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 B minor Mass with the Oratorio Society of New York and later returned for Handel’s Messiah.