Skip Navigation Links
  Sopranos: Mary Hegarty - Reviews
ResuméReviewsDiscographyRepertoireMultimedia


Albert Herring‚ Buxton Festival
Opera Magazine (September 2017)


'Mary Hegarty’s lively Miss Wordsworth‚ plunging her hand accidentally into the trifle...'

Albert Herring‚ Buxton Festival
Manchester Theatre Awards (July 2017)


'...Mary Hegarty delightful as the schoolteacher‚ Miss Wordsworth.'

Albert Herring‚ Opera North
Financial Times (May 2013)


'William Dazeley and Mary Hegarty shine as vicar and schoolmistress'

Albert Herring‚ Opera North
Financial Times (May 2013)


'Each character comes alive without exaggeration or caricature...William Dazeley and Mary Hegarty shine as vicar and schoolmistress'

Albert Herring‚ Opera North
Opera Britannia.com (May 2013)


'Mary Hegarty’s bright-toned coloratura‚ bird’s nest hair-do and thick-rimmed specs give the village school teacher Miss Wordsworth an endearing primness'

Albert Herring‚ Opera North
Telegraph (May 2013)


'...the committee of local dignitaries – Mary Hegarty‚ William Dazeley‚ Graeme Danby‚ Joseph Shovelton – was nicely etched'

Mirandolina‚ Garsington Festiva
Opera (August 2009)


'As two actresses posing as Countesses‚ the extravagantly caparisoned Mary Hegarty & Jean Rigby almost stole a show that plot-wise could have managed perfectly without them'

Mirandolina‚ Garsington Festival
Seen & Heard International.com (July 2009)


'Mary Hegarty and Jean Rigby’s characters...relished the opportunity for humour‚ acting quite brilliantly'

Mirandolina‚ Garsington Festival
Guardian (June 2009)


'Mary Hegarty and Jean Rigby as two "actresses" supply most of the comedy'

Mirandolina‚ Garsington Festival
Musical Pointers.com (June 2009)


'Mary Hegarty and Jean Rigby‚ as the two old-pros of the boards were absolutely hilarious and seemed to be having as much fun as their cavorting indicated'

Mirandolina‚ Garsington Festival
Telegraph (June 2009)


'...and Mary Hegarty and Jean Rigby (as a pair of silly passing actresses) all turn in accomplished performances'

Mirandolina‚ Garsington Festival
Times (June 2009)


'...and two actresses on the make (Mary Hegarty‚ Jean Rigby‚ both excellent)'

Carmen‚ Castleward Opera
Opera (August 2005)


'She provided a charming Micaela.'

The Thieving Magpie‚ Opera North
Eastern Daily Press (April 2005)


'Centre stage was taken in more ways than one by the delightful Mary Hegarty‚ vocally radiant as the falsely accused thief Ninetta...Ninetta sang her heart out.'

The Thieving Magpie‚ Opera North
Irish Times (April 2005)


'Mary Hegarty is vocally agile as the spirited Ninetta.'

The Thieving Magpie‚ Opera North
The Leeds Guide (March 2005)


'Hers is a voice in its prime and a wonder to experience.'

The Thieving Magpie‚ Opera North
BBC - South Yorkshire (February 2005)


'The performances are flawless‚ especially the aria between Ninetta (Mary Hegarty)‚ her father‚ Fernando (Jonathan Best) and the mayor (Robert Poulton).'

The Thieving Magpie‚ Opera North
Guardian (February 2005)


'There is a great central performance from Mary Hegarty as Ninetta - a thrillingly sung‚ wonderfully acted portrait of a feisty woman whose spirit is gradually broken by traumas from which she may never recover.'

The Thieving Magpie‚ Opera North
Leeds Student (February 2005)


'Mary Hegarty’s portrayal of Ninetta is superb. Her voice is incredible and despite Ninetta’s role as the idealised archetype of wrong chaste maiden‚ the humanity of her character is touchingly delivered.'

The Thieving Magpie‚ Opera North
Leeds Weekly News (February 2005)


'Special mention must go to Mary Hegarty for an impressive performance as Ninetta.'

The Thieving Magpie‚ Opera North
Metro (February 2005)


'Heading a spirited cast‚ Mary Hegarty repeats the central role she first played in 1999‚ and an engaging and powerful job she makes of it.'

The Thieving Magpie‚ Opera North
Spectator (February 2005)


'Ninetta is sung quite gloriously...by Mary Hegarty‚ who is also a most winning actress....the march to execution is stunning‚ Hegarty at her finest.'

The Thieving Magpie‚ Opera North
Telegraph (February 2005)


'Mary Hegarty’s Ninetta was sympathetically played and well-articulated.'

The Thieving Magpie‚ Opera North
Times (February 2005)


'Mary Hegarty’s beautifully phrased Ninetta‚ sung with with some impeccable coloratura‚ is the precursor of Verdi’s wracked heroines.'

The Thieving Magpie‚ Opera North
Yorkshire Evening Post (February 2005)


'Mary Hegarty’s sparkling coloratura combined with a dramatic intensity make for a Ninetta that can inhabit both the comic and tragic worlds of the piece.'

The Thieving Magpie‚ Opera North
Yorkshire Post (January 2005)


'The excellent Mary Hegarty‚ both vocally and dramatically‚ ideally characterises the very different person she becomes when she relies on religion to strengthen her to the inevitable sentence.'

Carmen‚ Glyndebourne
Times (July 2004)


'Mary Hegarty (Frasquita)...all make their mark.'

I Pagliacci‚ Gubbay/Royal Albert Hall
Guardian (September 2002)


'Mary Hegarty’s Nedda sounded gorgeous'

Carmen‚ Glyndebourne
Independent on Sunday (August 2002)


'Mary Hegarty a sparky Frasquita.'

Carmen‚ Glyndebourne
Sunday Times (August 2002)


'With the adorable Mary Hegarty...as the heroine’s friends‚ the top lines of the Act II quintet and the big finales are in luxurious throats.'

Carmen‚ Glyndebourne
Daily Telegraph (July 2002)


'There was a stylish double-act from Mary Hegarty and Christine Rice as Frasquita and Mercedes.'

Carmen‚ Glyndebourne
New York Times (July 2002)


'Mary Hegarty and Christine Rice make a lively couple as Fransquita and Mercedes.'

L’Elisir d’Amore/ Opera North
Opera (March 2001)


'Mary Hegarty was typically spirited in the role of Adina‚ threading a nonchalant way through her coloratura‚ but with a veneer of hard-nosed‚ business circumspection in her dealings with her lovelorn waiter‚ Nemorino. She gradually melted in the heat‚ and her voice lost its early edge‚ to sweet effect.'

L’Elisir d’Amore/ Opera North
Financial Times (January 2001)


'Mary Hegarty makes a near-perfect choice for sparkling Adina with the heart hard as a diamond and sings with a nonchalant brilliance.'

L’Elisir d’Amore/ Opera North
Guardian (January 2001)


'Mary Hegarty sings Adina’s music with witty elegance; she too transforms herself convincingly‚ from condescending rich kid into insecure sexual vamp‚ without missing a trick.'

L’Elisir d’Amore/ Opera North
Independent (January 2001)


'...played with great delicacy and intelligence...Mary Hegarty is the real star of this show. Her vocal timbre is ideal for the role. She surmounts its difficulties with confidence‚ and brings to it a fine expressive range.'

L’Elisir d’Amore/ Opera North
Observer (January 2001)


'She looks and sounds every inch the part of Adina. Bossy one minute‚ vulnerable the next‚ she has the whole town wrapped around her finger. Why‚ even Dulcamara perks up at the sight of her. Hegarty attacks her music with gusto.'

L’Elisir d’Amore/ Opera North
Spectator (January 2001)


'...as pert and as sharp-voiced as a girl who finally melts can be...Hegarty is a winning artist‚ even when she is being bitchy.'

L’Elisir d’Amore/ Opera North
Sunday Telegraph (January 2001)


'Mary Hegarty’s Adina is a starry portrayal vocally.'

L’Elisir d’Amore/ Opera North
Sunday Times (January 2001)


'As Hotel Adina’s proprietress‚ the Cork-born soprano Mary Hegarty has a whale of a time: her bright‚ silvery timbre suggests the brittleness of the character‚ but there is sufficient warmth in her singing to make her change of heart plausible at the end. She is one of those rare artists who infuses technically demanding coloratura with sparkling‚ insouciant wit‚ and she is touching when she releases Nemorino from his military commission.'

L’Elisir d’Amore/ Opera North
The Independent (January 2001)


'... played with great delicacy and intelligence‚.this Adina‚ from brittle beginnings‚ seems to grow younger as well as warmer as the evening goes on.... Hegarty is‚ though‚ the real star of this show. Her vocal timbre is ideal for the role. She surmounts its difficulties with confidence‚ and brings to it a fine expressive range.'

L’Elisir d’Amore/ Opera North
The Stage (January 2001)


'Mary Hegarty’s sweet-toned Adina.'

L’Elisir d’Amore/ Opera North
Daily Telegraph (December 2000)


'As Adina‚ Mary Hegarty was aptly tart in personality and clean of vocal line.'

L’Elisir d’Amore/ Opera North
Times (December 2000)


'Hegarty knows just how to win the audience...projects the part with such warmth that it’s easy to believe that her taunting exterior hides a heart if not of gold then at least of pewter.'

La Rondine‚ Opera North
Independent (October 2000)


'Mary Hegarty sparkled as Lisette.'

La Rondine‚ Opera North
Sunday Telegraph (October 2000)


'Mary Hegarty shining as Magda’s stagestruck maid Lisette.'

La Rondine‚ Opera North
The Stage (October 2000)


'Mary Hegarty and Wynne Evans carry the sub plot with wit and verve‚ lavishing a vocal security and sweetness of tone upon their every utterance.'

La Rondine‚ Opera North
The Sunday Times (October 2000)


'Mary Hegarty’s delicious Lisette'

La Rondine‚ Opera North
Yorkshire Post (October 2000)


'Mary Hegarty gives a gorgeous performance as the maid‚ Lisette‚ with the admirable Jonathan Best as Rambaldo showing just how to play a key supporting role without detracting from the major characters.'

Hear and Now‚ BBC
Independent (June 2000)


'My prize for best broadcast performance of the week goes to the Irish coloratura soprano Mary Hegarty‚ who was a joy in Gerald Barry’s new Nietzsche setting‚ The Eternal Recurrance. Flinging her voice about in Barry’s wild leaps‚ she still sounded sweet and human.'

The Eternal Recurrence‚ Ulster Orchestra
Irish Times (June 2000)


'Mary Hegarty was the soprano soloist in the specially commissioned Nietzsche-setting‚ The Eternal Recurrence. .... The piece‚ for a singer with an endless and effortless supply of high Cs‚ rather embeds the text in an orchestral blaze characterised by almost relentless exuberance. ...Mary Hegarty showed the temperament and technical resource to give to the music without stint.'

Die Entführung aus dem Serail‚ Garsington Opera
Opera Now (November 1999)


'Mary Hegarty had just the right balance between cautious maid and excited lover'

Die Entfuhrung Aus Dem Serail
The Guardian (June 1999)


'Mary Hegarty was the brightest of Blondes‚ adept inpushing around the villainous Osmin.'

Die Entfuhrung Aus dem Serail
The Times (June 1999)


'Mary Hegarty’s feisty Blonde.'

The Thieving Magpie
Manchester Evening News (January 1999)


'Ninetta‚ the maid accused of the magpie’s crime‚ is beautifully played and sung by Irish soprano Mary Hegarty.'

The Thieving Magpie
The Times (January 1999)


'Mary Hegarty’s superb performance in the leading role. She catches every mood perfectly‚ progressing from the deliciously scatty‚ lovelorn girl of the opening through to the bewildered woman of the second half‚ her tone growing firmer‚ more heroic in the process‚ her features gradually drained of human feeling. Throughout she uses vocal embellishments with the insight of a true Rossinian‚ and as the end of the scarifying decorations of her verso in the vaudeville finale turn it into a sort of Lucia di Lammermoor Mad Scene contained within a matter of seconds‚ making Duncan’s ending work powerfully.'

The Thieving Magpie‚ Opera North
Financial Times (January 1999)


'In the main role of Ninetta‚ Mary Hegarty was no sugary soft centre. Her personality and singing were bright and keen.'

Marriage of Figaro‚ Grange Park Opera
Opera (November 1998)


'Mary Hegarty’s lively‚ lovable Susanna was the lynchpin.'

Marriage of Figaro‚ Grange Park Opera
Independent on Sunday (July 1998)


'there was a strong Susanna from Mary Hegarty'

Marriage of Figaro‚ Grange Park Opera
Sunday Times (July 1998)


'Mary Hegarty as a thoughful and sweet-toned Susanna'

Marriage of Figaro‚ Grange Park Opera
The Times (July 1998)


'Mary Hegarty was an utterly delicious Susanna'

Seraglio‚ Glyndebourne Touring Opera
Express (October 1997)


'The most winning performances come from Jeffrey Lloyd-Roberts’s Pedrillo and Mary Hegarty’s sexy‚ gloriously sung Blonde‚ Constanze’s irrepressible maid.'

Don Pasquale‚ ENO
The Stage (July 1997)


'Subtlety and depth characterise Mary Hegarty’s deliciously tough and sexy Norina'

Don Pasquale‚ ENO
The Times (June 1997)


'Mary Hegarty’s Norina is alone worth the price of a ticket. Her singing is as witty as her impersonation‚ her diamond-bright coloratura as warm as it is sparkling‚ and no one can ever have told a rosary on the Coliseum stage with such eloquence. In a word‚ irresistible.'

Turco in Italia‚ Garsington Opera
The Guardian (June 1996)


'As the flirt‚ Fiorilla‚ Mary Hegarty shines out‚ a winning minx dashingly confident in her coloratura.'

Turco in Italia‚ Garsington Opera
The Times (June 1996)


'Mary Hegarty sang Fiorilla’s music with needle-fine accuracy'

Don Pasquale‚ ENO
Opera Magazine (May 1996)


'Mary Hegarty brought all her talents to bear in a delightfully sung and acted Norina‚ the vocal lines captivatingly fashioned‚ neatly and elegantly turned‚ with vivacious spirit and accomplishment.'

Don Pasquale‚ ENO
The Independent (March 1996)


'The best thing about it is Mary Hegarty in ice-cool‚ aerially bright voice as Norina.'

Don Pasquale‚ ENO
The Stage (March 1996)


'Mary Hegarty’s strong-willed Norina. Her pleasing soprano has firmed up a treat. She confidently whizzes around the staves‚ decorates nonchalantly‚ sings off the words with style and clarity.'

L’Elisir D’Amore‚ Opera Northern Ireland
Irish News (March 1995)


'Cork soprano Mary Hegarty confirmed her reputation as one of Ireland’s top sopranos. Her Adina was sung beautifully.'

L’Elisir D’Amore‚ Opera Northern Ireland
The Tribune (March 1995)


'It is equally amazing to discover that Cork soprano debut as Adina‚ a role Donizetti might has written with her in mind. Her lively stage presence and superb singing‚ lyrically liquid with a colouratura encompassing a high E flat‚ revealed her as a natural in the part; she brought a real depth of characterisation to the role.'