Mosman’s Helen Sherman returns to the Opera House stage
Growing up on a farm in Bathurst, Mosman mezzo-soprano Helen Sherman thought she’d be a secretary. Although she grew up around the piano accordion at home and was involved in the local musical society and choir, she was ‘gently discouraged’ from pursuing a singing career in favour of a ‘practical career.’
“I always wanted to be a singer,” recalls Helen. “I loved the liberated feeling I got from singing, but I remember a great aunt telling me I’d make quite a good secretary, and that’s what I should pursue.”
Encouraged by a friend in Year 10, Helen decided to give singing a shot. She threw herself into it, ultimately leaving Bathurst behind for the bright lights of Sydney to study at the Conservatorium of Music. She fell in love with opera, and that was that.
Now aged 40, her accolades include singing at the Royal Opera House in Covent Garden and the Royal Albert Hall in London, being presented to Her Majesty Queen Elizabeth II at Buckingham Palace, representing Australia at BBC Cardiff Singer of the World, being a soloist at the opening ceremony of Tour de France and being nominated for a Helpmann Award.
Her upcoming performances include Ode to Joy at the Sydney Opera House Concert Hall on 26 October and as Sesto in Handel’s Julius Caesar at the City Recital Hall from 21 to 27 November.
Claire Egan
Helen recalls her first solo performance at the Sydney Opera House.
“I remember vividly the first time I sang as a soloist in the concert hall,” says Helen. “It was Messiah with the Sydney Philharmonia Choir in 2017.
“It never gets old; it’s such an iconic place,” Helen says. “So many iconic singers have sung there, and it’s a very proud moment walking in there.”
With a full schedule, looking after vocal health is essential. “Hydration’s really important which can be quite challenging in the hotter months,” explains Helen. “A lot of people use a nebuliser because air conditioning can be very drying for vocal cords.
“Looking after your speaking voice is important too,” says Helen. “And not yelling,” she adds. “Because it’s the same instrument being used differently.”
“If you think of it like an elite sportsperson,” says Helen. “It’s such a refined, extended technique to keep the voice flexible, and getting out of practice can happen quickly.”
Helen rehearses from about 10.30am to 5.30pm daily, and with future roles to consider also, it can be a juggle – especially with her three-year-old daughter Ellie.
“I get up early with her, and once I’ve dropped her at daycare, I use that time to look over scores and do some stretching before getting to rehearsal,” she explains.
Helen says she is fortunate to have a supportive partner, Jamie.
“He is an absolute rock!” she says. “He does everything he can do to support me and (Ellie).
“Ellie’s actually very sweet, she says to me, ‘Mummy, I’ll miss you, but I want you to go to work,’ which helps me when I’m feeling sad about not seeing her.
“At the moment, I have three full operas to learn and various other things that I’m learning and refining,” says Helen. “So it’s important to schedule your time quite well.
“It’s also important to rest and recuperate after a big performance because the adrenaline, energy and focus take a lot out of you.”
Visit sydneyoperahouse.com for more information on Ode to Joy.