Vocalist - Baritone, Symphony Pops
Acclaim
 
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
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
Minnesota Opera's 'Tosca'

"Stephen Powell was a formidable Scarpia: a venomous smoothie, his singing resonant and powerfully inflected."

Michael Anthony, Minneapolis Star Tribune
Three leads power Minnesota Opera’s ‘Tosca’

"Baritone Stephen Powell sinks his fangs into the role [Scarpia] with relish, his powerful, thickly textured voice combining with his creepy smiles and brutish physicality to produce a genuinely intimidating figure."

Rob Hubbard, Saint Paul Pioneer Press
La Traviata – Opera Philadelphia

“Stephen Powell [was an] excellent Germont.... The masterful Powell, (deliberately) stiff in demeanor but dispensing firm legato lines and finely honed dynamics.... World-class.”

David Shengold, Opera News
This 'La traviata' makes news

“The best chemistry happens between Violetta and Alfredo’s father, sung by baritone Stephen Powell. Powell was born to sing this role. He looks it, he acts it, and he brings a lovely humanity to it. The last part comes by way of a voice that is not only deeply resonant, but also full of overtones.”

Peter Dobrin, Philadelphia Inquirer
La Traviata - Opera Philadelphia

“Seasoned baritone Powell impresses with his rich, mature voice and commanding stage presence as the angry and scandalized patriarch who comes to respect the dignity of his son’s lover, defends her against Alfredo’s offensive insults, and ultimately feels responsibility, guilt, and repentance for his role in her unhappiness.”

Debra Miller, Phindie.com
Landmarks Orchestra plays all-Italian on the Esplanade

“The star of the evening was baritone Stephen Powell, who opened the concert with the Prologue to Leoncavallo’s ‘Pagliacci.’ Here and in Iago’s ‘Credo in un Dio crudel,’ from Verdi’s Otello, he commanded a full range of emotions, with a gloriously rich voice and exemplary diction. At the end of Iago’s aria, the line ‘E poi? La Morte e il Nulla’ sent chills down my spine. The last section before intermission was the finale from Act I of Puccini’s Tosca, in which Powell sang Scarpia to Barbara Shirvis’s Tosca.... Powell and Shirvis are husband and wife, and they matched each other in beauty of voice and passion. It made me wish I could hear them in the complete opera.”

Jeffrey Gantz, Boston Globe
La Favorite – Caramoor Festival

“Vocally, the evening was dominated by Stephen Powell as Alphonse — the richest and most fully drawn character, who is a clear model for Ernani’s regal Carlo. Powell exuded authority while using his fine sense of line and genuinely beautiful baritone to dispense Donizettian elegance, including a trill, true pitch and nuanced dynamics.”

David Shengold, Opera News
CARMINA BURANA – Cleveland Orchestra and Chorus

“The baritone Stephen Powell sang with force, an assured tone and lots of character, inhabiting his solos as if he were on the opera stage. He brought sulfurous anger to his first solo in the Tavern section and a bilious pomposity, complete with staggering and a well-timed hiccup, to the song of the Abbot of Cockaigne.”

David Fleshler, Miami Herald
SWEENEY TODD - Virginia Opera

“In the title role, Stephen Powell’s commanding work started with his intensely focused look, which suggested a single glance could have turned Sweeney’s enemies into stone, had there not been a more elaborate plan in mind. The baritone’s dark, solid voice and wonderfully animated phrase-sculpting were matched to an affecting portrayal of the tormented soul.”

Tim Smith, Opera News
Total: 113 (Viewing: 1–30)