Charlotte Hellekant
Mezzo-soprano

“Charlotte Hellekant offered the greatest acting I have ever witnessed on an opera stage.” (Hufvudstadsbladet)

Contacts

Ian Stones +44 (0)20 3725 9104
Catherine Znak +44 (0)20 3725 9105

Biography

A versatile and compelling stage performer, Charlotte Hellekant’s repertoire ranges from the baroque to contemporary classics. Recent performances include her role debut as Clairon (Capriccio) at La Monnaie, Lili Boulanger’s Faust et Hélène cantata with Oslo Philharmonic Orchestra, Judith (Duke Bluebeard’s Castle) at Bergen International Festival, Beethoven’s Symphony No.9 with the Orchestre National de France, and Berio Folk Songs with Los Angeles Philharmonic and Norrköping Symphony Orchestra in performances conducted by Martin Fröst

Performances in the current season include Mahler’s Symphony No.8 with the National Taiwan Symphony Orchestra under Lan Shui, the Japanese premiere of Sasha Waltz & Guests staging of Matsukaze at New National Theatre, Tokyo and a new work by Stefano Gervasoni with Münchener Kammerorchester.

A versatile and compelling stage performer, Charlotte Hellekant’s repertoire ranges from the baroque to contemporary classics. Recent performances include her role debut as Clairon (Capriccio) at La Monnaie, Lili Boulanger’s Faust et Hélène cantata with Oslo Philharmonic Orchestra, Judith (Duke Bluebeard’s Castle) at Bergen International Festival, Beethoven’s Symphony No.9 with the Orchestre National de France, and Berio Folk Songs with Los Angeles Philharmonic and Norrköping Symphony Orchestra in performances conducted by Martin Fröst

Performances in the current season include Mahler’s Symphony No.8 with the National Taiwan Symphony Orchestra under Lan Shui, the Japanese premiere of Sasha Waltz & Guests staging of Matsukaze at New National Theatre, Tokyo and a new work by Stefano Gervasoni with Münchener Kammerorchester.

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Contacts

Ian Stones +44 (0)20 3725 9104
Catherine Znak +44 (0)20 3725 9105

Reviews

“The appearance of Charlotte Hellekant was one of the stellar moments on each night, with an interpretation of the Wood Dove full of drama and pathos in equal measure.” (Diario ABC, February 2017)

“Clairon, the excellent Charlotte Hellekant.” (Opera magazine, February 2017)

“Charlotte Hellekant proves to be equally credible as Clairon…embodying the beautiful, sophisticated and sensual character.” (ConcertoNet, November 2016)

“The appearance of Charlotte Hellekant was one of the stellar moments on each night, with an interpretation of the Wood Dove full of drama and pathos in equal measure.” (Diario ABC, February 2017)

“Clairon, the excellent Charlotte Hellekant.” (Opera magazine, February 2017)

“Charlotte Hellekant proves to be equally credible as Clairon…embodying the beautiful, sophisticated and sensual character.” (ConcertoNet, November 2016)

“Swedish soloist Charlotte Hellekant, with a burnished tone very much on the contralto side of mezzo, effortlessly conveyed and projected the weight of Nietzsche's rather sombre text.” (The New Zealand Herald, April 2016)

“Charlotte Hellekant in the dual role of Messenger and Hope gives the finest and most distinguished of vocal performances combining depth of expression and a dignified presence.” (Karin Coper, Opernnetz.de, July 2015)

“Hellekant, an arrestingly versatile mezzo who sings early music, 19th century opera and modern works, sang from memory. Barefoot and displaying ankle bracelets, she brought a Gypsy-like theatrical vitality, a huge voice and fervent attention to word and tone.” (Mark Swed, Los Angeles Times, March 2015)

“Messaggiera who delivers the news of Euridice’s death in the famous lament, delivered here with powerful conviction by Charlotte Hellekant. Hellekant’s richly beautiful voice throbbed with passion, gripping the audience.” (Rosemary Carlton-Willis, Bachtrack, September 2014)

"The mystical waves of the ocean transported and rocked the expressive and fantastic Swedish mezzo-soprano Charlotte Hellekant from moments of bliss to profound sadness. She powerfully embodied the existential emotions in every nuanced and radiant moment." (Helsingin Sanomat, January 2014)

"Again one notes the beautiful vocal performance of Charlotte Hellekant who lends her shining voice to the role of the elder daughter, unconventionally deceptive and calculating." (ForumOpera.com April 2014)
 
"Charlotte Hellekant portrays this nameless introvert with grace and mellow voice." (Neue Musikzeitung, April 2014)

"Charlotte Hellekant - statuesque, radiant presence, dark gold timbre..." (François Lafon, Musikzen, February 2014)
 
"It’s a beautiful musical setting of a striking text, scenically transposed and innovatively interpreted by the Swedish singer Charlotte Hellekant." (Claude Samuel, Qobuz, February 2014)

"The role seems tailor-made for the full-bodied and sensual voice of Charlotte Hellekant, beautifully expressed in all registers on a strikingly dramatic scale." (Michèle Tosi, Resmusica, February 2014)

“Swedish mezzo soprano Charlotte Hellekant's decisive performance showed her full mastery over a demanding tonal language whose outcome is designed to rouse heightened emotional content. Equally virtuosic in her vocal and thespian dexterity, Hellekant's committed execution awakened the mystique of the darker side of the unconscious — an allusion to Freud's The Interpretation of Dreams.” (Joel Luks, culturemap.com Houston, May 2013)

“Charlotte Hellekant captivated with songs from [Weill’s] Broadway hit One Touch of Venus. In the early Brecht songs Bilbao and Surabaya Johnny from Happy End, she gave us distinct characters and big solo scenes… she was vocally on great form.” (Marianne Kierspel, Koelner Stadt-Anzeiger, January 2013)

“Hosokawa brings himself to the forefront as a composer, as does mezzo-soprano Charlotte Hellekant, with their all encompassing skill and strong expressiveness” (Luxemburger Wort, October 2012)

“Charlotte Hellekant invests her whole personality in the work, lending her expressive, warm and flexible tone” (Opera Magazine, October 2012)

"Hellekant sings her long and challenging role fantastically, expressing emotional pain without even for a second losing intensity, and other times singing with a dreamlike affection, as with Helena Juntunen's Karin."(Helsingin Sanomat, November 2011)

“Charlotte Hellekant was riveting as the mad king (Eerik XIV), capturing the varied moods of the increasingly quixotic monarch with real feeling (I was minded of Fiona Shaw’s brilliant rendering of Shakespeare’s King Richard II), charting the unravelling of his mind compellingly through a weft of sly orchestral allusions to key Western Classical masterworks.” (Guy Rickards, Tempo)

"Charlotte Hellekant as king Erik offered, besides a vocally expressive interpretation of an utmost demanding role, the greatest acting I have ever witnessed on an opera stage. She hung, climbed, stumbled and crawled, gesticulated and grimaced, and captured wonderfully the essence of the confused monarch's impulsive whims and tirades." (Hufvudstadsbladet, November 2011)

"The chemistry between Andris Nelsons and the CBSO is nothing less than sublime...Hellekant's nuancing of the text and her resourceful versatility of timbre were only matched by the glowing detail Nelsons found in the score...' (Birmingham Post, September 2009)

"Charlotte Hellekant was riveting in the title role, especially seductive in the mezza voce singing she brought to the Habanera yet stoic and full of controlled energy in the Card Song." (Opera, February 2008)

"Hellekant, making Judith unusually and frighteningly neurotic, alternately seduced him with sensual sounds and attacked him with invective. Her ability to sustain such alarming intensity throughout is testament to her greatness as an artist." (The Guardian, August 2007)