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BIOGRAPHY

Highly acclaimed for her magnetic stage presence and vocal versatility, Charlotte Hellekant’s gripping portrayals of characters as diverse as Carmen, Cornelia, Varvara or Sister Helen Prejean in Jake Heggie’s Dead Man Walking, have made her a first choice for many of Europe’s major opera directors. In a stunning new production by the Sasha Waltz Company last season, Charlotte gained widespread recognition for her creation of Murasame, a leading role in the world-premiere of Toshio Hosokawa’s new opera, Matsukaze, conducted by Pablo Heras-Casado.

The current season sees Charlotte Hellekant debut with both the Los Angeles Philharmonic and the Simon Bolivar Orchestra, conducted by Gustavo Dudamel, in Mahler’s Symphony No 8, and further collaborate with Toshio Hosokawa on his next commission The Raven, to be presented in Brussels, Luxembourg and Amsterdam with Ensemble Lucilin. A further new commission, Erik XIV by Mikko Heiniö, will bring Charlotte to Turku Opera as part of the 2011 City of Culture celebrations.

Alongside her busy operatic career, Charlotte Hellekant is a highly acclaimed and versatile concert performer and recognised specifically as a fine exponent of Mahler; she has worked with many notable conductors and orchestras, including Christoph von Dohnányi and the Philharmonia Orchestra at the BBC Proms, Christoph Eschenbach and the NDR Orchester, Paavo Järvi with Orchestre de Paris and hr-Sinfonieorchester Frankfurt, Esa-Pekka Salonen and the Philharmonia Orchestra, Mariss Jansons and the Oslo Philharmonic Orchestra, as well as Jukka-Pekka Saraste with the Finnish Radio Symphony Orchestra.

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REVIEWS

"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 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)