Charlotte Hellekant

MEZZO SOPRANO

ABOUT CHARLOTTE

Swedish mezzo-soprano Charlotte Hellekant is one of Scandinavia’s leading operatic voices, acclaimed for her expressive depth, dramatic intelligence, and versatility across repertoire from Monteverdi to contemporary music. Recent and current engagements include Marilyn Klinghoffer (The Death of Klinghoffer) for Norrlandsoperan, Polina (The Queen of Spades) at La Monnaie, Jitsuko Honda in Hosokawa’s Hanjo for Bayerischer Staatsoper, La Speranza (L’Orfeo) with Sasha Waltz & Guests at Teatro Real Madrid, and Judith (Bluebeard’s Castle) in Toronto and at the Edinburgh Festival.

Her international career spans major houses including The Metropolitan Opera, Opéra National de Paris, Glyndebourne, and Opernhaus Zürich, with landmark roles such as Carmen, Charlotte (Werther), Cornelia (Giulio Cesare), and Marguérite (La damnation de Faust). A leading interpreter of contemporary repertoire, Charlotte has premiered works written especially for her by Toshio Hosokawa, Mikko Heiniö, and Stefano Gervasoni, and appears regularly in concert with the world’s leading orchestras and conductors.

📍Charlotte is based in Stockholm, Sweden


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CONTACT

Stephen Svanholm
Artist Manager

Email Stephen

REPRESENTATION

General Management with Svanholm Artists

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Current Highlights

March 2025
Norrlandsoperan

Paulamorsan & Heinzsystern / Älskarinnorna / Jenny Wilson


October 2025
Musik i Sörmland

Mezzo solo / The Cave / Steve Reich


May 2024
Staatstheater Braunschweig

Judith / Bluebeard’s Castle / Bartȯk

VIDEO

Photo

Press

Berio / Calmo

Los Angeles Philharmonic Orchestra / Gustavo Dudamel

“Hellekant, an arrestingly versatile mezzo who sings early music, 19th century opera and modern works, sang from memory. Barefoot and displaying ankle bracelets, she brought a Gypsy-like theatrical vitality, a huge voice and fervent attention to word and tone.”

Mark Swed / Los Angeles Times / March 2015


Charlotte Andergast / Höstsonaten / Fagerlund

Malmö Opera

“The mezzo-soprano Charlotte Hellekant invested her similarly named character with a degree of pathos and humanity that made her, if not entirely forgiveable, at least fathomable.

Opera Magazine / Jan 2020


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