Press Acclaim

Critics in the Los Angeles Times, New York Times, Washington Post, San Francisco Chronicle, Newark Star Ledger, and Opera Magazine wrote about Ronald Hedlund -

"A giant not only in stature, but in voice and character..One of the finest baritone voices extant...Mr. Hedlund acted brilliantly. He has a voice of good size, too. Anybody with this kind of stage projection, and this ability to shape a smooth musical phrase, can be an asset to any opera house."

Indeed the malevolently suave characterization of Scarpia by Ronald Hedlund could be stacked against the acting of any Scarpia on any operatic stage.. a singing actor of epic abilities..

As a singer-actor, bass Ronald Hedlund is an asset to any production. His spoken parts had a profile and vividness not achieved by any of the others ...Vocally his voice is even, well focused, and apparently without a flaw ... A marvelously pliant, resonant baritone…

A monumentally authoritative, quicksilver performer...A vibrant voice, an assortment of appropriate vocal colors and excellent diction...Hedlund virtually stole the show every time he appeared -he has stage magnetism enough for an entire cast, and he sings with the same authority and panache.”

His repertoire list, press reviews, sound files, & photo gallery can be found on this/his web site and videos on YouTube. More photos are available on Facebook at this link

As Scarpia in Tosca: Metropolitan Opera US Tour, American Opera Center at Lincoln Center, Lake George Opera, Illinois Opera Theater, & Miami Opera

“Indeed the malevolently suave characterization of Scarpia by Ronald Hedlund could be stacked against the acting of any Scarpia on any operatic stage. Mr. Hedlund acted brilliantly. He has a voice of good size, too. Anybody with this kind of stage projection, and this ability to shape a smooth musical phrase, can be an asset to any opera house.” - Harold Schonberg, NEW YORK TIMES

“For one who has seen and heard the likes of Gobbi, Warren and Tibbett in this role, it takes something extra for a singer to make the role his own for the evening, and Hedlund accomplished this task.” - ALBANY TIMES-UNION.

"As Scarpia, Ronald Hedlund set a new standard for the role. Those who say Gobbi is The Scarpia of our time obviously hasn't seen Hedlund at work. He is positively hateful. His black voice stormed the rafters of the large Palace Theatre, shaking the chandeliers in the lobby, but always under pinpoint control. Dramatically he was devastating. Crouching, twitching in inward spasms of frustrations, he became Scarpia. When at last he died with one final accusatory clench of the hand as he lunged at his killer, the effect was stunning." - Doug de Lisle for The Times Record

As Albert in Werther: San Francisco Opera, Washington Opera, Opera Theater of St. Louis, Miami Opera

“Albert is not a role with any big moments, but the way it is acted and sung by Ronald Hedlund is remarkable. Here is the artistry, the refinement of expression and tone, that Aragall seems to lack.

Even more than Harper, Hedlund seems perfect for this opera. But a performer of such artistic intelligence and taste might be perfect for almost any opera.” - Robert Commanday, SAN FRANCISCO CHRONICLE

As Antony in Antony & Cleopatra: Lincoln Center Performances chosen by Samuel Barber

"Ronald Hedlund disclosed a superior baritone and strong sense of what's right dramatically." - Dayton Daily News.

"Ronald Hedlund was superb as Antony.
His voice has understated elegance and power."- Utica, NY Press

"Ronald Hedlund was a vital, commanding Antony and his voice was rich and vibrant." - Harriet Johnson, NY Post

"Ronald Hedlund was nobly authoritative." -NY Daily News

As Caoudal in Massenet’s Sapho: Carnegie Hall premiere with the Friends of French Opera

"The rest of the cast was not particularly impressive except for Ronald Hedlund who has one of the finest baritone voices extant.” - Frederick Winship, UNITED PRESS SYNDICATED

As Don Giovanni in Don Giovanni: Sarah Lawrence Opera, Opera Illinois, Illinois Opera Theater

"I first heard about you when I was in Aspen. Everyone was raving about a New York production of “Don Giovanni” you had sung. It seemed to be a definitive interpretation both vocally and histrionically. How would I have ever imagined that I would be privileged to collaborate with you in so many blockbuster roles – from Don Giovanni to the 4 basses in “Tales of Hoffman”, to your so moving interpretation of Sharpless and Germont to name but a few. You are a consummate artist. You are the perfect opera singer. You have set a standard that few ever attain. I hope that the future will be bright for you and for your beautiful Barbara and your children – all basking in your glowing aura. Sincerely, Maestro Fiora Contino

As Don Giovanni for the Sarah Lawrence Summer Evenings Series: "Mr. Hedlund's Don was spirited, handsome, and sung with marked understanding. The recitatives were handled with subtlety, and the champagne aria and serenade were treated beautifully." New York Times, Raymond Ericson

As Dr. Dulcamara in The Elixir of Love: Chicago Opera Theater and Illinois Opera Theater

But The Elixir of Love came alive only when Ronald Hedlund rode on stage as Donizetti’s quack medicine man singing idiomatic and understandable English.” - CHICAGO MAGAZINE

As Escamillo in Carmen: Seattle Opera, Miami Opera, Lake George Opera, Aspen Music Festival

“As Escamillo the toreador, Ronald Hedlund's dark, robust bass- baritone was accurate, huge and ringing. He moved smoothly on the stage, projecting just the right air of confidence and dignity.” - SEATTLE TIMES

As Falstaff in Falstaff: Boston Opera New England Tour, American National Opera US Tour, Sarasota Opera, Utah Opera, Illinois Opera Theatre, Michigan Opera Theater, Dayton Opera

“Ronald Hedlund sings Falstaff wonderfully and with a resonance at once warm and commanding.” - BOSTON GLOBE

“Ronald Hedlund, heard in the title role... , was in every way a treasure. Looking the part of the self-satisfied old lecher, who hoped to make a conquest of two ladies, he revealed a rich, well-focused voice, which he used with power and subtlety. His ability to distinguish in style between the anger of the First Act's 'Honor' Aria, the boasting reminiscence of his youth as a page, and the bitterness of his remorse after being dumped in the river Thames, brought real dimension to the role.” - CAPE COD TIMES

“From the outset Falstaff is the giant not only in stature, but in voice and character. If type-casting was the technique employed in choosing Mr. Hedlund for the role--Bravo! He was magnificent.” - WINDHAM COUNTY OBSERVER, PUTNAM PATRIOT

“Ronald Hedlund, in the title role, was not only audible; he was simply overwhelming, as rightly Falstaff should have been. Looking every hit of the 300 to 400 pounds Falstaff supposedly transported (thanks to costume master Patrick Dorman), Hedlund's huge voice was matched by a keen sense of comedy which surfaced in his marvelous use of facial and bodily gestures.” - Robert H. Newall, NEWS Arts Critic

“Baritone Ronald Hedlund in the title role acted and sang with amazing ease and flawless diction. His interpretation of Falstaff never made a buffoon of the enormously stout, comic character. In the 'Honor Monologue' of Act One, which is purely declamatory, Mr. Hedlund synchronized perfectly with the vivid and characteristic accompaniment. His ditty, 'When I was a page, I sung to Mistress Ford in the second scene of Act Two, was both amusing and pathetic; a subtle blend masterfully achieved.” - THE VILLAGE BROADSIDER

“Holding the plot together from the beginning to end was Ronald Hedlund as that wonderfully fat knight, Falstaff. Covered with a padded suit about three feet thick and decked out in layer upon layer of costuming-not to mention a skull cap, wig, and mustache -- it was a wonder a young, slim baritone like Hedlund could move, let alone sing. But Hedlund carried his costume as if it belonged to him as he danced, pranced, waddled, strutted, cowered, and crawled. In the leading role, Ronald Hedlund is magnificent. Whether conceitedly musing on his irresistibility to women, holding his paunch lovingly, or dispensing his outrageously amoral philosophy to his rascally cronies, Hedlund's rich bass-baritone and incisive pronunciation are an added bonus to his many-splendored characterization.” - SARASOTA HERALD-TRIBUNE

As Ford in Falstaff: American National Opera Tour, Opera New England Tour, Indianapolis Opera

“Ronald Hedlund was among the heroes of the evening. He sang and mimed in perfect voice, in a faultless acting performance.” - BOSTON RECORD AMERICAN

"The best voice belongs to Ronald Hedlund as Ford, whose baritone is firm and whose stage presence is virile." - Los Angeles Times

“As the hot - tempered Ford, Ronald Hedlund almost stopped the show." -INDIANAPOLIS NEWS

“managed with artistry as well as a fine exhibition of passion.” - THE NEW YORKER

“Ronald Hedlund as the raging, resonant Ford.” - SATURDAY REVIEW

“The vocal high points of the season were Peter Glossop’s Falstaff and Ronald Hedlund’s Ford.”- BOSTON MAGAZINE

As the Four Villains in Offenbach’s Tales of Hoffman: Performances with Opera Illinois, Oberlin Music Theater

“In his quadruple role as the four villains, Ronald Hedlund is magnificently rich in his baritone voice, but infinitely richer in his depiction of depravity and corruption. Until his final scene as the mad doctor, Hedlund is a fascinating combination of revulsion and comedy. In the final scene, he is insanely - and perfectly - revolting.” - Jinny Jones, CLEVELAND CHRONICLE TELEGRAM

As Germont in La Traviata: Metropolitan Opera Tour, Lake George Opera, Boston Opera Tour, Opera Illinois

“The surprise of the evening was Ronald Hedlund. He created in Alfredo’s father a man of honor and deep emotions.” - CHATTANOOGA TIMES

As Lt. Lukash & Army Doctor in The Good Soldier Schweik: San Francisco Opera, Arlington Opera

“A standout was Ronald Hedlund, an impressive bass remembered here for his performances as the Seven Nemeses in the 1975 “Death in Venice” production. In Schweik, he was commanding as the overbearing doctor ordering "an enema and aspirin" for each and every patient (three times daily for Schweik's rheumatism), and as the all-suffering pompous and woman chasing Lt. Lukash.” - Robert Commanday, SAN FRANCISCO CHRONICLE

As Marcello in La Boheme: Metropolitan Opera National Company US Tour

“The Marcello of the production was the strongest portrayal among the figures surrounding the young lovers. This was baritone Ronald Hedlund, and of them all, including the hero and heroine, Mr. Hedlund might be the one to watch for in future notices. Excellent, rich voice and instinctive acting sense, and that life loving vitality which makes some singers an extra pleasure just to watch.” - John Dwyer, THE BUFFALO NEWS

“A first rate Marcello. The presence of a matinee idol and a baritone voice that poured out round notes as easily as if he were speaking them.” - CHARLOTTE OBSERVER

“Ronald Hedlund’s singing was solid as Marcello, and his acting was of a quality that stood out from the rest of the cast.” - MINNEAPOLIS TRIBUNE

“Excellent, rich voice and instinctive acting sense as Marcello.” - BUFFALO NEWS

As Méphistophélès in Faust: Providence Opera, Opera Illinois, Oberlin Opera

“Ronald Hedlund sang the villain incarnate. The bass-baritone was as suave as could be as well as cognizant of the humor Gounod, in fact, gave him by way of a chuckling bassoon.” - THE PROVIDENCE SUNDAY JOURNAL

As Narbal and Mercury in Berlioz’s Les Troyens: Boston Opera

“ ..there is great strength among the cast... Ronald Hedlund doubles to good effect as Narbal and Mercury. As the former, he is engaged, impressive in voice and musicianship.” - David McKee, The Opera Quarterly

As Nick Shadow in The Rake's Progress: American National Opera American Tour, Lake George Opera Festival, Illinois Opera Theater, Champaign Urbana Symphony

“Ronald Hedlund as Nick Shadow was in total control of what he was doing, the voice was quite in place, a rich and dramatic baritone, and his acting was most properly suave and, yes, devilish.” - ALBANY TIMES-UNION

“Ronald Hedlund as Nick Shadow gives what is probably his best performance in any festival production, and he is one of the company mainstays and favorites. He was vocally and dramatically perfect for the role, devilish in appearance and completely commanding on stage.” - SCHENECTADY GAZETTE

“Ronald Hedlund was excellent in song and action.” - SAN DIEGO UNION

As Osmin in Abduction from the Seraglio: Washington Opera, Kennedy Center

“Above all, in the character of Osmin, it has a comic villain whose full potential can be realized only by a singing actor of epic abilities-someone like Ronald Hedlund in the present production.” - Joseph McLellan, THE WASHINGTON POST

“Ronald Hedlund brings gusto to the role of Osmin, the sultan's choleric, vengeful steward, and quickly wins the audience with malevolent charm. A comic delight as the malevolent Osmin, he is singing with as much gusto as ever--and hitting the role's impossible low notes to boot.” - Lloyd Grove, THE WASHINGTON POST

“The veteran bass Ronald Hedlund was a superior Osmin.” - OPERA MAGAZINE

As Pizarro in Fidelio: Cervantino Festival, Mexico City and Guanajuato, Carnegie Hall, Westfield Symphony, Vancouver Opera, Dallas Symphony

As a singer-actor, bass Ronald Hedlund is an asset to any production. His spoken parts had a profile and vividness not achieved by any of the others. Vocally his voice is even, well focused, and apparently without a flaw.” - THE NEWS (Mexico City)

“Hedlund virtually stole the show every time he appeared--he has stage magnetism enough for an entire cast, and he sings with the same authority and panache.” - THE STAR-LEDGER (Newark)

As Rigoletto in Rigoletto:
Ronald Hedlund's Rigoletto dominated the performance, and that's in line with Verdi's intentions. Hedlund is a singer of enormous conviction, with great power to convey dramatic pathos." John Frayne, News Gazette

As the Seven Nemeses in
Death in Venice: San Francisco Opera US West Coast Premiere, Long Beach Opera

“Ronald Hedlund assumes the various attitudes of Aschenbach's messenger of death with virtuosic glee, suave expressive strokes and a marvelously pliant, resonant baritone.” - Martin Bernheimer, L.A. TIMES

“Remo found a virtuosic ally in Ronald Hedlund, who brought a vivid imagination and a superb, pliant baritone to the gallery of Aschenbach’s adversaries.” - Martin Bernheimer, L.A. TIMES

“Ronald Hedlund, repeating his multiple roles as Aschenbach's mocking antagonist, was superb. Whether the elderly fop or a leering gondolier or the obsequious/sinister hotel manager or the cunning barber, his physical and vocal characterizations were positively virtuosic.” - LOS ANGELES HERALD EXAMINER

“Extraordinary was the achievement of Ronald Hedlund in seven vivid characters throughout the story. In the course of them, Hedlund was a gay old fop filled with glee by his Gayness, a hotel manager and a talkative barber whose services turn even the sedate Aschenbach into a bedizened old fool. Hedlund was equally striking as the leader of a troupe of sardonic street actors, and he appeared as mythological Dionysus.” - SAN FRANCISCO EXAMINER

“Ronald Hedlund was a monumentally authoritative, a quicksilver performer in the seven quasi-Mephisto roles; the timbre of his voice suggested Geraint Evans, especially in the player's sequence.” - OPERA MAGAZINE

“Magnificent is the only word to describe Ronald Hedlund's vocal and physical assumption of the seven parts assigned to him.” - OPERA NEWS

“Whether pacifying the piteous Aschenbach as the hotel manager or luring him on to his ultimate destruction as the God Dionysus, Hedlund used his vibrant voice, an assortment of appropriate vocal colors and excellent diction to cajole and connive with unswerving conviction.”- LONG BEAM PRESS TELEGRAM

“Ronald Hedlund, in the seven disguises of Lucifer, was unqualifiedly superb. His characterization of each disguise was extremely sharp and individual, yet they all hung together. And his suave, fine grained baritone projected every syllable to perfection.” - HIGH FIDELITY/MUSICAL AMERICA

“Ronald Hedlund's characterization of the seven-person nemesis who follows Aschenbach to Venice was protean, not only in quick-change, make-up and hair styles, but in the way he used different gestures, walks, and facial expressions. His rich baritone went from forte to falsetto with buttery ease.” -

Stephanie von Buchau, THE OAKLAND TRIBUNE

As Tarquinius & Junius in The Rape of Lucretia: Metropolitan Opera Tour, Spoleto Festival (Italy), Lake George Opera, Illinois Opera Theater

“The finest work came from Ronald Hedlund, handsomely sung and acted.” - WASHINGTON POST

“His finesse in the rape scene, his economics of brutality are admired, and make this a most successful production at the Lake George Opera Festival.” - KITE, THE CAPITALAND ARTS & ENTERTAINMENT WEEKLY


"Ronald Hedlund's voice quality and technique were ideal for Faure's Requiem. He has a curiously shadowy, faraway quality that is perfect for music of a meditative character. He has a vocal color I find tantalizing and suggestive. My companion and I both thought of several ideal Wagner roles for him." Goddard Graves, The News Gazette

Copland Old American Songs (Books I & II): WILL- FM NPR & Prairie Ensemble Chamber Orchestra

“His interpretations of the Copland songs were certainly the highlight of the concert. Ron was in glorious voice. He outdid William Warfield's standard-setting recording in a couple of the songs.” - Michael Rothe, WILL- FM Radio, WFMT Radio, Radio Deutsche Welle

Bass Soloist in PDQ Bach’s The Seasonings: The Prairie Ensemble Chamber Orchestra

“Adding to the cacophony were the outrageously attired soloists, soprano Dawn Harris, alto Marlys Scarbrough, tenor Jerold Siena, and bass-baritone Ronald Hedlund. The quartet of soloists, was splendidly awful and utterly over the top. Hedlund in particular stole the show and chewed the scenery in his hammy reading of PDQ's demanding aria Open Sesame Seeds.”- Tim Barnes, NEWS GAZETTE