Mae Heydorn’s manipulative Dalila was another matter, her creamy mezzo wonderfully fulsome and able to project her smouldering lower register with ease. Her upper voice held no fears for her either. In Act 1 her “Printemps qui commence” seduced the ear with its yearning (her bare ankles obvious to the audience if not necessarily to Samson), while the sensual “Mon cœur s’ouvre à ta voix” managed to allure both us and Samson with a fine sense of line and gathering momentum that could melt the stoniest of hearts.
A Highly Impressive Samson et Dalila from Dorset Opera Festival – Opera Today
Mae Heydorn’s Dalila is the finest thing here, her voice a rich, dark instrument used with genuine intelligence, and there is real depth. Printemps qui commence was shaped with lovely ease, and Mon cœur s’ouvre à ta voix floated out with the sort of unhurried confidence that makes an audience forget to breathe. She colours the French beautifully and never once pushes for effect.
Samson et Dalila, Saint-Saëns, Dorset Opera Festival, fine singing that provides secure foundations for a shaky production – Opera Scene
Mezzo soprano Mae Heydorn embodies the legendary, sensual temptress, with movements that are sinuous and bewitching in the truest sense of the word, and a voice that can melt gold and freeze to the bone. In terms of both acting and singing it is a massive and demanding role – as is Samson – and Heydorn is as captivating as she is chilling.
Samson et Dalila, Dorset Opera Festival | Fine Times Recorder
Even more psychologically complex is Dalila, who leads her former lover to destruction. Mezzo-soprano Mae Heydorn has the tonal glamour and lower contralto
register needed to address her character's alluring vocal line with success.
The Stage
The complex Dalila herself was given allure and the promise of passion by Mae Heydorn’s mezzo, from which she moved easily down into contralto territory without any discernible change in registers.
Opera Now - Dorset Opera Festival round up 2026 | Live Review - Opera Now
