Biography & Reviews


Helen Sherman credit Benjamin Harte

Australian born mezzo, Helen Sherman has established herself as a much-sought-after artist in the United Kingdom and Australia in both recital and Opera. An alumnus of The Sydney Conservatorium of Music and The Royal Northern College of Music, she was the first student to receive the International Artists Diploma in Opera from the RNCM. Helen has represented Australia at the BBC Cardiff Singer of the World competition and at the Francisco Viñas International Singing Competition. Last year she was nominated for a Helpmann Award (best female performer in an opera) for her performance of the title role in ‘L’incoronazione di Poppea’ for Pinchgut Opera. She has been a prize winner at the prestigious Wigmore Hall International Song Competition and sang in the Opening Ceremony of the Tour de France. Helen is a Samling Scholar, associate artist for Classical Opera and YCAT alumnus.

Of her recent performance of the title role of ‘Carmen’ for the State Opera of South Australia Graham Strahle for The Australian wrote “Helen Sherman in the title role was powerful of voice, and she invested her character with convincing psychological realism. Her fiery Habanera was wholly satisfying.”

Recent highlights include the title role (Carmen) for the State Opera of South Australia, Dorabella (Cosi fan Tutte) for Teatru Manoel, Octavian (Der Rosenkavalier), Dorabella (Cosi fan Tutte) and Cherubino (The Marriage of Figaro) for Opera North, Poppea (L’incoronazione di Poppea) and Irene (Bajazet) for Pinchgut Opera, Donna Elvira (Don Giovanni) and Sesto (La Clemenza di Tito) for Classical Opera, Christina (I Pazzi Per Progetto) for Festspiele Zurich, Dinah (Trouble in Tahiti) for Lost and Found Opera, Aurelio (L’Assedio di Calais) and Nerone (The Coronation of Poppea) for English Touring Opera and Rosina (The Barber of Seville) for Longborough Festival Opera. Recordings include ‘Mozart in London’ for Signum Records and ‘Bajazet’ for Pinchgut Live.

Helen’s concert appearances have included performances at Wigmore Hall, Bridgewater Hall, Cadogan Hall, St John’s Smith Square and Milton Court, performances at City of London, Two Moors, Cambridge and Cheltenham festivals, Handel’s Messiah at the Royal Albert Hall, The Sydney Opera House, QPAC Hall, Middle Temple Hall and The Sage Gateshead, recitals with Roger Vignoles for Cambridge Summer Music Festival, with Malcolm Martineau and Sir Thomas Allen at the Wigmore Hall, with The Australian Haydn Ensemble, The Queensland Symphony Orchestra and The London Mozart Players. Helen has featured on ABC Classic FM, BBC Radio4 Women’s Hour, BBC Radio3, Lucy Worsley: Mozart’s London Odyssey for BBC4 and recorded with The Orchestra of the Antipodes, Prague Radio Symphony Orchestra and the Sydney Opera and Ballet Orchestra.

Future engagements include recitals for the Royal Overseas League at Edinburgh Fringe Festival, concerts with the Australian Haydn Ensemble and the role of Tamiri in Handel’s Farnace for Pinchgut Opera, Sydney. In March 2020 Helen makes her debut at the Royal Opera House, Covent Garden, as Flora in Richard Eyre’s production of ‘La Traviata’.

Helen is very grateful for the support of The Richard Carne Trust, The Ian Potter Cultural Trust, Classical Opera Company, The Young Classical Artists Trust, The Kohn Foundation, The Royal Overseas League, The Wingate Trust, The Tait Memorial Trust, Independent Opera, The Australian Music Foundation, The Elizabeth Harwood Memorial Trust, The Dame Joan Sutherland Society, Ars Musica Australis, The Opera and Arts Support Group Sydney, The Simon Fletcher Charitable Trust and International Opera Productions.



“A good Carmen needs a rich sensuous, seductive, sultry voice, and Helen Sherman provided this. From her entry as cigarette factory worker to her final encounter with Don José outside the bullring, Sherman was a delight. Always strong and convincing, she portrayed a powerful Carmen who needed to get her way, and was dangerous when rebuffed. Sherman sang a superb Seguidilla as, in the square outside the cigarette factory, she beguiled Don José, seducing him with the hope of a night of dancing and passion at Lillas Pastia’s tavern. There, Sherman’s Carmen was powerfully convincing as she began her seduction, sensually donning Don José’s hat and coat, her voice so intimate, dancing in his honour, only to be stunned, then distressed as he got distracted by the barracks’ bugle blending with her song, finally winning out. Sherman’s display of disgust was palpable, her rejection and mocking forceful, her offended pride and self-centredness assaulted. She cleverly projected all these emotions, reinforced by the impact of the orchestra. Carmen’s squabble with Don José at the camp in the hills was another of Sherman’s interpretation gems – their disagreement heartfelt, their arguing believable – dominated by her supreme demand for freedom. Then, augmented by close-up video, we sensed her fear, fatalism and aloneness as she dealt her cards only to discover that she (and Don José) were destined for death.”

Bachtrack / Brian Angus / Carmen / State Opera of South Australia / March 2019

“Mezzo-soprano Helen Sherman played the central character with grit and controlled ferocity, her muscular voice suited to this sort of portrayal.. More than the show-stopping tunes, Sherman hit the heights in her heartbreakingly performed scene in Act 3 when Carmen foresees her own death, and that of  Don José, in the cards.”

INDaily / Stuart Washington / Carmen / State Opera of South Australia / March 2019

“Helen Sherman in the title role was powerful of voice, and she invested her character with convincing psychological realism. Her fiery Habanera was wholly satisfying.”

The Australian / Graham Strahle / Carmen / State Opera of South Australia / March 2019

“I was especially taken by sultry Australian mezzo-soprano Helen Sherman.. Powerhouse mezzo Helen Sherman’s vocal gifts are lower down, in the middle and lower register, where she is attractively husky.”

Seen and Heard International / I Pazzi per Progetto / Festspiele Zurich / June 2018

“Two airs from Arne’s Artaxerses (revived several times during the Mozarts’ visit) are performed with melodic intelligence and dramatic vivacity by Helen Sherman.”

Gramophone / Mozart in London / Signum Classics / May 2018

“The soloists are very good.. Mezzosoprano Helen Sherman, who sings two arias from Arne’s Artaxerses, is noteworthy for the agility of her voice and her fine coloratura.”

The Music Gala / Mozart in London / Signum Classics / May 2018

“Helen Sherman made a very human Giulio Cesare. Whilst she did bring a degree of military swagger and nice technical bravura to the showier numbers, it was the way Cesare’s emotional journey was depicted that impressed. Central to this was the way Sherman and Lys developed a believable and very sexy relationship, and the delight that Sherman brought to Cesare’s aria ‘Se in fiorito ameno prato’ after meeting Cleopatra was palpable.”

Planet Hugill / Giulio Cesare / Bury Court Opera / March 2018

Giulio Cesare, Bury Court Opera, 2018

“Helen Sherman completed the quartet of Antipodean creatives with a powerfully wrought account of the title role. Her Cesare suffered, loved, was moved to anger and delivered to joy in a beautifully sustained performance, nowhere more so than in the opera’s biggest hit, “Va, tacito”, where she struck the ideal balance between determination and introspection.

What’s on Stage / Giulio Cesare / Bury Court Opera / March 2018

“Mezzo soprano Helen Sherman was a scheming, ambitious Poppea. Singing with sultry warmth and fluid line, she captured her character’s calculating seductiveness. As Nero, countertenor Jake Arditti displayed penetrating high-register clarity and convinced equally as lover and psychopath. Both ­impressed with their agile coloratura singing and strong sexual chemistry in their beautifully ­realised duets.”

The Australian / L’incoronazione di Poppea / Pinchgut Opera / City Recital Hall Angel Place / December 2017

“The combination of such thrilling voices as counter-tenor Arditti with mezzo Sherman is inspirational, but the costumes too are entwined with the gender-bending, expectation-confounding creativity of the staging. History relates their reign didn’t last long, but in performing the duet ‘Pur ti miro, our ti godo’, Arditti and Sherman make it hang in the air and the memory long after the applause has abated.”

Stage Noise / L’incoronazione di Poppea / Pinchgut Opera / City Recital Hall Angel Place / December 2017

“The performers engaged with the music and demands of the staging with aplomb. Helen Sherman as Poppea was ably matched by Jake Arditti as Nerone. While one might like a tenor – or even a baritone – in the role to heighten the vocal texture contrast in these two roles, countertenor Arditti sang with ardour and style, matching Sherman’s vocal richness. Sherman had a wide range of vocal colours and expressive articulation conveying the complexity and psychology of the character.”

Australian Book Review / L’incoronazione di Poppea / Pinchgut Opera / City Recital Hall Angel Place / December 2017

“Helen Sherman sang Poppea with limpid vocal sensuality showing glistening focus and presence.. As Nerone, Jake Arditti’s voice was as beguiling as his stage persona was repulsive.”

Sydney Morning Herald / L’incoronazione di Poppea / Pinchgut Opera / City Recital Hall Angel Place / December 2017

“Musically, all was Baroque heaven. Helen Sherman, projected a beautiful creamy effect as Poppea and one could clearly see what Nerone saw in her.”

Backtrack / L’incoronazione di Poppea / Pinchgut Opera / City Recital Hall Angel Place / December 2017

Pinchgut Opera Poppea

“In the title role, mezzo Helen Sherman brought a meltingly lovely tone and formidable stage presence to her Poppea. Sherman was appropriately insinuating, phrasing like a star and mastering the difficult half arioso-half recitative singing that Monteverdi requires, her pink bejewelled jumpsuit like a sheath of armour against the world.”

Limelight Magazine / L’incoronazione di Poppea / Pinchgut Opera / City Recital Hall Angel Place / December 2017

“Mahler’s Rückertlieder are dark and complex as well as intensely beautiful, especially when sung by mezzo Helen Sherman. Helen combined deep commitment to the texts and radiant singing to encompass the exaltation, awe and introspection demanded by the songs”.

Nottingham Post / Rückertlieder / Nottingham Philharmonic / June 2017

“Sam and Dinah were magnificently cast. Sherman’s secure delivery and crisp diction could melt into moments of tearful fragility. Her Island Magic, a tribute to the Pacific islands, was sensational, sung cabaret-style in a camilla dress complete with a bubbling volcano (courtesy of a champagne bottle and some aspirin) around which she sashayed with riotous extravagance.”

Limelight magazine / Trouble in Tahiti / Lost and Found Opera / City Beach Perth / May 2017

“Sherman infuses one scene in which Dinah remembers a dream — with a tragic poignancy. Contrast this with the late scene in which she recalls a terrible movie she just saw (alone), Trouble in Tahiti. It had this Friday opening night audience, sitting in a cinema-like enclosure beyond the sliding doors, in stitches… from the originality of its conception to the excellence of its execution, it is difficult to find fault.”

The West Australian / Trouble in Tahiti / Lost and Found Opera / City Beach Perth / May 2017

“The major roles cast list here included several notable singers trained at the Royal Northern College of Music, among whom Helen Sherman (Octavian) was the stand-out. Her voice was strong, secure and finely modulated, and her acting superb.”

Manchester Evening News / Der Rosenkavalier / Opera north / November 2016

“Helen Sherman’s Octavian weathered the orchestral storm as well as any. Her lusty cavorting and volatile temperament made her an ideal Quinquin; she found a mellower streak with Sophie, and was enchantingly rustic as Mariandel – three characters in one.”

Opera Magazine / Der Rosenkavalier / Opera North / Leeds Grand / November 2016

“Mezzo Helen Sherman, a distinguished Cherubino in The Marriage of Figaro, points up the continuum between the two operas by donning trousers once again and presenting a gauche, plausible Octavian. Sherman’s voice blends magically with that of Fflur Wyn..while her disguise as the maid Mariandel stays just the right side of raucous.”

What’s on Stage / Der Rosenkavalier / Opera North / Leeds Grand / September 2016

“Helen Sherman made her mark as a persuasively moody boy Octavian, still apparently torn between old flame and new at the final curtain.”

The Times / Richard Morrison / Der Rosenkavalier / Opera North / Leeds Grand / September 2016

“Helen Sherman’s Octavian sounds as dashing as he/she looks.”

The Guardian / Alfred Hickling / Der Rorenakavalier / Opera North / Leeds Grand / September 2016

“Helen Sherman sang Elvira with classical excellence; she has a large, but nimble, mezzo with plenty of dramatic tone and that clean austerity of proto-Classical singing.”

Backtrack / Dominic Lowe / Don Giovanni / Classical Opera / Cadogan Hall London / June 2016

“Her Elvira was revealingly human and intensely warm. She brought a lovely lyric freedom to the role, with not hint of pressure in the upper register. Elvira is a mixed character, part comic part serious but Sherman took her completely seriously. Her Elvira was very feminine and rather vulnerable, Ah chi mi dice mai was beautiful and warm, and the scene where she responds to Leporello pretending to be Don Giovanni was heartbreaking.”

Planet Hugil / Don Giovanni / Classical Opera / Cadogan Hall London/ June 2016

“Sherman brought lyricism and rich vocal colouring to the role of Elvira and her handling of Mozart’s coloratura was particularly impressive. She seemed to find the perfect balance between high drama and lyricism in Ah, chi mi dice mai while Ah Fuggi il traditor was bright and imperious. (It would be good to hear her performance of Mi tradi at some point in the future.)”

Seen and Heard International / Robert Beattie / Don Giovanni / Classical Opera / Cadogan Hall London / June 2016

“Mezzo Helen Sherman brings considerable dramatic charm as well as a remarkably agile yet still velvet voice to the part of Dorabella”

Bachtrack / Richard Wilcocks / Cosi fan Tutte / Opera North / Leeds Grand Theatre / February 2016

“And the opera’s subtitle, the School for Lovers, might equally be adjusted to the School for Singers as the production, eloquently conducted by Jac van Steen, continues to provide a platform for new generations of talent.. Helen Sherman’s handsomely sung Dorabella shares an innate wickedness with Ellie Laugharne’s wily Despina”

The Guardian / Alfred Hickling / Cosi fan Tutte / Opera North / Leeds Grand Theatre / February 2016

Cosi fan Tutte Opera North Helen Sherman 2

“Máire Flavin as Fiordiligi and Helen Sherman as Dorabella  performed what was demanded of them  by the production, navigating convincingly through the incredulities of the plot and singing their way through it all magnificently.”

Seen and Heard International / John Leeman / Cosi fan Tutte / Opera North / Leeds Grand Theatre / February 2016

“Opera North’s cast at Newcastle Theatre Royal were firmly in the saddle, holding the audience transfixed throughout with sparkling performances, sharp comic timing and superb singing.. Helen Sherman puts in a strong performance as Dorabella.”

The Advertiser / Gavin Engelbrecht / Cosi fan Tutte / Opera North / Theatre Royal, Newcastle / March 2016

“Australian mezzo soprano Helen Sherman is ravishing as Dorabella”

Ilkley Gazette / Claire Lomax / Cosi fan Tuttel / Opera North / Leeds Grand Theatre / February 2016

“Mezzo Soprano Helen Sherman as Irene was truly superb on every level. What a woman, what a voice. She is a beautifully timbered and fluid mezzo and her interpretation of the proud Queen seemingly usurped by a younger rival, had all the hallmarks of a complex heroine. Her range from rich to resonate, took on an extra dimension when she performed the virtuosic gob-smacking aria I was especially waiting for Qual guerriero in campo armato with crowd-pleasing virtuosity. What an extraordinary work and what a powerhouse showstopping performance. Must say that I felt like leaping to my feet and shouting for joy.”

The Culture Concept / Carolyn McDowall / Bajazet / Pinchgut Opera / City Recital Hall Angel Place, Sydney, / July 2015

 “When Irene, the princess of Trebisond entered to seal the deal for a promised marriage to Tamerlano, an eye-catching exotically jewelled dress was outdone by Helen Sherman’s jaw-dropping portrayal of her. With an attractively dark mezzo-soprano full of depth and striking register shifts, Sherman portrayed a woman to be reckoned with in Irene’s opening aria [Qual guerriero in campo armato] a viciously long aria full of scorn for being received coldly by Tamerlano. Later, as a trusting cohort then exhibiting signs of a psychologically suspect esteem, Sherman performed with distinctive dramatic and vocal skill.”

Bachtrack / Paul Selar / Bajazet / Pinchgut Opera / City Recital Hall Angel Place, Sydney / July 2015

“The six principal characters are consistently impressive.. As Irene, Helen Sherman has a powerful sound and commanding stage presence.”
Sydney Morning Herald / Harriet Cunningham / Bajazet / Pinchgut Opera / City Recital Hall Angel Place, Sydney / July 2015

“Mezzo-soprano Helen Sherman returns to Australia in the vocally demanding role of Irene, shunned fiancée of Tamerlano. Her control is, literally, breath-taking and the audience response to her performance was indicative of the strength and power of her inspiring performance.”

Stage Whispers / Carol Wimmer / Bajazet / Pinchgut Opera / City Recital Hall Angel Place, Sydney / July 2015

“Australian-born Helen Sherman, [is] an impressive mezzo soprano who is making quite a name for herself currently in the UK. As the slighted, vengeful, yet ultimately pragmatic Princess Irene – contracted for a diplomatic marriage, she’s dumped by Tamerlano before she’s even arrived – she nails her three contrasting arias with great aplomb. Her impassioned Sposa, son disprezzata is one of the evening’s highpoints.”

Limelight Magazine / Clive Paget / Bajazet / Pinchgut Opera / City Recital Hall Angel Place, Sydney / July 2015

HelenShermanAurelioL'AssedioDiCalaisETO“Shining brightly in the trouser-role of Aurelio mezzo-soprano Helen Sherman gave a sterling performance of dramatic integrity. Crystal clear diction and powerful vocal power ensured her resilient voice cut through the orchestral sound to every corner of the house.”

Seen and Heard International / Michael Cookson / L’Assedio di Calais / English Touring Opera / Grand Theatre / May 2015

“The character which lingers in my mind the most, however, is the hilariously-hormoned Cherubino, the ultimate stage adolescent as played by Helen Sherman, who not only dashes and leaps about but who has a terrific, lush mezzo voice which brings a surprising elegance to the part. The scene in which she is dressed up, a boy disguised as a female, with a splendid corset and bonnet, was one of the evening’s comic high points.”

Bachtrack / Richard Wilcocks / The Marriage of Figaro / Opera North / Leeds Grand Theatre / January 2015

“Helen Sherman’s zestful Cherubino combines knockabout humour with beautiful singing, notably in the physical contortions and undisturbed vocal line of Voi che sapete.”

Huddersfield Examiner / Ronald Simpson / The Marriage of Figaro / Opera North / Leeds Grand Theatre / January 2015

“Helen Sherman has sparkle as a Cherubino in teenage overdrive..The net result is a Figaro of exceptional ensemble, rich in charm, humour and vitality: beautifully sung, sensitively staged. For pure enjoyment, what more can opera offer?”

The Telegraph / Rupert Christiansen / The Marriage of Figaro / Opera North / Leeds Grand Theatre / January 2015

“Sherman’s blonde Carmen pretty much commanded the stage, her demeanour always sensual rather than overtly sexual, and her fine mezzo in full control of the range of emotions from insouciance to final passionate defiance.”

Opera Magazine / Rian Evans / Carmen / Mid Wales Opera / September 2014

“Can a vamp with a vaporiser radiate danger? A blonde with killer legs, watchful eyes and a wonderfully elastic, expressive tone, Helen Sherman as Carmen sure can.”

The Times / Anna Picard / Carmen / Mid Wales Opera / The Hafren / September 2014

“Strongest by far is Helen Sherman in the title role. No dark Gypsy, but a peroxide blonde, sensuous and sassy, she controls her mezzo throughout the range, from rich chest-voice to fearless top registers. Crucially, she is a magnetic presence even when she is not singing or centrestage: at the first appearance of the toreador Escamillo (the suave Nicholas Lester), the fickle Carmen’s body language says it all: she smoulders.”

The Guardian / Rian Evans / Carmen / Mid Wales Opera / The Hafren / September 2014

“Helen Sherman is certainly its highlight as Rosina. In Sherman’s detailed portrayal, Rosina is naughty, charming and a force to be reckoned with in her own right, scheming and plotting with just as much glee and dash as Figaro and Almaviva, and convincing us of Rosina’s idealistic teenage passion for a man she, quite honestly, doesn’t know. Sherman’s voice, capable of a truly huge sound and lyrically beautiful at all times, is an absolute delight, and the famous Singing Lesson scene – one of Rossini’s wittiest exchanges, comically and musically – becomes an absolute education in Sherman’s hands. I could not have enjoyed her performance more.”

Bachtrack / The Barber of Seville / Longborough Festival / Opera Project / July 2014

“The Rosina of Helen Sherman is simply tremendous, her coloratura as spectacular as lightning, her command of register imperious, and her sheer stage-presence compelling.”

Birmingham Post / Barber of Seville / Longborough Festival / Opera Project / July 2014

“Sherman, though, whatever may be in store for her, is indisputably the star of Bartolo’s drawing room. A proper mezzo, but with a seemingly effortless two-octave range, she uses every inch of her voice and her body to portray this adorable but alas easily misled beauty. Also, unlike many a mezzo, she joins up her registers; and she knows how to use her chest tones with a flicker of sensuality. This is in every way an outstanding performance, full of wit and bravura, compulsively watchable and listenable.” / Barber of Seville / Longborough Festival / Opera Project / July 2014

“The emotional heart of the whole opera, meanwhile, came from Helen Sherman as Sesto. Her deeply affecting portrayal of the anguished, obsessed traitor was a tour de force, and her stage presence was magnetic as she was torn between her passion for Vitellia and her friendship for Tito.”

Bachtrack / La Clemenza di Tito / Classical Opera / Cadogan Hall London / March 2014

“..the infatuated Sesto, Helen Sherman, produced an impassioned account of her second-act showpiece.. the whole performance had vivid life and electric energy.”

The Telegraph / Rupert Christiansen / La Clemenza di Tito / Classical Opera Company / Cadogan Hall / March 2014

“Helen Sherman’s agile, characterful mezzo was superbly suited to the character’s conflict between loyal love for his friend Tito and his passion for Vitellia. If anything, Sesto is even more gripping a role than Vitellia, certainly more sympathetic, and Sherman caught the embattled nobility in a magnificent ‘Parto ma tu ben mio’..” / La Clemenza di Tito / Classical Opera Company / Cadogan Hall London / March 2014 

“As Nero, Helen Sherman was imperious, showing appropriate brittleness in the part. Paula Sides equalled this self-serving determination as Poppea, but together they also achieved some tender, even erotic, music-making however hateful the circumstances of their love might be.” / The Coronation of Poppea / Britten Theatre, Royal College of Music London / October 2013


“A clapometer would have registered the loudest applause (cheers as well) for the Australian mezzo Helen Sherman, the only finalist who appeared fully at home standing by a piano, strongly projecting Mahler, Britten and company and entering our hearts. ..Vigorously singing in three dimensions, busy in opera and recital, the future, it seems, is already here. Perhaps thats what the jury sensed. ..She took third prize.”

The Times / Wigmore Hall International Song Prize / Wigmore Hall / August 2013

There is one genuine revelation in this production. The good looking youth caught stealing bread from the enemy camp during the overture turned out, to my surprise, to be the mezzo Helen Sherman playing Aurelio. I’ve never seen a more convincing boy. And she can sing too. Her voice is warm, flexible and attractively rounded, and she sang assertively and evenly from top to bottom. I can easily imagine her in the sort of parts Joyce DiDonato specialises in – bel canto, Handel, Mozart – anything that needs stupendous technical command and real character.’

Intermezzo / English Touring Opera / L’Assedio di Calais / Hackney Empire / March 2013

‘Donizetti’s fierce vocal demands are met fearlessly and thrillingly by the young Australian mezzo Helen Sherman, playing the volatile hero Aurelio. Her stridently masculine body language and formidable vocal power seem to epitomise the bloody-minded resistance of the besieged citizens.’

Richard Morrison / The Times / English Touring Opera / L’Assedio di Calais / March 2013

‘Helen Sherman, who represented Australia at the BBC Cardiff Singer of the World Competition in 2011, was superb as Aurelio. Dressed in baggy clothes, she looked physically every inch a young man and her demeanour was at all times highly convincing even when being rather physical (such as climbing over the drain). But she also brought to the role a fine, rich mezzo-soprano voice which was nicely even across the (considerable) range and wonderfully flexible when it came to the fioritura. She sang the role with intelligence and bravura, using the fioritura musically and dramatically. I certainly hope that we shall hear more of her in this repertoire.’

Robert Hugill / A World of Classical Music / English Touring Opera / L’Assedio di Calais / Hackney Empire / March 2013

 ‘The singer that made this a knock-out was Australian mezzo Helen Sherman as Aurelio. Before she started singing, her convincing mannerisms and body language made me think she was a man, and she gave a stunning portrayal of the role. The defiant aria in Act I, and in Act II the duet with his wife, the rejection of the enemy, and the farewell aria to his baby were riveting. Helen Sherman’s mezzo voice is world class, and a glance at her website shows she is singing a huge range of different roles — I look forward to hearing her again.’

Mark Ronan / Theatre Reviews / English Touring Opera/ L’Assedio di Calais / Hackney Empire / March 2013

“Finally, a Handel aria sung as it should be, with clean but not over-articulated coloratura, excellent phrasing, plenty of expression, and the ornamentation placed at the service of the music, rather than just used as a tool to show off a voice…Sherman picked up the gauntlet and flung it right down again for the remaining competitors with this exuberant and triumphant interpretation.”

An Unamplified Voice / Cardiff Singer of the World / June 2011


 “My favourite female performer of the evening, was the Australian mezzo Helen Sherman. To start with, she is so elegant.. She walked firmly onto the stage, stood there in perfect control of her expressions and gestures, and delivered three difficult pieces with no obvious sense of strain. An audience can feel safe in her hands.”

Intermezzo / Cardiff Singer of the World / June 2011