“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…”, Stephen Hegedus is that rarest of bass-baritones, totally at home in the works Puccini and Weill as well as those of Bach and Mozart. Especially appreciated for his performance in Messiah, he has been heard in Handel’s masterpiece with the National Arts Centre Orchestra, Minnesota Orchestra, Toronto Symphony, l’Orchestre symphonique de Montréal, Seattle Symphony, Houston Symphony, San Antonio Symphony, Edmonton Symphony, the Vancouver Chamber Choir, Naples Philharmonic and Victoria Symphony.
Fluent in French, English and Hungarian, Stephen Hegedus’ 2017/18 season includes a return to Pacific Opera Victoria’s for Colline in La bohème, the Count in Le nozze di Figaro and Neptune/Time in Monteverdi’s The Return of Ulysses, both for Opera Atelier, and Messiah with the Regina Symphony.
Hegedus’ 2016/17 season included Mozart’s Requiem for the Seattle Symphony, Berlioz’ Damnation de Faust with the Grant Park Festival in Chicago, Beethoven’s Symphony No. 9 for the Florida Orchestra, Bach’s Weihnachts-Oratorium for I Musici de Montréal and Masetto In Don Giovanni for Opera de Montréal. As well, he was featured in Weill’s Sieben Todsünden for the Toronto Symphony, Alidoro in La Cenerentola for Edmonton Opera, Mozart’s Requiem for Mercury Baroque in Houston and Créon 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. 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.
Further credits include Lully’s Armide (Hidraot) with Opera Atelier, Opera Columbus and at Versailles, St. Matthew Passion with the Vancouver Bach Choir, Britten’s A Midsummer Night’s Dream (Theseus) with Pacific Opera Victoria, and 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.
|Nourabad||LES PÊCHEURS DE PERLES|
|Britten||Collatinus||THE RAPE OF LUCRETIA|
|Gounod||Grégorio||ROMÉO ET JULIETTE|
|COSÌ FAN TUTTE
LE NOZZE DI FIGARO
|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|
UN BALLO IN MASCHERA
|Bach||Cantatas BWV 4, 131, 137
Lutheran Masses BWV 233, 234, 235, 236
Magnificat in D major
Mass in B minor
|Beethoven||Symphony No. 9|
|Bernstein||A Quiet Place|
|Brahms||Ein Deutsches Requiem|
|Charpentier||Messe de minuit|
|Dvořàk||The Spectre’s Bride|
|Finzi||In terra pax|
|Mozart||Requiem in D minor|
“The singers are equally up to their assorted dramatic, comic and vocal tasks, most notably bass-baritone Stephen Hegedus as the philandering Count Almaviva” [The Marriage of Figaro, Opera Atelier] Toronto Star – John Terauds
“Stephen Hegedus is a vocally secure count who manages the various moody moods of his character rather well.”
[The Marriage of Figaro, Opera Atelier] Operaramblings.com, John Gilks
“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.” [Opera Atelier, Medea] 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.” [NACO, 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.” [La Boheme] Georgia Straight
“Canadian bass-baritone Stephen Hegedus was a superb narrator with a strong and attractive voice never overpowered by the chorus.” (Grant Park Festival)
Chicago Sun, Andrew Patner
“…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.”
(Così fan tutte)
“…Stephen Hegedus, le baryton canadien, impeccable dans l’air de Sancho Pança du Don Quichotte de Massenet.
(Operalia, Québec City)
Le Devoir, Septembre
“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.” (Le nozze di Figaro)
“En tête, Stephen Hegedus, baryton-basse…Il a l’étoffe d’un professionnel promis à une remarquable carrière.” (Così fan tutte)
“Stephen Hegedus (Inigo) boasted a bass-baritone of velvety richness and effortless projection…” (L’Heure Espagnole)
“THE RETURN OF ULYSSES” AT OPERA ATELIER
STEPHEN HEGEDUS sings ther ole of Neptune/Time in Montiverdi’s great work, The Return of Ulysses with Opera Aterlier. April 19 – 28, 2018 at the Eligin Theatre, Toronto. https://operaatelier.com/season/2017-2018-season/
Photo Credit: Bruce Zinger
THE MARRIAGE OF FIGARO AT OPERA ATELIER
Stephen Hegedus sings Count Almamiva in Mozart’s Le nozze di Figaro with performances running October 26 through November 4, 2017 at the Elgin Theatre. https://operaatelier.com
“Tuba Mirum” from Mozart’s REQUIEM. Recorded with Mercury Baroque (May 13, 2017).
“Recordare” from Mozart’s REQUIEM. Recorded with Mercury Baroque (May 13, 2017).
“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.