© Tonje Thilesen
Il Giasone, Pinchgut Opera, December 2013
“…Taking the lead role of the ambiguously semi-heroic Jason is the charismatic David Hansen, one of today’s leading countertenors and on this showing a very classy act indeed. …His powerful soprano is sweet across the full range despite the perilious tessitura of the role…”
Clive Paget, Limelight Magazine February 2014
Rivals – Arias for Farinelli & Co, Sony/Deutsche Harmonia Mundi
“…the programme showcases Hansen’s formidable technique and flexibility as he flits from quick-fire coloratura to long-breathed cantilena… Hansen dazzles throughout with his vocal fireworks…but his real strengths lie in more lyrical singing which highlights the plangent beauty of his voice...”
Kate Bolton, Opera, Magazine
Griselda, Pinchgut Opera
“…The countertenor David Hansen brought the house down as the devious Ottone, with fearless attack on vertiginous runs, startling leaps and thrilling dives into chest voice”…
Deborah Jones, Opera, March 2012
“David Hansen is an exceptional countertenor with barely perceptible gear-change between strong low register and rich upper range”
BBC Music Magazine
“…a pure-voiced young Australian who is typical of a new breed of matinée-idol countertenors”
Alex Ross, The New Yorker
David Hansen was born in Sydney, Australia. He studied singing with Andrew Dalton at the Sydney Conservatorium of Music and furthered his studies with James Bowman and David Harper.
In 2004, David made his European début for the Aix-en-Provence Festival in Purcell’s Dido and Aeneas. Shortly thereafter, he made his UK début in concerts with the Scottish Chamber Orchestra under the baton of Emmanuelle Haïm, as well as performing the title-role in Handel’s Fernando under Alan Curtis for the Spoleto Festival, Italy.
Other operatic engagements include the American premiere of Thomas Adès’ The Tempest (Alan Gilbert/Santa Fe Opera), Bertarido in Rodelinda (Alan Curtis/Bilbao), Giulio Cesare (René Jacobs/Theater an der Wien; Rinaldo Alessandrini/Den Norske Opera; Andreas Spering/Teatro de la Maestranza de Sevilla), L’Orfeo (Jacobs/Deutsche Staatsoper-Berlin), Semele (Christophe Rousset/Théâtre Royal de la Monnaie), Nerone in L’incorinazione di Poppea (Antonio Florio/Teatro Calderón), Ligeti’s Le Grand Macabre for Den Norske Opera, the title-role in Hasse’s Piramo e Tisbe (Musikfestspiele Potsdam Sanssouci), the title-role in Bontempi’s Il Paride (Christina Pluhar/Innsbruck Festival of Early Music), Cherubino in Le nozze di Figaro (Teatro Verdi di Sassari), and Ottone in Vivaldi’s Griselda and the title-role in Cavalli’s Giasone (Pinchgut Opera).
Concert highlights include Carmina Burana with the Berliner Philharmoniker and Sir Simon Rattle, the title-role in Solomon with René Jacobs and the Orchestra of the Age of Enlightenment, St John Passion with Les Musiciens du Louvre Grenoble under Marc Minkowski, Messiah under Fabio Biondi, the title-role in Giulio Cesare with Emmanuelle Haïm and Le Concert d’Astrée, Britten’s Canticles at the Wiener Konzerthaus and concerts with Nathalie Stutzmann and Orfeo 55, Leif Ove Andsnes and the Brodsky Quartet.
David’s début solo recording for Sony/Deutsche Harmonia Mundi, Rivals – Arias for Farinelli & Co., with Academia Montis Regalis and Alessandro De Marchi was released in August 2013 to critical acclaim. His other recordings include Purcell: Music For Queen Mary, with the Academy of Ancient Music and the choir of King’s College Cambridge, available on EMI Classics, as well as Ottone in Griselda and Giasone, both recorded for Pinchgut Opera Live. Future recordings include St John Passion with Les Musiciens du Louvre Grenoble under Minkowski for Naïve and Porpora’s Il Germanico under De Marchi for Sony Classical.
In 2015-16 David’s engagements include the role of David in Handel’s Saul at the Wiener Musikverein under Harnoncourt, Nerone in Agrippina with Boston Baroque, Nerone in L’incorinazione di Poppea for Boston Early Music Festival, Il Germanico for the Innsbruck Festival of Early Music under De Marchi, Steffani’s Le Rivali Concordi with Freiburg Baroque Orchestra, the title-role in Giulio Cesare for Semperoper Dresden, Telemaco in Il ritorno d’Ulisse in patria for Den Norske Opera under De Marchi, Farnace in Mitridate for Théâtre Royal de la Monnaie under Rousset, the title-role in Gluck’s Orfeo ed Euridice for Den Norske Opera under Alessandrini, and concerts with Brodsky Quartet and with Oslo Filharmonien under Harry Bicket.
David Hansen is managed by Graham Pushee: firstname.lastname@example.org
This biography is for general information purposes only and not for publication.
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