Charles Robert Stephens

Selected Reviews    

 

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, June 8, 2005

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, January 15, 2007

Little Women with New York City Opera
… a baritone of smooth distinction…
---Allan Kozinn, New York Times, March 21 2003

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, June 5, 2004

Don Carlo with Boston Bel Canto
New York City Opera baritone Charles R
---Lloyd Schwartz, Boston Phoenix, September 25, 2001

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, September 28, 1999

Rigoletto with Spokane Symphony
Baritone Charles Robert Stephens was a powerful force in the title role as the hunchback jester…
---Travis Rivers, Spokesman Review, March 26, 2006

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), June 28, 1988, translated

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, June 7, 2005

Cav/Pag with New Jersey State Opera
…his performance showed a committed characterization and a voice of considerable beauty…
---Donald Westwood, Opera News, December 9, 1995

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, May 14, 1990

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, November 24, 1999

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, February 18, 1995