Henriette Bonde-Hansen

Soprano

Henriette Bonde-Hansen is considered one of the leading Danish sopranos of this moment.  In 1991 the soprano completed her singing studies at the Royal Academy of Music in Copenhagen; she continued at the Opera Academy, also in Copenhagen, where she graduated as an opera singer in 1993. Two years later she was awarded the prize of the Danish Critics. Henriette has built a diverse opera repertoire including the main Mozart roles, Dircé (Cherubini’s Médée), Fiorilla (Il Turco in Italia),
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Adina (L’Elisir d’Amore), Marzelline (Fidelio), Gilda (Rigoletto), Juliette (Romeo et Juliette), Adèle (Die Fledermaus), Nanetta (Falstaff), Valencienne (Die lustige Witwe), Rosaura (La Vedova Scaltra), Sophie (Der Rosenkavalier), Zdenka (Arabella),  and Mélisande (Pelléas et Mélisande). Engagements brought her to the opera theatres of a.o. Amsterdam, Oslo, Toulouse, Montpellier, Paris-Bastille and Theater an der Wien Théâtre du Châtelet and the Musikverein in Vienna;; she works with orchestras such as the Danish National Radio Symphony Orchestra and the Stockholm Royal Philharmonic Orchestra, Residency Orchestra The Hague Accademia Nazionale di Santa Cecilia, Orchestre National de Montpellier Gewandhausorchester Royal Concertgebouw Orchestra, she works with conductors such as Riccardo Chailly, Myung-Whun Chung, Claus Peter Flor, Christopher Hogwood, Fabio Luisi, Kazushi Ono and Antonio Pappano.   Henriette’s concert repertoire includes masses and oratorios of Bach, Handel, Haydn and Mozart; Mozart's concert aria’s, Beethoven’s 9th Symphony, Brahms’ Ein deutsches Requiem, Fauré’s Requiem, Liszt's Christus, Mahler's 2nd, 4th and 8th Symphony, Pou­lenc's Stabat Mater and Gloria and Nielsen’s 3rd Symphony, Debussy’s Pelléas et Mélisande Dutilleux’ Correspondances, Mahler’s Des Knaben Wunderhorn, Frederic Delius’ Lieder and Schierbeck’s Den Kinesiske Flojte. She sang Angelica in Handel’s Orlando in a co-production of the Opéra de Lille and Concert d’Astree (Lille, Paris and Dijon); Arminda (La Finta Giardiniera) and Marguerite (Meyerbeer’s Les Huguenots) at La Monnaie-Brussels; Susanna (Le Nozze di Figaro) at the Opéra de Bordeaux and title role Semiramide at Copenhagen Royal Theatre. A great success was her debut of the title role in  Lucia die Lammermoor at Aarhus Jyske Opera. A future highlight will be her role debut as Donna Anna in Don Giovanni with the Moscow Philharmonic Opera.   For Radio France she recorded Bizet’s Ivan IV and Cimarosa’s Les Horaces et les Curiaces with the Orchestre Philharmonique de Radio France under the baton of Michael Schønwandt and Fabio Luisi respectively; with the Danish Radio Sinfonietta and Adam Fischer a series of less-known Mozart operas was released: Cinna in Lucio Silla, Aspasia in Mitridate, Aminta in Il Re Pastore and Ilia in Idomeneo.
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News/Quotes

Göttinger Tageblatt”Nach Liedern von Richard Strauss (1864-1949) gab sie abweichend vom Programm „Das Lied an den Mond“ aus Dvořáks (1841-1904) „Rusalka“ und verzauberte das Publikum zusammen mit dem Orchester mit dieser getragenen, dramatischen Arie mit unter die Haut gehendem Crescendo am Ende.”(Marie Varela, 01-04-2017)