"The London Philharmonic was on fine form. Jurowski is very adept at clarity of teture in this repertoire. Indeed, there were some outstanding moments such as the eerie gravelly sound of the four string solosts at the start of the graveyard scene and Helen Collyer's harpsichord continue was outstanding." The Rake's Progress, LPO, Royal Festival Hall, Alexander Campbell, Classical Source, November 2018.

 

"Die junge Pianistin Helen Collyer indes erwies sich durch alle Stücke hindurch als eine sehr routinierte und sensible Begleiterin. Aber nicht nur das: Vor allem in der Szene des Siegmund aus der Walküre (Ein Schwert verhiess mir der Vater") hatte sie einiges zu tun und überzeugte mit fantastischer Virtuosität und Dynamik."

 

"Nun spielt sie Beethoven mit einem punktgenauen Anschlag und Augenmaß für Tempo und Emphase, um jeden Akkord voll zur Geltung zu bringen. Es ist die Mischung aus Kraft, Freiheit, Bedacht, Vorsicht und Ehrfurcht, mit der sie den Saal erzittern lässt."

(Nord-Bayerischer Kurier, Arien-Abend, Bayreuth)

"Brilliant and sensitive accompaniment from Helen Collyer.(Glyndebourne's Jerwood Young Artists' Recital, Brighton Festival, England)

 

"...harpsichordist Helen Collyer, who plays with real wit and character." (The Rake's Progress, Opus Arte DVD, Opera News).

 

"Hervorragend, äusserst zuverlässig war die Klavierbegleitung von Helen Collyer, Berlin." (Paul Klee Zentrum, Bern, Schweiz).

"Na de pauze volgden Brahms’ Vier Ernste Gesange, op teksten uit het Oude Testament. Zware kost, die door begeleidster Helen Collyer van dramatisch pianospel werd voorzien. In haar spel zaten vaker drama en theatrale timing die het recital zeker ten goede kwamen."(Matthew Rose, Concertgebouw, Amsterdam).


Helen Collyer ~ Pianist

 

Helen is much in demand throughout Europe as a piano accompanist, repetiteur and vocal coach. 

 

As freelance repetiteur and coach she is engaged by the Salzburger Osterfestspiele, Glyndebourne Festival Opera, Opéra national de Paris, Bolshoi Theatre Moscow, Baden Baden Festspiele, Komische Oper Berlin, Den Norske Opera, and English National Opera among others, working with conductors such as Vladimir Jurowski (Die Meistersinger, The Cunning Little Vixen, The Rake's Progress, Peter Grimes), Sir Simon Rattle (Carmen, Der Rosenkavalier, Pelleas et Melisande, Tristan und Isolde), Paul Daniel (L'Enfant et les Sortileges, Der Zwerg) and Sir Andrew Davis (Billy Budd, The Rake's Progress).

Other reent engagements as repetiteur and orchestral pianist include Berlioz' Romeo et Juliette for the Deutsches Symphonie-Orchester and Tughan Sokhiev at the Berlin Philarmonie, the late Peter Maxwell Davies'  The Two Fiddlers with Sir Simon Rattle, The Rape of Lucretia with Leo Hussein for Glyndebourne Festival Opera and The Rake's Progress with Sir Andrew Davis at the Edinburgh Festival.

 

As piano accompanist she has performed at the Concertgebouw Amsterdam, Wigmore Hall, the Linbury Studio (ROH), in Bayreuth, at Palais Garnier and La Bastille. 

 

As orchestral pianist Helen can be heard in Glyndebourne's recordings of Ariadne auf Naxos, The Rape of Lucretia, and The Cunning Little Vixen, and as harpsichordist in the Grammy nominated recording of The Rake's Progress with Jurowski and the London Philharmonic Orchestra. Recent performances include Britten's War Requiem with Ralf Sochaczewsky and the Konzerthaus Orchester in Berlin, and as pianist in Martinu'S Double Concerto for Two String Orchestrase, Piano and Timpani, on a tour of France and Italy with the Chamber Orchestra of Europe.

 

Helen enjoys coaching privately, and at the Hanns Eisler Hochschule für Musik and the UdK in Berlin, and also working as English language coach (Händel's Messiah at the Théâtre des Champs-Élysées,  Billy Budd at the Michailovsky Theatre, St.Petersburg). She is able to offer language coaching in french, german and italian, and has a working knowledge of Czech, Russian, Polish, Swedish, Norwegian and Spanish. 

 

Helen has recently been elected Associate of the Royal Academy of Music.

 

Future engagements include a Familienkonzert at the Berliner Philharmonie, Billy Budd at the Bolshoi Theatre, Moscow with William Lacey, Martinu's Concerto for Two String Orchestras, Piano and Timpani with the Radio Sinfonieorchester Berlin at the Konzerthaus, the world premiere of Brett Dean's Hamlet in Glyndebourne, and Wozzeck at the Salzburg Festspiele with Vladimir Jurowski.

 

Concertgebouw Amsterdam with Matthew Rose, bass.

Salzburger Osterfestspiele, Carmen.

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