Jennifer Brennan-Hondorp

Kishna Davis

Pamela Hinchman

Pamela Hinchman

Teresa Seidl

Shawnette Sulker

Stella Zambalis

Buffy Baggott

Julia Elise Hardin

Jennifer Lane

Carol Sparrow

Michelle Wrighte

Robert Bracey

Benjamin Brecher

James Doing

Randolph Locke

Jeffrey Springer

Mark Thomsen

Bradley Williams

Graham Fandrei

Kenneth Overton

Frederick Reeder

Charles Robert Stephens

Gerard Sundberg

James Patterson

Additional Artists

THE BEST OF GILBERT AND SULLIVAN

A GERSHWIN GALA

Concert Quartets

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Charles Robert Stephens, baritone

Brahms Requiem with Westminster Choir, Spoletto USA
Stephens' fine, dark baritone voice easily filled the hall, and his enunciation was superb.
--- William Thomas Walker, The Classical Voice of North Carolina
Mackris V. O’Reilly, World Premiere, Meany Hall, Seattle
Charles Robert Stephens upended the drama…thanks to his abundant musicality and ability to sell the role…Winningly sung and dramatized by Stephens.
---Regina Hackett, Seattle Post Intelligencer
Little Women with New York City Opera
… a baritone of smooth distinction…
---Allan Kozinn, New York Times
Five Mystical Songs with Westminster Choir, Spoletto USA
A fine baritone named Charles Robert Stephens made luscious sounds in those, and his style and sense of legato, also clear diction, made them memorable. His tone is forward, every note is placed right in the centre and his diction is admirably clear.
---Robert Jones, Charleston Post and Courier
Don Carlo with Boston Bel Canto
New York City Opera baritone Charles Robert Stephens gave full life to Rodrigo, Marquis of Posa, and the doomed voice of passionate but reasonable patriotism. He had the most purely beautiful, ringing voice in the cast but never sang just to hear his own sound or ever pushed himself into melodrama.
---Lloyd Schwartz, Boston Phoenix
Il Trovatore with Boston Bel Canto
In the role of Count di Luna Charles Robert Stephens gave a balanced, daring, nuanced performance. His aria "Il Balen" started with intimate cantabile, matching the brooding clarinets and horns; then Stephens opened out, witnessing the tempest of love in di Luna's heart. Here is a singer with access to his emotions and with the delivery system to get them across.
---Susan Larson, Boston Globe
Rigoletto with Spokane Symphony
Baritone Charles Robert Stephens was a powerful force in the title role as the hunchback jester…
---Travis Rivers, Spokesman Review
Faust with Pro Opera Montevideo
The American baritone Charles Robert Stephens had a voice of magnificent natural quality, an excellent technique, clear, impeccable French diction (one could understand everything) an absolute musicality and a noble expressive presence for the character. He was the best Valentin I have ever heard.
---Wáshington Roldán, El Pais (Montevideo, Uruguay)
Elijah with Portland Chamber Orchestra
Charles Robert Stephens gave the standout performance in the title role… he sang Elijah with all the requisite might and nuanced expressiveness in an agile, supple voice equally strong in all registers…
---James McQuillen, The Oregonian
Cav/Pag with New Jersey State Opera
…his performance showed a committed characterization and a voice of considerable beauty…
---Donald Westwood, Opera News
L’Oracolo with Westchester Opera
Charles Robert Stephens as the ‘Oracle’, now with long white beard and hair, was solemn and dignified in his acting; his voice seemed to take on and even greater depth and resonance, which during certain moments filled the theater with gorgeous sound.
---Allan Kozinn, New York Times
Bach Cantatas with American Classical Orchestra
Charles Robert Stephens, whose resonant sound can expand easily to dramatic opera arias, was a model of baroque inflection, vocally flexible, with expert German diction and masterful breath control.
---John S. Sweeney, The Advocate
Lucia di Lammermoor with Connecticut Opera
Baritone Charles Robert Stephens, a first rate Enrico, sang with rhythmic drive and bite that reinforced his dramatic presence. His rough, commanding authority, in contrast with Lucia’s softness, helped make their Act 2 duet all the more poignant. He and Dunleavy made the conductor’s slowish tempos sound expansive and well paced, bringing out all the expressive nuances in their lines.
---Gilbert H. Mott, Opera News
Brahms Requiem with the Bellingham Festival of Music
Baritone soloist Charles Robert Stephens brings a rich tonality to his singing. He has both power and finesse over a marvelous range. Stephens cites his role in Mendelssohn’s oratorio Elijah as a career highlight and that makes me wish I could have heard him. That work is a favorite of mine and is one of the most dramatic roles in sacred music.
---Christopher Key, Entertainment News NW

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