Mezzo-Soprano
Helena Köhne

Reviews
On Stage


  BIOGRAPHY  

 

In 2024 Helena Köhne was awarded the Prize for the BEST DRAMATIC VOICE at the International Singing Contest EBE STIGNANI in Imola.

In the season 2021 Helena Köhne made her successful debut at the Wiesbaden State Theatre as ERDA in “Das Rheingold” and “Siegfried” and as SCHWERTLEITE in “Die Walküre” and returned in these very roles in 2024 to the Wiesbaden State Theatre and the International May Festival.
In 2022 she sang GENEVIÈVE in “Pelléas et Mélisande” at the Nürnberg State Theater in concerts and in 2024 she succeeded in this very role in a scenic production.
In 2023 she enthralled als KLYTÄMNESTRA in a new production of “Elektra '' at the Münster Theatre and she sang Mahler's 3rd SYMPHONY with the Cottbus Philharmonic Orchestra.

Besides, guest engagements brought the alto singer as the 3rd DAME in “Dier Zauberflöte” to the Dessau Theatre, as the OLD BURIJA to the Opéra Dijon and the Opéra Caen, as BIANCA in ”The Rape of Lucretia” to the Opera Cologne, as ADELAIDE in “Arabella” to the Opera House Kiel, as WESENER’S MOTHER in “Die Soldaten” to the Nürnberg State Opera and to the Wiesbaden May Festival and as WET NURSE in “Boris Godunov” and ANNINA to the Wiesbaden State Theater. She sang the 3rd DAME in “Die Zauberflöte” in a production by Barrie Kosky at the Gran Teatre del Liceu, Barcelona.

Helena Köhne studied singing at the Hamburg Conservatory with Klaus Bülow and at the Berlin University of Arts with Prof. Jutta Schlegel.
In 2003 she obtained her diploma and was coached afterwards by Ruthild Engert.

The singer was a scholarship holder of the Walter Kaminski Foundation and semi-finalist of the German Federal Singing Competition. At the Hanns Eisler Competition she was awarded the Prize for the best Interpretation of Contemporary Music for her interpretation of ‚eine Frau‘ - opera SWAP by Nicolai Zink.
At the International Bach Academy (Ltg. Helmut Rilling) she participated in numerous singing workshops with Ingeborg Danz and attended scenic workshops with Vera Nemirova at the Berlin Academy of Arts.

Helena Koehne is also a very much sought-after concert singer. She performed works such as the Christmas Oratorium, the Mozart Requiem, the Schumann Requiem, Frank Martin’s ‚In Terra Pax‘, various passions Berliner Philharmonics, the Hamburg Music Hall, the Oetkerhalle Bielefeld, and many others...

Since 2012 Helena Köhne has had guest performances as the MOTHER in der Braunfels’ opera “Die Verkündigung” at the Kaiserslautern Theater, as FILIPJEWNA in “Eugen Onegin'' at the Görlitz Theater and at the Oldenburg State Theater, as ADELAIDE in “Arabella”, MARTHE SCHWERTLEIN in “Faust” and MS. QUICKLY in “Falstaff” at the Weimar National Theater, as the OLD BURYA in “Jenůfa'' at the Görlitz Theater and she sang Mahler’s 8th symphony at the Berliner Philharmonics.Eutin Festival

The artist also knew great successes with opera and operetta parts in Freiburg, Kassel and at the Eutin Festival. Here, she was very successful as CZIPRA and PALMATICA.

In 2019 she returned as the OLD BURYA to the Kaiserslautern Theater. In 2019/20 she performed in the contemporary opera STRAFEN at the Opéra Dijon and in 21/22 she was FILIPJEVNA at the Volkstheater Rostock.
She also enthralled with opera and operetta roles in Freiburg, Kassel and at the Eutin Festival

Due to the COVD19 pandemic her engagement as the OLD BURYA a t the Flemish Opera Antwerp in autumn 2020 was canceled.

 

 
 
REVIEWS
 
Staatsoper Nürnberg – Pelléas und Mélisande - GENEVIÈVE
A key feature of the staging lies in the fact that Jens-Daniel Herzog grants the prince’s mother Geneviève an important key role in the play – twice a widow, mother of a murderer and of a son that has been killed, trapped since ages in a soul-destroying environment, she suffers most of all. After hearing the news of her husband’s death, she pulls the table cloth with the dinner on it from the family table in a strident action. This being the first impulsive action after years of remaining silent and awaiting, before she immediately lets herself restore with strong tranquilizers into her normal sedative condition: Helena Koehne’s play is touchingly realistic, her voluminous alto voice with matt golden sounds is so beautiful it brings you to your knees.
Opern News
opern.news
As one character after the other dies, grandma Geneviève (impressive and with a scenic key position: Helena Koehne) celebrates the baby’s arrival.
OPERNWELT 8/24 Roland H. Dippel
Maifestspiele Wiesbaden – Siegfried - ERDA
In the third act Helena Köhne entered the stage as energetic Erda and with a secure voice she trenchantly put the angry wanderer on his place. Köhne‘s portrayal of the wise, divine Erda was powerful and resolute. Her strong stage presence and her vocal confidence give the character an impressing gravitas. Her deep, resonant voice and her majestic stage presence communicate Erda’s transtemporal wisdom and authority. In the dispute with the wanderer she gave proof of an impressing mix of determination and tranquility, which emphasized her role as the omniscient earth goddess.
Online Merker
onlinemerker.com
Hessisches Staatstheater Wiesbaden – Der Ring der Nibelungen - ERDA
As Erda (Rheingold, Siegfried), mother of the Nornes, the wisest woman in the world, the omniscient first mother and world soul, impregnated by Wotan, Helena Köhne is melodiously gripping, bitterly floating. She doesn’t need additional gestures. With her powerful , rich voice she is highly dramatic and extensive.
IOCO
ioco.de
Theater Münster – Elektra - KLYTÄMNESTRA
Helena Köhne’s is not so much a demonic but rather a frightened KLYTÄMNESTRA…
Opernwelt 2/23 Uwe Schweikert
Only Helena Koehne as Klytämnestra with her velvet deep notes, coming from the chest but yet slender, was truly convincing.
Das Opernglas 2/2023 M.Lode-Gerke
In this production Helena Köhne in the role of Klytämnestra was almost continiously on stage. Also in the scenes, where she didn’t have anything to sing. But she is one of the key elements in this dark Munster Elektra production. Ms. Köhne convincingly and captivatingly portrayed the demanding part with its entire dark facets, heavy with calamities. Vocally, she entirely went into the deep registers and in the fatal dialogue with Elektra she was an absolutely adequate counterpart. This scene leaves a particularly strong impression.
Opernmagazin
opernmagazin.de
In this production Helena Köhne in the role of Klytämnestra was almost continiously on stage. Also in the scenes, where she didn’t have anything to sing. But she is one of the key elements in this dark Munster Elektra production. Ms. Köhne convincingly and captivatingly portrayed the demanding part with its entire dark facets, heavy with calamities. Vocally, she entirely went into the deep registers and in the fatal dialogue with Elektra she was an absolutely adequate counterpart. This scene leaves a particularly strong impression.
Opernmagazin
opernmagazin.de
Concerning the vocal performance, there were no deficiencies at all. Deep in the earthy depths, Helena Köhne’s (as Klytämnestra) registers was grounded and loaded with fear. The portrayal of her nightmares was most expressive.
NMZ
nmz.de
Helena Köhne as Klytämnestra mastered all the deep registers of her part. She also knew how to vocally express her spiritual disruption, her desperate search for relief. Her huge solo part was a vocal highlight of the evening.
Online Merker
onlinemerker.de
Helena Köhne as Klytämnestra unleashes her entire vocal energy and eeriness.
Frankfurter Allgemeine Zeitung
faz.net
Helena Köhne performs the role of Klytämnestra with deep tones, grounded with earthly weight and obsessed with fear and convincingly expresses her nightmares.
NMZ
nmz.de
Especially Helena Köhne with her eloquent singing, succeeds in giving a clear interpretation of Klytamnästra.
Concerti
concerti.de
Opéra de Dijon – Les Chatiments – LA MÈRE/MADAME SAMSA
Helena Köhne with her smooth alto timbre as the mother.
Klassikfavori
www.klassikfavori.de
The alto Helena Köhne is a magnificent Madame Samsa; of full sound and spotless eloquence, intensified by her play , which immediately met with acclamation.
Classiquenews.com
www.classiquenews.com
Madame Samsa is sung by Helena Köhne, who has a beautiful alto voice, which already attracted attention with her portrayal of the grandmother in Jenufa.
ForumOpera.com
www.forumopera.com
....his mother Madame Samsa, sung by the alto Helena Köhne with her beautiful, rich alto voice..
Premiere Loge
www.premiere-loge.fr
The roles of La Mère / Madame Samsa, which are so coherent, they require from Helena Köhne a voice, secure in the high registers changing suddenly into extremely low registers at the end.
Olyrix
www.olyrix.com
Oper Köln – Rape of Lucretia - BIANCA
Helena Köhne as beautifully singing nurse Bianca.
Der Opernfreund
www.deropernfreund
Opéra de Dijon – Jenufa – ALTE BURYA
Also worth mentioning Helena Köhne with her vivid interpretation of the Old Burya.
Concertonet
www.concertonet.com
Among the smaller roles, Helena Könhe with her fabulous contralto voice is particularly worth mentioning.
ClassiqueNews
www.classiquenews.com
The alto soprano Helena Köhne gives a splendid interpretation of the Old Burya: her figure, her acting, her words and her singing are real. Thus, it is no surprise her 3 appearances were a true gain.
ForumOpera
www.forumopera.com
Oper Kiel - Arabella - ADELAIDE
Wonderfully keen was the portrayal of Adelaide as future mother-in-law, who tardily discovers her eroticism and would rather like to test her potential sons-in-law’s manhood herself. With her rich, powerful alto voice Helena Köhne draws a strong vocal and dramatic profile
Opernwelt 2/2018 Peter Krause
Staatstheater Wiesbaden - Boris Godunov - AMME
'At their side the dark alto voice of Helena Köhne.'
Der neue Merker
www.der-neue-merker.eu
'...meanwhile Helena Kohne as a matronly nanny trumps with pastose alto registers.'
Der neue Merker
www.der-neue-merker.eu
Wiesbaden State Theatre - La Traviata - ANNINA
'In the role of Annina, Helena Koehne with her profound voice material was very convincing.'
Der Opernfreund
www.deropernfreund.de
Arabella - ADELAIDE - Weimar National Theatre
'Helena Koehne as his wife impressed with beauty of sound and perfect acting'
Klaus Billand, Der neue Merker
 
 
ON STAGE
Theater Münster - Das Leben des Orest - ANASTASIA
 
Volkstheater Rostock - Eugen Onegin – FILIPJEWNA
 
Volkstheater Rostock - Eugen Onegin – FILIPJEWNA
 
Oper Köln - The Rape of Lucretia – BIANCA
 
Oper Köln - The Rape of Lucretia – BIANCA
 
Opera de Dijon - Jenufa – ALTE BURYA
(crédit photos Opéra de Dijon © Gilles Abegg)
 
Opera de Dijon - Jenufa – ALTE BURYA
(crédit photos Opéra de Dijon © Gilles Abegg)
 
Oper Kiel - Arabella - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Theater Görlitz - Jenufa - ALTE BURYA
 
Staatstheater Oldenburg - Eugen Onegin - FILIPJEWNA
 
Nationaltheater Weimar - Falstaff
Foto Erhard Driesel
 
Nationaltheater Weimar - Falstaff
Foto Erhard Driesel