The New York Times praised Maeve Höglund as “a striking soprano,” and one who “stands out among singers.” For her performance of Carmina Burana with Tuscan Symphony Orchestra, Green Valley News proclaimed that “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.” Her performance of the Princess in Die Prinzessin auf der Erbse with Gotham Chamber Opera was described as “portrayed with flair by the excellent soprano Maeve Höglund” while the Kurt Weill Newsletter observed “the hyper-fussy Princess (the stunning-voiced soprano Maeve Höglund) toss[ed] restlessly in bed….Höglund reaffirmed her status as the evening’s vocal stand-out after intermission, in the Hindemith.”

Maeve Höglund makes her Opera Philadelphia debut in the 2017-18 season as Lola in the world premiere of David Hertzberg’s opera The Wake World. She also makes her Michigan Opera Theatre debut as Susanna in Le nozze di Figaro, and is concert soloist in Messiah with Milwaukee Symphony Orchestra. Her engagements in the 2016-17 season included performing Musetta in La bohème with Charleston Opera, Margaret Hughes in Carlisle Floyd’s Prince of Players with Little Opera Theatre of New York, and Arminda in Mozart’s La finta giardiniera with On Site Opera’s co-production with Atlanta Opera. In the 2015-16 season, Maeve debuted with PORTOpera as Frasquita in Carmen, and with Long Beach Opera in Ter Veldhuis’ The News. She also sang Giunia in Mozart’s Lucio Silla for her Chicago Opera Theater debut, and was soloist in Carmina Burana with Tucson Symphony Orchestra.

Other past engagements included starring roles in Gotham Chamber Opera’s production, Baden-Baden 1927, featuring works by Weill, Hindemith, Toch, and Milhaud; as well as Atilia in Cavalli’s Eliogabalo; Dafne in Apollo e Dafne with Pocket Opera; Rose in The Clever Mistress and Lucrezia in My Last Duchess, both with Cutting Edge Opera. She was soprano soloist in Mozart’s Requiem with the American Classical Orchestra and toured London with Wynton Marsalis, performing his Mass with the Jazz at Lincoln Center Orchestra.

Recordings include: Stefan Weisman’s opera, Darkling, released by Albany Records, as well as the recording of the complete vocal works of Victor Herbert, released by New World Records.

A native of Olympia, Washington, Maeve was trained in piano, theater, and dance. Her exposure to both musical and dramatic theatre inspired a desire to master vocal technique, leading her to study classical singing and opera. She received her Bachelor of Music degree in voice from the New England Conservatory in Boston and master’s degree from Manhattan School of Music in New York City.

Distinctions include winner of a Giulio Gari Foundation Scholarship, Gerda Lissner Award recipient, Bel Canto Vocal Scholarship Competition and semi-finalist in the Rochester Classical Idol.