Press

Vivaldi: Griselda (Ottone) [CD: Pinchgut Opera Live / Orchestra of the Antipodes]

David Hansen, as Ottone, has agility to burn in his spectacular third act aria. With his pure-toned voice and sensitive singing, one can forget that he is playing a rather unlikeable character.

Mark Coughlan, The Australian

As the pretender to Griselda’s affections, countertenor David Hansen has a firm, brilliant sound in the vocally acrobatic numbers but makes no less impact in the slow arias where the edge is tempered.

Peter McCallum, The Sydney Morning Herald

_______________________________________________________________________________________________________________

Risør kammermusikkfest [Det Norske Kammerorkester, et al.]

There was a precious moment in this year’s Risør Festival of Chamber Music when I simply sat back and thought Wow! One of the artists had cancelled, and in her place came a countertenor previously unknown to me, the Australian-born David Hansen, now living in Norway. On one evening he sang a Handel cantata, on another the lament from Purcell’s “Dido and Aeneas”. Both were utterly mind-blowing. Hansen’s voice is virile yet mellifluous, words strongly articulated, his performing style grippingly intense and supple of character. He gave an encore of “Dido’s Lament”, ornamenting it differently from before, and I could happily have listened to him do it a third time, or even a fourth.

Geoffrey Norris, The Telegraph (UK)

_______________________________________________________________________________________________________________________________

Handel: Airs de Giulio Cesare [Le Concert d'Astrée / Emmanuelle Haïm]

David Hansen est ébouriffant dès son premier air Presti omai, et nous étonne encore plus dans le second, Se in fiorito ameno prato, dans lequel il imite le chant des oiseaux.

Joelle Farenc, ResMusica

_______________________________________________________________________________________________________________

Festival de Musique Sacrée et Baroque de Froville [Auser Musici / Carlo Ipata]

Une étoile australienne

La programmation exigeante et innovante du Festival de Musique Sacrée et Baroque de Froville la Romane nous offre périodiquement l’occasion de découvrir des interprètes qui se sont peu produits en France jusque-là, malgré leur grande valeur. Cette année le Festival a choisi d’inviter le jeune contre-ténor australien David Hansen, accompagné par l’ensemble Auser Musici, pour un programme Haendel et Vivaldi.

David Hansen le rejoint pour entamer le “Aure grate”, d’un timbre très clair, presque sopraniste, aux attaques tranchantes et aux aigus éclatants. Après cette première prestation très convaincante, Hansen enchaîne avec le “Parto che so qual sia pena”, air de dépit aux coloratures redoutables : bien servi par un orchestre nerveux, il dévale avec une aisance déconcertante la cascade des ornements, le timbre demeurant d’une stabilité imperturbable dans l’épreuve… Dans la petite église pleine à craquer, les applaudissements s’enflamment!

Hansen enchaîne avec un air d’Imeneo, aux ornements célestes. Hansen revient sur le plateau pour un air de Griselda, avec une ébouriffante ascension dans les aigus, à la diction impeccable et à l’expressivité soignée. Il conclut le programme par un époustouflant “Furibondo spira il vento” (dévolu à Arsace dans Partenope), aux coloratures redoutables admirablement débitées d’un timbre légèrement assombri, bien adapté au registre, et puissamment relayé par l’orchestre.

Les spectateurs éblouis en redemandent : le bis porte sur le “Dopo un’orrida procella” du Griselda de Vivaldi, air de bravoure aux coloratures déchirantes, où la voix vire et vole entre les ornements pour illustrer à l’envie la capacité d’abattage du jeune contre-ténor. La reprise en particulier est un véritable régal pour les oreilles, laissant les spectateurs de cette soirée sur un souvenir enchanteur. Alors, à quand les nouvelles apparitions de David Hansen sur les scènes françaises?

Bruno Maury, MuseBaroque.fr

_______________________________________________________________________________________________________________

 

Handel: Giulio Cesare (Giulio Cesare) [Victorian Opera / Richard Gill]

You will probably never see or hear a better countertenor in the title role. David Hansen is dazzling, with a brilliant coloratura and a beautifully even tone. Artistic and emotional, he is highly impressive

John Hay-Mackenzie, Herald Sun

The night was dominated by David Hansen’s thrilling performance of the title role: his pure, agile counter-tenor produced gleaming sword-like high notes and dramatic cascading scales.

Michael Shmith, The Age

In the title role, countertenor David Hansen echoed the extraordinary success of his 2008 VO Coronation of Poppea appearance, singing with great beauty and security, and negotiating Handel’s often fiendish vocal lines effortlessly.

Peter Burch, The Australian

_________________________________________________________________________________________________________________________________

Handel: Messiah [Melbourne Symphony Orchestra / Graham Abbott]

The knockout performance came from counter-tenor David Hansen, who uses his beautiful voice with artistry and intelligence, and some dazzling ornamental pyrotechnics.

Herald Sun


Handel Arias [Melbourne Symphony Orchestra / Bernard Labadie]

Hansen gave an electrifying reading of Vivi, tiranno from Rodelinda, packed with fire, risky virtuosic flights and a breath control that bore witness to his ingenuity and stamina. Here is a young artist whose career is clearly on the up.

The Age

Three arias from Giulio Cesare and Rodelinda showcased the assured intonation, technical dexterity and pleasant stage presence of young Australian countertenor David Hansen. His sound is sweet, with dark timbral hues in his lower register.

The Australian

The first half featured the astonishing Australian counter-tenor David Hansen performing three Handel arias with the physical confidence of an Olympic athlete. The Baroque ornamentation he applied to these operatic numbers was the equivalent of a gold-medal-winning pentathlon performance, and the crowd roared with approval as he took his bows.

SianPrior.com


Monteverdi: L’incoronazione di Poppea (Nerone) [Victorian Opera / Richard Gill]

David Hansen, a brilliant young Australian-born countertenor who is singing across the world, made his local stage debut as the Roman emperor Nerone (Nero). His physical and vocal agility were astonishing and, like the rest of the cast, he delivered a powerful, emotionally charged performance.

Peter Burch, The Australian

Hansen’s Nerone has great power in the coloratura flourishes

The Age


Purcell: Music For Queen Mary
[EMI Classics/CD: Choir of King's College Cambridge/Academy of Ancient Music/Stephen Cleobury]

David Hansen is an exceptional countertenor with barely perceptible gear-change between strong low register and rich upper range.

BBC Music Magazine


Handel: Solomon (Solomon) [Orchestra of the Age of Enlightenment / René Jacobs]

“Solomon,” at Lincoln Center, was led by David Hansen, a pure-voiced young Australian who is typical of a new breed of matinée-idol countertenors.

Alex Ross, The New Yorker

David Hansen, an Australian countertenor, brought an attractive timbre to his dignified, agile reading of the title role

The New York Times

The young Australian counter-tenor David Hansen displayed Solomon’s self-assurance with eloquent diction and firm tone.

The Guardian Unlimited


Orff: Carmina Burana [Berliner Philharmoniker / Sir Simon Rattle]

…the Swan, exceptionally beautifully sung by the excellent David Hansen.

Berliner Morgenpost

Musically, one could not have wanted a more exciting realization of Orff’s exuberant score…the counter-tenor David Hansen had no problem with the mercilessly high part that so frequently cracks up customary tenors trying to sing the poor spitted swan’s lament in forced falsetto.

MusicalAmerica.com


Ades: The Tempest (Trinculo) [Santa Fe Opera / Alan Gilbert]

Counter-tenor David Hansen and bass Wilbur Pauley were superb as the oafish servants Trinulco and Stefano. Their trio with Ferguson was heroism seen through the wrong end of a telescope – ants up against the gods, made brave by brandy.

The New Mexican