“ Classical “ music as practised by Ms Hellsten (and too few others) remains a living art. She takes risks, and invites audiences to share the adventure with her. “
Andrew Pinnock, London UK Arts Council
A Singer Who Goes Her Own Way
In these times when more and more artists gear towards the more easily gained successes, one has to be grateful for those who
don’t mind going against the current.
Dominique Hellsten, Soprano Southwark Cathedral, London
Lunchtime recitals may be free of necessity but the quality of performance frequently ranges from pleasant to - in
this case - stunning. The main reason for my attending was the UK Première of Naji Hakim’s Missa Resurrectionis for
soprano solo, but in the event there were other works which almost stole the show.
New York Concert Reviews
The Lieder (German art-song) is an endangered species. It depends on the enthusiasm of a small, hardy band of
devotees : presenters, performers, and audiences. Happily, many of these devoted folk still exist, and they find
each other somehow. That devotion was evident in this first concert (of three planned) of The Ullmann Project.
Review of Phèdre
Naji Hakim’s Phèdre, a cantata for soprano and piano, to words by Racine, was given its prèmiere at the Purcell Room
by Dominique Hellsten and David Roblou. The work was a part of a programme entitled “ Women at the hand of FAte “,
which juxtaposed French vocal music from the 18th, 19th and 20th centuries, focusing mainly on tragic heroines from
classical mythology.
Naji Hakim: PhèdrePurcell Room, London
I was unprepared for the lyrical intensity of Naji Hakim’s new Cantata, which draws on Racine’s tragedy for its text. If the
first exploratory section often sounded post - Debussyan - wit its tender simplicity at l;’amour m’en eut d’abord inspiré la
pensée - then the powerful second section ins post Messiaen.