Performance

for the role of laurie skeeky in johnny skeeky with theater latte da

One thing that does not disappoint is the performance of the beloved aria, “O mio babbino caro” beautifully sung by Anna Hashizume, as Laurie. … On opening night, it was the only musical moment that garnered an individual ovation. —Arthur Dorman from Talkin’ Broadway

Anna Hashizume[‘s]…sweetness is matched with her delightful voice. Her performance of “O mio babbino caro,”…was transcendent. —Sheila Regan from MinnPost

Epp and Greenwald have kept but recontextualized Puccini’s music, including the opera’s most famous aria, “O mio babbino caro,” which gets a brilliant rendition by Hashizume. —Rohan Preston from The Minnesota Star Tribune

For the role of Ruby/patty/neysa/ensemble in I Am Betty with history theatre

Anna Hashizume is winning as Ruby, joining with [Erin] Capello’s Lina in the upbeat “Just Add an Egg” —Arthur Dorman from Talkin’ Broadway

for the role of rapunzel in into the woods with the guthrie theater

The production blends musical theater and operatic voices into an aural mosaic. [Robert] Knight and Anna Hashizume hail from the opera world and their training is evident in their breath control, projection and timbre. —Rohan Preston from the Star Tribune

There’s no one you want singing those long high Rapunzel runs more than opera-trained Anna Hashizume. —Jill from Cherry and Spoon

For the role of minnie fay in hello, dolly! with theater latté da

Here, [Reed Sigmund]’s an engaging, enthusiastic Cornelius Hackl, a store clerk in search of love and adventure, which he finds on a New York City jaunt in the high-energy company of China Brickey, Brian Kim McCormick and the comic sparkplug that is Anna Hashizume. —Rob Hubbard from the Pioneer Press

for the role of yumiko alexander in fire in the new world with full circle theater company

“Femme fatale” may not even be the correct term for Yumiko Alexander, who is intelligently portrayed by Anna Hashizume. —Chris Hewitt from the Star Tribune

for the role of zerlina in Don Giovanni with Fargo-Moorhead Opera

Hashizume isn’t limited to opera…and her performance Friday shows an actress totally comfortable on the stage. Her performance ties her voice, body, and facial expressions together unlike any of the others. —John Lamb from Inforum

For the role of Sesto in The Clemency of Tito’s Tennis Club with Mixed Percipitation

The strongest voice in the cast belongs to Anna Hashizume, a mezzo-soprano who takes on the “trouser role” - or, in this case, the tennis shorts role - of Sesto, a young man so smitten with a vengeful ex-aristocrat that he agrees to perform an assassination. Hashizume has the power and clarity to overcome the vagaries of wind, traffic and boat horns and send each aria to the audience’s ears with emotional impact intact. —Ron Hubbard from the Pioneer Press

Anna Hashizume, as Sesto, impresses mightily with a gorgeous presentation of the soul-searching “Parto, parto, ma tu ben mio,” drawing a sustained ovation from the audience. — Arthur Dorman from Talkin’ Broadway

The standout voice, to my ear, was Anna Hashizume’s lush and apparently effortless mezzo in the role of Sesto. — Karen Bovard from Broadway World