April 2019 Classical Magazine Artist of the Month – full article here.

“you can’t help but be dazzled by it (…) quickly becoming a latter-day Cathy Berberian or Meredith Monk (…) virtuoso entertainment like this is welcome any time” ★★★★ Richard Morrison, The Times

“sombre and powerful, it’s a tour de force for its sole performer, the 25-year-old soprano Héloïse Werner, a rising figure on the contemporary music scene. (…) she makes great use of her considerable vocal and acting range (…) Like the soprano Cathy Berberian, whose vocal acrobatics and theatrical prowess fascinated Luciano Berio, Werner must have been a pleasure to write for.” ★★★★ The Stage 

“I was particularly struck by (…) as well as the intensity of the young soprano Héloïse Werner (…) Schumann Street was a fascinating idea, beautifully realised.” Richard Morrison, The Times 

“Written for the Hermes Experiment, its exacting vocal lines were delivered with considerable intensity by soprano Héloïse Werner” Tim Ashley, ★★★★ The Guardian 

“projected with wry wit by soprano Héloïse Werner” Barry Millington, Evening Standard

“wow (…) very powerful performance” Katie Derham, BBC Radio 3

“evocative harmonics and a folk-like song for the excellent Héloïse Werner as Perdita” Barry Millington, Evening Standard

“extraordinary” Classic FM

“Werner’s impassioned and masterful performance (…) superbly performed” The Upcoming

“Werner’s ethereal voice blended beautifully with Pashley’s clarinet melody, before breaking into chaotic vocal effects and hand clapping” London Jazz News

“Werner moves on to explore so brilliantly the human apathy that we have for our own life (…) putting you at ease with her theatrical charm. (…) wholly eye opening” ★★★★ The Metropolist

“Some turn out almost as mini-operas; Héloïse Werner and harpist Anne Denholm make a raw lament of Und Wüssten’s die Blumen.” Erica Jeal, ★★★★ The Guardian

“The audience moved round the venues in random order, stumbling on experiences that were both weird and wonderful. (…) Lisa Hannigan accompanied herself on the guitar, while Héloïse Werner and harpist Anne Denholm created a quasi-operatic heartbreak scene.” Barry Millington, ★★★★ Evening Standard

“soprano, Héloïse Werner really used the words performatively: not just their meaning but their sound. (…) Werner was called upon to imitate the train as well as sing: all carried off with a splendid sense of performance art.” Seen and Heard International

“Werner’s hauntingly beautiful, intense and masterful performance” Everything Theatre

“incredibly strong voice, haunting stage presence and overwhelming physicality” A Younger Theatre

“Héloïse Werner had captivating stage presence as the opera’s anonymous protagonist. (…) Werner used her versatile voice creatively, displaying consistent flair in operatic, avant-garde and bluesy styles. She is surely one of the most exciting young sopranos emerging in the industry.” The Cusp Magazine

“Vocalist Héloïse Werner was exceptional in a demanding score.” Early Music Reviews

“arresting and very powerful” (…) Heloise’s voice has a piercing clarity and depth, one moment beautiful, the next visceral and freighted with distress.” The Cross-Eyed Pianist

“Werner delivers a striking vocal performance that oscillates between pure, perfect musical notation, guttural cries of misery and mantra-like chanting” ★★★★ London City Nights

“Werner’s powerful interpretation” Early Music Reviews

“sublime soprano Heloise Werner (…) This is a production of rewarding complexity and beauty, showcasing the brilliance of Miss Werner and Mr Woolgar. Scenes from the End is your opportunity to follow these talents forwards from here.” ★★★★ London Theatre 1

“Scenes From the End. A powerful solo opera performed with precise movement & subtle acting by the virtuosic Héloïse Werner” ★★★★ Fringe Biscuit

“Exceptional and breathtaking” ★★★★★ Mumble

“It really is hairs-on-the-back-of-your-neck stuff, and her wonderfully expressive face means that 45 minutes of operatic singing remains engaging (…) It is undeniable that Werner has immense talent” ★★★★ Edfringe review 

“Werner’s well-supported voice is powerful, it’s quality sweet and clear (…) remarkable vocal range. Impressive too was her agility, switching from a fragmented spoken to sung language.” Thoroughly Good

“Heloise Werner’s mesmerising performance” Planet Hugill

“remarkable, with some exquisite acting, singing, speaking and physical theatre” Early Music Reviews

“sees Héloïse Werner display extraordinary uses of the human voice with great versatility (…) well-acted, quirky and charming production” ★★★★ London Theatre 1

“using impressive range of her vocal and acting skills” UK Theatre Network

“Heloise Werner is an extraordinary performer, combining a versatile and powerful operatic voice, with the expressive theatricality of mime and movement. Through fractured fragments of percussional sounds and the words of Shakespeare and Eliot for literary insight, it is the sparse minimalism of this one woman Opera, which creates a pure, profound interpretation of human emotion – the raw sense of grief and loss.” Vivien Devlin

“With extraordinary skill, Werner morphed into countless people, some of them archetypes, and some who felt specific and familiar. Her voice holds huge power and broad options; though it was entirely enmeshed in what we saw, Werner’s singing left a deep impression. (…) Scenes from the End is a dense, exhaustive evening, beautifully wrapped in a clean, mobile performance” Schmopera

“Werner puts body and soul into her performance, and is a name to watch. Stunning.” Fairy Powered Productions

“The ten hottest tickets in town” Evening Standard

“Arts picks of the week” Evening Standard

BBC Radio 3 interview here

Evening Standard interview here

London Live interview here

Resonance FM interview here

Wandsworth Radio interview here

Schmopera interview here

LaLaLa records interview here

Music Musings and Such interview here

From the Box Office interview here

Press for The Hermes Experiment:

“The performance was meticulously nuanced, witty and chic.”★★★★ The Times

“This clever mix of instruments is more versatile than you might first think.” ★★★★ The Observer

“The combination of harp, clarinet, voice and double bass is not one you hear every day, but in the right hands it works brilliantly. The Hermes Experiment who sport this line-up have in a short few years commissioned prodigiously for it, opening a whole new expressive world” Evening Standard

“The virtuosic skill of each member of the group was on display from the start (…) witty and engaging performance, leaving the listener constantly wondering what was coming next” London Jazz News

“The Hermes Experiment last night were barmy but brilliant” Classical Music Magazine

“Groundbreaking” ★★★★1/2 The Reviews Hub

“Demonstrating boundless versatility and dexterity (…) gifted and exciting quartet” The CUSP Magazine

“odd but great” The Wire

“evocative sounds produced by this talented ensemble” Evening Standard