Press

Opera Today – Claire Seymour: October 2018

(Title role – 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.

Planet Hugill – Robert Hugill- October 2018

(Title role – Norma – Chelsea Opera Group)

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.

Classical Source -Alexander Campbell – October 2018

(Title role – Norma – Chelsea Opera Group)

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.

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.