Covered Covered & Performed Scenes Premiere of New Work Concert
"...and with a superb central performance as Orfeo movingly sung and acted by mezzo Hanna-Liisa Kirchin who clearly has a stellar career ahead of her. Her openings cries of “Euridice” were so beautifully sung and controlled that you knew immediately you were in the presence of a completely reliable talent both vocally and dramatically. Orfeo is a central and demanding role and Kirchin never flagged." "The aria, which was disputed for a long time as being an interpolation but which George Solti and Marilyn Horne, among others, helped prove was actually by Gluck, was delivered with such panache and dramatic exuberance that the spectators were buzzing with excitement about Kirchin’s vocal qualities as they left the auditorium." (http://playstosee.com/orfeo-ed-euridice/) (2017)
Her voice is fascinating: sweet and powerful, it had a plangent, matte finish that really did make her sound like something between a countertenor and a more conventional mezzo. In a role originally written for a castrato, and embodying a figure from myth, it was simultaneously strange and wonderfully fitting – heightened by the grace with which Kirchin walked the line between classical dignity and raw, wrenching pain." (http://www.criticscircle.org.uk) (2017)
"... the steadiness and control of Hanna-Liisa Kirchin’s singing hinted at the essential constancy within the character’s core, summed up best by Kirchin in her sensitive delivery of ‘Mi lusinga il dolce affetto”... Classical Source, 30 July 2016 (2016)
"Hanna-Liisa Kirchin is very strong as an acting character. On top of that this student from Nelly Miricioiu has a brave, bold voice that deserves the highest praise." Trouw, March 2016 (2016)
"Not at all the matron which one so often hears in this type of role, mezzo-soprano Hanna-Liisa Kirchin is, in spite of her wig and skirts with panniers, a sexy and coquettish Fidalma with an appealing timbre." Bachtrack, March 2016 (2016)
"The standard of singing was, as always, excellent, but one singer was quite outstanding – Hanna-Liisa Kirchin, a former Jette-Parker finalist, as Ruggiero. The role has some wonderfully expressive arias and Hanna-Liisa Kirchin rose to the occasion with a performance that was both musically and emotionally of the highest order.” Seen and Heard International, 30 July 2016 (2016)
British mezzo soprano Hanna-Liisa Kirchin is a recent alumnus of the National Opera Studio and studies with soprano Nelly Miricioiu. She is a graduate of the Royal Northern College of Music and ENO's Opera Works.
The 2017/18 season includes Flora in a new production of La Traviata with Nederlandse Reisopera, The Mayor's Wife in Janacek's Jenufa with Grange Park Opera, Orfeo in Gluck's Orfeo ed Euridice with Longborough Festival Opera, and covering the role of Arsace in Handel's Partenope at English National Opera.
In the 2016 season she made an international debut as Fidalma Il Matrimonio Segreto - in a coproduction between Dutch National Opera, De Nederlandse Reis Opera and Opera Zuid - , and UK debuts as Wowkle La Fanciulla Del West with Grange Park Opera, and Ruggiero Alcina with Longborough Festival Opera.
2015 included the World Premiere of Nigel Osborne's "Bosnian Voices" with the critically acclaimed Liverpool Philharmonic 10/10 ensemble, and an appearance at the Oxford Lieder Festival.
Awards have included the Miriam Licette Scholarship (Help Musicians UK), the RNCM Elizabeth Harwood Memorial Prize and an Opera Awards Foundation Bursary. She was a finalist in the Jette Parker Young Artist auditions at Covent Garden in 2014 and 2015, and a 2015 Les Azuriales Young Artist.
Previously, roles include Cenerentola La Cenerentola, Sesto La Clemenza di Tito, Mercedes Carmen, Mrs Herring Albert Herring, Xerxes Xerxes, Penelope Il ritorno d'Ulisse in Patria, and Masha Paradise Moscow, Old Nog Tarka the Otter Buxton Festival Opera, 3rd Wild Goose/Poppet Paul Bunyan British Youth Opera and Ensemble Orfeo Bayerische Staatsoper.
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