Meredith Hansen

Soprano Meredith Hansen, hailed a “standout” by Ted Medrek of the Boston Herald for her performance of Antonia in Les Contes d’Hoffmann, has scored many successes, both domestically and internationally. For her performance of Rossini’s Petite Messe Solennelle with Masterworks Chorale, the Boston Globe offered the following praise: “Soprano Meredith Hansen sang the surprisingly sweet ‘Crucifixus’ with a creamy tone and soared in the ‘O salutaris hostia.’”Opera magazine (UK) deemed her “a real find”, and Opera News stated, “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.”

Pleased to return to the Metropolitan Opera Roster in spring 2017 for the acclaimed Francesca Zambello production of Cyrano de Bergerac, the 2017-18 season sees Ms. Hansen in a series of engagements that highlights new repertoire as well as seasoned favorites. Performing Mimi, Norma and Luisa Miller in a concert of arias with Boston Bel Canto Opera, she also joined the Boston Youth Symphony Orchestra as Frasquita in Carmen. She performs as the Soprano Soloist in the Verdi Requiem in a return engagement with Landmarks Orchestra at the iconic Boston Hatch Memorial Shell in August 2018.

Meredith Hansen’s 2015-16 season included singing as the Trainbearer in Strauss’ Elektra in a return engagement with the Boston Symphony Orchestra at Boston Symphony Hall and also Carnegie Hall as well as stepping in last minute as Donna Anna in Don Giovanni with Opera in Williamsburg. She also appeared as a featured soloist at Asheville Lyric Opera’s annual Gala and in a concert of Mozart Arias and Scenes (Konstanze, Fiordiligi, Contessa) with the Opera Theatre of Connecticut at the Sanibel Music Festival.

In 2014 she made her Boston Symphony debut (at Tanglewood) as soloist in Beethoven’s Choral Fantasy and in the 2014-15 season sang Donna Anna in Don Giovanni in a re-engagement with Boston Lyric Opera. She returned to the Metropolitan Opera in season 2013-14 for its production of Borodin’s Prince Igor and sang First Lady in Boston Lyric Opera’s The Magic Flute.

Ms. Hansen joined the Metropolitan Opera roster in the 2012-13 season for their productions of Carmen, Das Rheingold and Götterdämmerung, and sang as Musetta in La bohème with Cedar Rapids Opera Theatre (Deemed “Sonorous” by the Cedar Rapids Gazette). She also joined the Tallahassee Community Chorus that fall as the Soprano Soloist in Beethoven’s Missa Solemnis. Other notable engagements include singing in concert at Boston’s Hatch Shell with the Landmarks Orchestra as Tatyana, Rosina and Countess Almaviva; Carmina Burana with the Charlotte Symphony; Poulenc’s Gloria with the Plymouth Philharmonic; Beethoven’s Symphony No. 9 with the Greensboro Symphony; Mozart’s Missa Brevis and an opera recital in Aiken, SC; and Beatrice in Boston Lyric Opera’s new production of The Inspector by John Musto.

During the 2010-11 season, Meredith Hansen was a featured performer with the Boston Lyric Opera’s Signature Series (alongside opera great Joyce Castle), and made her Opera Boston debut as Marzelline in Beethoven’s Fidelio. She also made her role debut as Gretel in Boston Lyric Opera’s Hansel and Gretel, made her Jordan Hall debut as Donna Anna in Rob Kapilow’s “What Makes It Great: Don Giovanni,” and sang as soloist in Beethoven’s Symphony No. 9 with the Bozeman Symphony.

Other highlights include her mainstage debut as Frasquita in Carmen with Boston Lyric Opera, conducted by Keith Lockhart; singing as soloist in Vaughan Williams’ Dona Nobis Pacem with the Plymouth Philharmonic; in the Johnstown Symphony Orchestra Opera Gala; and her Boston Symphony Orchestra and Carnegie Hall debuts, singing Elijah under the baton of Rafael Frühbeck de Burgos. Additionally, she performed a program of scenes and arias (Juliette, Elettra, Violetta and others) on The Esplanade with Boston Lyric Opera and the Landmarks Orchestra, conducted by Charles Ansbacher.

A Richard Tucker Foundation Career Grant nominee, she has sung as Gilda with the Newton Symphony Orchestra, as well as Countess and Rosalinde with Opera by the Bay, Miss Silverpeal in Mozart’s The Impresario with MetroWest Opera, Beethoven’s Missa Solemnis with the Quincy Choral Society, Verdi’s Requiem with the Paul Madore Chorale, and Messiah with Commonwealth Opera.

Ms. Hansen was chosen for the final rounds of the 45th Annual Francisco Viñas Singing Contest in Barcelona, Spain, and awarded First Place in the Charles Lynam Competition, the Violetta DuPont Vocal Competition, and the Opera Birmingham Competition (where she was also selected as the Audience Favorite). She has been a Regional Semi-Finalist and Regional Finalist in the Metropolitan Opera National Council Auditions; was the 2010 recipient of the Stephen Shrestinian Award for Excellence from Boston Lyric Opera, which named her an Emerging Artist for their 2011-12 season; and has received grant support from the Gerda Lissner Foundation.

Originally from Cohasset, MA, Ms. Hansen received her undergraduate training at The University of Connecticut, her Master’s Degree from Boston University, and spent a year of post-graduate study as an intern with the Opera Institute at Boston University.

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Current & Upcoming Performances

Upcoming Performance Schedule Coming Soon

Past Performances

Verdi Requiem
Soprano Soloist
Boston Landmarks Orchestra
Esplanade Hatch Memorial Shell
Bizet's Carmen
Boston Youth Symphony Orchestra
Cambridge, MA
Sanders Theatre
Cyrano de Bergerac
Lise (Cover)
Metropolitan Opera
New York
Metropolitan Opera House

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. –

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