Stephen Hegedus

Bass-baritone

 

Stephen Hegedus

Bass-baritone

 

“Canadian bass-baritone Stephen Hegedus was a superb narrator with a strong and attractive voice never overpowered by the chorus.” 
Chicago Sun, Andrew Patner (Grant Park Festival)

Hailed by the Ottawa Citizen as a singer possessing “…an instrument of rare beauty, majestic and commanding from the bottom of his range to the top…”, bass-baritone Stephen Hegedus is frequently heard with leading orchestras and opera companies in Canada and abroad.

Flluent in French, English and Hungarian, Hegedus’ current season includes Mozart’s Requiem for the Seattle Symphony, Berlioz’ Damnation de Faust with the Grant Park Festival, Beethoven’s Symphony No. 9 for the Florida Orchestra, Bach’s Weihnachts-Oratorium for I Musici de Montréal, Messiah with the Naples Philharmonic, Masetto In Don Giovanni for Opera de Montréal, Weill’s Sieben Todsünden for the Toronto Symphony, Alidoro in La Cenerentola for Edmonton Opera, Mozart’s Requiem for Mercury in Houston and Creon in Medée for Opera Atelier in Toronto and Versailles.

A prize winner at the Lyndon Woodside Oratorio Competition, hosted by the Oratorio Society of New York, his extensive concert experience includes appearances with the Vancouver Symphony (Mozart’s Requiem), Winnipeg Symphony (Haydn’s Creation), the Grant Park Festival (Dvorak’s The Spectre’s Bride, Brahms’ Requiem), l’Orchestre symphonique de Montréal (Bernstein’s A Quiet Place), the Victoria Symphony (Bach’s Weihnachts-Oratorium), l’Orchestre symphonique de Québec (Bach’s Magnificat and Bruckner’s Te Deum), the Aldeburgh Festival (Bach’s B-minor Mass) and l’Orchestre Métropolitain du Grand Montréal. He has performed Messiah with the National Arts Centre Orchestra, Toronto Symphony Orchestra, l’Orchestre symphonique de Montréal, Seattle Symphony, Houston Symphony, San Antonio Symphony, Edmonton Symphony, the Vancouver Chamber Choir and Victoria Symphony.

Hegedus’ operatic roles include the title role and il Conte d’Almaviva in Le nozze di Figaro, Leporello and Masetto (Don Giovanni), Colline (La Bohème), Guglielmo (Così fan tutte), Albert (Werther), Nick Shadow (The Rake’s Progress), Collatinus (The Rape of Lucretia), Talbot (Maria Stuarda), Sprecher (Die Zauberflöte) and Angelotti (Tosca). He has been engaged by the Teatro Municipal de Santiago, Canadian Opera Company, Vancouver Opera, L’Opéra de Montréal, Opera Atelier, Pacific Opera Victoria, Edmonton Opera, Opera Hamilton and Against the Grain Theatre.

His 2015-16 schedule included Lully’s Armide (Hidraot) with Opera Atelier, Opera Columbus and at Versailles , Messiah with Minnesota Orchestra and Against the Grain Theatre, St. Matthew Passion with the Vancouver Bach Choir, Britten’s A Midsummer Night’s Dream (Theseus) with Pacific Opera Victoria, Field Marshall Haig in the premiere of Estacio’s Ours, at Opera on the Avalon.

A finalist at Placido Domingo’s Operalia, Stephen made his Carnegie Hall debut singing Bach’s Mass in B-minor with the Oratorio Society of New York and later returned for Handel’s Messiah.

December 2016

Opera

Bizet Zuniga CARMEN
  Nourabad LES PÊCHEURS DE PERLES
Britten Collatinus THE RAPE OF LUCRETIA
Donizetti Talbot MARIA STUARDA
Gounod Grégorio ROMÉO ET JULIETTE
Massenet Albert WERTHER
Mozart Don Alfonso/Guglielmo
Leporello/Masetto
Figaro
Sprecher
COSÌ FAN TUTTE
DON GIOVANNI
LE NOZZE DI FIGARO
DIE ZAUBERFLÖTE
Puccini Colline
Betto/Il Notario
Angelotti
LA BOHÈME
GIANNI SCHICCHI
TOSCA
Ravel Don Inigo Gomez L’HEURE ESPAGNOLE
Rossini Fiorello IL BARBIERE DI SIVIGLIA
Strauss, J. Frank DIE FLEDERMAUS
Stravinsky Nick Shadow THE RAKE’S PROGRESS
Tchaikovsky Captain EUGENE ONEGIN
Verdi Sicario
Silvano
Marquis
MACBETH
UN BALLO IN MASCHERA
LA TRAVIATA

Concert/Oratorio

Bach Cantatas BWV 4, 131, 137
Lutheran Masses BWV 233, 234, 235, 236
Magnificat in D major
Mass in B minor
  Weinachtsoratorium
Beethoven Symphony No. 9
Bernstein A Quiet Place
Blake The Bear
Brahms Ein Deutsches Requiem
Bruckner Te Deum
Charpentier Messe de minuit
Dvořàk The Spectre’s Bride
Fauré Requiem
Finzi In terra pax
Handel Messiah
Haydn Schöpfung
Mozart Requiem in D minor
Verdi Requiem

 

“Mr. Hegedus has always brought expressive range to his various and diverse roles, whether it be his Alidoro in last year’s production of Rossini’s Cenerentola for Edmonton Opera or Franz Schubert’s Die schöne Müllerin for Against the Grain Theatre, to name just two wonderful performances.  And in Medea he is at home with the unique blend of acting and singing required of Baroque French opera specialization, bringing a complete command of vocal and movement gesture to this difficult role.”
Musical Toronto, Stephan Bonfield

“There is much deserved praise we could heap on every one of the singers, however my favourite was Stephen Hegedus who gave a multi-dimensional depiction of Créon, ruler of Corinth and manipulator of all in his path.  His was a role executed with subtle performative power of manipulative coercion to get what he wanted, namely the best marriage possible for his daughter Créuse… He was at his best however, toward the end of the opera when he pulled off a truly convincing descent into madness, driven to stark extremes by Medea’s darkest magic.” [Opera Atelier, Medea] Musical Toronto, Stephan Bonfield

“Stephen Hegedus is a powerful and captivating Créon, King of Corinth, where Medea and Jason seek refuge. In every appearance, he demands attention.” [Opera Atelier, Medea]
The Globe and Mail, Robert Harris

“Bass-baritone Stephen Hegedus opened the poem with warmth and color.” [Florida Orchestra, Beethoven No. 9]
Tampa Bay Times, Andrew Meacham

“…the voices that really filled the hall were those of Hegedus and Heideman. Hegedus’ bass-baritone packed power into phrases throughout his ample range, from tenor-level high notes while singing “Upon them hath the light shined” to a floorboard-rattling low note on “and against His Anointed.”  
[Minnesota Symphony, Messiah]  Pioneer Press, Rob Hubbard

“Szabó, Hegedus and Mokrzewski made music at a thrillingly high level. Hegedus had a strong and confident sound that adapted easily and felt approachable like speech.” [Against the Grain, Death and Desire]  Opera Canada, Jenna Douglas

“This young singer possesses an instrument of rare beauty, majestic and commanding from the bottom of his range to the top, with infallible articulation and impeccable, organic phrasing. More of him in future NACO seasons, please.” (Messiah)
 Ottawa Citizen, Natasha Gauthier

“…Stephen Hegedus, as Colline, makes his goodbye ode to his winter coat (which he’s about to pawn for money) a truly standout solo.”
Georgia Straight (La boheme)

“Canadian bass-baritone Stephen Hegedus was a superb narrator with a strong and attractive voice never overpowered by the chorus.”
Chicago Sun, Andrew Patner (Grant Park Festival)

“…but the star of the show, as Don Alfonso, was Stephen Hegedus, who combined a striking, dynamic sound with a suave portrayal of the old philosopher. This Canadian bass-baritone sounds to me like a Don Giovanni of the near, rather than distant, future.”
Opera Canada (Così fan tutte)

“…Stephen Hegedus, le baryton canadien, impeccable dans l’air de Sancho Pança du Don Quichotte de Massenet.
Le Devoir, Septembre (Operalia, Québec City)

“Bass Stephen Hegedus (Figaro) is a charming actor and, more to the point a singer of enormous promise. He has a warm voice with a distinctive vibrato that adds interesting color and truly amazing low notes.”
Opera Canada (Le nozze di Figaro)

“En tête, Stephen Hegedus, baryton-basse…Il a l’étoffe d’un professionnel promis à une remarquable carrière.”
Le Devoir (Così fan tutte, Don Alfonso)

“Stephen Hegedus (Inigo) boasted a bass-baritone of velvety richness and effortless projection…”
Opera (L’Heure Espagnole, Don Inigo Gomez)

Listen

“Strait opening her fertile womb” and “Now heav’n in fullest glory shone” from Haydn’s CREATION. Recorded at the Elora Festival with Noel Edison conducting.

 

 

 

NEWS

cenerentola

CINDERELLA AT EDMONTON OPERA

Stephen Hegedus sings Alidoro in Rossini’s La Cenerentola alongside Michael Nyby, as Dandini and Peter McGillivray as Don Magnifico. Performances with the Edmonton Opera are on February 4, 7, and 9.

Enter the vain world of 1950’s haute couture, where appearances are everything and kindness is never in fashion. Mistreated by her wicked stepfather and stepsisters, Cinderella seems destined for a life of misery. But when she meets Prince Ramiro, Cinderella starts to find her own ‘happily ever after’— with a few obstacles along the way, of course.

https://edmontonopera.com

OPERA ATELIER

Stephen Hegedus sings Créon in Charpentier’s Medea with performances running from April 22 through 29 at the Elgin Theatre. Opera Atelier returns to Versailles with this special production in May. 

“fresh from its resounding success with Armide in Versailles, France, late last year, [Opera Atelier] has been invited back by Versailles director Laurent Brunner to celebrate Canada’s 150th birthday with Medea.” – Toronto Star

https://operaatelier.com