“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

“Héloïse Werner should be a name on the lips of any musical adventurer. (…) This young soprano-composer – and cellist too – is a one-off, who can transform a tiny fragment of song into a mesmerising drama. It’s as if her whole being is double-jointed. Her beautiful voice can flip itself from long-lined lyricism into a battery of percussive instruments: trilling her tongue at jet-propeller speed, turning a simple vowel sound into a complex expression of love or anguish, with a lexicon of facial expressions to match.”★★★★ Fiona Maddocks, The Observer

“the hyper-the hyper-versatile Héloïse Werner, who makes every word audible without recourse to texts” Fiona Maddocks, The Observer

“the vivacious soprano voice of Héloïse Werner pounces on individual notes and words with a tiger’s tenacity and a kitten’s glee” Geoff Brown, ★★★★ The Times 

“Héloïse Werner offered more evidence of her extraordinary avant-garde vocal skills” Richard Morrison, The Times

“an amazingly versatile soprano” Richard Morrison, The Times

“Heloise Werner, a brilliant and acrobatic vocalist” Rupert Christiansen, The Telegraph

“Héloïse Werner’s pure soprano taking on an almost instrumental quality at times (though she’s no slouch with text either)” Katherine Cooper, Presto Classical 

“soprano Héloïse Werner delicately weighing up every word and phrase” Gramophone Magazine 

“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 

“beautifully matched with Werner’s rich soprano (…) Werner sings with impeccable diction and a dusky, haunting tone.” The Arts Desk 

“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’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

“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

“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

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

Lockdown recommendations for BBC Music Magazine