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“It’s Mae Heydom who steals the show as their mother Gertrud, doubling as Die Knusperhexe. Her powerful voice and awesome stage presence, bring menace and knowing humour to the evening.” David Winskill

“Herodes & Herodias sind bei Markus Ahme & Mae Heydorn bestens aufgehoben. Sie singen und sie schauspielern: perfekt.” Kultura - Extra 


“Swedish contralto Mae Heydorn, in the role of her mother Gratiana, provided gravity and Wagnerian presence whenever she was on stage, providing one of the absolute highlights of the opera in her 4th scene trio with Robinson and Zanetta, a masterful display of vocal counterpoint, emotion and impassioned musicality.”

Planet Hugill

“a gorgeously sung Erda from Mae Heydorn”


“But almost the most beautiful singing of the whole evening, and the most magical touch, comes from the Erda, Mae Heydorn.”

"the trios first of Norns – notably Mae Heydorn – ...all made their mark"       The Guardian

For Erda, awoken from her long deep sleep, Wagner directs that she “appears to be covered with hoar frost, her hair and garments throw off a glimmering brightness”. As the vocally superb Mae Heydorn writhed slowly inside a gauze envelope, that is exactly what we saw.


La Nonne / La Nonne Sanglante “Mae Heydorn was the star turn as the nun”

Erda / Siegfried /Longborough Festival Opera Three singers in smaller roles were mightily impressive: Mark Stone’s power-hungry and vengeful Alberich, Simon Wilding’s unusually poignant Fafner and Mae Heydorn’s bewildered Erda which she sang with focussed intensity and contralto richness.

Mark Stone’s wild mop-haired Alberich, guarding the treasure, and Mae Heydorn as Erda, the earth goddess and mother of Brünnhilde, are both impressive.

A richly sonorous Mae Heydorn as the earth Goddess Erda is marvellously matriarchal.

His Act III meeting with Erda (a splendid Mae Heydorn) is suitably terrifying as he stands on a rock with his staff, and she appears behind him within the frame clutching her own.

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