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Emilie, Rameau, Les Indes Galantes
Cockpit Theatre February 2022 'Helen May as Emilie is once again superb, with the flexibility of tone and dramatic power that holds an audience rapt – and she is fortunate to have Kieran White as her Valère. ...the two gloriously lyrical pieces that end this act,
the duet and chorus Volez Zephirs Volez, were outstanding.' ****, Owen Davies, Plays to See, 17/02/22 'Each of them brings a distinct vocal personality, a strong sense of style
and eloquent French diction. Helen May, powerful and intense.... **** Yehuda Shapiro, The Stage, 07/02/22 'Helen May and Kieran White both impressed vocally.'
Andrew Benson-Wilson, Early Music Reviews, 07/02/2022. |
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'The soloist, Helen May, was just stunning'
Juliet West, West Sussex County Times, November 2021. 'Special guest soprano, Helen May, sang the solos throughout the work with clarity and expression'. Anthony Gilsenan. Sussex Express, November 2021. |
Raminsh Missa Brevis |
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'The Requiem has long been a favourite of mine. Helen May was absolutely stunning
and brought a lump to my throat.' Grahame Pearson, West Sussex Monthly Review, November 2021. 'The ‘Pie Jesu’ highlighted the stunningly beautiful voice of Helen May, who blended brilliantly with the choir throughout this glorious work.' Anthony Gilsenan. Sussex Express, November 2021. |
Fauré Requiem: November 2021 |
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Alcina, Handel, Alcina
Grimeborn Opera Festival, Arcola Theatre August 2021 'the work is packed with dazzling arias, many sung by Alcina....
here superbly sung by Helen May.' **** Fiona Maddocks, The Guardian, 28/08/21, Leading the first of two casts was Helen May, a controlling but vulnerable Alcina, who despairingly trashed her desk during 'Ah! mio cor'.
Open, vibrant and powerful, May's voice is not a conventional 'early music' instrument, but she can fine it down to a whisper and her singing carries a strong dramatic charge.' Yehuda Shapiro, Opera Magazine, November 2021. 'Helen May was a strong Alcina, often dominating the stage. But..May ensured that we felt the range of human emotions behind the mask. May has a strong, vibrant voice which ensured a distinctive timbre to Alcina's music,
yet with a nice facility in the passagework.' **** Robert Hugill, Planet Hugill. 26/08/21 'Interpreted with vibrant power by Helen May,
Alcina is controlling, but vulnerable..' **** Yehuda Shapiro, The Stage. 31/08/21 'Helen May was commanding and alluring in equal measure
with a big soprano voice that filled the tent.' **** Owen Davies, Plays to See, 01/09/21 'Helen May’s portrayal of Alcina draws us in slowly, balancing the enchantress’ growing vulnerability and rage as she grapples with betrayal.'
**** Gaurav Singh Nijjer, North West End UK, |
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Climene, L'Egisto, Cavalli,
Hampstead Garden Opera, June 2021 'A shout-out must go to Helen May (Climene), whom I’ve seen several times before..as a powerful Amastre in Cavalli's Xerse and as a cheekily exuberant Valletto in Monteverdi’s Poppea. She’s a hugely expressive singer, with velvety rich tones and the ability to convey the raw vulnerability of her character. That’s why she impressed me so much as Amastre, and her intensity worked equally well here, making Climene the character who interested me most.' *** The Idle Woman Blog, 09/06/21 'We have some wonderful singing to listen to as the lovers sort themselves out. I saw Helen May's wonderful Climene, supported by strong work from Kieran White in the title role, with Eric Schlossberg and Shafali Jalata rounding out the four lovers.' **** Gary Naylor, Broadway World, 07/06/21 'Helen May (Climene) and Erich Schlossberg (Lidio) really hit their stride when the tension rises, she ringing the rafters, he whip-like in his responses.' **** Yehuda Shapiro, The Stage, 10/06/21 '..special words of praise are due for countertenor Eric Schlossberg’s tormented Lidio, and for Helen May as Climene – her expertise in the art of bringing baroque soprano roles to life grows with each outing.' ***** Owen Davies, Plays to See, 14/06/21 |
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Song Recital:
October 2020 |
'This HPO concert was outstanding. ...all the pieces gave rise to virtuoso performances... I greatly enjoyed.. 'Caro Nome' (Verdi) – beautifully rendered. And Dvorak’s 'Song to the Moon'.. was simply entrancing.'
Patrick Glass, Hastings Independent, Oct 2020, |
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Calisto, Cavalli, La Calisto,
Cockpit Theatre, February 2020 'As Calisto, Helen May excels. Despite the comic chaos that sometimes surrounds her, she keeps the tragic heart of the opera beating with admirable passion'. La Calisto, Cockpit Theatre, January/February 2020. Plays to See. 'It would be invidious to pick out specific singers in what was clearly a collaborative enterprise, but Helen May as Calisto..deserves special mention for her singing and acting ability.' La Calisto, Cockpit Theatre, January/February 2020. Early Music Reviews. |
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Alice Ford, Vaughan Williams, Sir John in Love (Scenes) November 2020.
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Helen is 'always compelling on stage: comedically sophisticated and bold, but also human and sensitive.
She has a natural talent as an actor and an advanced ability to access and analyse character thought, attitudes, and motivations. A delight to work with and an excellent singing actor of rare ability.' Alice Ford, Sir John in Love, RAO Scenes, November 2019. |
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Helen 'has such radiance as a performer. Vocally courageous.., ambitious and capable. A fine singer on her way.'
Professor Susan Waters: English Song Prize, Royal Academy of Music, October 2019. |
Song Recital:
Oct 2019. |
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Diane, Rameau, Hippolyte et Aricie, August 2019.
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'Helen May..a mellifluous Diane..'
Hippolyte et Aricie, Grimeborn Opera Festival, August 2019. Planet Hugill. |
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'Diane and L’Amour - Helen May and Katherine MacRae - were both impressive.'
Hippolyte et Aricie, Grimeborn Opera Festival, August 2019. Early Music Reviews. |
Diane, Rameau, Hippolyte et Aricie, August 2019.
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Rossini, Petite Messe Solennelle. July 2019.
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'The soloists were superb...The Crucifixus and O Salutaris were sung by soprano Helen May
beautifully and faultlessly... Rossini's Petite Messe Solennelle, Lark Reviews, July 2019. |
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'Of the soloists, the highlight of the evening was the duet Qui Tollis where Helen May was joined by mezzo-soprano, Beth Moxon; it was enchanting to hear and watch.'
Rossini's Petite Messe Solennelle, Bernard Crosby, July 2019. |
Rossini, Petite Messe Solennelle.
July 2019. |
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Pamina, Mozart, Die Zauberflöte.
June 2019. |
'Helen May’s finely sung Pamina seemed a far stronger character than the text sometimes gives her credit for, and her rendition of Ach, ich fühl's was very effective and moving'.
Mozart, Die Zauberflöte, Hastings Observer, June 2019. |
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'A perfect choral piece followed, with Haydn’s 'Nelson Mass'.. This piece is brimming with delicious chorus numbers and some true highlights for soprano soloist.
Helen May does a supreme job with the soprano role.' Art scene in Wales, March 2019. |
Haydn, Nelson Mass
March 2019. |
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Nerone, L'Incoronazione di Poppea,
Monteverdi, Cockpit Theatre, February 2019 'As Nerone and Poppea, Helen May and Kathleen Nic Dhiarmada are superb. It is a real triumph to conjure up a passionate affair out of 400 year old words and music... The famous final duet between the two of them is spell binding.' L'Incoronazione di Poppea, Ensemble Orquesta, Cockpit Theatre. Plays to See, February 2019. 'May nicely catches the difficult balance between autocratic emperor and lovestruck suitor and, in a role that would probably have originally been sung by a castrato, she makes a convincing male hero..'
L'Incoronazione di Poppea, Ensemble Orquesta, Cockpit Theatre. Owen Davies, February 2019. 'It’s difficult to pinpoint a standout performance as every person involved demonstrated a high level of vocal and acting skills. ..the scenes and duets between Poppea and Nerone must be mentioned for their intensity and passion, excellently delivered by Kathleen Nic Dhiarmada and Helen May'. Nerone, L'Incoronazione di Poppea, Ensemble OrQuesta. thespyinthestalls.com, January 2019. |
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'Cosi has some of the most dazzling music Mozart ever wrote and the challenge is always to manage to hold on to the emotional undertow of the music whatever the follies of the plot. This was accomplished with sure direction, and great charm and panache by the young performers.
It's hard to single anyone out, but Helen May's Despina was outstanding... A name to watch.' Cosi fan tutte, Woodhouse Opera Festival. Surrey Gazette, September 2018. |
Despina, Mozart,
Cosi fan tutte September 2018. |
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Amastre, Xerse, Cavalli,
Grimeborn Opera Festival, August 2018. 'In something of an operatic caucus race, each of the eleven soloists deserved a prize... Amastre's status as an outsider was emphasised by the plangency of Helen May's timbre.' Xerse, Grimeborn Opera Festival, August 2018. Opera Magazine, November 2018. 'the strongest of the three female roles was May’s Amastre. May drew out the disguised princess’s anger, shame and angst to perfection. …She blazes out among the sober Persians…' Xerse, Ensemble OrQuesta, Grimeborn Opera Festival, August 2018. The Idle Woman Blog, September 2018. ....the ever-impressive Helen May...was perfectly cast here, as an introspective, world-weary Amastre.' Xerse, Ensemble OrQuesta, Grimeborn Opera Festival, Xerse Cavalli 1654, September 2018, |
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'Helen May....made an affecting Galatea.'
Acis and Galatea, Ensemble OrQuesta Opera in Britain, Opera Magazine, June 2018. |
Galatea, Handel,
Acis and Galatea June 2018. |
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Song Recital
January 2018. |
'Greatly promising...a well integrated tone of alluring quality.'
Professor Mark Wildman, David Clover Festival of Singing, January 2018. |
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'Soprano Helen May filled the building with richly glowing tone, the top of the voice thrilling as it floated above the choir.'
Schubert, Mass in G, Holst, Two Psalms. Hastings Philharmonic Choir and Orchestra, Lark Reviews, November 2017. |
Schubert, Mass in G
November 2017. |
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Holst, Two Psalms
November 2017. |
'The audience will be able to welcome back the beautiful soprano voice of Helen May to sing with the choir..'
Hastings Philharmonic Choir, Rye News, November 2017. |
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'Helen May was very effective in the small role of Mélisse'.
Armide, Grimeborn Festival Plays To See, August 2017. |
Mélisse, Lully, Armide,
August 2017. |
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Diane, Rameau, Hippolyte et Aricie,
July 2017. |
'….there was some impressive singing, notably from Helen May (Diane).. demonstrating excellent fluidity in (her) ornaments, and.. having the rare ability to sing a proper trill…'
Hippolyte et Aricie, Woodhouse Opera/Ensemble Orquesta. Early Music Reviews, July 2017. |
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'Helen May was superb as one of the Three Little Maids at the last Simonsbath Festival’s
@Opera Anywhere's production of The Mikado'. @Simonsbath Festival Twitter, June 2017. |
The Mikado
G & S, June 2017. |
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Valletto, L'Incoronazione di Poppea,
Monteverdi, Hampstead Garden Opera, May 2017. 'May, whose passionate acting leading up to the seduction scene with Damigella (Conner) is more than credible and convincing.. the almost acrobatic dance sequences among the lovers, employed throughout the opera, is also especially captivating.' L'Incoronazione di Poppea, Hampstead Garden Opera. Plays To See, June 2017. 'May's..terrifically bolshy, punky, cocksure performance as Valletto..an amusing caricature of a roosterish teenage boy.' L'Incoronazione di Poppea, Hampstead Garden Opera. The Idle Woman Blog, May 2017. |