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George Benjamin: Into the little Hill
Ensemble Modern, George Benjamin
5 March 2019, Wigmore Hall London'Helena Rasker’s deep contralto was the ideal complement, her grasp of Benjamin’s intent impeccable – the way she interacted with entwining woodwind in ‘The Minister and the Stranger’ was positively hypnotic. Her breathless way with the disjointed line of ‘The Minister and the Stranger’ was similarly perfectly placed; she coped with the low register demands of ‘Mother(s) and Child(ren)’, a deathly lullaby, with perfect ease.'
Seen and Heard International 06.03.19
'Into the little Hill...perhaps sounding edgier and more painfully urgent than ever up close at the Wigmore...impressive contralto Helena Rasker...'
The Guardian 08.03.19
'Komsi and Rasker brought the vocal lines to vivid life, Komsi often reaching the stratosphere, Rasker stern and steely in the lower reaches. Although neither is a native English speaker, they got the text across with ample clarity.'
The Standard 06.03.19
'The singing was extremely accomplished....In the role of the Minister Rasker was grounded and stoic with a sound that was powerful yet controlled.'
Schmopera 07.03.19
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George Benjamin: Into the little Hill
Münchener Kammerorchester, Clemens Schuldt
25 January 2018, Prinzregententheater München'Da vergisst man, wenn sie so stark gesungen wird wie von Helena Rasker, die Bühne keine einzige Sekunde.'
Abendzeitung 27.01.18
'Die Altistin überzeugt mit ironischem Herbheit......'
Münchener Merkur 27.01.18
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J.S.Bach: Weihnachtsoratorium
Les Musiciens du Louvre, Marc Minkowksi
European Tour December 2017'...erstklassig.....fabelhaften Altistin Helena Rasker.....'
Frankfurter Rundschau 06.12.2017
'...das Schlaflied.......Helena Rasker sang es so edel, zurückhaltend, fließend phrasiert, behaglich und mit hinreißend anmutig gefärbtem Alt, dass süße Träume vorprogrammiert waren.'
bachtrack.com 07.12.2017
'’...alto Helena Rasker.....dans "Schlafe, mein Liebster, genieße der Ruh”...S’agissant d’une berceuse, la voix de l’alto est assez ténue. La première note, tenue et attaquée piano, se répand comme une onde dans la salle, en une vibration apaisante. Sans pousser la voix, l’alto propose un beau moment de poésie.'
olyrix.com 22.12.2017
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Georg Friedrich Händel: Lucio Silla
Ensemble 1700, Dorothee Oberlinger
20 May 2017, International Händel Festspiele Göttingen'Ganz nebenbei lernt man, wieso im Barock das Geschlecht des Sängers bei der Besetzung zweitrangig war. Aus der Altistin Helena Rasker macht das Kostüm nämlich einen optisch so perfekten Claudio, dass man angesichts ihrer dunkel und herb timbrierten Stimme zu Anfang tatsächlich zweimal hinhören muss. Wenn sie in der Arie «Con tromba guerriera» in prächtig durchschlagskräftigen Tönen mit der konzertierenden Barocktrompete wetteifert, ahnt man viel von der Macht der Stimme, die Händels Sänger über ihre Zuhörer ausübten.'
Neue Zürcher Zeitung AG, 16.05.17
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Georg Friedrich Händel: Lucio Silla
Ensemble 1700, Dorothee Oberlinger
13 November 2016 Tage der Alten Musik Herne des WDR, Kulturzentrum Herne'Ein wahres Juwel geworden ist die Arie des Claudio, zeitweise Sillas Widersacher, der im Duett mit der Barocktrompete zum Kampf ruft. Die Altistin Helena Rasker ist eine der Stärksten im Ensemble, mit toller Tiefe und großer Sicherheit hält sie die Töne bis zum nächsten Trompeten-einsatz – dem Publikum stockt der Atem.'
Frankfurter Allgemeine Zeitung, 17 November 2016
'Helena Rasker begeistert in der Partie des Claudio mit einem dunkel-timbrierten Alt, der in den Arien die unterschiedlichen Gefühlsregungen des jungen Mannes deutlich herausarbeitet. Dabei verfügt Rasker über eine kräftige Mittellage, die vor allem in Claudios Arie "Con tromba guerriera" am Ende des ersten Aktes seinen unbändigen Mut erkennen lässt. Wenn es um Claudios Gefühle für Celia geht, schlägt Rasker ganz weiche Töne an. Ein weiterer Höhepunkt ist Claudios Arie "Se'l mio mal da voi dipende" im zweiten Akt, wenn er damit rechnet, den Löwen zum Fraß vorgeworfen zu werden. Hier unterstreichen die Geigen mit schneidenden Tönen seine Entschlossenheit, dem Tod ohne Furcht entgegenzutreten.'
Online Musik Magazin, 14 November 2016
'...die Altistin Helena Rasker (wusste) durch klare Intonation und großem Ausdruck zu überzeugen...Minutenlanger Beifall des Publikums war Ausdruck der Begeisterung für eine großartige Darbietung...'
derwesten.de, 14 November 2016
'An der Rampe trifft sich eine illustre Schar von Sängern..wenn man beispielsweise die Altistin Helena Rasker als Claudio lauscht, die mit extrem individueller Stimmlage das Publikum begeistert...Das Publikum ist zu Recht hingerissen. Vom minutenlangen Applaus über Füßetrampeln bis zu stehenden Ovationen belegt, dass dieser Abend als Gesamtleistung überzeugt.'
opernnetz.de, 14 November 2016
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Georg Friedrich Haas: Morgen und Abend
World Premiere ROH Covent Garden, London
Orchestra and Chorus of the Royal Opera House, Michael Boder'Seasoned Dutch contralto Helena Rasker brings rich, ethereal sensuality to Johannes's dead wife Erna'
The Londonist, 16 November 2015
“Helena Rasker's contralto as Fisherman's wife Erna brings something like eroticism into play with her strong chestvoice.”
Süddeutsche Zeitung, 16 November 2015
“Dutch contralto Helena Rasker produced grand tone as Erna.”
Operanews, 13 November 2015
“The Dutch contralto Helena Rasker has a wonderful warm deep voice and a stage presence to match. She was convincingly sympathetic towards her widower in his discomfiture..”
Opera Brittania, 15 November 2015
“Helena Rasker glows with affection as his departed wife Erna.”
Culturewhisper, November 2015
“Brilliant cast delivers an operatic experience like no other”
The Independant, 17 November 2015
“We are also treated to wonderfully expressive singing from Helena Rasker, Sarah Wegener and Will Hartmann. They lift the words away from the bleak soundscapes elegantly and with beautiful ease.”
A younger theatre, 16 November 2015
“...and Helena Rasker as the wife gave committed an telling performances.”
The Guardian, 22 November 2015
“Helena Rasker brings poise to the latter's wife Erna”
Classical Source, 14 November 2015
“The cast sings it with poised sensuality: Christoph Pohl as the moribund Johannes, Sarah Wegener as his daughter Signe and Helena Rasker as his spectral wife Erna.”
The Telegraph, 14 November 2015
“both Helena Rasker as Erna an Sarah Wegener as Signe and the Midwife make an impression”
The Stage, 16 November 2015
“A uniformly fine cast too, all of whom master the complex harmonic relationships – often very close harmonies or outright dissonances - between their simultaneous lines.”
Bachtrack, 14 November 2015
“Johannes (Christoph Pohl), Erna (Helena Rasker) and Peter (Will Hartmann) in the second act gave powerful yet restrained performances.”
London Visitors, November 2015
““...each soloist makes their presence felt with the richness and consistency of their sounds. Christoph Pohl as Johannes excels in particular, but Helena Rasker as his wife, Sarah Wegener as his daughter (and a midwife) and Will Hartmann as his friend all play their parts to the full.””
Music OMH, 15 November 2015
“The performances form the actor and singers were stupendous.”
Planet Hugill, 30 November 2015
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Pascal Dusapin: La Melancholia
SWR Sinfonieorchester Baden-Baden und Freiburg, Jonathan Stockhammer
12 november 2011 Festival d'Automne à Paris, Cité de la musique'When Helena Rasker started singing, I could no longer contain my tears. It was the first time that a contemporary musical language had spoken to me so directly. I did not admire the proportions, I did not analyse the instrumental effects – I was simply moved.'
Blog Composers about Composers : Samy Moussa about Pascal Dusapin's La Melancholia Posted by UMP Classical on 15 january 2014
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Richard Wagner: Wesendonck Lieder
Liza Ferschtman, Vähälä, Gilmore, Leipziger Streichquartett, Geerlings, Patey, Oostenrijk, Joulain
august 2014 Delft Chamber Music Festival'The Leipziger Streichquartett was at te core of a small chamber orchestra which played a splendid new instrumentation of Wagners Wesendonck Lieder. Dressed in gold, contralto Helena Rasker sang a most rapturing rendition.'
NRC Handelsblad, 04.08.2014
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Martijn Padding: Laïka
ASKO/Schoenberg Ensemble, Etienne Siebens june 2014 Dutch National Opera Holland Festival
'Helena Rasker (mother) sings a top-class role appealing to the deepest regions of her contralto voice.'
NRC Handelsblad, 04.06.2014
'(…) exceedingly strong part for Helena Rasker as Robberts mother (….) her vocal contribution a source of great joy.
Het Parool, 04.06.2014
'The dominating mother was sung by Helena Rasker. Her performance reminded me of the movie Psycho (….) Unquestionably a highlight within the opera.
Operamagazine.nl, 04.06.2014
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Robert Zuidam: Troparion
Liza Ferschtman, ASKO/Schoenberg Ensemble, Reinbert de Leeuw june 2013 Holland Festival
'With Troparion composer Robert Zuidam built a fortyfive minute span, that made one forget time. The concentration of singer and musicians was great. Rasker sang her essentially long aria magnificently and had no trouble with the lengthy text in ancient greek.'
Place de l'Opera, 20.06.2013
'Zuidam is a gifted writer of melody, who clearly took extra inspiration from Raskers deep and dark alto voice...'
De Volkskrant, 20.06.2013
'A brand new gem....Helena Rasker was utterly convincing with her full alto...'
Trouw, 21.06.2013
'..the anonymus woman sings her own story, embodied by the fenomenal alto Helena Rasker..'
Theaterkrant, 19.06.2013
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Gioacchino Rossini: Guillaume Tell
Netherlands Philharmonic Orchestra, Paolo Carignani januari 2013 Netherlands Opera
'For starters they have gifted us with a cast that could hardly be bettered (and vocal excellence is always a great place to start).......Helena Rasker deployed her soft-grained alto to maximum effect as Hedwige.'
www.operatoday.com, 07.02.2013
'Excellently captivating Hedwige by Helena Rasker...'
www.operaclick.com, 31.01.2013
'Amidst the secondary roles, let us point out the warm timbred Hedwige by alto Helena Rasker.'
Luxemburger Wort, 06.02.2013
'..there is a dream cast....'
Financial Times, 06.02.2013
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Alphons Diepenbrock: Die Nacht
Netherlands Philharmonic Orchestra, Marc Albrecht 09.2012 Concertgebouw Amsterdam
'Where to focus attention....the violin solo....the hobo.....or the velvety alto voice of Helena Rasker, that dives into the deep, yet moments later comes towering over the orchestra with radiant pride...'
Volkskrant, 25.09.2012
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Peter Jan Wagemans: Legende
Radio Philharmonic Orchestra, Reinbert de Leeuw februari 2011 Netherlands Opera
'......and an excellent cast gives its all. As Ursula, Helena Rasker turns the huge third-act aria in which she remembers her father's sexual abuse into a thing of tragic grandeur'
Financial Times, 04.02.2011
'....one wonders about Festus' dominant sister Ursula, who wants to seduce him, only to bid farewell to the world in a discreetly accompanied yet magnificent monologue of utter loneliness. The dark mezzo luminosity Helena Rasker displays here is unequaled.'
Frankfurter Rundschau, 07.02.2011
'The ensemble sings both essentially dutch and flawlessly belcanto, especially Helena Rasker as the powerfully incestuous sister Ursula.'
Frankfurter Allgemeine Zeitung, 25.02.2011
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Frank Martin: Der Cornet
Philharmonische Staatsorchester Mainz, Catherine Rückwardt 09.2010 Staatstheater Mainz
'Dutch alto Helena Rasker impressed deeply in this gripping performance, with her well projected voice, balanced timbre, clear articulation and great sensitivity of interpretation'
Mainz Rhein-Zeitung, 27 september 2010
'Helena Rasker convinces with deeply moving singing: Dutch alto Helena Rasker's singing is very poignant. It gave Martin's artifice, one note for every syllable, the precisely appropriate, emotional diversity.'
Allgemeine Zeitung Mainz, 28.10.2010
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J.S. Bach: Johannes Passion
Les Musiciens du Louvre, Marc Minkowski 3.4.2010 Salle Pleyel Paris
'As for contralto Helena Rasker, she gave an overwhelming interpretation of Es ist vollbracht. Her voice of almost male timbre turns the mourning night into an almost unbearable sorrow. When Christ dies, her voice seems to come from bottomless abysses. Accompanied by violoncello and viola da gamba, she drops her voice to a murmur by which the lamentation fades, so that one doesn't know any longer who is expressing themselves, voice or viola da gamba.'
Anaclase.com
'One was presented with a splendid version of one of the most remarkable aria's Es ist vollbracht by Helena Rasker, who embodied the transformation, according to protestant lithurgy, of the poignant death of Christ into bliss, with luminous serenity.'
Le Poissons Rêveur
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Gustav Mahler : Rückert Lieder
Scottish Chamber Orchestra, Oliver Knussen 2.11.2009 City Halls Glasgow
'Mezzo-soprano Helena Rasker brought a brooding, velvety dimension to Mahler's songs, capturing the growing intensity of Um Mitternacht with mind-blowing mastery'
The Scotsman, 03.11.2009
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Stockhausen : Drei Lieder
London Sinfonietta, Oliver Knussen 8.11.2008 Queen Elizabeth Hall London
'Helena Rasker's voice was perfectly suited to this music and she gave a spine-tingling performance'
MusicWeb International
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Luigi Nono : Risonanze Erranti
Ensemble S, 23.04.2004 Ricklinger Zirkuszelt, Hannover
'Risonanze Erranti was given magical shape by the warm timbered voice of alto Helena Rasker...a milestone within Hannovers five month Nono-homage.'
Hannover Allgemeine Zeitung, 24.06.2004
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Salvatore Sciarrino : Infinito Nero
Ives Ensemble, tour throughout the Netherlands march 2002
'This music is about breath and heartbeat. That much is sure. The eruptions are scarce, but seem to have the mystic speaking in tongues: demonic in the lowest regions of the voice, and divine in the highest, rapidly changing between the two. A magnificent performance by Helena Rasker'
NRC Handelsblad, 4.03.2002
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J.S.Bach : Matthäus Passion
Brabants Orkest, Marc Soustrot 23.03.2002 Philips Hall Eindhoven
'Star of this Matthew Passion was without doubt dutch alto Helena Rasker. What divine voice, with a warm and round real alto sound. Her rendition of the aria's 'Ach, nun ist mein Jesus hin' and 'Erbarme' dich sounded absolutely beautiful and expressive, with the right tone and an enormous musicality. Magnificent.'
Algemeen Dagblad, 26.03.2002
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Gustav Mahler : Kindertotenlieder
Musikkollegium Winterthur, Jac van Steen 3.10.2001 Stadthaus Winterthur
'Alto Helena Rasker was a performer of ideal artistic profile: She possesses a wonderfully timbered alto voice, with which she sings effortlessly, smoothly and with breathtaking flexibility in the highest zones, that can be tender, brooding and heavily laden with emotion, however never slipping into the sentimental'
Der Landbote, 05.10.2001
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J.S.Bach : Hohe Messe
L'Ensemble Vocal de Lausanne, Michel Corboz 28.08.1999 Festival de La Chaise-Dieu, France
'The soloists were at the height of this performance: Sandrine Piau (soprano), Helena Rasker (alto), Jean-Paul Fouchécourt(tenor), Jérôme Correas (basse), but Helena Rasker deserves to be mentioned especially for the sheer beauty of her voice and her profound expression.'
Le Renouveau, 29.08.1999
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Shostakovich : Six Songs on poems by Marina Tsvetajeva
Musikkolegium Winterthur, Reinbert de Leeuw april 1999 Winterthur
'With the performance of the songs by Shostakovich, the dutch alto Helena Rasker unfolded a magnificent, sonorous, modulating voice, which she put in service of an arresting, passionate and sovereign interpretation........again Helena Rasker delighted the audience with her wonderful alto voice.....'
Der Landbote, 16.04.1999
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Sofia Gubaidulina : Galgenlieder
Schönberg Ensemble 25.10.1998 Nieuwe Kerk The Hague
'Alto Helena Rasker sang these songs most theatrically, as a story-teller and perfectly in tune. She caught the exact tone of Morgensterns wry and witty poetry and Gubaidulina's brilliant music'
Haagsche Courant, 26.10.1998