BIOGRAPHY
A graduate of the Royal College of Music and the Royal Conservatoire of Scotland - where she won the Governors’ Recital Prize – she has forged a significant career in theatres and on recital platforms, both in the U.K, and abroad. She is now taught by David Jones.
In the U.K, she has performed on stage with: the Glyndebourne Festival (Cockerel, The Cunning Little Vixen), English Touring Opera (Soprano Soloist, Membra Jesu Nostri’ Buxtehude, Drusilla, L’incoronazione di Poppea), and Mid-Wales Opera; and on the concert platform at the London Handel Festival, the Oxford Lieder Festival, the Brandenburg Festival (London), Opera Holland Park, and with the London Mahler Orchestra. She has performed as a soloist at venues such as: St Martin’s-in-the-Fields; the Royal Festival Hall, the Royal Albert Hall, and Pushkin House. Abroad, she has sung at: the Rachmaninov Hall, Moscow; in Dusseldorf (Petite Messe Solonelle), Geneva (Dorabella), and with the Malta Philharmonic Orchestra.
In July 2022, she commissioned and produced Green Spaces: A Celebration in Song - a concert of three new song cycles - for Opera Holland Park. As a part of this, she performed the world premiere of Of Nature’s Light by Mark-Anthony Turnage. She has worked with conductors, including: David Bates; Laurence Cummings; Jakob Hrůša; Orlando Jopling; Ronald Corp; Hannah Quinn, and Robin Ticciati. She has worked with directors, including: Selina Cadell; James Conway; Paul Curran; Dominic Dromgoole; Olivia Fuchs, and Simon Iorio. Recent concert engagements include: the Verdi Requiem at Holy Trinity Church, Sloane Square; Elgar The Kingdom at Eton College; Handel Messiah at the Cadogan Hall; Mendelssohn Elijah at Worcester Cathedral, and a summer opera recital tour with Wild Arts. Recent opera engagements include: Dorabella with the Orchèstre Mozart Genève; Spring Beauty (The Snow Maiden) with English Touring Opera, directed by Olivia Fuchs and Larina (Eugene Onegin) with Wild Arts, directed by Dominic Dromgoole.
Alongside performance, Hannah is founder of Sound Performance Psychology and works with individuals and prominent institutions throughout Europe in the field of Performance Psychology
reviews
"Sandison’s voice was beautifully controlled and portrayed the pathos of the aria. In Handel’s Lascia ch’io Pianga, her clear, controlled voice was wonderfully accompanied by the orchestra, with a hint of harpsichord continuo emanating from the depths of the orchestra between the violas and cellos...The contrasting and haunting aria Song to the Moon by Dvorák was beautifully sung by Sandison and demonstrated her controlled upper registers." - Times of Malta
"...her thoughtful portrayal of Drusilla and a great voice show that she’s a name to watch." - Music in Durham
"Hannah Sandison's Alcestes had exemplary command of the words" - FT
"Drusilla – whose love for him Ottone ruthlessly exploits to further his reckless scheme for revenge – is sung with humane warmth by Hannah Sandison." - The Guardian
REPERTOIRE
Bellini Norma - Adalgisa
Bizet Carmen - Carmen
Britten The Beggar’s Opera - Polly Peachum
Britten Death in Venice - German Mother
Britten Gloriana - Elizabeth
Britten Peter Grimes - Auntie
Britten The Rape of Lucretia - Lucretia
Britten Turn of the Screw - Miss Jessel
Donizetti Anna Bolena - Giovanna Seymour
Donizetti Lucia di Lammermoor - Alisa
Donizetti Maria Stuarda - Elizabetta
Humperdinck Hansel and Gretel - The Witch
Mascagni Cavalleria Rusticana - Santuzza
Massenet Werther - Charlotte
Mozart Cosi Fan Tutte - Dorabella
Mozart Die Zauberflöte - Zweiter Dame, Dritte Dame
Puccini Madame Butterfly - Suzuki
Ravel L’heure Espagnol - Concepcion
Rossini Il Barbiere di Siviglia - Berta
Saints-saëns Samson et Dalila - Dalila
Strauss Der Rosenkavalier - Octavian
Stravinsky The Rake’s Progress - Baba the Turk
Tchaikovsky Eugene Onegin - Olga
Verdi Otello - Emilia
Verdi Il Trovatore - Azucenza
Verdi La Traviata - Flora