Critical acclaim

“American soprano Hannah De Priest offered the the most accomplished voice and a persona ready for the stage. She deploys her grand vocal expressivity and stage presence completely. Only a sigh of emotion releases the audience from the intensity built up over her two arias. The voice jumps with momentum, just as intensely and supported on the held notes than the coloratura passages. Matching her volume and bravura, the instrumentalists had a great time, playing with virtuosity and nuance. She smiles, pouts, interacting with the musicians and the audience, cheering them even when she’s not singing.”

- Review of the 2019 Normandy International Baroque Competition, Concours Corneille final round from Olyrix, Charles Arden (translated from the original French)

“The soprano aria 'Let the righteous be glad' was beautifully sung by Hannah De Priest, a natural Handelian, shining of tone and finely poised of expression.”

- Review of Bella Voce’s “Welcome to All the Pleasures” by John von Rhein for Chicago Classical Review

Hannah De Priest made a most impressive Newberry Consort debut, displaying a light, flexible and bell-clear soprano ideal for this repertoire. Backed by the three men, De Priest conveyed the sweet-sad essence of “Laissez la verde couleur” by Anonymous. Sermisy’s ensuing “Il me suffit” takes the same lovelorn theme into more tragic regions, here given with an aptly dirge-like drum accompaniment.

- Review of the Newberry Consort’s Jardin des Mélodies by Chicago Classical Review

“Among the other soloists, we note the impeccable Hannah De Priest, who makes an irresistible Belinda, with an agile voice that is always easy and never harsh…” 

- Review of Dido & Aeneas by Anne Denise Carette for L’Opera magazine - print only. (Translated from the original French.)

“Five stalwart soloists handled the inner movements of the piece, managing long and complex melodies on a single vowel with fine breath control… Sopranos Hannah De Priest and Henriët Fourie displayed sparkling technique and meshed nicely as a duet in part seven.”

- Review of Handel’s Dixit Dominus with the Elgin Master Chorale from The Elgin Review