Stephen Hegedus



Stephen Hegedus


Canadian Citizen

“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.

The role of Leporello in Don Giovanni returns to Hegedus’ schedule in 2018-2019 for Manitoba Opera and in Edmonton he will be heard in Le comte Ory by Rossini as well as Messiah for the symphony. He appears for I Musici de Montreal in Bach’s Magnificat, the Vancouver Chamber Choir for a repeat of Messiah, Rossini’s Stabat Mater for the Kitchener Waterloo Symphony and Haydn’s Missa in tempore belli for the Toronto Mendelssohn Choir.

Fluent in French, English and Hungarian, Stephen Hegedus’s 2017/18 season included Messiah with Nezet-Seguin and l’Orchestre Métropolitain, Dulcamara in L’elisir d’amore for Vancouver Opera, the Count in Le nozze di Figaro and Neptune/ Time in Monteverdi’s The Return of Ulysses, both for Opera Atelier, Colline in La bohème for Pacific Opera Victoria and with the Thunder Bay and Regina symphonies.

Hegedus’s 2016/17 season included Mozart’s Requiem for the Seattle Symphony, Berlioz’s La 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), and the Aldeburgh Festival (Bach’s B Minor Mass). Operatic roles include the title role in Le nozze di Figaro, Leporello and Masetto (Don Giovanni), 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, l’Opéra de Montréal, and Against the Grain Theatre. Further credits include Lully’s Armide with Opera Atelier, Opera Columbus and at Versailles, St. Matthew Passion with the Vancouver Bach Choir, Britten’s A Midsummer Night’s Dream with Pacific Opera Victoria, and Field Marshall Haig in the premiere of Estacio’s Ours, at Opera on the Avalon. A finalist at Plácido 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.

September 2018


Bizet Zuniga CARMEN
Britten Collatinus THE RAPE OF LUCRETIA
Donizetti Talbot MARIA STUARDA
Massenet Albert WERTHER
Mozart Don Alfonso/Guglielmo
Puccini Colline
Betto/Il Notario
Ravel Don Inigo Gomez L’HEURE ESPAGNOLE
Strauss, J. Frank DIE FLEDERMAUS
Stravinsky Nick Shadow THE RAKE’S PROGRESS
Tchaikovsky Captain EUGENE ONEGIN
Verdi Sicario


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
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

“Bass-baritone Stephen Hegedus rises from the depths as [Minerva’s] fellow deity, blustery, thundering Neptune.”
[The Return of Ulysses, Opera Atelier] Opera Going Toronto, Ian Ritchie

“…Hegedus booms as Neptune.” [The Return of Ulysses, Opera Atelier] The Globe and Mail, Jenna Simeonov

“bass-baritone Stephen Hegedus nails the comic patter and brings a charismatic wiliness to his purple-suited, vintage-motorcycle-driving con artist, Dulcamara. There can’t be a weak link among them when they leap into the lightning-speed back-and-forth, overlapping duos and trios with Haji and Fang.” [E’lisir d’amore, Vancouver Opera], Janet Smith

“Bass-baritone Stephen Hegedus oozes his way through the part of the itinerant snake-oil salesman, Dr. Dulcamara.”
[E’lisir d’amore, Vancouver Opera] Vancouver Sun, David Gordon Duke

“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], 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.” 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.” [Medea, Opera Atelier] 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.” [Medea, Opera Atelier] The Globe and Mail, Robert Harris

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

“…the voices that really filled the hall were those of Hegedus and Heideman. Hegedus’s 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.’” [Messiah, Minnesota Symphony] 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.” [Death and Desire, Against the Grain Theatre] 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.”
[Messia, NACO] 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] Opera Canada 

“…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] Opera Canada 

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

Stephen Hegedus (Iñigo) boasted a bass-baritone of velvety richness and effortless projection…” [L’Heure Espagnole]


Stephen Hegedus sings the role of Neptune/Time in Monteverdi’s The Return of Ulysses with Opera Atelier.  Performances run April 19 – 28, 2018 at the Elgin Theatre.

Stephen Hegedus sings the role of Colline, in Pacific Opera Victoria’s latest production of Puccini’s masterpiece La Bohème. Performances run February 15 – 25, 2018 at The Royal Theatre.

Stephen Hegedus sings the role of Dulcamara in Donizetti’s L’Elisir d’Amore with Vancouver Opera. Performances run January 21 – 27, 2018, at the Queen Elizabeth Theatre.


“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.