handel's indulgence to Berselli." |
| — Opera |
| |
| "...the very fluent and spirited
Tigrane of Dana Hanchard...is also a delight, with fioratura
that is a model of clarity and precision." |
| — Gramophone |
| |
as Euridice
in Opheo ed Euridice:
"With a darkly elegant tonal quality
and fervent acting, Dana Hanchard is an impassioned Euridice"
|
| — The Boston Herald |
| |
| "As Eurydice, Dana Hanchard, a beautiful
woman with a dark edge on her voice, like oak in chardonnay,
is worthy of Mr. Chance's labors." |
| — The Wall Street Journal |
| |
| "Soprano Dana Hanchard invested
Euridice with unaffected warmth and compassion.” |
| — The San Francisco Examiner |
| |
| "With much less to do as Euridice,
Dana Hanchard provides a few welcome moments of ardor and eloquence."
|
| — New York Magazine |
| |
| "...Euridice, whose poignant characterization
by soprano Dana Hanchard was enhanced by a voice that possesses
a distinctive refined luster." |
| — Sunday Cape Cod Times |
| |
| "Dana Hanchard sent off emotional
sparks as Euridice...she impressed with her gleaming soprano
and shapely phrasing." |
| — The Patriot Ledger |
