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Mr. Mackey has a fine baritone voice of even and rich quality. He sings with excellent line and technique; he is intelligent and musical, and always rewarding to work with.


Sir Peter Pears and Nancy Evans

Wagner : “Parsifal“  Staatsoper Hamburg

„…Auch die kleinen Parteien waren kompetent besetzt; ...fiel der neuengagierte Hugh Mackey als zweite Gralsritter mit wohlklingendem Material angenehm auf,...“


“Even the small parts were competently taken ; …the newly engaged Hugh Mackey attracted attention as the Second Knight of the Grail with good-sounding material…”

 Das Opernglas  P. Schünemann

Opera Aria Concert: Arias and Scenes: Leoncavallo, Puccini, and D’Albert. Meissen, Riesa, Germany.

“Die Überraschung des Abends …Londoner Bariton Hugh Mackey. Schon im Prolog zum „Bajazzo“ war er ganz präsent, und erst recht ließ er aufhorchen in der (wie im Prolog auch hier in Italienisch gesungenen) Arie des Edgar „Questo Amor” aus der ganz selten gespielten gleichnamigen Oper Puccinis. Mackey ist mit wahrhaft schönem Stimmaterial begabt, verfügt über ein nobles Timbre und lasst auch Ansätze zur Dämonie spuren, wo sie hingehört. Ein ausgereifter „Opernschurke “ist er noch nicht, aber er hat das Zeug dafür, auch ein ganz großer Scarpia zu werden. Wäre ich ein Opernintendant, wurde ich ihn auf der Stelle engagieren“

„The surprise of the evening…London baritone Hugh Mackey.

Already in the Prologue to "I Pagliacci" he was quite present, and he made one sit up and listen even more in the (as in the Prologue, here in Italian sung) aria of Edgar "Questo Amor" from the very rarely played eponymous opera by Puccini. Mackey is gifted with truly beautiful vocal material, has a noble timbre and also suggests hints of the demonic where it belongs. He is not a mature "operatic villain" yet, but he has what it takes to become a very great Scarpia too. If I were a director of opera, I would hire him on the spot. "


Sächsische Zeitung Dresden Dr. Dietrich Wolf.

Offenbach: “Daphnis and Chloe”

"Hugh Mackey was a riotous Pan"

“The Stage” Anne Morley-Priestman

Haydn: “The Nelson Mass“

“The baritone, Hugh Mackey, was the outstanding soloist in Haydn’s “Nelson Mass”, with a beautiful contribution in the “Qui Tollis” ...Vaughan Williams’” Five Mystical Songs” gave Mr. Mackey another opportunity to display a fine voice and sensitive musical perception.”

D. S. Kentish Times

Tchaikovsky: “Iolanta” Rostropovitch Festival Snape Maltings Aldeburgh

“Hugh Mackey lifted his energetic baritone untiringly to meet Tchaikovsky’s demands”


The Times Hilary Finch

“Hugh Mackey filled with much aplomb the important role of Robert”


The Guardian Hugo Cole

“Hugh Mackey displayed tone as Robert…a promising well-aligned baritone”


The Telegraph Alan Blyth

Mozart “La Finta Semplice” Camden Festival

“the velvet-voiced Hugh Mackey”


Hampstead Highgate Express Denbigh Richards

“A strong case for the lower classes was presented by…Hugh Mackey’s orderly Simone”


The Times Peter Stadlen

“…and Hugh Mackey the Simone, … you had to read the programme to learn that he was Fracasso’s orderly, since neither his costume nor his demeanour told you.”


Opera Magazine Rodney Milnes

“Hugh Mackey sang Simone, Fracasso’s orderly with good cheer”


The Financial Times Stanley Sadie

Cardiff Singer of the World

“In the great ‘O Du mein holder Abendstern‘ Hugh Mackey showed how well he could sustain long expansive lines”


A J Sicluna Western Mail St David’s Hall

Goetz: “Der widerspenstigen Zähmung“ Wexford Festival

“The role …of Grumio, Petruchio’s servant……nimbly handled by Hugh Mackey”  


The Irish Times Michael Dervin

Bach: St. Matthew Passion

“Hugh Mackey sang the bass solos with admirable style and dignity…”


Bach: St. Matthew Passion. St Anne's Cathedral. Rathcol Belfast Telegraph

Haydn: La Vera Costanza

“Hugh Mackey …displayed a fine baritone…”


Irish Independent Mary MacGoris

“Hugh Mackey was a delightfully dotty high-camp rival”


The Sunday Tribune Ian Fox

“What one remembers most is…the silent-movie style grimacing of Hugh Mackey as the amorously ineffectual Villotto”


The Irish Times Michael Dervin

“convincing performances …Hugh Mackey’s well-observed Villotto”


The Sunday Independent Gus Smith

“Hugh Mackey provided a splendid Villotto, an hilarious high-camp rival”


Opera Magazine

Handel: „Messiah“ German Tour

„Hugh Mackeys runder, in allen Lagen ausgeglichener Bass-Bariton…“

“Hugh Mackey's round, at all times, balanced Bass-Baritone…”


Ana Popescu

„der majestätische, dabei niemals überladen singende Bassist Hugh Mackey“

„the majestic, but never over-weighted singing Bass Hugh Mackey”


 Taunus Kurier Michael Jacob

„Als Bassbariton von kernigem Klang war Hugh Mackey nicht zuletzt ein souveräner Interpret der Arie „Why do the nations so furiously rage“

„As a bass-baritone of powerful sound, Hugh Mackey was not least a sovereign interpreter of the aria

„Why do the nations so furiously rage“


Frankfurter Allgemeine Feuilleton Rolf Lieberum

„Der in Belfast geborene Bass-Bariton Hugh Mackey entfachte in den beiden Arien …dramatische Feuer“

„The Belfast-born Bass-Baritone Hugh Mackey sparked dramatic fire in both arias…”


 Michael Dellith

„Vor allem der Bassbariton Hugh Mackey ... er gestaltete seinen Part so wie man es üblicherweise erwartet, wenn man solistisches Singen als den authentischen Ausdruck einer Persönlichkeit im Dienst am Werk begreift. 

Seine Ausdruckskraft und Warme bei vollkommen beherrschter Stimmführung haben sehr beeindruckt. Sein „The Trumpet shall sound“ wird noch lange nachklingen“


„Above all, the bass-baritone Hugh Mackey, ... he embodied his part as one would normally expect if one understands solo singing: as the authentic expression of a personality in the service of the work.

His expressive power and warmth with a perfectly controlled voice impressed a great deal.

His “The Trumpet shall Sound” will linger for a long time”



Eckhard Albrecht Kultur Hildesheim

Spontini : Fernand Cortez

A resaltar los papeles del Baritono Hugh Mackey…Mackey fue un asombroso Gran Sacerdote, gran fuerza y nada amedrentado por le sonido que salia a sus espaldas desde el coro y los atriles


To highlight the roles of Hugh Mackey…Mackey was an amazing Grand Priest, with great force and not at all intimidated by the sound that came from behind him from the choir and the lecterns


Raul Martinez

Opera Studio

“Hugh Mackey made an outstanding impression, from the point of view of firmly and vigorously integrated stage presence, expressive breadth and assurance of voice and body, and sure grasp of idiom. As Verdi’s Macbeth, his supple, subtle moulding of line contained terror and pathos at its most concentrated: his “tutto e finito” was as chilling as his enunciation later in the evening of Rigoletto’s curse”.


Opera Magazine Hilary Finch

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