News & Reviews

“Marguerite doesn’t show up until the second half in Berlioz’s version but Allyson McHardy made the most of her belated appearance as Faust’s doomed beloved. Resplendent in a midnight-blue gown, McHardy’s high mezzo-soprano proved apt for this Gallic idiom. The Canadian singer brought inner feeling and refined lovely tone to the King of Thule ballad…

“Suzuki…poignantly portrayed by Allyson McHardy” (Vancity buzz, 7 March 2016)
“As Suzuki, Butterfly’s servant and only confidant, mezzo Allyson McHardy makes the most of her telling supporting role” (Vancouver Sun, 6 March 2016)

“Allyson McHardy held court with a gilded mezzo-soprano tone that has set her apart from her contemporaries.” (Toronto Star, 23 January 2016)
“Allyson McHardy a burnished mezzo.” (Globe and Mail, 22 January 2016)

“Among the other principal roles, the discovery of two beautiful and powerful dark voices: the Canadian mezzo Allyson McHardy and the American baritone Morgan Smith, she in the role of the servant Cio-Cio-San, he as the American consul. Moreover, the young McHardy brings to this secondary role much more power and humanity that one usually sees in this character.” (La Presse, 20 September 2015)

“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)

“The mezzo-soprano voice and acting talent of Allyson McHardy leading this musical soundscape guaranteed an exciting evening. McHardy sang this rewarding role with great intensity.” (Oper Aktuell, 14 March 2015)

“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)

“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)

“Allyson McHardy as Ruggeiro (Bradamante’s man, but played by a woman) sang a heart-wrenching “Verdi prati”; while she’s a singer who has ventured into many sorts of repertoire I have a weak spot for her Handel, the voice reminding me of Janet Baker.” (Barczablog, 14 October 2014) Read the full review on the Barczablog website.

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.