Of Sarasota Opera’s production of The Pearl Fishers:
“Even behind a veil, Brammer’s voice shimmers and glows as she prays, ‘O Diu Brahma,’ displaying flexibility throughout her range.”
Of Sarasota Opera’s production of Il Signor Bruschino:
“Brammer’s account of Sofia’s aria with cor anglais, ‘Ah donate il caro sposo,’ was splendid, with a thrilling display of vocal fireworks in her top range.”
Of Sarasota Opera’s production of L’inganno felice:
“The soprano Brammer was a delight to hear, bringing bright vocal colour and ornamentation to her singing especially in her lyrical aria, ‘Al più dolce e caro oggetto’.”
Of Sarasota Opera’s production of Roméo et Juliette:
“Brammer’s performance of the demanding aria displayed both the musical and dramatic power of the aria. A highlight of the evening, Brammer’s aria was greeted by an audience ovation.”
Of Sarasota Opera’s production of Roméo et Juliette:
“Hanna Brammer (Juliette) and Andrew Surrena (Roméo) are both veterans and products of Sarasota Opera’s Apprentice and Studio Artist Programs who moved into full Artist status in last season’s Zauberflöte. Brammer has a lovely, bright sound and enviable flexibility, with coloratura that flows like glistening water.”
Of Sarasota Opera’s production of Roméo et Juliette:
“Michigan soprano Hanna Brammer, whom I had praised previously for her Micaëla, charmed as Juliette. Assaying a role that encompasses both the lyric coloratura and lyric soprano repertoires, Brammer gave a lively performance of Juliette’s pleasant first act coloratura aria, ‘Je veux vivre.’ It was Brammer’s performance of ‘Amour, ranime mon courage’ that transformed her character of Juliette into a decisive heroine.”
Of Sarasota Opera’s production of Rigoletto:
“The third principal role is Rigoletto’s daughter Gilda, wooed and seduced by the duke, beautifully sung by Hanna Brammer.”
Of Sarasota Opera’s production of Die Zauberflöte:
“Hanna Brammer’s Pamina was magnificent.”
Of Sarasota Opera’s production of Carmen:
“Ms. Brammer was divine as the sweet and innocent Micaëla. Her beauty was matched only by her lovely demeanor and expressive vocal aptitude.”
Of Sarasota Opera’s production of Carmen:
“Hanna Brammer, another apprentice and studio artist who advanced to principal status, was a strong Micaëla. Too often Micaëla is portrayed as a wimpish country girl, but Brammer had none of that. Her Micaëla, though shy at first, was clearly a girl with a mission in all her appearances, and her Act 3 aria was beautifully sung. She has a lovely voice, especially in the middle range.”
Of Sarasota Opera’s production of Carmen:
“Micaëla, played to innocent perfection by soprano Hanna Brammer.”
Of Sarasota Opera’s production of Tiefland:
“Soprano Hanna Brammer (a popular Micaëla the night before in Carmen) was sweet as Nuri.”
Of Sarasota Opera’s production of Tiefland:
“All of the smaller yet vital roles were strongly cast, particularly the Nuri of Hanna Brammer, with her bright clear soprano.”
Of Sarasota Opera’s production of Tiefland:
“As Marta’s innocent younger friend, Nuri, Hanna Brammer and her standout voice conveys a sweet earnestness.”
Of Nashville Opera’s production of The Pirates of Penzance:
“But it is soprano Hanna Brammer who stood out at Tuesday evening’s final dress performance. Brammer’s gorgeous soprano rings out with exceptional clarity in ‘Poor Wand’ring One.’ Don’t miss the opportunity to see this promising young artist in action.”