Vocalist - Soprano
Grant Park Music Festival delivers a powerful “Missa Solemnis” on another rainy night

"Maeve Höglund’s soprano was a pleasure throughout—easily flexible throughout her range, rich of tone and soaring over the ensemble."

Lawrence A. Johnson, Chicago Classical Review
Lyric Opera of Kansas City’s luminous 'The Pearl Fishers' resonates with modern imagination

"Maeve Högland was incandescent as the proud and pure Leila... with clear-voiced delivery and relative ease to her vocal acrobatics. Her Leila was smart and true and fierce, defending herself, defending her love, and demonstrating a tenacity and nobility that the male characters lacked."

Libby Hanssen, KC Studio
‘Lucia di Lammermoor’ by Maryland Lyric Opera

"All Lucias are judged by their mad scene, but from the moment Höglund offered us her "Regnava nel silenzio" in the first act, we were promised good things to come... she has a seamless column of sound, and an instrument flexible enough to take on what is some of the most demanding coloratura singing in all of opera... Höglund's singing is compelling but so is her acting, which was more restrained, but as effective, as another great actress-singer and interpreter of the role, Anna Netrebko."

Whitney Fishburn, DC Metro Theater Arts
Le nozze di Figaro - Opera Maine

"Maeve Höglund was a charming, fiesty Susanna, and her stellar soprano brightened the ensembles. Her fine rendition of 'Deh vieni, non tardar' was equally impressive for its warmth and feeling." 

Cornelia Iredell, Opera News
Opera Maine doesn’t need frills for a thrilling ‘Figaro’

"Maeve Höglund, as Susanna, Figaro’s bride, offered a similarly nuanced performance, both on her own – her account of 'Deh vieni' was a delight – and in her ensemble interactions."

Allan Kozinn, Portland Press Herald
The Wake World - Opera Philadelphia

"[The] central pair of principals gave generous, impressive performances. Maeve Höglund dealt with Lola's marathon duties, vocal and dramatic, with amazing aplomb."

David Shengold, Opera News
World Premiere of ‘The Wake World’ by Opera Philadelphia

"The cast is headed by soprano Maeve Höglund as Lola.... she emerges as a superstar who encompasses brilliant high notes and chesty low ones with strong dramatic flair and believable acting."

Steve Cohen, DC Metro Theater Arts
The Wake World Is O17’s Glamorous Swan Song

"Hats off to all of them, particularly ... Maeve Höglund in a true theatrical and vocal tour-de-force as Lola."

David Fox, Philadelphia Magazine
5 Operas in 72 Hours: A Philadelphia Festival Is a Test of Survival

"We meet young Lola (Maeve Hoglund, in a gleaming performance of a daunting role) ..."

Anthony Tommasini, New York Times
An Organic Integration: The Wake World

"Soprano Maeve Höglund sings exquisitely and brings an infectious wonder to the role."

Erik Flaten, Schmopera
O17 hits the Barnes with a hallucinatory fairy tale

"When the soprano loses it and you’re sitting close enough to feel her breath, the singing had better be good, and very good it was. Lola the seeker, sung by soprano Maeve Höglund (in a dress inspired by a Renoir painting in the collection), was astonishingly assured."

Peter Dobrin, Philadelphia Inquirer
La Finta Giadiniera - On Site Opera

"As the haughty, changeable Arminda, Maeve Höglund was equal parts fashion plate and spitfire, demonstrating a shining soprano and quick comic chops."

Joanne Sydney Lessner, Opera News
Mozart’s ‘Secret Gardener’ Amid Real Flowers

"The honeyed warmth of Maeve Höglund’s soprano (the noble Arminda) gained impressive bloom in the course of the evening...."

Corinna da Fonseca-Wollheim, New York Times
A King in New York: Opera Royalty Carlisle Floyd Brings His ‘Prince of Players’ to the Big Apple

“Soprano Maeve Höglund (who alternated with Jessica Sandidge, not viewed here) as Margaret ‘Peg’ Hughes – Kynaston’s dresser and eventual stage rival and replacement – exhibited luscious vocal sensuality and luminous emotion.”

Charles Geyer, La Scène Musicale
The Prince of Players - Little Opera Theatre of NY

"There were some attractive vocal performances to enjoy, in particular that of Maeve Höglund as the earnest Margaret."

James Jordan, New York Observer
At 90, Carlisle Floyd Scores a Fresh Opera Hit

"... the feisty soprano Maeve Höglund as Margaret Hughes, his dresser, who yearns to act and becomes a star after the king’s edict."

Anthony Tommasini, New York Times
Carlisle Floyd’s 'Prince of Players,' a gently compelling opera of gender issues at LOTNY

"As Margaret, the woman who covets the chance to sing onstage, soprano Maeve Högland had some of the evening’s most affecting lines, shrewdly saving some of her best moments for the final scenes. When she quietly sang to Kynaston, 'I know you can’t feel the same way,' the sadness rippled through the theater."

Bruce Hodges, New York Classical Review
Carlisle Floyd’s new opera

“Soprano Maeve Högland was wonderfully appealing as Peg, Kynaston’s dresser ..."

Steve Cohen, Opera Critic
Carmen - PORTopera

"The appealing foursome of gypsies and smugglers was led by the bright soprano of Maeve Höglund as Frasquita ...”

Cornelia Iredell, Opera News
The News - Long Beach Opera

"Soprano Maeve Höglund ... introduces a soaring lyricism."

Timothy Mangan, Opera News
Long Beach Opera Satirizes Contemporary Politics in 'The News'

"Soprano Maeve Höglund has a beautiful, powerfully expressive voice that covers an astonishing range that thrills when she soars into the stratosphere."

Jim Ruggirello, Grunion Gazette
A Dutch composer dissects American media in 'The News' opera

"The News' theme is an often jarring exploration of news media, exquisitely expressed by the voices and antics of the attractive anchors, soprano Maeve Höglund...."

Ed Rampell, People's World
'The News' at Long Beach Opera

"Front and center are the two 'anchors,' 'rhythm vocalist' Loire Cotler and soprano Maeve Höglund. There isn’t a single vocal misstep between them. Höglund makes her sometimes soaring vocal flights seem easy...."

Greggory Moore, Random Lengths News
Is it news or entertainment?

"Long Beach Opera goes full bore with rhythm vocalist and soprano Maeve Hoegland as the anchors and a staging by Tanya Kane-Parry...."

Mark Swed, Los Angeles Times
TSO’s 'Carmina Burana' commanding

"Höglund possesses a crystalline range in both chest and head tones and the unerring ear required in this late-romantic/early modernist piece. She had no trouble staying atop the large orchestra and chorus with powerful and a pleasantly penetrating timbre."

Donald J. Behnke, Green Valley News
Grams performs 'Carmina Burana' that will be hard to follow

"Guest vocalist Maeve Höglund had a lovely, warm soprano that married well with the Boys Chorus’ voices."

Cathalena E. Burch, Arizona Daily Star
At Lyric Opera and COT: a pair of Mozart operas

“In each production, there’s also a dominant element: ... at COT, it’s soprano Maeve Hoglund’s standout performance as Giunia, the object of Silla’s unwanted affection.”

Deanna Isaacs, Chicago Reader

“A strong cast [was] headed by Maeve Höglund as Giunia, her creamy, technically secure soprano possessing the proper weight and agile coloratura needed for the opera's pivotal role.... Höglund brought drama aplenty to her recitative and agitated aria that end the second act.”

John von Rhein, Chicago Tribune
Lucio Silla - Chicago Opera Theater

“Höglund’s Giunia was a marvel.... In this production, the virtuous Giunia is transformed into a hothead who almost stabs Silla with scissors during her rage-filled first aria ‘Dalla sponda tenebrosa.’ Höglund adjusted the color of her voice to her character’s many moods. She pulled off the requisite vocal pyrotechnics with aplomb, but was equally moving in the simple recitative ‘Se l’empio Silla.”’

John Y. Lawrence, Chicago Classical Review
Le Nozze Di Figaro - Sarasota Opera

“As Susanna, Maeve Höglund … sang with dedication and rose to the challenge of ‘Deh vieni, non tardar' with a graceful rendering.”

Lawrence A. Johnson, South Florida Classical Review
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