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BIOGRAPHY

Swedish mezzo-soprano Charlotte Hellekant enjoys a career equally successful in both opera and concert, boasting a wide repertoire including baroque, classical and contemporary roles. She is highly praised for her strong stage presence and virtuosic abilities as an actress as well as her vocal expressiveness.

Charlotte Hellekant has appeared on the opera stage on both sides of the Atlantic, with appearances at The Metropolitan Opera, Washington National Opera, Opéra national de Paris, Dutch National Opera, Glyndebourne Festival, English National Opera, La Monnaie and Festival Aix-en-Provence. Recent roles include Charlotte (Werther) with Deutsche Oper Berlin, Carmen with Royal Swedish Opera, Ino (Semele) at the Théâtre des Champs Elysées, Marguérite (La damnation de Faust) at the Salzburger Festspiele, Cornelia (Giulio Cesare) under Marc Minkowski for the Opernhaus Zürich and Judith in Duke Bluebeard’s Castle at the Bergen Festival under Edward Gardner

Upcoming highlights include the world premiere of a new commission by Philippe Boesmans – Au Monde, based on the play by Joël Pommerat – with La Monnaie, in which Charlotte sings La fille ainée, as well as performances of The Raven with Ensemble Lucilin in Paris’ Théâtre Des Bouffes Du Nord. In concert Charlotte sings Mendelssohn’s Walpurgisnacht with both the Munich Philharmonic and San Francisco Symphony under Pablo Heras-Casado, and joins the Turku Philharmonic Orchestra for Chausson’s Poème de l'amour et de la mer under Leif Segerstam in Turku and Helsinki.

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REVIEWS

"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)