Reviews
Mendelssohn’s Hear My Prayer & other sacred pieces,
Randers Municipal Choir, Randers Festival Days (Denmark)
“Hanne Dollase —whose great talent we have seen excel through the years in many different genres—showed both the dramatic and heartfelt side of her multicolored palette…”
“It is always a delight to hear Hanne Dollase’s beautiful voice, rich and resonant, so varied in its expression, with dramatic power and able to interpret the most subtle nuances of the text and the music.” (Translated from Danish)
—Monica Papazu, Randers County Newspaper, 2013
Giulio Cesare, Baroque Orchestra of New Jersey
“Hanne Dollase (Cesare) is a fine mezzo…Her sense of style was dramatically apt for the role, displaying just the right proportion of masculinity to keep the character believable.”
—Peter Stevens, The Alternative Press, 2009
Siegfried, New Jersey Concert Opera
“As wonderful as the orchestra was, it must be said that the quality of the singers bordered on astonishing. The role of Erda is brief but mysterious as she communicates her dark revelations to the Wanderer. Hanne Dollase was effective in the role, her voice both beautiful and mournfully dark. The effect, enhanced by Maestro Butts and the orchestra’s support, was one of the most memorable moments of Act III.”
—Peter Stevens, The Alternative Press, 2008
Vivaldi Gloria, Oratorio Society of New Jersey
“The ‘Laudamus Te’ duet by soprano Susan May Schneider and mezzo Hanne Ladefoged-Dollase was quite effective since the two have perfectly matched voices of great agility. This is no doubt the reason that Mr. Schneider has paired them in the past. When each had a solo she again demonstrated her excellence….Ms. Ladefoged-Dollase’s ‘Qui Tollis’, of a very different character, was a perfect vehicle for her ability to spin a long line.”
—Paul M. Somers, Classical New Jersey Society Journal, 2005
Bach’s Christmas Oratorio, Northwest Sinfonietta
“Hanne [Dollase] gave a spellbinding performance. Her distinctive voice sounded full and heavy, almost lusty, and it was backed by assured, unflagging artistry.”
—Jen Graves, The News Tribune, 2000
Danish Music – Past and Present, Portland State University
“The concert demonstrated Ms. [Dollase’s] extraordinary talents as well as showcased the high level of Danish music from all ages.”
—Oregon News, 1998
Niels W. Gade’s Elverskud, Nordic Music Days
“Hanne Dollase’s fine, dramatic mezzo…brought the story to life.”
— Philippa Kiraly, Seattle Post-Intelligencer, 1995
Christian Asplund’s Girls Body at Crepuscule, Seattle Experimental Opera
“Dollase was magnificent in the role of the stern, echt-Teutonic psychiatrist.”
— Gavin Borchert, Seattle Weekly, 1995
Bach’s Magnificat, Northwest Chamber Orchestra
“The alto aria was the performance’s highlight. Dollase’s voice, with the affecting timbre of a muted viola, made a beautiful part between the two orchestral flutes.”
— Gavin Borchert, Seattle Weekly, 1996
Music from the Heart, Benefit Chamber Music Recital
“This was followed by mezzo, Hanne Ladefoged-Dollase, who captivated the audience with the emotionally unfolding depth of her interpretation of five songs from Opus 1 of P.E. Lange-Muller’s Sulamith and Solomon.”
—All Point Bulletin, 1993
A Celebration of Danish Music
“The wing beats of swans…have a distinctive whirr, at once powerful and controlled, and if this may suggest the carrying quality of Ms. Ladefoged-Dollase’s mezzo-contralto voice and span, you will appreciate the nerve and the timbre with which she enlivens the musical materials she presents. She modulated as well the light-hearted song, such as Irmelin Rose, as the tender, such as Sulamith’s Song on the Mountaintop, with ease, color and temperature in this delightful mode of interpretation.”
— Rene Mogensen, The Danish Pioneer, 2002
