Die Walküre, Greek National Opera, 2024

Hanne Fischer was cast as Fricka for the second half of the run. Her mezzo-soprano voice was less rich than Marina Prudenskaya’s, but it impressed with its beautiful, dramatic tone and assured control. Fischer sang with greater clarity than Prudenskaya, and her articulation of Wagner’s verses was simply magnificent. Hanne Fischer’s performance as Fricka was a highlight of the evening.
- Onlinemerker
https://onlinemerker.com/athen-griechische-nationaloper-dia-walkuere-letzte-vorstellung-der-sechser-serie-wagners-walkuere-nimmt-athen-im-sturm/

Tristan und Isolde, Danish Royal Opera, 2024

Hanne Fischer’s Brangäne approaches Milling’s Marke for vocal wisdom and takes on a gorgeous, shimmering radiance in the watch song. She oozes care and compassion much as Jens Søndergaard’s Kurwenal does devotion, the baritone leaning deep into his curvaceous voice and finding the necessary weight in it.
- Opera Now

It is no exaggeration to say that Hanne Fischer, as Brangäne, Isolde’s confidante, was able to outshine her mistress with precisely projected high notes and a focused, golden tone. […] Hanne Fischer stood with her back to the audience at the rear of the stage, gazing out into the darkness, and her calm verses came like distance Homeric siren songs over Carignani’s orchestra, with the harp and the violas’ whispering arabesques. It was certainly brief in comparison to the opera’s length, but nevertheless an excellent example of how moving the singers and orchestra could come together in this ceaselessly yearning, white-hot, passionate and intensely agonising music drama.
- Information

Hanne Fischer delivers a superb performance as Brangäne. You empathise with her as she wrestles with her feelings towards Isolde: what is one to do when ordered to serve poison to one’s employer and the lord who may or may not have wronged her? When she chooses to bring a love potion instead, it causes problems, to say the least. She is alone in her choices. Hanne Fischer is fantastic in the role, in which she also shone during a lovely concert performance in 2019, where the entire orchestra was seated on stage.
- Kulturtid

Hanne Fischer is ideal in the role of Brangäne, torn between her devotion to duty and her guilt at having rekindled the protagonists’ love.
- Ascolta

Among the opera’s sextet of singers, one also notes the powerful voice of Jens Søndergård as Tristan’s attendant Kurwenal, the statuesque Hanne Fischer as an immensely confident and – as one is always tempted to say – beautifully singing mezzo in the role of Brangäne, Isolde’s maid, and Stephen Milling, who, with all his physical and vocal power, naturally fills the space around the leading couple.
- POV

All round, the singing and playing in Tristan und Isolde are both good and more than good. Take, for example, the production’s Brangäne, the Royal Opera’s very own Hanne Fischer. She comes across as a mature woman, who, with all her cunning, all her care and all her empathy, is not merely Isolde’s closest confidante. She is, in Wagner’s eyes, made a pivotal figure in this delirious drama. She cuts a fine figure here.
- Berlingske

The Handmaid’s Tale, Danish Royal Opera, 2022

The star of the Danish house, mezzo-soprano Hanne Fischer, is one of the two artists who took part in the creation of this opus. Formerly Offred in the past, now Serena Joy, she sings ‘Amazing Grace’ with a voice that is firmly grounded in the lower register, yet clear and resplendent in the upper register. She skilfully blends spoken and sung passages, with impeccable diction and the unwavering precision of her melodic transitions between registers.
- Olyrix.com 2022
https://www.olyrix.com/articles/production/6258/the-handmaids-tale-paul-bentley-margaret-atwood-poul-ruders-royal-danish-opera-john-fulljames-jessica-cottis-lamford-cunningham-piccioli-duke-wos-29-octobre-2022-critique-compte-rendu-hipp-champion-andersen-helmershoj-herzog-stille-thomsen-clausen

All in all, it is the women’s night, and Hanne Fischer has hardly ever been better than in the role of the grotesque Serena Joy, who one moment is singing ‘Amazing Grace’ or knitting, only to be assisting in an intrusive manner with the act of procreation the very next. The role is immensely challenging in several respects, but Hanne Fischer gives it everything she’s got – both dramatically and vocally – and the result is a performance of the very highest calibre.
- CPHculture

Hanne Fischer’s mezzo-soprano voice, which alternates between warmth and steely resolve, is perfectly suited to the role of the former gospel singer Serena Joy.
- Operamagasinet Ascolta

Serena Joy, the embittered spider-woman at the centre of the web, portrayed with icy detachment by Hanne Fischer.
- Kristeligt Dagblad

Hanne Fischer miraculously brings to life the lack of tact and patience of Serena Joy, the Wife.
- OperaOnline

Hanne Fischer is suitably grotesque and almost psychotic as Serena Joy – the wife in the family where Offred is a handmaid – where she swings in a flash between being the normal family woman and the absurd woman who hastens the forced impregnation or dominates Offred by showing her a photograph of her daughter, who is still alive.
- Ungt Teaterblod

Sibelius: The Tempest, Naxos, CD 2022

The extremely onomatopoeic music with orchestral numbers, choruses and solo parts is heard in a tense and powerful interpretation. Among the singers, the warm and sonorous voice of Hanne Fischer in the role of Ariel is particularly striking. The Danish National Opera Chorus and Orchestra offer good performances under Okko Kamu’s direction.
- pizzicato
https://www.pizzicato.lu/sturm-uber-kopenhagen/

In five ‘songs’ dedicated to the air spirit Ariel, the Danish mezzo-soprano Hanne Fischer shines, whilst 76-year-old Okko Kamu guides the excellent Copenhagen Opera Orchestra sensitively and masterfully through the adventurous score. “It is one of the most powerful pieces of theatre music I have ever heard.
- Attila Csampai, Rondo Magazin
https://www.rondomagazin.de/rezensionen/the-tempest-hanne-fischer-kari-dahl-nielsen-12133/

Hornemann Aladdin, DaCapo, CD

…the best comes from Hanne Fischer as Aladdin’s mother Morgiane, who, alas, is gone by the end of Act II.
- Christopher Cook Classical Music, BBCmusic Magazin
https://www.classical-music.com

Die Walküre, Danish Royal Opera, 2022

His wife Fricka was portrayed by Hanne Fischer with distinguished authority and masterful intelligence; she picked apart Wotan’s arguments with such stunning dramatic and vocal agility that, for the first time, I really began to like her. I am very much looking forward to seeing Ms Fischer in further roles.
- Oper-aktuell.info
https://www.oper-aktuell.info/kritiken/details/kopenhagen-die-walkuere-09032022.html

Hanne Fischer is absolutely brilliant as the fury Fricka, whose undeniable wrath causes Wotan to bow his head in despairing helplessness.
- Berlingske Tidende

Wotan and his wife, Fricka, cause each other great anguish. And indirectly, Fricka leads her husband to his downfall. Hanne Fischer, in the role of Fricka, brought this to life as a calculating and cunning character.
- Frederiksborg Amtsavis

With her crystal-clear voice and scornful demeanour, mezzo-soprano Hanne Fischer ensures, quite convincingly, that this masculine powerhouse receives his fatal blow.
- Weekendavisen

Hanne Fischer, perfectly cast and sublime in the role of Wotan’s cunning, bitchy wife, who drives Wagner’s answer to The Godfather to the point where he can’t keep up.
- Det sku’ du se

Tristan und Isolde, Danish Royal Opera, 2019

Last but not least, I cannot fail to highlight Hanne Fischer’s beautiful portrayal of Isolde’s maid, Brangäne, whose voice in the night during the enchanting ‘Liebesnacht’ was the icing on the cake in a very successful production with which I can only be satisfied.
- Critique

Hanne Fischer was an absolute delight; her Brangäne exuded pride and strength of character, and her voice had richness and a golden projection, as in the second act, when, from the back of the stage, she warned Tristan and Isolde of the dangers of their tryst that night.
- Information

And if you attend one of the two upcoming performances, you can look forward to experiencing the Royal Opera’s own wonderful mezzo-soprano of many years’ standing, Hanne Fischer, in the role of Isolde’s maid Brangäne. Here is a singer who not only has the voice for the role but also understands the art of acting so well that you don’t even realise that is what she is doing.
- Politiken

Vocally unrivalled and commanding on stage, Hanne Fischer makes her role debut as Isolde’s maid, Brangäne, who relentlessly attempts to influence the course of this tale of fate through omens and actions.
- POV