Helen is recognised for her 'velvety rich' vocal tone, her 'expressive singing', her
'arresting stage presence', and the 'powerful intensity' of her characterisation.
'..awesomely dramatic.. real vulnerability as well as astonishing power.'
Mozart, Le nozze di Figaro,
Ensemble OrQuesta, HPO Ensemble,
Grimeborn Opera Festival, Arcola Theatre.
August 2024.
‘Helen May delights as Susanna. She has a subtly expressive face and a soprano voice which soars in solo but blends beautifully. She conveys affection, exasperation and intelligence convincingly and there is
an unusual depth of chemistry between her Susanna and this Figaro..’
Susan Elkin, Reviews, 25/08/24
an unusual depth of chemistry between her Susanna and this Figaro..’
Susan Elkin, Reviews, 25/08/24
'Helen May has a very fine evening as Susanna, riding the waves of intrigue with serene confidence and vocal dexterity.
She exudes both warmth and a hard edge as needed to make her portrayal and leadership wholly convincing.'
Tim Hochstrasser, Plays to See, 30/08/24
'As Susanna, Helen May was no simpering soubrette and there was an edge to her performance too. She was more than capable of being managing, and quite serious in her approach. But in the great moments such as Act Four's 'Deh vieni',
May was well worth listening to, and suggested a possible Countess.'
Robert Hugill, Planet Hugill, 02/09/24
‘Helen May is a winning Susanna with a voice that has edge as well as sweetness.’
Mark Aspen, Reviews, 25/08/24
Gilbert & Sullivan's Greatest Hits
Billingshurst Choral Society,
June 2024.
'the talented professional soprano, Helen May, with her crystal-clear performance.'
George Parnell, Review, 22/06/24
George Parnell, Review, 22/06/24
Donizetti, L'Elisir d'amore,
Opera South East,
White Rock Theatre, Hastings.
April 2024.
'Helen May took the role of Adina, the object of desire of the befuddled Nemorino (John Twitchen).
Alone and together their voices and movements were beautifully realised'.
Jon Smalldon, Review, 28/04/24
Alone and together their voices and movements were beautifully realised'.
Jon Smalldon, Review, 28/04/24
Mozart, Requiem,
Billingshurst Choral Society,HPO Ensemble,
St Gabriel's Church, Billingshurst.
March 2024.
'Helen May’s incredibly powerful voice demonstrated a warmth and rich tone
which blended perfectly with the other fine soloists.'
George Parnell, Review, 24/03/24
which blended perfectly with the other fine soloists.'
George Parnell, Review, 24/03/24
Mozart, Le nozze di Figaro,
Ensemble OrQuesta and HPO Ensemble,
Cockpit Theatre, Marylebone.
February 2024.
'Marcio da Silva and Helen May were ideally matched as the 'about to wed' servants –
their fight and reconciliation in the final scene was truly touching.'
Owen Davies, Plays to See, 29/02/24
their fight and reconciliation in the final scene was truly touching.'
Owen Davies, Plays to See, 29/02/24
Beethoven, Missa solemnis,
Hastings Philharmonic Choir and Orchestra,
The Church of St John the Evangelist, St Leonards-on-Sea.
November 2023.
'Helen May's fabulous soaring soprano was out of this world.
In fact Helen May’s voice was the highlight of the evening as it soared, powerfully, unhesitatingly, beautifully, above the choral melody and indeed the quartet ensembles. Literally above – her glorious Agnus Dei seemed to float to the roof and descend to surround the listeners: O lamb of god, that taketh away the sins of the world …'
Victoria Kingham, Hastings Independent, 29/11/23
'The four soloists sang with great poise and immaculate tuning; in a work where there are few opportunities for individual vocal bravura, they demonstrated precise and sensitive ensemble singing, especially in softer, more serene moments, with
particularly fine performances by soprano Helen May and tenor Leonel Pinheiro..'
Jonathan Watts, SElkin Reviews, 16/11/23
In fact Helen May’s voice was the highlight of the evening as it soared, powerfully, unhesitatingly, beautifully, above the choral melody and indeed the quartet ensembles. Literally above – her glorious Agnus Dei seemed to float to the roof and descend to surround the listeners: O lamb of god, that taketh away the sins of the world …'
Victoria Kingham, Hastings Independent, 29/11/23
'The four soloists sang with great poise and immaculate tuning; in a work where there are few opportunities for individual vocal bravura, they demonstrated precise and sensitive ensemble singing, especially in softer, more serene moments, with
particularly fine performances by soprano Helen May and tenor Leonel Pinheiro..'
Jonathan Watts, SElkin Reviews, 16/11/23
L'Aurore, Elizabeth Jacquet de la Guerre, Céphale et Procris,
Grimeborn Opera Festival, Arcola Theatre
August 2023.
'Helen May as Aurore has a voice with more edge – she is the angry one – but still with beautiful tone.'
Patrick Shorrock, Mark Aspen, 30/08/23
'The tussle between minor characters, Arcas and Dorine, is a treat, as were the scenes in which Aurora, sung by Helen May, seeks to seduce Cephale. Helen May’s voice really deserves bigger spaces than the Arcola (and the Cockpit, where EO often perform).'
Owen Davies, Plays to See, 02/09/23
Patrick Shorrock, Mark Aspen, 30/08/23
'The tussle between minor characters, Arcas and Dorine, is a treat, as were the scenes in which Aurora, sung by Helen May, seeks to seduce Cephale. Helen May’s voice really deserves bigger spaces than the Arcola (and the Cockpit, where EO often perform).'
Owen Davies, Plays to See, 02/09/23
Mendelssohn, Elijah.
200 Voices - combined choirs from Germany and the UK.
Hastings Philharmonic Orchestra, De La Warr Pavilion, Bexhill.
July 2023.
'Helen May has a magnificent, flexible, expressive soprano voice.'
Vera Bell, Hastings Independent, 09/08/2023
Vera Bell, Hastings Independent, 09/08/2023
Opera Gala,
Billingshurst Choral Society & Hastings Philharmonic Ensemble, Fisher Farm Theatre,
April 2023.
'..the most effective monastery scene from Verdi’s ‘La Forza del Destino’ ..showcased Helen May as tragic heroine Leonora. Helen also showed her versatility in contrasting arias such as Gershwin’s laid-back ‘Summertime’, Donizetti’s evocative ‘L’elisir d’amore’, and Lehár’s delightful ‘Vilja’; and her lovely soprano voice soared powerfully
over the 60-strong chorus in Mascagni’s ‘Easter Hymn’.
Jane Thomas, Review 29/04/2023
over the 60-strong chorus in Mascagni’s ‘Easter Hymn’.
Jane Thomas, Review 29/04/2023
Mozart. 'Great' Mass in C minor,
Hastings Philharmonic Choir and Orchestra, Hastings, April 2023.
'two sublimely gifted soprano singers, Kathleen Nic Dhiarmada and Helen May.. In the vocal ensembles the two soprano voices blended beautifully and circled around each other like a DNA molecule.. It was entrancing.'
Victoria Kingham, Hastings Independent, 20/04/23
Victoria Kingham, Hastings Independent, 20/04/23
L'Aurore, Jacquet de la Guerre, Ensemble OrQuesta, The Cockpit, February 2022.
'Helen May’s vivid, flexible soprano captures L’Aurore’s fluctuating rage and compassion.'
★★★★ Claire Seymour, The Stage, 07/02/23
'There is also a disconcertingly modern aspect to the rawness of the writing for Aurora, whose own inflicting of suffering stems from her own pain, eloquently projected here by Helen May.'
★★★★ Tim Hochstrasser, Plays to See, 13/02/23
★★★★ Claire Seymour, The Stage, 07/02/23
'There is also a disconcertingly modern aspect to the rawness of the writing for Aurora, whose own inflicting of suffering stems from her own pain, eloquently projected here by Helen May.'
★★★★ Tim Hochstrasser, Plays to See, 13/02/23
Haydn, The Creation, Amey Theatre, Abingdon, November 2022.
'The Amey Theatre filled with rich musical fare - Johnny Herford, baritone and Helen May, soprano in.. the
sublime final duet, Graceful Consort.'
Abingdon News, 21/11/22.
Poppea, Monteverdi, L'Incoronazione di Poppea, Ensemble OrQuesta, July 2022.
'Helen May as Poppea and Julia Portela Piñón as Nerone are wonderful as the lovers. Both have exquisite voices and are utterly convincing in their erotic passion.'
★★★★ Jane Darcy, The Reviews Hub. 27,/07/2022.
'..the cast led superbly by Helen May (Poppea) and Julia Portela Piñón (Nerone). Monteverdi’s music..ebbs and flows,
in generous, pulsating waves, culminating in the ecstatic Pur ti miro, Pur ti godo... The capacity audience, attentive despite heat and hard seats, cheered.'
★★★★ Fiona Maddocks, (The Observer). The week in classical, 30.07.22
'In the lead roles Helen May as Poppea and Julia Portela Piñón as Nero combined artfully seductive ruthlessness
and vocal bravura.'
★★★★★ Tim Hochstrasser, britishtheatre.com, 11/08/22
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'Marcio da Silva’s Ensemble OrQuesta has done Poppea before. Indeed, I reviewed a performance at The Cockpit in February 2019 which impressed me very much – with Helen May as a splendid Nero. In this production.. she sings the title role and is even better as the lascivious and ambitious courtesan – her duets with Julia Portela Pinon as Nero are as close to deserving an 18 rating as any opera staging I have seen. The two of them provide a blend of voices that is well matched to the sometimes complex music
and never better than when they sing the final pur ti miro duet.'
★★★★★ Owen Davies, Plays to See, 28.07.22
'Subject to Love’s machinations, politically ambitious Poppea, played beautifully by soprano Helen May, catches the eye of the nefarious Emperor Nerone.. Despite their questionable motivations, the chemistry between Poppea and Nerone is palpable, professing their love with a blistering eroticism from which it is impossible to look away.'
★★★★ Rachel Wood, A Young(ish) Perspective. 28.07.22
'Helen May as Poppea reveals the calculating interior behind the seductive facade.'
★★★★ Inge Kjemtrup, The Stage, 28/07/22
'Helen May as Poppea and Julia Portela Piñón as Nerone are strong leads, and the singing of the whole cast is quite sublime.'
★★★★ J.C. London Living Large, 28/07/22
and never better than when they sing the final pur ti miro duet.'
★★★★★ Owen Davies, Plays to See, 28.07.22
'Subject to Love’s machinations, politically ambitious Poppea, played beautifully by soprano Helen May, catches the eye of the nefarious Emperor Nerone.. Despite their questionable motivations, the chemistry between Poppea and Nerone is palpable, professing their love with a blistering eroticism from which it is impossible to look away.'
★★★★ Rachel Wood, A Young(ish) Perspective. 28.07.22
'Helen May as Poppea reveals the calculating interior behind the seductive facade.'
★★★★ Inge Kjemtrup, The Stage, 28/07/22
'Helen May as Poppea and Julia Portela Piñón as Nerone are strong leads, and the singing of the whole cast is quite sublime.'
★★★★ J.C. London Living Large, 28/07/22
Mimì, Puccini, La bohème, Hastings Philharmonic Orchestra, June 2022
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‘To say that last evening's performance was magical, atmospheric, beautiful visually, musically, theatrically, is inadequate. But though it is invidious to single one person out, we really must do so. Helen May was out of this world. It really was a truly magical evening.’ Dr Robert Park & Anne Duke, 13.06.22 ‘A fantastic performance of Bohème with fine singing from Helen May. Not a dry eye in the house.’ @hastingsantony. 12.06.22 www.antonymair.com |
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Brahms, Ein Deutsches Requiem, Hastings Philharmonic Choir, March 2022
''There are some supremely beautiful passages. Helen May’s pure angelic soprano voice soars above the quiet orchestral accompaniment.'
Patrick Glass, Hastings Times, 21/04/22
Patrick Glass, Hastings Times, 21/04/22
Emilie, Rameau, Les Indes Galantes, Cockpit Theatre, February 2022
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'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. |
Raminsh, Missa Brevis, Fauré, Requiem, Billingshurst Choral Society, November 2021
'Special guest soprano, Helen May, sang the solos throughout the work with clarity and expression'.
Anthony Gilsenan. Sussex Express, November 2021.
'The soloist, Helen May, was just stunning'
Juliet West, West Sussex County Times, November 2021.
'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.
Alcina, Handel, Alcina, Grimeborn Opera Festival, Arcola Theatre, August 2021
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'the work is packed with dazzling arias, many sung by Alcina.... here superbly sung by Helen May.' ★★★★ Fiona Maddocks, (The Observer), 28/08/21, 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
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'A shout-out must go to Helen May (Climene). She’s a hugely expressive singer, with velvety rich tones and the ability to convey the raw vulnerability of her character.' ★★★ 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..' ★★★★ 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.. 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 |
Song Recital: Schubert, 'Shepherd on the Rock' and opera arias, 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,
OFFIES Nomination for Performance (Opera Production)
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Calisto, Cavalli, La Calisto, Cockpit Theatre, February 2020
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'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, 05/02/2020. 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.
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.
Diane, Rameau, Hippolyte et Aricie, August 2019.
'Helen May..a mellifluous Diane..'
Hippolyte et Aricie, Grimeborn Opera Festival, August 2019. Planet Hugill.
'Diane and L’Amour - Helen May and Katherine MacRae - were both impressive.'
Hippolyte et Aricie, Grimeborn Opera Festival, August 2019. Early Music Reviews.
Hippolyte et Aricie, Grimeborn Opera Festival, August 2019. Planet Hugill.
'Diane and L’Amour - Helen May and Katherine MacRae - were both impressive.'
Hippolyte et Aricie, Grimeborn Opera Festival, August 2019. Early Music Reviews.
Rossini, Petite Messe Solennelle. July 2019.
'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.
'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's Petite Messe Solennelle, Lark Reviews, July 2019.
'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.
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.
Mozart, Die Zauberflöte, Hastings Observer, June 2019.
Haydn, Nelson Mass, Cardiff University Symphony Orchestra and Chorus, March 2019.
'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.
Art scene in Wales, March 2019.
Nerone, L'Incoronazione di Poppea, Monteverdi, Cockpit Theatre, February 2019
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'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 spellbinding.' 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. |
Despina, Mozart, Cosi fan tutte, Woodhouse Opera, September 2018
'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.
Amastre, Xerse, Cavalli, Grimeborn Opera Festival, August 2018.
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'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 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...' Xerse, Ensemble OrQuesta, Grimeborn Opera Festival, Voinescu Marius, 02/09/2018, |
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Schubert, Mass in G, Holst, Two Psalms, November 2017.
'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.
'The audience hope to welcome back the beautiful soprano voice of Helen May to sing with the choir..'
Hastings Philharmonic Choir, Rye News, November 2017.
Diane, Rameau, Hippolyte et Aricie, Woodhouse Opera, 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.
Valletto, L'Incoronazione di Poppea, Monteverdi, Hampstead Garden Opera, May 2017.
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'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...' L'Incoronazione di Poppea, Hampstead Garden Opera. The Idle Woman Blog, May 2017. |