As Enrico in Lucia di Lammermoor - New York City Opera

"Stephen Powell sang with a limpid baritone perfectly even throughout the scale, all the way up to an easy high G.  Mr. Powell commands the now rare ability to spin out a legato line with seemingly endless breath, meanwhile making every word crisp and full of meaning." 
Gay City News

"Powell was a splendid, rock-solid Enrico.  At the end of his aria he expended almost as much energy on a loud high G as it would have taken to sing the omitted second verse of the cabaletta!" 
American Record Guide

"Mr. Powell was admirably suave and sonorous as Enrico." 
Opera News

As Eugene Onegin in Eugene Onegin - Opera Festival of New Jersey

"The big news was Stephen Powell's gorgeously sung Onegin, rock-solid with creamy legato from top to bottom.  What a pleasure to hear an American middleweight baritone who neither feints, growls nor distorts an even scale through exaggerated dynamics.  A sympathetic figure onstage(more so then most Onegins), Powell convincingly gained in animation after Act III's fateful encounter with Tatiana." Shengold)

"Most exciting vocally was the gleaming voice of Stephen Powell as the world-weary Onegin, with just the right touch of elegance needed for this role.  One hopes to hear much more from this baritone." 
Opera Now

"The one singer whose vocal arsenal was fully stocked is Stephen Powell in the title role.  Look for him and his robust but laudably precise voice everywhere in the future." 
Philadelphia Inquirer

"In the title role, baritone Stephen Powell only unleashed the full romantic passion of his voice in the final scene where he pleads with Tatiana to run off with him.  Until that scene he let his full and expressive voice portray the self-centered boredom in which Onegin lives:  urbane and offputtingly 'witty.'  This was a conscious effort for Powell, for to change a character's voice suddenly is no accident. Of course, all singers should be able to make this kind of change, but it is a singer of great generosity to composer and audience who foregoes the potentially large moment(his refusal of Tatiana) in order to set up the dramatic full scenes of Acts II and III." 
New Jersey Society Journal

As Germont in La Traviata - New York City Opera

"The brilliant Stephen Powell offered a distinguished Germont, including the Cabaletta 'Di Provenza.'" 
Critica Internacional

"Stephen Powell was a vivid Germont, playing the heavy with such relish that the series of soprano-baritone duets in Act II caught fire." 
Wall Street Journal

"A strong outing came from Stephen Powell as Germont...he built to great power at the end of the Act II duet, making the capitulation of even so formidable a Violetta understandable." 
New York Times

As Ulysses in Il Ritorno d'Ulisse in Patria - New York City Opera

"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". 
Opera News

"Stephen Powell's rich, lyric baritone, commanding presence and thoughtful musicianship made Ulysses hard to resist." 
Wall Street Journal

"Stephen Powell was smooth and commanding in the title role." 
New York Post

"Stephen Powell, singing the role magnificently, makes his voice rise in a firm, brightening crescendo, then fall...Mr. Powell is utterly quiet here, and devastating." 
New York Times

As Sweeney Todd in Sweeney Todd - Cleveland Opera

"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 venemously."
Cleveland Plain Dealer

As Sweeney Todd in Sweeney Todd - Arizona Opera

"The production benefits from a masterful lead.  Baritone Stephen Powell as Sweeney is compelling in all his modes: sympathetic, bereft, bloodthirsty, hate-filled and unforgiving.  The actor-singer draws us into his character's life with every nuance, whether we like it or not.  He also takes the powerful soliloquy "Epiphany" to an unsurpassable height of expressivity." 
Arizona Republic

As Klinghoffer in The Death of Klinghoffer - Brooklyn Academy of Music

"The baritone Stephen Powell(in the title role) offered a vocally assured and deeply affecting performance." 
New York TImes

"Stephen Powell turned in an affecting portrait of a decent person trapped in horrific circumstances.  Powell's slow motion aria, sung as Klinghoffer's body is pushed overboard and drifts into the next world, was heart-stoppingly beautiful." 
Chicago Tribune

As Ford in Falstaff - Glimmerglass Opera

"Among the superb cast, I was especially taken with the robust Ford of Stephen Powell." 
New York Observer

"Stephen Powell, in the role of the jealous Ford, displayed exemplary musicianship and a delightfully warm baritone in his Act II soliloquy." 
Ithaca Journal

As Malatesta in Don Pasquale - Glimmerglass Opera

"The Malatesta of Stephen Powell was especially rich-voiced and resonant.  His lengthy parlando in the second act was quite amazing, and his musicianship and sense of dramatic timing were superb." 
Ithaca Journal

"Stephen Powell's Malatesta registered brightly, boasting a firm tone and flawless diction.  Powell relished his comic moments..." 
Albany Times Union

As Malatesta in Don Pasquale - L'Opera de Montreal

"Stephen Powell was spot-on from start to finish, and sublime in the Act III duet(with Pasquale)." 
The Globe and Mail

As Guglielmo in Cosi fan tutte - Florida Grand Opera

"Stephen Powell's Guglielmo was vibrant and polished, his baritone riding Mozart's melodic lines with great flair."

As Guglielmo in Cosi fan tutte - Berkshire Opera

"Stephen Powell brought a splendid baritone and unusual sense of depth and dignity to Guglielmo." 
Boston Globe

As Sharpless in Madama Butterfly - San Diego Opera

"Baritone Stephen Powell sang Sharpless with the handsome voice and beautiful shaping of the vocal line we have become used to..." 
San Diego Reader

"Baritone Stephen Powell richly deserved the heavy applause he received for his steadying performance as Sharpless." 
North County Times

As Marcello in La Boheme - Atlanta Symphony

"Baritone Stephen Powell, as Marcello, was best of all, warm and fluid in voice." 
Atlanta Journal-Constitution

As Dandini in La Cenerentola - Cincinnati Opera

"Stephen Powell, at ease in Dandini's comic stances, exhibited a winning combination of heft and flexibility." 
Opera News

As Valentin in Faust - Opera Company of Philadelphia

"...Stephen Powell voices Valentin's music with a stirringly noble baritone sound...he would have garnered applause even in opera's 'Golden Age.'"
OPERA Magazine

As Count Almaviva in Le Nozze di Figaro - Indianapolis Opera

"Stephen Powell's massive voice and commanding presence did well by the Count."
Opera News

As Baritone Soloist in Beethoven Ninth Symphony - Philadelphia Orchestra

"Baritone Stephen Powell delivered the Fourth movement recitative having obviously taken the words to heart, projecting them almost conversationally, but with no lack of oratorical weight."
Philadelphia Inquirer

As Baritone Soloist in Carmina Burana - Philadelphia Orchestra

"Of the three soloists, baritone Stephen Powell was best able to overcome the bigness of the venue to communicate subtly." 
Philadelphia Inquirer

As Zurga in The Pearl Fishers - Kentucky Opera

"In baritone Stephen Powell this production had a singer who grabbed the role in a tremendous bear hug and made it impossible to ignore him. With a voice that tempered power with the shadings of a fully considered characterization, an approach that projected Zurga's desperate swings between mercy and abject jealousy, Powell quickly and consistently found the core of Bizet's argument."