“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 of 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 upcoming 2019/2020 season includes multiple appearances with Opera Atelier, first as Leporello in Don Giovanni, and as Lucifer in Resurrezione. He will also sing the role of Rocco in Beethoven’s Leonore for Opera Lafayette. Upcoming concert highlights include Messiah with the Winnipeg and Okanagan symphonies, Rossini’s Stabat Mater with the Kitchener-Waterloo Symphony, along with Beethoven’s Ninth Symphony at the Regina Symphony Orchestra.
The role of Leporello in Don Giovanni was also a feature of Hegedus’ schedule in 2018-2019, when he performed it at Manitoba Opera. In Edmonton he was heard in Le comte Ory by Rossini as well as Messiah for the symphony. He appeared for I Musici de Montréal in Bach’s Magnificat, with the Vancouver Chamber Choir for a repeat of Messiah, and performed Haydn’s Missa in tempore belli with 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.
|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|
“Bass Stephen Hegedus sang with a robust and energetic ringing tone. His ‘The people that walked in darkness’ highlighted his tremendous range with shiver-inducing low notes, while “The trumpet shall sound” drove forward with relentless energy—clearly the high point of Hegedus’s performance.” [Messiah, Okanagan Symphony Orchestra] Penticton Western News, Anita Perry
“Hegedus riveted with his intensely dramatic presence from his opening recitative, ‘Thus saith the Lord, the Lord of Hosts,’ driven by crisp, virtuosic runs, before later plunging listeners into the shuddering depths with ‘For Behold, Darkness Shall Cover the Earth,’ and following aria ‘The People that walked in darkness,’ his booming vocals and wide palette of tonal colour infusing the entire, 150-minute production (including intermission) with requisite gravitas.” [Messiah, Winnipeg Symphony Orchestra] Winnipeg Free Press, Holly Harris
“Canadian bass-baritone Stephen Hegedus… creating oceanic undertows of subtext as he rails against, reveres, and finally, triumphantly wrests power during the final brilliant image as his master perishes. His biting into an apple as forbidden fruit packed its own emotional wallop… Hegedus’s spot-on comedic timing during Act II’s opening scene, where he disguises himself with Giovanni’s sartorial jacket, had viewers in stitches with his buffoonery, as well as during his catalogue aria, Madamina, il catalogo e questo, during which he nonchalantly lists Giovanni’s conquests to a gaping Elvira.” [Don Giovanni, Manitoba Opera] Winnipeg Free Press, Holly Harris
“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] Straight.com, 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] 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.” 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.” [Messiah, 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 Bohème] 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]
LA RESURREZIONE WITH OPERA ATELIER
Stephen is Lucifer in Handel’s La resurrezione with Opera Atelier from April 11 through 19, 2020. operaatelier.com
STABAT MATER WITH THE KITCHENER-WATERLOO SYMPHONY
With the Kitchener-Waterloo Symphony, Stephen sings Rossini’s Stabat Mater on February 14 and 15, 2020. kwsymphony.ca
“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.