Maria Hanke studied in The Hague, Amsterdam, and Copenhagen. She made her debut as soloist from The Royal Danish Academy of Music in 2006. Since then she has been taken lessons privately and changed fach from mezzo-soprano to lyric-dramatic soprano.

Maria Hanke has a great span in variation of repertoire: From the earliest Gregorian chants and Renaissance over Baroque, Classical, Romantic, to Modern and Avant-Garde. She has performed in world premières in Denmark and abroad.

As an opera soloist she played a. o. The Mother in the collective opera Han, Den, Det at Takkelloftet, Royal Danish Opera, Virginia in a staged version of Argento’s From the Diary of Viginia Woolf in the Queen’s Hall, Royal Danish Liberary, Sorceress in Dido and Aeneas at Valdemar’s Castle, Hélène in Massenet’s Une éducation manquée and Véronique in Bizet’s Le Docteur Miracle, both for Den Rullende Opera, Carmen and Donna Elvira at Århus Chamber Opera. She produced and participated in two productions for Elfenbenstaarnet (The Ivory Tower).

In 2013 Maria participated in Wagner’s The Ring of the Nibelungs in Copenhagen. Here she played three parts: Rhinemaid, Valkyrie and Freia.

Maria Hanke won 1st prize in The Royal Danish Academy’s Scholarship Competition for Singers and the prize Best performance of a work written since 1956 at Haverhill Sinfonia Soloist Competition (UK). She was a finalist in Mezzo Television International Opera Contest in Szeged (HU), and won 3rd prize in Spazio Musica International Competition i Orvieto (IT).

Both on her own and in cooperation with Voces Academy Maria Hanke has been deeply involved in the search for how research and corporate business can benefit from musicians’ intuitive workflow. Thus she was Artist in Residence at Denmark’s Library for the Blind and DTU – Technical University of Denmark.

Maria has also been teaching in singing, a.o. at The Royal Academy of Music, Århus and The Danish National School of Performing Arts, like she has facilitated different kind of workshops for business people. Latest she developed her own concept Opera Women where the focus lies on the emotional liberating potential of opera.