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Reviews
J.S.BACH ST.JOHN’S PASSION (Bremen “Glocke”/ Delmenhorst St.Marien)
Bremer RathsChor, conducted by .W.Hellbich
Soprano Gesa Hoppe endowed her first aria ("Ich folge dir gleichfalls..") with an immensely tender and soulful sound.
She filled „Zerfließe mein Herz" with entrancing human sadness, intermingled with a certain bewilderedness at the inconceivable fact of Jesus´ death on the line "Dein Jesu ist tot, tot, tot..".All things considered, her performance perfectly exemplifies this evening´s sophisticated, varied, colourful and thoroughly thrilling rendition of St. John´s Passion.
Weser-Kurier, Günter Matysiak , 15.4.2011
“HINTER DER MAUER” (world premiere) (Berlin Radialsystem V)
with the RIAS Kammerchor and musikFabrik, conducted by H.-C.Rademann
When declaiming, the chorus raices through the verses in a rifle-like staccato (...) Singing here means sliding the notes from top to bottom and back again. Soprano soloist Gesa Hoppe is particularly adept in this art
Neues Deutschland 5th October 2010
There is no simple expressive illustration to be found in this music. Rather it engages the text in unfamiliar, remotely arabic sounding vocal procedures oh quavering, howling and sliding, which soprano Gesa Hoppe executes with astonishing perfection.
Berliner Zeitung 4th October 2010
THE MERRY WIDOW (Stadttheater Giessen)
Beautiful, dark-haired and sexy – that´s Gesa Hoppe as the fabulously rich widow, surrounded by a host of suitors. With seemingly effortless ease her voice soars into the upper ranges, enchanting the audience in the famous „Vilja“–song with moments of velvet subtlety. Her charming and expressive vocal performance is set off beautifully against an amorous pas-de- deux of the Tanzcompagnie on stage.
Gießener Anzeiger, 29th November 2010
Her sensitive rendition of the „Vilja“-song was the most beautiful moment of the evening.
Gießener Allgemeine Zeitung, 29th November 2010
Peter-Jan Wagemans, Composer of Legende, about Gesa Hoppe:
Gesa immediately caught my attention by virtue of her professionality. Already in the audition she had mastered the whole of the fiendishly difficult third act. (...) And of course her voice has that soft, lyrical and narrative quality which appeals to a large audience. She has a solid vocal technique to rely on which allows her to use her voice like an instrument.
Peter-Jan Wagemans, composer and artistic director of the Doelen Ensemble in Rotterdam, 2008
Sidney Corbett, Composer, about Gesa Hoppe:
Gesa Hoppe´s intonation is immaculate. (...) She has an extraordinary technique at her disposal and applies it to her interpretations with a rare degree of purity and confidence. What is more, she internalizes the pieces to such an extent that she makes them her own, through her wealth of experience, fervour, depth and joy in music-making.
Sidney Corbett, Composer, 2010
C.F.E.BACH MAGNIFICAT (St.Nikolai Kiel)
Conductor Munz engaged the best possible cast for historical performance practice. This goes equally for Gesa Hoppe´s slender and deeply soulful soprano voice.
Kieler Nachrichten 15th December 2009
LEGENDE - UA (Concertgebouw Amsterdam)
With her clear and radiating voice, Gesa Hoppe creates the highly demanding double role of “Nel/Polyandus”.
De Volkskrant, 19th February 2007
MEDEA - UA (RadialsystemV, Berlin)
The glorious Gesa Hoppe, alongside the formidable Vocalconsort Berlin, breathes life into the story with attention to detail and a golden voice.
Kulturradio am Morgen 29th October 2007
Gesa Hoppe in the title role leads a cast of excellent singers who do not only sound great, but manage to use the limited scope for acting with virtuosity and surprise us with exemplary diction.
Berliner Zeitung 30th Ocotber 2007
Gesa Hoppe´s colourful and nuanced Medea finds its counterpart in Akamas whose exaggerated depiction borders almost on the grotesque.
Mitteldeutsche Zeitung Halle 31st October 2007
ANTIGONE (Sophiensäle Berlin)
Gesa Hoppe´s acting is incredible: she brings Ulrike Meinhof´s necessary determination, her rigidity and her weakness to the role of Antigone.
Online-Review 4th May 2004
The deadly bride: Gesa Hoppe reminds us of Tarantino´s Uma Thurman, even if her goal is to bury Polinice, not to kill Bill. She has the gloomy expression and agility for it, and shoots her coloratura at the audience like projectiles.
Berliner Zeitung 7th May 2004
LIEDRECITAL (Kiel, HeikendorferRathaus )
Hoppe and Groschopp excel in an evening of Lied ranging from late romanticism to contemporary music. They have consciously chosen a repertoire which lets their musical brilliance shine ever so subtly (...) Gesa Hoppe masters the art of producing a pianissimo of unbelievably authentic intensity. There are moments when she unleashes her powerful soprano to fill the room without effort and temporarily turns the hall into an operastage. But this is always motivated by the lyrics such as the jolly dance of the wooden horses in Debussys ‘Ariettes oubliées’.
Kieler Nachrichten 11th March 2008
DER GRAF VON LUXEMBURG (Seefestspiele Mörbisch)
Gesa Hoppe as Angéle outshines the rest of the cast.
Kurier 15th July 2006
Gea Hoppe is a true operetta diva. Her Angéle Didier was not limited to glamorous entrances but surprised with charismatic acting and a most pleasing timbre, which showed especially in the lyrical duets.
Der Neue Merker, Online-Review 21st July 2006
CARMEN (Theater Giessen)
Gesa Hoppe´s Micaela is superior. Her silvery soprano sound is extremely expressive and borders almost on the impressionist.
Gießener Allgemeine, 14th February 2005
STRANDRÄUBER/ The Wreckers (Theater Giessen)Dexterously oscillating between lyrical and dramatic interpretation, Gesa Hoppe creates an atmosphere reminiscent of Arthur Miller´s “The Crucible”.
Frankfurter Ruindschau, 30th May 2007
Avis – impressively and expressively depicted by Gesa Hoppe.
Viva Voce Nr.78
Gesa Hoppe lent a psychopathic streak to the jealous, scheming character of Avis, whose love is rejected by Mark. Vocally she did not shrink from shrillness, as could be heard in her expressive interpretation of the strident “Song of the Rat” in Act 1.
Wetzlarer Neue Zeitung 22nd May 2007
LIEDRECITAL, Kiel
Gesa Hoppe ingeniously transforms from girlish charme to Cassandra in just a blink. She carves out hidden layers with a voice so pliant, it sounds out every extreme and dares to traverse even the very hell of emotions.
Kieler Nachrichten 24th November 2003
JOHANNESPASSION, Kiel St.Nikolai
Gesa Hoppe stands out among the soloists. With incredibly clear diction she gently oscillates between distress and admonition as she perceives the unprecedented shock into which the world has fallen after the death of Jesus: "Zerfließe, mein Herze...".
Kieler Nachrichten 3rd April 2004
HÄNDEL “THEODORA" (Händelfestspiele Karlsruhe)
The singers turned Theodora into a celebration of the Vocal Arts. Gesa Hoppe skillfully employed her slender, pure soprano to lend an unworldly air to the martyr.
Badische Neueste Nachrichten 25th February 03,
LIEDRECITAL, Fazioli Concert Hall, Udine
An elegant voice and delicate timbre. Gesa Hoppe interprets the songs with great sensitivity and streaming phrases.
Il Gazzettino, 4th March 2007 on Liedrectal in Fazioli Concert Hall
DIE VERKAUFTE BRAUT (Theater Giessen)
Gesa Hoppe embodies Marie´s emotional range with strength and fragility, unfolds her every mood swing. A shining light...
Gießener Anzeiger, 13th February 2006
Marie´s aria, true emotion – brings tears to many eyes in the audience. It is Gesa Hoppe´s moment of glory.
Gießener Allgemeine 13th February 2006
ZAMPA (Theater Giessen)
Gesa Hoppe endows the enthused character of Camille with the beauty of her velvet-soft soprano, which reaches effortlessly into even the highest regions.
Main-Echo 14th April 2005
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