Reviews
Photo: Jane Stokes
Erda in Das Rheingold
Longborough Festival Opera
“a gorgeously sung Erda from Mae Heydorn”
Andrew Clements, The Guardian
“But almost the most beautiful singing of the whole evening, and the most magical touch, comes from the Erda, Mae Heydorn, exquisitely backlit upstage, and vanishing, it seems, miraculously after declining Wotan’s rather tactless request for a longer conversation.”
Stephen Walsh, The Arts Desk
Phoebe in The Yeomen of the Guard
“From the moment the curtain rose to reveal Phoebe at her spinning wheel, Mae Heydorn shone in the role, her voice creamy and clearly focussed, and her diction impeccable. She had a lovely sense of humour, too, and ‘Were I thy bride’ was delectable.”
Nigel Simeone, Opera Magazine
Brangäne in Tristan und Isolde
New Palace Opera
“Although Mae Heydorn’s mezzo is dark-hued and plangent, it is so wonderfully projected and reliable that I could imagine her singing Isolde one day. Her fine performance of Brangäne’s Watch (‘Einsam wachend in der Nacht’) and cries of ‘Habet Acht!’ were imbued with a deep foreboding which resonated throughout the church from the organ loft at the rear.”
Jim Pritchard, Seen and Heard International
Mad Margaret in Ruddigore
National Gilbert and Sullivan Opera Company
★ ★ ★ ★ ★
“Heydorn grabbed my attention as Mad Margaret – the timing of the line delivery as well as the visual comedy she brought to the role were just a few of Heydorn’s strengths in taking on the role”
★ ★ ★ ★ ★
Nominated in Best Opera category for Entertainment Views Awards 2018
“Mae Heydorn... is breathtaking”
Ruth in The Pirates of Penzance
National Gilbert and Sullivan Opera Company
“...with very strong vocals the part of Ruth, performed by Mezzo Soprano Mae Heydorn complimented this production beautifully in many of the scenes with the pirates- her vocals demonstrated amplitude and precision and her voice assisted her characters performance greatly.”
★ ★ ★ ★
Angela Kelly, North West Ned
Prinz Orlofsky in Die Fledermaus
Fulham Opera
“Heydorn’s sultry, lingering mezzo, complete with a sharply observed comic Russian accent, makes the free-spirited, ennui-ridden Prince both believable and lovable.”
Charlotte Valori, Operissima