Reviews

Lady Macbeth-Macbeth, Melbourne opera

Macbeth has a constant intensity and a magnificent performance from Helena Dix as Lady Macbeth. Dix has a musical range, from high soprano to deep, deep contralto but she can also startle with a capacity to render the unknowable. She can conjure thought, manifest obsession and a fear that can only be conquered by being surrendered to.

Peter craven – The Spectator

It is Helena Dix as Lady Macbeth who truly shines.

Elizabeth Flux- The Age

Verdi’s was far from being the only victory being celebrated on opening night. The audience embraced Helena Dix whose focused energy propelled the drama. The steel that allowed her to conquer a horrifying prospect seemed to be reflected in her characterization of a woman bent on power at any cost. She simply glittered, inviting speculation as to why such a seemingly strong and controlling woman should later suffer from remorse and commit suicide. Vocally, Dix gave an intense, vividly coloured performance, investing every phrase with meaning. Her command of technique allowed her to also encompass the demanding range with considerable power on the lower notes and soaring top notes. Her mastery of coloratura and some beautifully pure, well-shaped soft singing were reminders of how splendidly she had sung the role of Bellini’s Norma.

Heather Leviston- Classic Melbourne

The star of the show is soprano Helena Dix. Whether leading Act II’s drinking song with soaring, agile coloratura or showing off her range and expressiveness in Lady Macbeth’s moody sleepwalking finale, her performance is consistently impressive.

Patricia Maunder – Limelight Magazine

But just as in Shakespeare’s original, it’s Lady Macbeth who steals the show. Helena Dix is jaw-dropping as Lady Macbeth, spitting her lines with palpable venom as she pushes her hapless husband on a path towards glory – and death. She’s a force of nature, her powerful soprano freezing the blood and catching fire all at once. And in that scene, she’s tremendous, scrubbing at her imaginary bloodstains with impassioned madness.

Cassidy Knowlton -Time out Magazine

Helena Dix‘s Lady Macbeth stole the performance with her compelling vocal work. A regular face in opera around the globe, Helena brought her expertise and formidable stage presence to the character role. Considered both a protagonist and antagonist within the story, Dix’s Lady Macbeth was compelling, showcasing the character’s sinister charm and quiet grief before her death.

Daniel Hansen- The AU Review

Dix’s sweetly spoken reading of Macbeth’s letter is a beginning that belies the brilliant, dizzying trajectory to come. It is wonderful to have Helena Dix back in our midst and giving a knockout role debut. Dix invokes a brutally impressive brew of imperiousness, cunning and glazed madness. One showstopper after another, Dix whips up notes of cyclonic strength and emotive intensity with a feast of incisively sculpted coloratura and embellishments. From Act 1’s determined Or tutti, sorgete / Arise now, all you ministers of hell to Act 2’s frolicking but soul-shrouded brindisi through to a transfixing Sleepwalking Scene and drunk with murderous thoughts in between, Dix revels in the moment and so too does her audience.

Paul Selar- Australian Arts review

Helena Dix returns to Melbourne from the UK and USA and brings a wealth of experience and assuredness to the stage. She wealds her astounding coloratura like a weapon of attack, reaching blazing and agile highs and fearlessly plummeting to the rich and dark chest tones which mark Lady Macbeth at her most malevolent. Every solo she gave won riotous applause and her dexterity, purity of vocal line and sheer power made her contributions to the ensemble passages memorable indeed.

Gregory Pritchard- Concerto.net

A clear star attraction on the Melbourne stage, soprano Helena Dix brigs her stunning vocal prowess to the rather iconic role of Lady Macbeth. In line with Beresford’s understated direction, Dix maintains a poised, focused presence. In another meticulously calibrated performance, Dix begins in a measured, reflective manner, drawing the audience ever closer with her subtle descent into madness.  In a role with almost as many facets as Violetta, Dix transitions seamlessly from the simmering ambition of the letter scene to the vibrant brindisi “Si colmi il calice” and on to the hypnotic high point, “Una macchia è qui tuttora!”.  The pleasure of enjoying Dix on stage stems from the seemingly effortless flow of her high notes; the work is simply there to be savoured, with none of the mechanics on display.

Simon Parris – Man in a chair

Vitellia, Clemenza di Tito, National Opera, Australia

Helena Dix gave a sensational performance as Vitellia, singing with enormous power throughout her range and with a subtlety appropriate to the role. Carby’s duet with Dix “Come ti piace, imponi” revealed a beautiful blend of the two voices.

Janet Wilson- Opera Magazine

Heavily clad in scarlet and emphasising her character’s manipulative hand, there was no holding back the vengeance in UK-based Australian soprano Helena Dix’s electrifying performance as Vitellia. Dix’s return to the stage after her near-fatal battle with COVID-19 last year was nothing less than sensational. With both healthy and dynamic range and technique, from whisper-like to volcanic, and ornamental riches to add, Dix’s performance appeared effortless throughout. And God forbid her Vitellia succeeded in taking the throne. But in seeing Sesto accept punishment for his actions, Vitellia’s remorse surfaces and Dix captures it in stunning heartfelt form in Act 2’s Non più di fiori.

Paul Selar -Limelight Magazine

Among the evening’s soloists, it was Helena Dix (Vitellia) who unequivocally stole the night. She was strong across the extreme two-and-a-half octave range that Mozart demands. Demanding at the top, powerful and menacing in her depths, Dix enhanced her depiction of Vitellia’s vengeful character with marvellously supple movements of body and hand to fulfil one of Coleman-Wright’s precepts of ‘the performer, not singing, but being’. Dressed in bright red, with exquisite cloak, Dix truly lived the role. Dix’s Vitellia is deliciously provocative throughout, as the libretto demands. ‘I don’t fear his [Tito’s] punishment; I fear his clemency,’ she utters at the close of Act I.

Malcolm Gillies- Australian book review

Helena Dix, who plays the villainess, Vitellia, has been described as having the most exciting voice since Joan Sutherland. Indeed her voice is thrilling, right through the range, and she tossed off the vocal complexities of her arias with disarming ease. But the real surprise was her acting. An imposing figure, costumed in dramatic red, she brought an unexpected humour and playfulness to the role which makes it impossible to take your eyes off her whenever she’s on stage.

Bill Stephens Australian Arts review

Howells, Missa Sabrinensis, Hyperion records

Hill also has the edge with soloists. Bigger voices ride and soar over the chorus and BBC Concert Orchestra, led by Helena Dix’s ecstatic, rapturous soprano. Singing the music’s lines rather than its genre, she steers us firmly into the opera house.

Alexandra Coghlan- Gramophone Magazine

Four soloists enliven the sonic palette – rarely used as step-out performers, rather emerging from the choral lines at key moments and then being reabsorbed in tuttis. Soprano Helena Dix and tenor Benjamin Hulett enjoy a duet of sorts at the heart of the Kyrie, soaring over the chorus’s own climactic lines and rich brass chords at the end of the ‘Christe’ before the tension dissipates.

David Smith- Presto Classical

Norma – Title Role- Melbourne Opera

Time out, Tim Byrne – September 2019

The fiendish requirements of the title role give the character a power and an agency that the dramatic situation doesn’t necessarily bestow, which is helpful for a singer with limited stage presence. For a charisma-bomb like Helena Dix, it’s gunpowder in her pockets. Of course, no Norma succeeds without a memorable Norma, and Dix lays claim to the role as if Callas and Sutherland never existed. Her voice has a richness of tone, a kind of silken generosity to it, that makes every phrase a joy to hear. Her coloratura is remarkably effortless and dramatically relevant – there is none of that coldness that can creep into displays of technical virtuosity – and her lower register is as warm and steady as her upper register is crystal clear. She’s funny too, with a “celestial authority” resting face that could hobble the gods. It is a performance that builds on her superb appearance as Elizabeth in Roberto Devereux, and cements her as one of this country’s major sopranos.

The only question left is why is Opera Australia yet to cast Dix?

Australian Book Review, Rob Holdsworth – September 2019

An outstanding Norma arrives infrequently. Rosa Ponselle, Maria Callas, Montserrat Caballé, and Joan Sutherland all had that indefinable something extra to enliven the role. Australia has produced another wonderful exponent in Helena Dix. She gave full measure to Bellini’s long melodic reach, which requires Norma to soar above chorus and orchestra.
Dix has an astonishing range: accurately placed soft high notes as well as a strong chest register used effectively in the scenes requiring bitterness and anger. Dix dominated the stage whenever she appeared. Even when it was necessary for her to be still, the character’s emotions were conveyed by a twitch here, a flicker of the eyes there, and at one point a toothy sneer.

Man in a chair, Simon Parris – September 2019

Splendidly cast, the season is deservedly built around internationally successful Australian soprano Helena Dix, meeting Melbourne audience demand for the singer after her local 2017 triumphs in Lohengrin and Roberto Devereux.
In another highly accomplished performance, Dix does more than sing the role of Norma superbly, crafting an intriguing character who is, by turns, sympathetic, monstrous, tender and vengeful. Once again demonstrating her excellent preparation and carefully considered phrasing, Dix has particular opportunity to demonstrate her key vocal strength, which is the unwavering purity of her pianissimo singing. Possessing an impressive range, Dix brings the fiery trio of act one to a thrilling end with an interpolated high D.

Limelight Magazine- Patricia Maunder- September 2019

Melbourne Opera has found a soprano who can climb what’s been described as “the Everest of opera.”
A specialist in bel canto, which means ‘beautiful singing’, Melbourne-born Dix certainly delivered that on opening night. She has a powerful, expressive soprano, soaring up to then floating around the top of her considerable range with beautiful tone and considered, controlled dynamics, as well as plunging down to remarkably dark, low notes on occasion. Norma’s showstopper aria, Casta diva, was a coloratura showcase for Dix, who got this implausibly volatile character over the line with contained, dignified movements and fierce eyes.

Sydney Herald- Bridget Davies- September 2019

Helena Dix possesses one of Maestro Bonynge’s favourite vocal traits: stunningly spun, delicately soft high notes. She’s an absolute powerhouse and doesn’t disappoint.
However, hearing this excellent Australian trio in this Everest of operas is undoubtedly a win for Melbourne. And who knows – in another 50 years we might be adding the name Helena Dix to that list of “Casta Diva” icons.

Herald Sun – Paul Selar- September 2019

At Melbourne Opera, Norma is given tremendous presence, superbly nuanced colour and staying power in soprano Helena Dix.
Returning triumphantly to Melbourne Opera, Dix is pivotal to the success of director Suzanne Chaundy’s production. Having covered the role at New York’s Met Opera, Dix’s preparedness and capabilities are in striking evidence. Her agile and wide-ranging voice touch the text with faithfulness. Her meditatively imploring “Casta diva” is only the start of many highlights to come.

Stage whispers- Catherine MacCallum- September 2019

Norma is the pinnacle of the bel canto repertoire from arguably its greatest exponent – Vincenzo Bellini. In the legendarily difficult title role, Helena Dix sweeps all before her with a voice not unlike raw honey. Rich, syrupy, and textured during the monumental bel canto legato sections, yet with bright and crystalline qualities brought forth as needed, and always deftly controlled and modulated. From her first, chiding words to the druids, to her final, determined declaration of her own death sentence, Dix held the audience in thrall on opening night.

Classical Melbourne – Heather Leviston- September 2019

Norma demands a strong dramatic presence and the ability to project the rollercoaster of emotions experienced by a conflicted leader of her people. It takes a soprano of the rare calibre of Helena Dix to even consider trying to meet these demands, which she did in this production with remarkable success. The gleaming quality of her soft singing alone was more than worth the price of the ticket, but her nuanced musicality was equally rewarding.
Heather Leviston – Classical Melbourne

Theatre people- Henry Shaw- September 2019

Helena Dix is the draw for this production. Not a single person in attendance would attest otherwise, it is Dix’s show and she makes it clear why. It is not just her singing that makes her shine, but her presence onstage. Her wry smiles as she twirls people around her finger, her sardonic glares as she listens to trite platitudes of love, there is not a moment when she is not loving her time on the stage and not a moment that the audience doesn’t love her there. Her ‘Casta Diva’ was a highlight for the night, so hypnotizing that there was a moment of crystalized silence once it finished with no one daring to break it. Not only were there moments of sheer beauty, but also levity and humour as she reacted to the ridiculousness of what was going on around her.

Alice – Falstaff – Metropolitan Opera debut

A jubilant debut for one Aussie soprano in a surprising and jaunty Falstaff at New York’s Metropolitan Opera.

Dix was as perfect a fit with comic mannerism in the scheme to thwart Falstaff as she was in singing Alice with lushness and freedom. Those cheeky wandering fingers, that warm custardy centre and buttressed soaring top she made an especially devastating highlight of in a thrashing final scene in Windsor Park – they spun their magic. Dix was rapturously applauded. And from colleagues Marie-Nicole Lemieux and Jennifer Johnson Cano came a cheery rose petal shower salute.

Opera Chaser : Paul Selar March 11 2019

Norma – Chelsea Opera Group

Sopranos who are equipped to follow in the path of Guiditta Pasta, Lilli Lehmann, Rosa Ponselle, Callas and Joan Sutherland, to name but a few illustrious exponents of the role, may be rare, but Helena Dix is undoubtedly one of those with the vocal and expressive qualities to climb to the summit of this operatic Everest.

Her lyric soprano is silky and soars effortlessly. Dix alternates her chest and head voice with ease and has a lovely clean-edged tone. She softened it beautifully for ‘Casta diva’, demonstrating stunning power, control and expansiveness of breath, to offer the requisite nuance. In the florid cabaletta, though, the Australian soprano released her voice in rapturous flights, gleaming lightly. Elsewhere, Norma’s anger drew forth a full, weighty sound which quelled both Adalgisa and Pollione in the trio at the close of Act 1, while tenderness was served by her beautiful pianissimo. She had the stamina to build towards the fortitude and sense of duty which dominated.

Opera Today – Claire Seymour

Dix’s Norma lacked neither power nor technique. She was also able to spin a very fine line, so that though the dramatic moments were full of impact, we also had plenty of quietly shaped long lines. Dramatically, this was a very complete performance, Dix made great use of the words (something that does not always happen with sopranos with strong coloratura technique), and was Norma in every moment, whether singing or not. She has a very expressive face and made the drama count.

Planet Hugill – Robert Hugill

Norma is a peach of a part, the singer has to display such a wide range of emotions contrasted with maternal instincts and failing religious pledge She has to do so singing music that requires stamina, superb breath control, a strong sense of line, fiery coloratura and also some forceful dramatic moments. Helena Dix provided these facets with considerable aplomb. Her voice at its creamiest has allure, grace and poise and these were evident in ‘Casta diva’. She also caught the swings of mood that open the second Act extraordinarily well. That she can also turn on a steely edge and considerable power meant we weren’t short-changed when it came to Norma’s public pronouncements.

Classical Source -Alexander Campbell

The Times, Hugh Canning – July 2018

(Title role – Ariadne auf Naxos- Longborough Festival Opera)

The singers are out of the ordinary: Helena Dix as an imposing Ariadne, notable for the delicacy of her singing. In the hands of Negus, Strauss’s ecstatic final duet soars.

Music OMH, Sam Smith – July 2018

(Title role – Ariadne auf Naxos- Longborough Festival Opera)

Helena Dix as Ariadne reveals a rich and sumptuous soprano that carries a spiritual air, entirely befitting her deep sorrow and desire to be taken to the realm of death. Her facial expressions are also priceless as when The Players try to cheer her up she looks genuinely bewildered.

Bachtrack, Charlotte Valori – July 2018

(Title role – Ariadne auf Naxos- Longborough Festival Opera)

Longborough’s casting is certainly luxurious: Helena Dix has great fun with her pouty Prima Donna in the Prologue, but her luminous Ariadne is textbook justification for any amount of diva histrionics, finding real human depth and emotional elegance in this abstracted, suicidal heroine.

The Age, Barney Zwartz – November 2017

(Elisabetta – Roberto Devereux- Melbourne Opera )

Simon Parris, Man in a chair- November 2017

(Elisabetta – Roberto Devereux- Melbourne Opera )

Dix proves a star attraction indeed. Delivering meticulously polished phrasing and carefully considered dynamics, Dix’s delivery ranges from fiery bravado to exquisite tenderness.
Dix’s breath control and vocal support are so strong that at the evening’s end there is the impression that she could go back to the beginning and sing the role all over again. Which is not to say that Dix did not appear to put everything she has into her performance; her talent and commitment are evident in abundance throughout the opera. While each of her co-stars is a proven performer in their own right, there is a sense that Dix’s performance level has nudged the overall standard even higher.

The Australian – August 2017

(Elsa- Melbourne Opera )

Helena Dix’s passive, lyrically opulent Elsa blindly ushers in an age of purity built on incontestable reverence.

Herald Sun – August 2017

(Elsa- Melbourne Opera )

Making a formidable long-awaited return home to Melbourne, soprano Helena Dix confirmed her expertise in a captivating and tenderly calibrated vocal rendition of the innocent Elsa, her deep reserves of power gem-cut and pure.

Classic Melbourne – August 2017

(Elsa- Melbourne Opera )

Helena Dix was outstanding as Elsa. She made her absurdly innocent, passive character a sympathetic one through stillness, shy looks and, in particular, a pure voice rich with emotion. Dix has a powerful dramatic soprano, which easily cut through the orchestra and chorus, but there is also a delightful sweetness to her voice, evident in softer passages.

Simon Parris -Man in a chair – August 2017

(Elsa- Melbourne Opera )

Australian soprano Helena Dix makes a welcome return home to sing the uneasy heroine Elsa. Dix sings with unwavering vocal strength, maintaining a voluptuous, sweet soprano that seems effortlessly supported all night. Dix absolutely sells the reality of the paranormal aspects of the story, creating a vulnerable and sympathetic character.

Sydney Morning Herald – August 2017

(Elsa- Melbourne Opera )

Helena Dix, a naive and pure-toned Elsa, spun out some ravishing soft passages.

Stage whispers – August 2017

(Elsa- Melbourne Opera )

Melbourne soprano Helena Dix returned from a busy overseas schedule to sing Elsa. As I have not heard her for almost twenty years, I was pleased to hear the warmth and maturity in her tone and observe the depth of her acting.

Limelight magazine – August 2017

(Elsa- Melbourne Opera )

Returning to the stage in her native Melbourne after an absence of 14 years, Helena Dix gives an accomplished and impassioned account of Elsa, untiring in her projection of innocence, devotion and fatal gullibility.

Der Süddeutschen Zeitung – June 2017

(Attila – Nuremberg Staatsopera)

Dix is comically irresistible with grand facial expressions. She sings her male colleagues into the ground.

Der Opernfreund – June 2017

(Attila – Nuremberg Staatsopera)

In a vocal hellish part Helena Dix sings Odabella on a grand level both vocally and comically . She is an example that is from the textbook of cultivated and glowing Verdi singing.

Die Deutsche Buehne – June 2017

(Attila – Nuremberg Staatsopera)

Helena Dix, the most beautiful voice in the ensemble, is a natural when it comes to comedy. No matter what is happening on the stage though, she manages to always produce a lyric verdi line.

Classical Source June 2017

(Nabucco -Cadogan Hall)

The most treacherous role is Abigaille. Helena Dix proved to be a superb exponent. The top of the voice had both steely gleam and power – and yet there was also extraordinary poise evident at critical moments. She does a great snarl and her edgy chest register has real punch. All the contradictions of this ambitious, cunning personality registered – a barnstorming performance.

Planet Hugill June 2017

(Nabucco – Cadogan Hall)

Thank goodness then for Helena Dix’s sharply drawn Abigaille. At times menacing and finally heart-rending; she relished the demands of the role, zipping around the stave with ease and passion and then beautifully poised and restrained for “Anch’io un giorno”. “Non maledire a me!” – well, I wouldn’t damn her.

Opernnetz December 2016

(Cristina Regina di Svezia – Oldenburg)

“Above all, it is the evening of Helena Dix. The Australian singer, who has already embraced the title part in Wexford and won for the Oldenburger resurrection series, proves to be an outstanding Cristina. She has a voluminous and at the same time agile dramatic coloratura opaque with stupendous pointed tones, dazzling phrasing and boldly also uses ugly notes to characterize – thus a glossed performance.”

Attila – May 2016 Lubeck Staatstheatre

“Helena Dix is a natural phenomenon as Odabella. What they must demand from a voice, is tremendous. A few minutes after the start of the first great aria’s turn she sweeps her opponents from the stage. She creates the requirements of this section effortlessly and meets high notes even from a wheelchair. The audience was, as they say, over the moon. Again and again.”

“The Italian Odabella (Helena Dix) seduces Attila as a bold leader of a gang of girls. From her first note, a high g, she sings friend and foe off the wall. Her second aria follows in the steps of Audrey Hepburn on a Styrofoam guitar. This was such a magical moment of singing that one even forgot the plastic birds dangling from the stage ceiling.”

“An outstanding ensemble helps this productions success, as one rarely sees her in Lübeck: Helena Dix is the complete Odabella. She is at such an immense level which deserves admiration and deserved a label that one should deal with caution: World class. Her voice penetrating power in lyrical moments from the top to the bottom.”

(Das Liebesverbot – Cadogan Hall)

Times 28/10/2015

As heroic Isabella (Das Liebesverbot) Helena Dix took everything the music threw at her and provided valiantly shining tone throughout.

Seen and heard International 26/10/2015

Helena Dix was a convincingly bold and assertive Isabella with a stage presence that suggested that this naïve novitiate could genuinely outfox a two-faced career politician. She had some steely top notes and some warm chest tones and faced the vocal challenges the composer sets her fearlessly head on – and we can already hear Senta, Elisabeth and Sieglinde in what he gives her to sing.

Bachtrack 26/10/2015

Wagner places enormous demands on his Isabella, and not just in the challenging tessitura, since she sings for most of the two-and-a-half hours and, with pre-echoes of both Senta and Isolde, needs to convey a wide range of emotions including yielding softness and dramatic fortitude. The performance benefited enormously from Helena Dix’s fearless attack and flexibility in this role.

The Arts Desk 26/10/2015

Here we have a soprano of clarion charisma, Helena Dix who provided mastery of an insane Wagner role. In Wagner she seemed to me impressive, personable and occasionally witty in this demented role which veers from Beethoven’s Leonore to bel canto heroine and even French comic minx (you have to laugh when Isabella gets all devious to end the first act; Dix had a ball winking and grinning). The gleaming  middle register gives great focus to intelligent recitative, and all the top notes work for her.

Ernani – Chelsea Opera Group – Cadogan Hall

The Guardian 5/07/2015

Helena Dix made a superlative Elvira, doing fine things with the big soprano showstopper

Bachtrack 4/07/2015

Here is a soprano capable of filling the Met’s auditorium. Vocal weight was matched by coloratura agility and delicate pianissimos, while Elvira’s Act I cabaletta showed off terrific ornamentation. Fanning herself furiously in the QEH furnace, Dix rose to the challenges of Verdi’s vocal writing with aplomb, leading ensembles gloriously.

Classical Source 3/07/2015

Helena Dix was a formidable Elvira. She launched into a poised ‘Surta è la notte’, followed this with a beautiful ‘Ernani involami’ and then dazzled in her mastery of ‘Tutto sprezzo che d’Ernani’

LDNcard 7/07/2015

Elvira, sung by Australian soprano Helena Dix, was stunning to watch as she confidently sang the famous cavatina and cabella in ‘Ernani, Ernani, involami’, which brought the house down with roaring applause

MusicOMH 7/07/2015

Cristina Regina di Svezia – Wexford International Opera Festival

Irish Theatre Magazine:

The young Australian soprano Helena Dix, whose commanding portrait of the Swedish queen, frustrated in love and outmanoeuvred politically, builds a formidable head of steam as the evening progresses. At full voice Dix is thrilling vocally, cutting heroically through both chorus and orchestra. She sounds like a major Wagner soprano in the making.

The Telegraph:

It provides a stylish focus for performances led in the title role by Helena Dix, whose laser-like soprano rides the ensembles with exciting ease.

Opera Today:

In the title role, Australian soprano Helena Dix demonstrated enormous stamina and impressive vocal power and accuracy. Dix has a silky lyric tone and she soared effortlessly in the large choral scenes. Her singing won her a greatly deserved ovation.

The Arts Desk:

The stupendous Australian-born Helena Dix carries the evening. She can actually do coloratura low down, so the voice welled up from mezzo or even contralto range to Allegri-like peaks even a boy (or girl) treble couldn’t match. There was vibrato, but wondrously little: it lends a sheen, a poignant colouring, but she never plasters it all over you. Dix is a star, the major US and European companies haven’t begun to utilise her fully. More fool they.

Financial Times:

The title role more than meets its match in Australian-born Helena Dix. She has the notes, the confidence and the stage presence to project a strong personality through the music.

Irish Examiner:

Australian soprano, Helena Dix, brought a poised intensity to the role of Cristina, with a nod to Gretta Garbo’s cinematic portrayal of the character.

The Irish Times:

Everyone in Wexford conspired to make the ride as thrilling as possible, Helena Dix’s Cristina delivering every last high note with piercing purity.

Wexford Echo:

Cristina was bespoke for a singer of the calibre and range of Australia soprano Helena Dix. You cannot imagine it reaching the heights without her. With a voice that parades phenomenal coloratura, and has the torque of a million dawns rolled into one. Medcalf ensures that his cast becomes acquainted with every nook and cranny of the stage, but even his skill cannot soften the overwhelming power of Dix’s lusty lustre, and if the theatre were bathe in darkness you wouldn’t care, such is the focused tenderness of the abdicating queen, or the ferocity of the scorned lover, her voice the unsheathed claw of vexed cat.

Opera Magazine:

The cast was most impressive. In that opening – something on the scale of the 2nd act of Aida- the demands of the singer in the title role are formidable and Helena Dix met them fearlessly, with blazing, laser-like top notes easily riding the ensembles. As the evening progressed she fielded the necessary warmth and pliability, with much sensitive soft singing. She is a star.

Idomeneo – Lubeck Staatstheatre

H-L Live:

The Elettra Helena Dix was a natural phenomenon: an avenging fury with a 18-meter-long blood-red train.Ms. Dix, however, may also take back and sing a slim beautiful Mozart line.

Lübecker Nachrichten:

Helena Dix as Elettra is another highlight. As it is the sister of Orestes, is scary – you do not even want to meet her in the light. She sings all night with secure voice and guided hochdramatischem expression: an impressive expression at that.

Unser Lübeck:

Helena Dix as scorned Eletta is again a highly dramatic woman, who shows us in every way what it’s all about. Brilliantly standing on the forestage, she takes us on quite an enjoyable flight!

Kieler Nachrichten:

Ms Dix’s frantic coloratura and strength gave everyone goose bumps, especially in the final aria D’Orreste D’Ajace

Evangelische Zeitung:

Helena Dix as Elettra, produced a highly dramatic coloratura which scared all who witnessed it.

Lübeckische Blätter:

The young Australian Helena Dix’s appearance is not only visually a spectacle, with her ​​last aria, a furious vengeance aria, she shines.