Australian-born Helena Dix has secured her name in leading roles on operatic stages around the world. Described by the Spectator as possessing ‘a musical range, from high soprano to deep, deep contralto 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.” Recent triumphs include performances as the title-role NORMA at the Metropolitan Opera, the Countess LE NOZZE DI FIGARO and a recital of art song and arias with Seattle Opera, the title role LUCREZIA BORGIA and Lady Macbeth MACBETH with Melbourne Opera, her role debut as Vitellia LA CLEMENZA DI TITO with National Opera, Canberra and Miss Jessel THE TURN OF THE SCREW for Garsington Opera.
Upcoming roles include the title-role MARIA STUARDA for Melbourne Opera, Vitellia LA CLEMENZA DI TITO for Chelsea Opera Group (London) and her company debut at Théâtre Royal de la Monnaie as Donatella in the world-premiere of NOSTALGIA, a new piece encompassing selections from the early operas of Verdi.
Other engagements include the title role in Foroni CRISTINA REGINA DI SVEZIA for Wexford Festival Opera, Oldenburg Staatstheater and Chelsea Opera Group, her house and role debut at Longborough festival in the title role ARIADNE AUF NAXOS, Elettra IDOMENEO and Odabella ATTILA for Staatstheater Nürnberg and Lubeck opera, the title role LA GIOCONDA for Teatro Calderón, Valladolid, Flowermaiden PARSIFAL for English National Opera, Isabella DAS LIEBESVERBOT for Chelsea Opera and Rosalinde DIE FLEDERMAUS, the title-role IRIS and Hanna Glawari THE MERRY WIDOW for Scottish Opera.
Helena made her Metropolitan Opera stage debut in 2019 as Alice Ford FALSTAFF. Prior to this Helena covered a number of roles at the Metropolitan including Elvira ERNANI, the title role SEMIRAMIDE and Vitellia LA CLEMENZA DI TITO. In her native Australia, Helena has had a series of triumphs with Melbourne Opera including Elsa LOHENGRIN, the title role NORMA and the role of Elisabetta in ROBERTO DEVEREUX where critics rated her ‘8 out of 5 stars’.
Engagements elsewhere in recent seasons have included Verdi Requiem with the Royal Philharmonic Orchestra, Orff Carmina Burana at the Royal Albert Hall, covering Sondra Radvanovsky in ROBERTO DEVEREUX at San Francisco Opera, her UK debut as NORMA with Chelsea Opera Group and Elisabetta ROBERTO DEVEREUX for Badisches Staatstheater Karlsruhe and Chelsea Opera Group, London which led Hugh Canning to write ‘Australian soprano Helena Dix, sweeping all before her as Queen Elizabeth in a performance to rank with her unforgettable COG Norma – in a word: gobsmacking…Dix is on the way to cult diva status in this repertoire’
Her concert repertoire includes Rossini Petite Messe Solennelle Mozart Coronation Mass in C, Requiem and Mass in C Minor, Rheinberger Oratorio de Noel, Saint-Saens Christmas Oratorio, Brahms Requiem, Richard Strauss Four Last Songs, Mahler Rückert Lieder, Mendelssohn Elijah, Beethoven 9th Symphony, Faure Requiem, Britten War Requiem, Chausson Poème de l’amour et de la mer and Haydn Creation. Helena has also recorded the Verdi Requiem with the Bach Choir and Missa Sabrenesis by Howells with the BBC Concert orchestra and The Bach choir, both released on Hyperion records.
Helena has had a great deal of success in competitions, most notably representing Australia in the 2005 BBC Cardiff Singer of the World. Helena was also runner up in the prestigious Herald Sun Aria and a finalist in the McDonalds Aria held at the Sydney Opera House. She made her USA debut as a finalist in the Seattle International Wagner Opera competition to great critical acclaim. In 2022 Helena was awarded a Fellowship by the Royal Academy of Music.
Senior Artist Manager
Dix had sheer control, acrobatic agility and apparent fearlessness of her singing, whether she was spinning beautiful lines, terrifying her court (and audience), or hitting stratospheric notes with laser accuracy.
Dix can startle with a capacity to render the unknowable.
She’s a force of nature, her powerful soprano freezing the blood and catching fire all at once.
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.
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.
Helena Dix is undoubtedly one of those with the vocal and expressive qualities to climb to the summit of this operatic Everest.