“Canadian bass-baritone Stephen Hegedus easily holds his own against Okulitch’s
bravura performance as Giovanni’s valet/sidekick — and witness —creating oceanic
undertows of subtext as he rails against, reveres, and finally, triumphantly wrests
power during the final brilliant image as his master perishes.”

Winnipeg Free Press, 2019Don Giovanni, Leporello

“Hegedus, who moves well, impressed with his rendition of Colline’s moving little song about parting with his overcoat.”

Times Colonist, 2018La Bohème, Colline

“…bass-baritone Stephen Hegedus nails the comic patter and brings a charismatic wiliness to his purple-suited, vintage-motorcycle-driving con artist, Dulcamara.”

The Georgia StraightL'elisir d'amore, Dulcamara

Bass-baritone Stephen Hegedus as the lovable old shyster, Dr. Dulcamara, came closest to fully realizing his role. All the requisite bravado, bluster and braggadocio were there, along with sure and fluid vocal command. 

Opera Canada, 2018L'elisir d'amore, Dulcamara

 “Stephen Hegedus (who) gave one of the subtler, if not quietly pathological, Count Almaviva performances you’ll likely ever see, at once chilling as it was charming….offering flawless lyricism, flexibility and three-dimensional humanity.”

Opera Canada, 2017The Marriage of Figaro, Count

“Bass-baritone Stephen Hegedus is all-conquering as stormy lord of the manor, Count Almaviva. Relentlessly on target, blisteringly passionate, Hegedus delivers what to all appearances is a career-defining performance. My lady, forgive me (Contessa perdono), pleads Almaviva, his lechery finally unmasked. The duet with Rosina that follows, supercharged with hurt and regret, tears at our emotions. Hegedus captures his doomed character in all his frailty, helpless, frightened, his voice reduced almost to a whisper. A remarkable portrait from a remarkable artist.”

Opera Going Toronto, 2017The Marriage of Figaro, Count

“Though Figaro and the Count are dressed in tight pants, as is OA’s wont, Douglas Williams and Stephen Hegedus are such good singing actors that they survive – nay, transcend – the OA tights unscathed.”

The Globe and Mail, 2017The Marriage of Figaro, Count

“Mr. Hegedus has always brought expressive range to his various and diverse roles….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, 2017Médée, Créon

“Stephen Hegedus is a powerful and captivating Créon, King of Corinth, where Medea and Jason seek refuge. In every appearance, he demands attention.”

The Globe and Mail, 2017Médée, Créon

“Hélène Guilmette est une parfaite Zerline, associée à un Stephen Hegedus (Masetto). L’ancien finaliste d’Operalia est toujours aussi impressionnant : son aplomb dans les récitatifs est admirable.”

Le Devoir, 2016Don Giovanni, Masetto

“Bass-baritone Stephen Hegedus opened the poem with warmth and color.”

Tampa Bay Times, 2016Beethoven, Symphony No. 9

“The peasant couple of Zerlina and Masetto were nicely played by Hélène Guilmette (a clarion soprano) and bass-baritone Stephen Hegedus (spot-on as an actor and singer all night).”

Montreal Gazette, 2016Mozart, Don Giovanni

“Baritone Stephen Hegedus’ Brander, a carouser with only one appearance, gave a sharp-edged, black song of the rat.”

Chicago Tribune, 2016Berlioz, La damnation de Faust

“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’.”

Pioneer Press, 2015Messiah, Minnesota Orchestra

“The performances are ravishing. Hegedus’s rich, resonant baritone evokes a pastoral scene and a growing sense of disillusionment and despair…”

Now Toronto, 2015Death & Desire, Against the Grain Theatre

“…bass-baritone Stephen Hegedus was delightful as the poet, slurping his delivery, sometimes bellowing his lines.”

The New York Times, 2015Purcell, Les Violons du Roy

“…Stephen Hegedus est impeccable dans l’air de l’ivrogne de Fairy Queen..”

Le Devoir, 2015Purcell, Les Violons du Roy

“In the all-Canadian quartet of soloists, Hegedus was the standout. 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.”

Ottawa Citizen, 2014Messiah, National Arts Centre

“…sung with breezy masculinity…”

Opera Canada, Spring 2014Don Giovanni , Leporello

“Bass-baritone Stephen Hegedus was notable among the newcomers…”

National Post, 2014Persée, Opera Atelier

“The singing was excellent, with a standout Figaro in Stephen Hegedus….”

Opera Canada, Summer 2013Figaro’s Wedding, Figaro

“Commendably, all the VO cast members make their contributions; in particular, Stephen Hegedus and Aaron Durand sing their character roles with panache.”

Vancouver Sun, October 2012La Bohème, Colline

“Amid the smaller roles, 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, October 2012La Bohème, Colline

“Canadian bass-baritone Stephen Hegedus was a superb narrator with a strong and attractive voice never overpowered by the chorus.”

Chicago Sun-Times, August 2012The Spectre's Bride, Narrator

“Kalmar…urge(d) the chorus to enunciate and inflect in ways that set its repetitions apart from bass-baritone Stephen Hegedus’ admirably firm narration.”

Chicago Tribune, August 2012The Spectre's Bride, Narrator

“Stephen Hegedus made a most impressive Grant Park debut, the Canadian bass-baritone delivering powerful singing and crisp enunciation in his narrative role, easily rising over the top of the chorus in their many collaborative passages.”

The Classical Review, August 2012The Spectre's Bride, Narrator

“The best portrayal came especially from Stephen Hegedus (Albert) — assured, suave, and possessing a wider dynamic range than any other on stage that evening.”

Opera, May 2011Werther, Albert

“…bass-baritone soloist, Stephen Hegedus, sang with commanding lyricism.”

The Seattle Times, 2011Messiah, Seattle Symphony

“…bass-baritone Stephen Hegedus barrelled through his solos with steely precision and engaging expression.”

The Record, 2010Messiah, Grand Philharmonic Choir

“Canadian bass-baritone Stephen Hegedus made a fine Figaro. He sang and acted well and handled the comic business with panache.”

Press Plus 1, 2010Le nozze di Figaro, Figaro

“Stephen Hegedus’s Guglielmo was vocally strong, and he made his dramatic points wittily yet without exaggeration.”

Opera, August 2010Così fan tutte, Guglielmo

“…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, Summer 2009Così fan tutte, Don Alfonso

“…he attracted considerable attention as a voice to watch.”

Opera Canada, December/January 2008/2009Operalia, Québec City

“…pétillante, lumineuse et fine…”

Le Soleil, September 2008Operalia, Québec City