Vocalist - Baritone, Symphony Pops
"Powell brought a full complement of vocal gifts to his assignment: a weighty but agile sound, splendid diction, expressive ardor and technical precision in even the most challenging passagework. This was a performance of rare vitality and beauty."
Joshua Kosman, San Francisco Chronicle
"Powell filled the hall with his free, open baritone, taking stage with impressive swagger in the toreador aria from 'Carmen.' It seemed the audience held its breath during his hushed, heartfelt floating of the hymn to the evening star from 'Tannhäuser.'" Read More...
Roy C. Dicks, News & Observor (NC)
The Grapes of Wrath Collegiate Chorale & American Symphony Orchestra, Carnegie Hall
Powell was in fine form all night as a thoroughly credible Uncle John, holding his own with the choral floodtide in the stirring "Little Dead Moses."
David Shengold, Opera News
A 'Carmina Burana' for the ages
"The soloists were excellent. Powell, who sang Miller in the May Festival's ‘Luisa Miller,' was richly communicative in his solos such as ‘In Taberna' (In the Tavern). But he stole the show in the role of the drunken abbot, as he stumbled and hiccupped through the humorous words. It may be hard to ever hear this performed ‘straight' again."
Janelle Gelfand, Cincinnati Enquirer
FALSTAFF - Pittsburgh Opera
"Stephen Powell (Ford) played the cuckold well, with a booming voice."
Andrew Druckenbrod, Opera News
Baritone delivers a superb 'Falstaff'

“Powell was spectacular as Ford.”

Andrew Druckenbrod, Pittsburgh Post-Gazette
“There can be few better Germonts around than Stephen Powell, who contributed fine, generous tone and splendid legato.... It would be rude – yet so easy! – to list less qualified Germonts the Met has employed while ignoring Powell for the last decade.”
David Shengold, Gay City News
Baltimore Symphony closes summer season with Beethoven's Ninth
"Baritone Stephen Powell phrased his opening lines with rich tone and welcome nuance."
Tim Smith, Baltimore Sun
La Traviata, New Orleans Opera, 4/17/09
"It was not until Act II that the audience was treated to the real vocal star of the evening — baritone Stephen Powell, making his highly welcome New Orleans Opera debut as Germont. Powell's rendition of 'Di Provenza' was a model of how this aria should be sung. As an actor he fully conveyed the dignity and nobility of this character; his voice was unfailingly warm and evenly produced."
George Dansker, Opera News
La Traviata Reborn
"And singing a most convincing Germont, with a voice and bearing that make you wonder why the Met only casts him in secondary roles, is baritone Stephen Powell."
Jason Victor Serinus, San Fransisco Classical Voice
Das Klagende Lied, The Philadelphia Orchestra, The Philadelphia Singers Chorale
"Baritone Stephen Powell, a mainstay of Philadelphia-area concert life, offered superb legato and handsome, resonant tone at all dynamic levels."
David Shengold, Opera News
Rarely shown opera enthralls May Festival
"American baritone Stephen Powell, as Luisa's father, Miller, conveyed the grief and pain of a father whose heart is broken with warmth and richness of tone. His duet with Luisa, pledging to wander the earth in poverty, was one of the highlights."
Janelle Gelfand, Cincinnati Enquirer
Bass Stephen Powell kept up the dramatics, swaying and hiccupping his way through an abbot's drinking song. But Powell also sang beautifully, yearning at the high end of his range in a lonely man's lament -- "the chattering of maidens makes me weep."
New Jersey Star-Ledger
Affirming the Power of Brahms's 'Requiem'
"Stephen Powell commanded a burnished baritone that was emotionally captivating, lyrical and dramatic without crossing over into operatic territory."
Grace Jean, Washington Post
"The evening's best performance -- beautiful tone, persuasive phrasing, clearheaded dramatic acumen -- came from Stephen Powell; there can't be many better Fords around." Read More...
David Shengold, Opera News
"Just as Zurga was 'King of the Pearl Fishers,' so baritone Stephen Powell was 'King of the Kentucky Opera Stage.' Vocally commanding, always sturdy and rock-solid, a column of bronze sound, Powell made Zurga into a sympathetic hero. As Leila, cause of all the romantic dust-up between tenor and baritone, Barbara Shirvis (Powell's wife offstage) was equally commanding in a strong-willed and brave portrait -- a superb complement to Powell's Zurga. The Leila-Zurga confrontation in Act III was dramatically thrilling." Read More...
Charles H. Parsons, Opera News
"Baritone Stephen Powell was a splendid Camoëns, crisp and authoritative, his Act III recitative and aria charged with urgency and his Act V barcarolle a model of supple phrasing." [DOM SÉBASTIEN - Opera Orchestra of New York]
F.Paul Driscoll, Opera News
"Stephen Powell's splendid baritone and style-attuned artistry enriched the marvelous part of the poet/warrior Camöens-long lines, tapered dynamics, and the breath control to end the evening on a thrilling long-held final note." [DOM SÉBASTIEN - Opera Orchestra of New York]
David Shengold, Opera
"These days Shirvis and Powell enjoy performing together with a song recital dubbed 'Hearts Afire,' though they're careful not to oversell themselves as a package. "I think we're at the point in our lives where people know us separately," Powell said." Read More...
Andrew Adler, Louisville Courier-Journal
"Stephen Powell ... embraces the ennui-stricken Onegin with a striking blend of austerity and vulnerability. Powell's baritone is ideal for the role: a voice of velvet capable of caressing phrases or exploding in furious frustration. His Act I aria ... was a model of expressive elegance. When Powell collapsed in despair at the final curtain, you could feel Onegin's torment." [EUGENE ONEGIN - Cleveland Opera]
Cleveland Plain Dealer
"The cast was headed by Stephen Powell. Powell, a perfect actor for such a role, with its equal demands for heroism and sentiment, is City Opera's finest lyric baritone, and could easily hold his own at the Met." [IL RITORNO D'ULISSE IN PATRIA - New York City Opera]
Opera News
"... Stephen Powell [is] brilliant in the title role.... Powell plays Sweeney with reserves of power, stressing the man's despair but also those pockets of hope that keep his heart ticking and render his spirit capable of flight. The baritone sings Sondheim's lyrical passages with utmost beauty and urgency, especially Sweeney's 'Epiphany,' which rings out boldly and venomously." [SWEENEY TODD - Cleveland Opera]
Cleveland Plain Dealer
"The baritone Stephen Powell (in the title role) offered a vocally assured and deeply affecting performance." [THE DEATH OF KLINGHOFFER - Brooklyn Academy of Music]
New York Times
Total: 113 (Viewing: 91–113)