Charlotte Hellekant
Mezzo-soprano

"Charlotte Hellekant offered the greatest acting I have ever witnessed on an opera stage." (Hufvudstadsbladet, November 2011)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Biography

Charlotte Hellekant’s vocal expressiveness and her strong stage presence are just two of the qualities which have helped her build a career which is equally successful on the opera stage and concert platform and in repertoire ranging from the baroque to contemporary classics

Charlotte Hellekant has appeared on stage on both sides of the Atlantic, notably at The Metropolitan Opera, Opéra national de Paris and Glyndebourne Festival. Recent lyric roles include Charlotte (Werther) with Deutsche Oper Berlin and Carmen with Royal Swedish Opera. Outstanding Handel interpretations include Ino (Semele) at the Théâtre des Champs Elysées and Cornelia (Giulio Cesare) under Marc Minkowski for Opernhaus Zürich.

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Charlotte Hellekant’s vocal expressiveness and her strong stage presence are just two of the qualities which have helped her build a career which is equally successful on the opera stage and concert platform and in repertoire ranging from the baroque to contemporary classics

Charlotte Hellekant has appeared on stage on both sides of the Atlantic, notably at The Metropolitan Opera, Opéra national de Paris and Glyndebourne Festival. Recent lyric roles include Charlotte (Werther) with Deutsche Oper Berlin and Carmen with Royal Swedish Opera. Outstanding Handel interpretations include Ino (Semele) at the Théâtre des Champs Elysées and Cornelia (Giulio Cesare) under Marc Minkowski for Opernhaus Zürich. In concert she has sung the roles of Judith in Duke Bluebeard’s Castle at the Bergen Festival under Edward Gardner and Marguérite (La damnation de Faust) at the Salzburger Festspiele.

This season Charlotte Hellekant joins Sasha Waltz & Guests’ in a major new staging of Monteverdi’s L’Orfeo under Pablo Heras-Casado which premieres at Dutch National Opera, followed by performances at the Grand Théâtre du Luxembourg, Bergen International Festival, Festspielhaus Baden-Baden and Berlin’s Staatsoper in Schiller. She also takes Hosokawa’s The Raven on tour in Japan. On the concert platform Hellekant joins the Orquesta Sinfónica de Castilla y León for Mahler’s Symphony No.2 under Lionel Bringuier.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Reviews

"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,

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"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)