"As a poised Lucinda, Helen Charlston’s distinctive mezzo stood out."
Rebecca Franks, The Times
"The highlight is Helen Charlston’s mesmerising delivery of ‘Leget Euch’."
Jonathan Freeman-Attwood, Gramophone
"Helen Charlston used her glinting tone to demonstrate the remarkable expressiveness of Telemann’s recitatives."
John Allison, The Telegraph
Acclaimed for her musical interpretation, presence and “warmly distinctive tone” (The Telegraph), Helen Charlston is quickly cementing herself as a key performer in the next generation of British singers. Helen won first prize in the 2018 Handel Singing Competition and was a finalist in the Hurn Court Opera Competition, and the Grange Festival International Singing Competition.
Last season Helen made debuts with the Academy of Ancient Music, Cambridge Handel Opera Company, Queensland Symphony Orchestra, Slovenian Philharmonic Orchestra, the Concertgebouw Chamber Orchestra, joined Fretwork for a solo recital programme at Wigmore Hall, and continued her commissioning project of lute songs with duo partner Toby Carr. In 2020, Helen premieres the full role of Anna in the newly completed opera Blue Electric by Tom Smail.
Recent concert highlights include Handel’s Messiah with the Royal Liverpool Philharmonic Orchestra, Mendelssohn’s Lobgesang with the Royal Northern Sinfonia and Paul McCreesh, her debut at the Palau de la Musica in Barcelona performing Bach’s St Matthew Passion with the Gabrieli Consort and Players, a worldwide tour of Handel’s Messiah with the Seattle Symphony, the Western Australian Symphony Orchestra and Adelaide Symphony Orchestra, performances as part of Barbican Sound Unbound 2019, and solo recitals at York Early Music Festival, London Handel Festival, Händel-festspiele Halle, Korčula Baroque Festival, Leicester International Music Festival and Fitzrovia Festival.
Operatic roles include Messaggera & Prosperpina L’Orfeo, First Witch Dido and Aeneas, Olga Eugene Onegin, Florence Pike Albert Herring, Ino Semele, Sara Tobias and the Angel, and Dinah Trouble in Tahiti. Helen created the role of Dido in the premiere of a new chamber opera based on Virgil’s writings about Dido: Dido is Dead, by young composer Rhiannon Randle.
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Bach Christmas Oratorio, Gabrieli Consort & Players, St John’s Smith Square
The mezzo Helen Charlston’s Virgin was sober in her joy – the dark beauty of her tone balanced by purity of line.
Alexandra Coghlan, iNews****
Eccles Semele (Juno), Cambridge Handel Opera Company
All the vocal soloists were excellent... The mezzo-soprano Helen Charlston did full justice to the role of the furious Juno, full of spiteful passion, her coloratura passages proving her to be the real prima donna here.
Sandra Bowdler, Opera Magazine
An Elizabethan Christmas, Fretwork, Wigmore Hall
Out of the orient crystal skies’ saw Helen Charlston, replacing a previously advertised Elin Manahan Thomas, reveal a clear voice that glistened, with its obvious strength never generating too thick a sound. The lines of the piece seemed so smooth that it felt rather more modern than it actually is, although the final utterance of ‘falantidingdido’ grounded it very much in its time. In ‘From Virgin’s womb’ of 1589, with words by Francis Kindlemarsh, the line through the word ‘Rejoice’ very much came to the fore, while ‘Lullaby’ of 1588 really showed off Charlston’s credentials as a mezzo-soprano. … For sheer beauty the highlight may well have been Charlston’s performance of the anonymous ‘Sweet was the song’…
Sam Smith, MusicOMH*****
Handel Venceslao (Lucinda), Opera Settecento
London Handel Festival (April 2019)
As a poised Lucinda, Helen Charlston’s distinctive mezzo stood out
Rebecca Franks, The Times
Helen Charlston as Lucinda revealed a mezzo-soprano whose fullness was complemented by a pleasing edge.
Sam Smith, MusicOMH
Helen Charlston expressed steadiness and determination that helped, at least at the musical level, to make sense of her motivations.
Curtis Rogers, Classical Source
Bach St John Passion, Polyphony, Orchestra of the Age of Enlightenment
St John’s Smith Square (April 2019)
Helen Charlston has a remarkable technique and dignified presence, and her singing of ‘Von den Stricken meiner Sünden’ gave a fine example of both.
Melanie Eskenazi, MusicOMH
Bach Cantatas Nos 106 & 182, Amici Voices, CDA68275
The highlight is Helen Charlston’s mesmerising delivery of ‘Leget Euch’… lovingly accompanied by the flautist Ashley Solomon.
Jonathan Freeman Attwood, Gramophone
Helen Charlston Opera Repertoire
Albert Herring (Florence Pike)
Trouble in Tahiti (Dinah)
Tobias and the Angel (Sara)
Ballo delle ingrate (Venere)
Dido and Aeneas (First Witch)
Dido is Dead (Dido) premiere
Eugene Onegin (Olga)
Blue Electric (Anna) premiere
Helen Charlston Baroque Recital Material
Songs with Viol Consort:
Solo Cantatas (continuo only):
Bess of Bedlam
Ihr Völker Hort
Helen Charlston Song/Lieder Repertoire
Sieben frühe Lieder
Charm of Lullabies
Sea Pictures (with orchestra and piano)
Arianna a Naxos
Frauenliebe und -leben (Op. 42)
Die gute Nacht, die ich sage dir
Again as before alond
Helen Charlston Oratorio Repertoire
B Minor Mass
Symphony No. 9
Membra jesu nostri
Dixit Dominus Nisi Dominus
Feel the Spirit
Missa para o Santissimo Natal
A Child of our Time