Praised for her rich, even sound, soprano Meredith Hansen is making a name for herself on the competition circuit. Most recently, she was chosen for the Final Rounds of The 45th Annual Francisco Viñas Singing Contest in Barcelona, Spain. The Boston native was also named first place winner in the Charles Lynam Competition as well as both First Place winner and Audience Favorite in the Opera Birmingham Competition. Hansen has scored other successes in international and U.S. competitions, including second place in the International Concert Alliance Mozart Aria Competition, third place in the prestigious Gerda Lissner Foundation Competition, and an honorable mention in the Irma Cooper Opera Columbus International Vocal Competition.
Hansen has also been named a finalist in competitions such as the Classical Singer AudComps Emerging Professional Division (prompting one judge to describe her as “someone to keep an eye on”) and The New Jersey Verismo Opera Competition. The Metropolitan Opera National Council Auditions have honored Hansen as a regional semi-finalist, district winner, and regional finalist. Recent career highlights include Gilda with the Newton Symphony Orchestra, Queen of the Night with Boston Lyric Opera New England, and Rosalinda with Opera by the Bay.
What were some influential experiences in your youth that led you to a career in music?
Driving back and forth every other weekend to my dad’s house for our visits was a huge influence and aspect of my musical development. I lived in Massachusetts and he in Connecticut, so every other Friday evening and Sunday afternoon we had two and half hours in the car together. That was when I really started to learn to sing, and to love singing, but music by Joan Baez and other great folk singers, Stan Rogers, and occasional musicals. This led me to singing in choirs, school productions, voice lessons, and eventually, music school. The rest is history, so to speak.
What are your goals for the next five years? The next 10 years?
It’s so funny to think how different the answer to that question would have been if you had asked me that five to 10 years ago: “To sing at the Met, of course!” These days it’s a little different. There are many roles that I have studied or performed partially in concert which I would love to perform in their entirety. There are roles that I have sung that I want to sing again and continue to make my own. There are conductors, directors, and other people in the industry that I am dying to work with. It’s more important to me to be able to accomplish some of these goals that I have set for myself than to be hailed as “the next big thing.” I’d also like to finish stripping and refinishing the built-in hutch in my dining room.
What has been your career highlight to this point?
Oh, it’s tough to pick one. I have had some great experiences! Most recently, I would say it’s the success I have had in some wonderful competitions. Receiving that positive feedback and acknowledgement from people in this industry whom I really respect is such a great feeling. I also really loved singing excerpts from La traviata with my dear friend Gary Thies and from Lucia di Lammermoor with an orchestra in Italy. Plus, I will never forget the thrill of my first full role, Antonia in Les contes d’Hoffmann, while I was an undergrad. In case there was any doubt about this singing thing before that, after it I was hooked!
How do you handle rejection?
I have learned over the years not to take it personally because in the vast majority of the cases, it’s really not [rejection]. I get feedback when I can and just keep trying! Still, it’s tough. I try not to dwell on it. I pick myself up—sometimes with the help of my amazing husband, John—dust myself off, and keep moving forward.
How do you balance career and family?
More like career, family, and work. In the downtimes between singing jobs, it can be difficult to try to sing, coach, and audition for more jobs while maintaining a steady source of income (i.e. temping). Though I do have a fabulous stepson that we see every other weekend, John and I don’t have children, [which makes] picking up and taking off a little easier. So far, the balance hasn’t been much of an issue, to be honest. We both travel a good deal but we’ve never had to go more than a week or two without seeing each other, and we talk every day when we are apart.
Who are some of your role models, mentors, or influential people in your life?
The main teachers in my life have been Maureen Hague, Virginia Pyle, and Susan Ormont. Each of them have helped and mentored me through different stages and parts of my life and singing career while at the same time teaching me healthy singing. Several of my coaches—Jeff Stevens, Steven Crawford, and Stephen Steiner—have also had a huge impact on me over the last few years. All of them have guided, taught, helped, and encouraged me in more ways than I can count.
What has happened in your career that made you feel like you’ve “made it”? Or what needs to happen in your career for you to feel that you’re finally made it?
I would say I am somewhere in between. There have been periods of my life in the last few years when I have had singing work steadily. Other periods have been a little quieter. I feel I have “made it” in that I have started to build a good résumé and reputation for myself and have proven that I am an excellent musician and colleague, and am, in fact, hirable! I will feel a little more like I have made it when I am working as a singer a little more consistently.
