Mezzo soprano Mae Heydorn graduated with distinction from the Guildhall School of Music and Drama as an Anglo-Swedish Society scholar and made her Glyndebourne Festival début the same year as the Woodpecker in The Cunning little Vixen. Acclaimed as a mezzo soprano whose cut and amplitude of timbre puts her at an advantage (Opera Magazine), Mae has covered the roles Mrs Grose The Turn of the Screw and Bianca The Rape of Lucretia for Glyndebourne on Tour.
Recent roles include Sorceress Dido and Aeneas, Maddalena Rigoletto, Octavian Der Rosenkavalier, Katisha The Mikado, Ruth Pirates of Penzance, and Buttercup HMS Pinafore, Prince Orlofsky Die Fledermaus, Marcellina Le nozze di Figaro, Emilia Otello, Flora and Annina La Traviata and Polina Pikovaya Dama.
Mae is the recipient of numerous awards and prizes including the Making Music Philip and Dorothy Green Award, First Prize at the London Schubert Society Lied Duo Competition, and a scholarship to study with Christoph Prégardien. She won the President's Prize 2014 awarded by Dame Gwyneth Jones and the Audience Prize 2016 awarded by Sir John Tomlinson at the London Wagner Society Singing Competition.
Mae created the lead mezzo part in a new critically acclaimed West End production 'The Rinse Cycle’, an introduction to Wagner’s Der Ring des Nibelungen, singing excerpts from the roles of Fricka, Erda and Floßhilde.
Her repertoire of Wagner roles include Brangäne Tristan und Isolde, Erda Das Rheingold, Siegrune and Rossweisse Die Walküre, Erda Siegfried, Waltraute and Zweite Norn Götterdämmerung, Frau Mary Der fliegende Holländer.
An avid performer of contemporary repertoire Mae has been a soloist in Hans Werner Henze’s Voices at the Barbican Hall. She performed the role of Queen Elizabeth in the UK premiere of Robert Mansell’s Love in the Life of Shakespeare and sang the world premiere of the cantata The Exodus Fragment by Jacques Cohen, in a part specially written for her. Working with leading sound artist Melanie Wilson, Mae was part of the original cast to create Opera for the Unknown Woman composed by Katarina Glowicka for renowned and innovative production company Fuel.
A native German and Swedish speaker Mae’s song recital as well as standard oratory and chamber music repertoire includes engagements with the English Chamber Orchestra at Cadogan Hall, the Oxford Lieder Festival and Barbican Hall.