Vocalist - Baritone, Symphony Pops
SWEENEY TODD - Michigan Opera Theatre

"Stephen Powell sang the title role with utterly perfect technique. His plush, plentiful baritone was as gorgeous in Sondheim's terrifying melodies as it was overwhelming in the character's cataclysmic breakdowns. Powell's terrifyingly cool, withdrawn Sweeney was always simmering."

Jennifer Goltz, Opera News
MOT’s ‘Sweeney Todd’ breaks ground on beloved classic

"...Stephen Powell is an angry, cruel Sweeney... Powell possesses a marvelous, seemingly effortless gravitas that gives his voice profound depth and darkness."

Marin Heinritz, Encore Michigan
"Sweeney Todd" cuts sharply at the Detroit Opera House

"Stephen Powell excels as the revenge-obsessed Sweeney Todd, with a rich baritone voice and passionate delivery to match."

Ronelle Grier, The Oakland Press
"One Amazing Night" - San Diego Opera

"Powell, who sang the title role in San Diego Opera’s 'Rigoletto' earlier this season, was in robust voice, as always. He was mournful in 'Eri tu che Macchiavi quell’anima' in Verdi’s 'A Masked Ball,' serenely focused in 'O du mein holder Abensternden' from Wagner’s 'Tannhauser' and happily at ease with 'How to Handle a Woman' from 'Camelot.'"

Pam Kragen, San Diego Union-Tribune
Milwaukee Symphony finds beauty in Brahms' Requiem

"Powell brought a gloriously resonant, ringing sound to the piece’s baritone solos filling the hall easily with a breathtakingly communicative delivery."

Elaine Schmidt, Milwaukee Journal Sentinel
A consoling 'German Requiem' from Stutzmann and the St. Louis Symphony Orchestra

"Both soloists performed without scores, which gave their singing an immediacy and sense of connection with the audience... Powell’s voice, always well-produced, has grown richer in the last few years, and he brought a richness of interpretation to the score as well."

Sarah Bryan Miller, St. Louis Post-Dispatch
San Diego Opera's Production of Rigoletto at the San Diego Civic Center

"The San Diego Opera's opening-night production of Verdi's Rigoletto featured the powerful voice and convincing acting of baritone Stephen Powell in a title role he has sung often."

Ron Bierman, Broadway World
CARMINA BURANA - Dallas Symphony Orchestra

"Baritone Stephen Powell brought a beautiful tone and fine character projection to the most substantial of the vocal roles,"

Wayne Lee Gay, Texas Classical Review
Rigoletto - Portland Opera

"The majority of the opera’s weight was borne confidently by the hunched back of baritone Stephen Powell in the title role...he soared, drawing out the wounded emotion and raw anger needed to give this iconic role its breadth and power."

Robert Ham, Portland Mercury
A resounding ‘Hallelujah’ for Boston Baroque’s ‘Messiah’

"Baritone Stephen Powell returned to the Jordan Hall stage on the heels of an earthshaking performance in Odyssey Opera’s ‘The Trial at Rouen’ last week; an unhurried and deliberate ‘The trumpet shall sound’ allowed his bountifully resonant voice to bloom, bolstered by Jesse Levine’s soaring baroque trumpet solo. It slowly warmed from the inside, like a good whiskey."

Zoë Madonna, Boston Globe
Dello Joio’s Joan Comes to Life and Death

“Of all the men who are determined to control Joan, the most powerful is the Bishop Pierre Cauchon, sung by baritone Stephen Powell, making his debut with Odyssey. He was absolutely splendid vocally and also with the intense, unyielding focus that Joan confess and yield to the demand that she dress like a woman. Whenever the two of them measure off, sparks fly.”

Steven Ledbetter, Boston Musical Intelligencer
Dello Joio Revealed

"When Stephen Powell, baritone, took the stage, robed in crimson as a prince of the Church, he almost stopped the show with his commanding evocation of Joan’s nemesis, Pierre Cauchon. His vocal range and tone were totally up to the challenges that his role required. He created a palpable, believable and impactful stage presence. Bravo!"

John Ehrlich, Classical Scene
Odyssey Opera unearths musical treasure with Dello Joio's, "The Trial at Rouen"

"As Pierre Cauchon, Stephen Powell sang with a strong, cavernous voice that had just the right touch of darkness to bring out the character’s stubborn hostility. Yet he, like Joan, is also convinced of his own religious righteousness, and Act 2 prayer rang with conviction."

Aaron Keebaugh, Boston Classical Review
La Traviata – San Diego Opera

"Powell quite literally stole the performance with his nuanced acting, fine singing and splendid top voice in 'Di Provenza il mar.'"

Charlene Baldridge, Opera News
KC Symphony offers thought-provoking performance with monumental 'War Requiem'

"Stephen Powell and soprano Christine Brewer were expressive and powerful."

Libby Hanssen, Kansas City Star
SDO's La Traviata

"We had Stephen Powell as Germont. Mr. Powell is a seasoned opera singer. This is the guy you want to hear. He’s been doing it for over 20 years, and he is in the prime of his singing career. He was spectacular."

Garrett Harris, San Diego Reader
Fine Traviata Completes SDO Season

"Stephen Powell sang the often-ungrateful part of Alfredo’s custom-bound father, Germont. Powell’s large, resonant voice enchanted the San Diego operagoers, and they greeted his aria “Di Provenza il mar, il suol” (“The sea, the soil of Provence”) with momentous applause."

Maria Nockin, Opera Today
La Traviata - Seattle Opera

"Stephen Powell was a magisterial, powerful Germont."

Mark Mandel, Opera News
Dinner at Eight - Minnesota Opera

"Stephen Powell also excelled as Millicent's husband Oliver, financially and physically on the edge of collapse."

Thomas May, Musical America
Messiah - Philadelphia Orchestra

"Stephen Powell's dark, portentous baritone can really move when the music gets fast."

Matthew Westphal, Philadelphia Inquirer
The Makropulos Case - San Francisco Opera

"Baritone Stephen Powell's gruff and rather nasty Baron Jaroslav Prus gets what he wants.... His dark-sounding voice is well-suited to the role. His consternation at the finale seems genuine."

Philip Campbell, Bay Area Reporter
‘Makropulos Case’ at S.F. Opera

"Baritone Stephen Powell was a robustly menacing Baron Jaroslav Prus ..."

Georgia Rowe, Mercury News
Capturing a complicated Otello

"Stephen Powell’s ... resonantly sung “Credo” made a strong impression ..."

Michael Anthony, Minneapolis Star Tribune
Minnesota Orchestra’s ‘Otello’ full of exceptional musicianship

"The dominant performer was Stephen Powell as the duplicitous Iago, every false assurance and malevolent reaction layered and shaped, every note powerful and precise."

Rob Hubbard, St. Paul Pioneer Press
Carmina Burana - Tanglewood

"Baritone Stephen Powell had audience and performers alike laughing when he drunkenly wobbled to his feet to sing as the Abbot of Cockaigne."

Keith Powers, Patriot Lodger
Macbeth - Michigan Opera Theatre

"A veteran of meatier, more playful roles such as Falstaff, baritone Stephen Powell contended here with the undifferentiated gloom of the role of Macbeth. Powell’s undeniably powerful voice seethed with potential until his astonishing Act IV andante, when the gleaming beauty and sumptuous musicality of his rich baritone was finally given resplendent display."

Jennifer Goltz, Opera News
Tosca – Minnesota Opera

“Stephen Powell’s vivid Scarpia would have been career-making if his career hadn’t already been made. More than an archetypal villain, this police chief (robed, perplexingly, as an ecclesiastical figure at the close of Act I) was a force of nature, predatory and indefatigable. At moments his singing seemed almost too beautiful: one wanted harder edges and more gravel in the voice. Yet this was a portrayal to savor, delicious in its evocation of unbridled evil.”

Larry Fuchsberg, Opera News
Kansas City Symphony premieres revelatory composition that vividly evokes World War I

"Baritone Stephen Powell performed the vocal role in the third movement with poignant clarity and smooth control, the lines presented in straightforward and heartfelt fashion."

Libby Hanssen, Kansas City Star
MOT debuts solid ‘Lady Macbeth’

"Baritone Stephen Powell shone brightly as Macbeth. His burnished, bronzed voice has great beauty and range, but Powell knows how to use it to underscore his character’s guilt and fear."

George Bulanda, Detroit News
Sumptuous Tosca Muddles Imagery, Makes Out Musically

"Stephen Powell’s deliciously evil Scarpia was thrilling throughout, but especially in 'Va, Tosca.' His baritone voice has a dark, rich tint to the vibrato that is especially pleasant to listen to."

Basil Considine, Twin Cities Arts Reader
Total: 122 (Viewing: 1–30)