“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 German press
“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.”
The 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.
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.
The Guardian 5/07/2015
Helena Dix made a superlative Elvira, doing fine things with the big soprano showstopper
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’
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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!
Ms Dix’s frantic coloratura and strength gave everyone goose bumps, especially in the final aria D’Orreste D’Ajace
Helena Dix as Elettra, produced a highly dramatic coloratura which scared all who witnessed it.
The young Australian Helena Dix’s appearance is not only visually a spectacle, with her last aria, a furious vengeance aria, she shines.