News & Reviews

As Hippolyta in the Aix-en-Provence Festival’s A Midsummer Night’s Dream

“Scott Conner and Allyson McHardy, in the bespangled throwaway roles of Theseus and Hippolyta, make their mark late on by injecting earthly dignity into the midnight mayhem.” (Backtrack, 06 July 2015)
“Scott Conner (Theseus) and Allyson McHardy (Hippolyta) add their stately, but nonetheless spicy, presence to this exhilarating microcosm.” (L’Avant-Scène Opera, 07 July 2015)

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World Premiere of Enchantments of Gwendolyn

On January 27, 2015 Allyson and pianist Adam Sherkin gave the world premiere of Marjan Mozetich’s setting of four poems by Gwendolyn Macewen. Enchantments of Gwendolyn was commissioned by Canadian Art Song Project and premiered in Toronto. Listen to that performance here:

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Handel’s Messiah with the Toronto Symphony Orchestra, Toronto Mendelssohn Choir and Grant Llewellyn

“It was Allyson McHardy’s ‘He was despised’ that was the hit of the evening, dark and dramatic, the best of what the TSO version had to offer.” (Globe and Mail, 19 December 2014)

“As with any Messiah, the weight is on the shoulders of the soloists, and it is imperative that they present the wide-angled narrative with a dramatic contrast that collectively tells the tale of Christian prophecy and resurrection. No one seemed to understand this better than the smoky-voiced mezzo soprano Allyson McHardy.” (Toronto Star, 18 December 2014)

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Reviews of Alcina with Opera Atelier

“Allyson McHardy takes pride of place in the “trouser role” of Ruggiero, combining authentic swagger with a warmth of tone and a dramatic intensity that are riveting.” (Toronto Star, 24 October 2014) Read the full review on the Toronto Star website.
“Allyson McHardy played Ruggiero with a stunning low and warm tessitura – especially for a mezzo-soprano.” (Musical Toronto, 26 October 2014)

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Review: Ligeti’s Requiem with the Royal Concertgebouw Orchestra in Amsterdam

It is an absolutely extraordinary experience to hear the work live, it was one of the most beautiful – but at the same time the most terrifying – pieces of music I have ever heard in a concert hall. From the opening notes onwards Ligeti creates an atmosphere of anxiety, an atmosphere that is overwhelmingly intense and captivating. In the Dies irae, soloists Jane Archibald and Allyson McHardy both shone in their roles with plenty of vocal acrobatics, McHardy being particularly impressive with her warm sound.” (Bachtrack, 28 September) Read the full review on the Bachtrack website.

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Allyson with the Amsterdam Concertgebouw

Allyson is in Amsterdam preparing for performances of Ligeti’s Requiem with the Royal Concertgebouw Orchestra conducted by Jonathan Nott on September 25, 26 & 28. For more information visit the Concertgebouw website

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Allyson’s Concert Series show airs on VisionTV, Friday July 25th at 11pm

The TV show formed from the live taping at the Zoomerplex in May will be aired for the first time on VisionTV, Friday, July 25th at 11pm EST. Allyson offers a program taking us from a saucy Carmen and bewitching Rosina to the plaintive emotions of Xerxes’ Ombra mai fu. Check your local lisitngs for details or visit the VisionTV website.

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Seattle Chamber Music Performances Live Streamed

Allyson makes her first appearance at the Seattle Chamber Music Society’s Summer Festival with performances on July 21 and 23. On July 23rd, she performs Brahms’s Liebeslieder Waltzes with Hyunah Yu, Nicholas Phan, James Westman, Jeewon Park, and Max Levinson. On July 23rd, chamber music enthusiasts are in for a real treat when Allyson performs Kodály’s rarely heard Annie Miller, from Hungarian Folk Music with pianist Jeewon Park as well as Brahms’s Two Songs, Op. 91 with Michael Klotz and Jeewon Park.

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Dora Nomination for Allyson!

Allyson has been nominated for a Dora Award in the category of Outstanding Performance in an Opera for her appearance as Sara in Roberto Devereux at the Canadian Opera Company in May 2014. The awards will handed out on Monday June 23, 2014 in Toronto.

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“Allyson McHardy held court with a gilded mezzo-soprano tone that has set her apart from her contemporaries.”
- Toronto Star