Talents of the World “Showstoppers Concert” – Jordan Hall, Boston
Hansen’s saucy Czardas from Die Fledermaus (sung in English) was aristocratic in delivery, and precise in coloratura figurations, all leading to a red-hot finish on top A’s, B’s and a crowning high D. 

Soprano Meredith Hansen followed with a ravishing performance of Rusalka’s “Song to the Moon,” sung in expertly-pronounced Czech and brilliant high notes. – Bradley Pennington, The Boston Musical Intelligencer

Memory and Celebration in Outdoor Requiem
Meredith Hansen was particularly memorable in the concluding Libera me shaping the frantic, sotto voce chants that open the movement with the same care and poise as the triumphant high c that glistened so cleanly in the movement’s climax. – Sudeep Agarwala, The Boston Musical Intelligencer

In “Hostias”, Meredith Hansen’s soprano soared over the other singers’ plush harmonies.  But her finest singing came in the “Libera me” at the Requiem’send, where she intoned a nervous chant that was answered by the chorus.  The text for Verdi’s unsettling ending tells of a soul pleading with God to be saved from eternal damnation.  After Hansen muttered her final line as if in prayer, the music ended in quiet desperation. For Verdi, death was less an opening into a vivid heaven than a doorway into the unknown. – The Boston Musical Intelligencer

Boston Midsummer Opera offers boisterous, appealing Italian comedies
Meredith Hansen sang affectingly as the young Suzel…. The score’s Cherry Duet – one of the few well-known passages – proved the evening’s highlight. — Jeremy Eichler, Boston Globe

Midsummer Digs and Operas Charm
Suzel, imbued with elegant lyric grace and growing passion by Meredith Hansen. — Steven Ledbetter, Boston Musical Intelligencer

Boston Midsummer Opera Delivers A Double Bill — ‘Love, Italian Style’
Soprano Meredith Hansen, who has impressed me in smallish roles with Opera Boston, Boston Lyric Opera and the BSO, sings the quite contrary leading soprano roles in the Mascagni (tender, vulnerable) and the Donizetti (spunky). — Lloyd Schwartz, WBUR

Soundings: Opera in Williamsburg’s “Don Giovanni” delivers top-notch singing
The seven primary singers were on top of their games, each delivering excellent results. Meredith Hansen (Donna Anna) … sported [a] light and lovely soprano that supported lyrical lines and met coloratura challenges. — John Shulson, Virginia Gazette

Goerke, Barkmin heat up Strauss’s “Elektra” with Nelsons, BSO
Meredith Hansen [was] a strong supporting presence as the queen’s … trainbearer. — David Wright, Boston Classical Review

Don Giovanni Lite Delights Theater Crowd
Meredith Hansen forged some bright steel as Donna Anna, and her coloratura woke her sleeping father. — Lee Eiseman, Boston Musical Intelligencer

La Boheme’ makes glorious Paramount debut for CR Opera Theatre
The two most sonorous voices … rose mightily every time. Philip Torre and Meredith Hansen as former lovers Marcello and Musetta own every scene in which they spar. Their big voices and big personalities fill the stage with excitement and energy. — Diana Nollen, Cedar Rapids Gazette

The Inspector, Beatrice
Moving performances were given by Neal Ferreira and David Kravitz, as the counterfeit inspector and his traveling companion, happily accepting bribes and gobbling caviar, and Meredith Hansen, as the Mayor’s daughter: the three individuals in the village who long for a better place here gave beautiful accounts of the evening’s most beautiful music. — Kalen Ratzlaff, Opera News

The real vocal star of this production is Meredith Hansen singing Beatrice, a serious character (with corresponding writing) in a comic work. Hansen demonstrated her mastery of both serious and comic genres in this role. – Cashman Kerr Prince, The Boston Musical Intelligencer

Meredith Hansen brings a youthful naiviete—and unexpected spunk—to the role of Beatrice, and sings with a beautifully controlled soprano. – peermusicclassical.com

Meredith Hansen sounds great as the Mayor’s daughter (she’s the one sweetheart trapped in this lousy town) – but it’s her acting performance that is almost heart-breaking in its mix of comic smarts and tragic feeling; our best dramatic actresses couldn’t do better. – HubReview

Fidelio, Marzelline
As Marzelline, the jailer’s daughter in love with Fidelio, soprano Meredith Hansen was a bright, clever presence, and the size and color of her voice matched the role perfectly. She succeeded where very few singers do, making perfect dramatic sense of a romantic comedy figure essentially stranded in this otherwise dark and serious work. – Kalen Ratzlaff, Opera News

…delightfully sung by pure-toned Meredith Hansen (a real find). – David Shengold, Opera Magazine (UK)

Making her debut with Opera Boston, Meredith Hansen made a ravishing Marzelline. Her lilting soprano had exactly the right weight and color for the role, and she proved a charming stage presence. – Ed Tapper, The Edge Boston

…minxish soprano Meredith Hansen…. – Lloyd Schwartz, The Boston Phoenix

…played and sung with verve by soprano Meredith Hansen. – David Bonetti, The Berkshire Fine Arts

…superb singing and playing. The cast —was excellent throughout, all boasting of big and beautiful instruments that they used to full effect. – Mark Kroll, The Boston Music Intelligencer

Carmen, Frasquita
…especially excellent: cavalier, loud, but loyal to Carmen…believable. – Going Boston

…luminous vocal performance from Meredith Hansen as the gypsy Frasquita – Hub Review

Rossini Petite Messe Solennelle
Soprano Meredith Hansen sang the surprisingly sweet “Crucifixus” with a creamy tone and soared in the “O salutaris hostia.” – Matthew Guerrieri, The Boston Globe