HELENA BROWN
PRESS
CRITICAL ACCLAIM
DIE WALKURE
As Sieglinde, the soprano Helena Brown expressed her character’s agitation and
desperation, while producing velvety tones and liquid, effortless high notes.
- David Fleshler, South Florida Classical Review
CRITICAL ACCLAIM
DIE WALKURE
Alan Held’s Wotan and Helena Brown’s Sieglinde were extravagant displays of
tragic ferocity.
- Suzanne James, The Sophia News
CRITICAL ACCLAIM
SIEGE OF CALAIS
England’s King Edward III (Edoardo) and Queen Isabella (historically Philippa) are
baritone Michael Hewitt and soprano Helena Brown. Edoardo’s egotistical thirst for blood is tempered and tamed by the regal Isabella, who is compassionate and sensible. Both singers fully inhabit their brief roles, and Ms. Brown’s dusky voice is one of those few that are uniquely and readily identifiable after just a few notes.
- Richard Carter, Blasting News
CRITICAL ACCLAIM
SIEGE OF CALAIS
As Isabella, Queen of England, Helena Brown brought about a beautiful spinto
soprano that showed promise. However, this role, which consists mostly of
recitatives and a final concertato, did not allow Brown to completely show her
talent.
- Francisco Salazar, Operawire
CRITICAL ACCLAIM
SIEGE OF CALAIS
Brown sang impressively with a regal demeanor, whose sympathetic response to the Calais hostages’ appeal for mercy proved to be dramatically persuasive. Brown’s performance made a strong case for the character and suggested that performances that eliminate the Queen are in error.
- Opera Warhorses
CRITICAL ACCLAIM
SIEGE OF CALAIS
Brown sang impressively with a regal demeanor, whose sympathetic response to the Calais hostages’ appeal for mercy proved to be dramatically persuasive. Brown’s performance made a strong case for the character and suggested that performances that eliminate the Queen are in error.
- Opera Warhorses
CRITICAL ACCLAIM
SIEGE OF CALAIS
Helena Brown’s imperious, generous soprano made a major impact as Queen Isabella.
- James Sohre, Opera Today
CRITICAL ACCLAIM
SIEGE OF CALAIS
...Among the smaller roles, Andres Moreno Garcia displayed a strong tenor as Edmundo, Edward’s general, and Queen Isabella, played by Helena Brown, lent dignity and power to her brief but crucial role.
- Gregory Moojy, Bachtrack
CRITICAL ACCLAIM
THE CRUCIBLE
Helena Brown was an earthy-voiced Rebecca Nurse.
- Opera Teen, Huffington Post
FEATURE
SOUTH PACIFIC
Hollins grad Helena Brown comes back south for 'South Pacific'
CRITICAL ACCLAIM
GENERAL
. . . a very expressive, oaky voice. . . Her voice has a lot of color. She doesn't sound like everybody else.
- Francesca Zambello as quoted in All Ostego
CRITICAL ACCLAIM
GENERAL
...stunningly large round sound...
- Meche Kroop, Voche di Meche
CRITICAL ACCLAIM
THE CRUCIBLE
Helena Brown projected a strong image, beautifully sung, of the heroic Rebecca
Nurse.
- Opera Warhorses
CRITICAL ACCLAIM
SOUTH PACIFIC
...This ill-fated romance is brought about directly and indirectly by another stylistic
pairing in the show’s book, the outrageously irreverent sailor Luther Billis — a tour de force performance by Adam McAllister — and the young girl’s mother, Bloody Mary, performed with exquisite understanding and deft craft by Helena Brown...
- Gordon Marsh, Roanoke Times
CRITICAL ACCLAIM
GENERAL
Helena Brown drew thunderous applause for her rendition of the African-American spiritual, “Keep Your Lamps Trimmed and Burning.
- Libby Cudmore, All Ostego
CRITICAL ACCLAIM
DON GIOVANNI
As Donna Elvira, the big beautiful sound of Helena Brown was perfect. We have
reviewed her performances many times in the past five or six years and have
sometimes called her a mezzo because there is so much texture in her tone. Her "Mi tradi quell'alma ingrata" was riveting and delivered within the context of Garcia's wife berating her husband for seducing the singer performing Donna Anna.
- Meche Kroop, Voce di Meche
CRITICAL ACCLAIM
THE CRUCIBLE
...Among many fine singing actors, a few highlights: Brian Mulligan’s passionate,
desperate Proctor; Ariana Wehr’s penetrating, scary Abigail; and Helena Brown’s heartfelt Rebecca Nurse...
- Zachary Woolfe, New York Times