Bass-baritone Stephen Hegedus has been praised 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.” A finalist at Plácido Domingo’s Operalia and prize winner of the Lyndon Woodside Oratorio Solo Competition, Hegedus has established himself as one of Canada’s leading bass-baritones, appearing with major opera companies, orchestras, and festivals throughout North America and abroad.

Operatic engagements have taken him to the Canadian Opera Company, Opéra de Montréal, Vancouver Opera, Teatro Municipal de Santiago, Opera Atelier, Pacific Opera Victoria, Manitoba Opera, Edmonton Opera, Against the Grain Theatre, Opera Lafayette, Opera Columbus, and Opera Hamilton. His extensive repertoire includes Leporello (Don Giovanni), Basilio (Barber of Seville) Figaro and Count Almaviva (Le nozze di Figaro), Publio (La clemenza di Tito), Colline (La Bohème), Zuniga (Carmen), Alidoro (La Cenerentola), Albert (Werther), Nick Shadow (The Rake’s Progress), Collatinus (The Rape of Lucretia), Talbot (Maria Stuarda), and Angelotti (Tosca).

Equally in demand on the concert stage, Hegedus has appeared with the Toronto Symphony Orchestra, National Arts Centre Orchestra, Orchestre symphonique de Montréal, Seattle Symphony, l’Orchestre Métropolitain, Houston Symphony, Minnesota Orchestra, Florida Orchestra, Winnipeg Symphony Orchestra, Calgary Philharmonic Orchestra, Victoria Symphony, Naples Philharmonic, Vancouver Symphony Orchestra, Les Violons du Roy, and Orchestre symphonique de Québec, as well as at the Grant Park Music Festival and the Aldeburgh Festival. His repertoire encompasses works including Bach’s Mass in B Minor, Magnificat, Handel’s Messiah, Haydn’s The Creation, Mozart’s Requiem and Coronation Mass, Beethoven’s Symphony No. 9, Brahms’ Ein deutsches Requiem, Dvořák’s The Spectre’s Bride, and Bernstein’s A Quiet Place. Critically acclaimed for his interpretations of Handel’s Messiah, he has performed the work with many of North America’s leading orchestras.

Recent engagements include appearances with the Canadian Opera Company as Count Ceprano in Rigoletto and Basilio in The Barber of Seville(COC Ensemble Studio), performances with the Toronto Bach Festival and the Regina Symphony Orchestra in Bach’s St. John Passion, a return to Opéra de Montréal as Zuniga in Bizet’s Carmen, and Sarastro with Opera Atelier in Mozart’s The Magic Flute. Hegedus made his Carnegie Hall debut in Bach’s Mass in B Minor with the Oratorio Society of New York, returning subsequently for Handel’s Messiah and appearances with Les Violons du Roy.