As TURIDDU in "CAVALLERIA RUSTICANA"
-ReviewVancouver, November 13, 2007…….J H Stape writes:
Cavalleria rusticana's raw passions were brilliantly conveyed by a flawless cast. Steven Harrison's off-stage opening aria was spine-tingling and set the tone for a highly coloured characterization: his edgy, borderline neurotic Turridu, overmastered by passions, was deeply conflicted, the character's emotions conveyed in fine, intelligent singing.
As ENÉE in "LES TROYENS"
-Rheinische Post, June 12, 2007…….Ingo Hodick writes:
Naturally, Marta Marquez as Mezzo-Didon and Steven Harrison as Tenor-Enée were the singing-acting Dream Pair.
Natürlich waren dabei Marta Márquez als Mezzo-Dido (Didon) und Steven Harrison als Tenor-Aeneas (Enée) das sängerdarstellerische Traumpaar.
As FAUST in "FAUST"
-Opernnetz.de, March 14, 2007…….writes:
Steven Harrison sings Faust with a fresh-sounding and inexhaustible tenor voice which embodies the dream of eternal youth, even in the phases of his regret.
Steven Harrisons Faust verkörpert mit einem unverbraucht-frischen Tenor den Traum von der ewigen Jugend, das gilt auch für die Phasen seiner Reue.
-OPERA, July 2007…….Thomas Luys writes:
Steven Harrison was a lyrical Faust with spinto power.
-Die Tageszeitung, February 27, 2007…….Frieder Reininghaus writes:
Nataliya Kovalova and Steven Harrison rise to great form … and great harmony … in the Love Duet at the end of Act 3. In the last finale, the Prison Scene, they contest wildly with utter despair and a beautifully delirious hope.
Nataliya Kovalova und Steven Harrison laufen schon beim großen Annäherungs- und Liebesduett am Ende des III. Aktes zu großer Form auf. Das letzte Finale, die Kerker-Szene, bestreiten sie in vorzüglicher Verzweiflung und irreal schöner Hoffnung.
-Westfälischer Anzeiger, February 27, 2007…….Pedro Obiera writes:
In the centre, the three main characters wriggle in an imaginary spider's web and they play their roles with a superbly penetrating force. Steven Harrison plays the title role with vocal magintude and fascinating charsima -- an interpretation that really gets under the skin.
Im Zentrum zappeln die drei Hautfiguren in einem imaginären Spinnennetz, und sie spielen ihre Rollen mit superber Eindringlichkeit. Eine unter die Haut gehende Deutung von vokaler Größe und faszinierendem Charisma: Steven Harrison in der Titelrolle.
-Westdeutsche Zeitung, February 27, 2007…….Lars Wallerung writes:
The performance possesses great musical appeal: Steven Harrison shapes the title role with lyrical expressiveness.
Die Aufführung besitzt jedoch große musikalische Reize: Mit lyrischer Expressivität gestaltet Steven Harrison die Titelpartie.
-General-Anzeiger Bonn, March 1, 2007…….Christoph Zimmermann writes:
Steven Harrison is a Lyric Faust with Spinto-Power.
Ein lyrischer Faust mit Spinto-Kraft ist Steven Harrison.
-Aachener Nachrichten, March 2, 2007…….Armin Kaumans writes:
Steven Harrison as Faust lets marvelous high tones ring out.
Steven Harrison als Faust lässt wunderbare Höhen klingen.
-DeutschlandRadio, February 25, 2007…….Ulrike Gondorf states:
Steven Harrison is actually one tenor who always scores well in the French repertoire.
Steven Harrison ist eigentlich ein Tenor, der sich in diesem französischen Fach immer gut schlägt.
As HAGENBACH in "LA WALLY"
-WAZ, September 18, 2006…….Rudolf Hermes writes:
In the last Act he resonates with passionate cantilena.
Im letzten Akt schwingt er sich zu leidenschaftlichen Kantilenben auf.
-Artikel, September 27, 2006…….Udo Pacolt, Vienna, writes:
Steven Neil Harrison as Hagenbach was completely convincing both vocally as well as dramatically.
Steven Neil Harrison als Hagenbach überzeugte sowohl stimmlich wie auch darstellerisch.
-Online Musik Magazine, September, 2006…….Thomas Tillman writes:
Steven Neil Harrison had remarkable moments, particularly in the last Act and also put forth dramatically powerful effects.
Steven Neil Harrison hatte vor allem im letzten Akt bemerkenswerte darstellerische Momente und legte sich auch schauspielerisch mächtig ins Zeug.
As POLLIONE in "NORMA"
-OPERA Magazine, May, 2005…….Bradley Winterton writes:
Steven Harrison (Pollione) managed to stir the audience with his portrait of a macho brute turned self-denying human being…Harrison’s Pollione was ringing and assured, and he easily overcame what might have been thought the difficulty of appearing in Roman dress in the first act and that of a 1950’s New York Mafia boss in the second.
As RICCARDO in "UN BALLO IN MASCHERA"
-Opera News, 2005…….Robert Carreras writes:
As the accursed governor, Steven Harrison used his honeyed tenor with great flair and feeling; Riccardo’s romanza was particularly beautiful in finish.
-El Nuevo Herald, May 3, 2005…….Daniel Fernandez writes:
Tenor Steven Harrison possesses a robust and well-modulated voice that executed perfectly the difficult role of Riccardo, the unhappy Count of Warwick. Harrison presented himself from the start in interpretation and voice with an attitude seldom witnessed in these roles that demand so much from the interpreter.
El tenor Steven Harrison posee una voz robusta y bien modulada, que cumplió cabalmente con su exigente papel de Riccardo, el desdichado Conde de Warwick. Harrison se dio desde el principio en interpretación y voz con una actitud poco frecuente en estos papeles que exigen tanto del intérprete.
-Miami Herald, May 4, 2005…….Enrique Fernandez writes:
Equally moving (was) tenor Steven Harrison as king Riccardo. On Saturday night, Harrison had the grace of a mischievous king and an irresistible lover.
-Diario Las Americas, May 4, 2005…….Ariel Ramos writes:
Tenor Steven Harrison embodied the role of Ricardo, King of Sweden, perfectly executing the vocal and histrionic requirements. Of ingratiating and nicely timbered voice, he showed off his quality from his first aria "Di tu se fedele" and in "É scherzo od é follia" in his interview with the fortune-teller, Ulrica, in the second scene of the First Act. He is a secure singer that gives the phrases the necessary colors.
El tenor Steven Harrison encarnó el papel de Ricardo, Rey de Suecia, cumpliendo cabalmente con sus requisitos vocales e histriónicos. De grata y bien timbrada voz, mostró su calidad desde su primer aria "Di´ tu se fedele" y en "É scherzo od é follia", en su entrevista con la adivinadora, Ulrica, en la escena segunda del primer acto. Es un cantante seguro que le da a las frases el matiz que necesitan.
-Sun-Sentinel, May 4, 2005…….Laurence Johnson writes:
Harrison showed a sense of Verdi style, a plangent tone and penetrating top notes.
As WERTHER in “WERTHER”
-Opernwelt, May 2004……Ulrich Schreiber
writes:
In addition to a melting lyricism, Steven Harrison, who, in timbre, reminds
one of a young Plàcido Domingo, dares himself to the point of ecstasy
and possesses the rhythmic suppleness for prosodically difficult passages
(J'aurais sur ma poitrine). (He sings with) a wide range of vocal colors
and a high level of expressive intensity...
Steven Harrison, im Timbre an den jungen Plàcido Domingo erinnernd,
bringt neben lyrischem Schmelz und einer schon selbstgefährdenden
Ekstase auch die rhythmische Geschmeidigkeit für prosodich heikle
Stellen auf (J'aurais sur ma poitrine). Gegenüber seiner klangfarblichweit
gespannten Ausdrucksebene...
-Der Opernfreund & Merker-online, April 5, 2004……Peter
Bilsing writes:
With Steven Harrison, the Krefeld Opera presented a genuine talent. The
very youthful tenor sings with a wonderful flowing line, a voice that
carries very well and astonishingly brilliant high notes without having
to transpose the difficult phrases. Surely, if this voice is well cared
for it should absolutely develop into the next Georges Thill.
Mit Steven Harrison hat die Krefelder Oper ein echtes Talent aufgetan;
der blutjunge Tenor singt mit wunderbar strömender Linie, guter Tragfähigkeit
und erstaunlich glanzvoller Höhe, ohne die heiklen Phasen erkennbar
zu transponieren; doch sollte bei guter Pflege der Stimme hier durchaus
ein zukünftiger Georges Thill erwachsen können.
-Rheinische Post, April 5, 2004……Ulrich
Schreiber writes:
Steven Harrison, in the title role (Werther), completely revealed the
span between lyricism and ecstasy with his flexible technique and secure
rhythmic pulse.
Steven Harrison deckt in der Titelrolle mit flexibler Tongebung und
sicherer Rhythmisierung die Spanne zwischen Lyrismus und Ekstase ab.
-Opernnetz.de, April 25, 2004…….writes:
An emotional experience of the highest niveau...The impressive Steven Harrison lends a sympathetic acting presence to his melancholy-addicted Werther and uses emotional phrasing to give vocal expression.
Ein Gefühlserlebnis auf hohem Niveau…Der beeindruckende Steven Harrison verleiht einem melancholie-süchtigen Werther sowohl darstellerisch-mitfühlende Präsenz als auch stimmlichen Ausdruck durch emotionale Phrasierung.
-Westfällische Rundschau, April 6, 2004……Michael-Georg
Müller writes:
With the brilliant strength and aplomb of an Italian tenor, Steven Harrison
is very convincing in the title role (as Werther).
Mit Strahlkraft und Aplomb eines italienischen Tenors überzeugt
Steven Harrison in der Titelrolle.
As the TENOR SOLOIST in Janácek’s
“GLAGOLITIC MASS”
- Rheinische Post, June 21, 2004……Wolfram Goertz
writes:
A great bonus was the resplendent tenor solos by Steven Harrison, who
replaced Sergej Larin at short notice; he reached the Parnassian
summit of expressivity with a torch for all to see.
Ein großer Pluspunkt waren auch die strahlenden Tenorsoli von
Steven Harrison, der für Sergej Larin eingesprungen war und am Parnass
der Expressivität eine weithin sichtbare Fackel trug.
As ALFREDO in “LA TRAVIATA”
-Orpheus, March 2004……Daniel Naybar writes:
One must simply find the Alfredo of Steven Harrison sympathetic (note
well, he is a completely different type from his colleague in the alternative
cast). He is a boy full of ardor, carrying his heart in his hands; but
so directly and honestly that one accepts it when he makes the dead heart
of Violetta - living in her world of ambiguity - beat again. It is clearly
she who holds their common life in her hand and shows the dreamer, Alfredo,
the direction. Steven Harrison sings out the euphoria of this flourishing
romanticism with a voice that blooms and is highly secure.
Für den Alfredo von STEVEN HARRISON muss man einfach Sympathien
empfinden (er ist nota bene ein gänzlich anderer Typ wie der alternativ
besetzte Kollege). Ein Junger voller Überschwang, das Herz auf den
Händen tragend, aber so direkt und ehrlich, dass man ihm abnimmt,
dass er das abgestorbene Herz der in einer Welt der Zweideutigkeit lebenden
Violetta wieder zum Schlagen bringt. Es ist dann freilich sie, die das
gemeinsame Leben in die Hand nimmt, dem Träumer Alfredo die Richtung
weist. Steven Harrison singt die Euphorie dieses Romantikers Blühend
und höhensicher heraus.
As DON JOSÉ in “CARMEN”
-Le Soir……Michel Friche writes:
Steven Harrison has all the vocal trump cards for Don José, running
the gamut from the most dramatic outbursts to the most caressing mezza-voce.
-Le
Libre Belgique……Martine Dumont-Mergeay writes:
Tenor Steven Harrison proved his mastery of musicality and vocal technique – in a word, he triumphed.
-La Derniere Heure……Jean-Philippe
de Vogelaere writes:
Steven Harrison was a shining star being part of a dream trio with Carmen
and Micaela. He made you feel as if you were in an intimate setting instead
of a giant open-air theater.
-NRZ (Neue Ruhr Zeitung), February 25, 2003……Pedro
Obiera writes:
Steven Neil Harrison embodies the character of Don José not as
a misplaced “mamma’s boy,” but as a mature, rather formal
acting picture of a man. One couldn’t wish for anything more than
his vocally intense and penetrating interpretation.
-Rheinische Post, February 25, 2003……Ingo
Hoddick writes:
Steven Neil Harrison showed himself to be a shining exponent of the French
repertoire.
As RODOLFO in “LA BOHEME”
-The New York Times……Anthony
Tommasini writes:
In his New York City Opera debut, Steven Harrison was a boyishly likeable
Rodolfo. His lyric tenor voice is well suited for this role and his sound
is warm and penetrating. He phrases with even legato and delivered some
ringing top notes.
-Santa Barbara News-Press……Michael Smith writes:
Steven Harrison soon shows Rodolfo’s weakness as well as his impetuous
ardor, and his tenor voice has a stirring ring and range of expression.
The two lovers are beautifully matched and there is no mistaking their
passionate connection. The quality of singing in this “La Boheme”
is first-rate, every one of the roles projected with fine style. In the
end, it all comes back to Ms. Divis and Mr. Harrison and their fresh conviction
as Mimi and Rodolfo, whose love could not survive the winter but lives
forever in Puccini’s incomparable art.
-Montecito Journal……Paul Froemming writes:
In the roles of the lovers, Mimi (Barbara Divis) and Rodolfo (Steven Harrison)
sang from the heart. Beneath their poverty and lack of material success,
they showed us that they had the souls of artists. As the lovers walked
outside, raising their voices in “Amor, amor, amor!” both Mimi
and Rodolfo were in excellent voice.
As B.F. PINKERTON in “MADAMA BUTTERFLY”
-Opera Magazine……Bradley Winterton writes:
The two leads proved masters of the agonized evocation of transience and
loss, so that beauty blossomed again and again, both on stage and in the
score. They succeeded admirably…Steven Harrison was a splendidly
resonant Pinkerton…This was as near perfect a production of Butterfly
as you could find anywhere. Puccini himself would have adored it. Whence
comes such another?
-The Independent……D.J. Palladino writes:
Surely some noticed how B.F. Pinkerton, played with maximum swagger by
Steven Harrison had very Bush-y eyebrows…Harrison has complicated
textures, an evil seducer somehow made human.
-Santa Barbara News-Press……Peter Frisch writes:
Tenor Steven Harrison played the callous, self-involved Lt. Pinkerton
so well that he received some good-natured boos at the curtain call. Mr.
Harrison followed Puccini’s instructions to “sing like an American,” his clear, ringing high notes were just what the composer ordered in a
fine performance.
As RADAMES in “AIDA”
-Syracuse Herald-Journal……David Abrams
writes:
Harrison sang with a magnificent tenor throughout the evening, belting
out his high notes as if he knows he can do no wrong. His famous aria
in Act I, “Celeste Aida,” was touching, and his duet with Scott
in Act III – where he reveals his anguish as he realizes he has been
betrayed by the woman he loves – was a vocal tour-de-force.
As EDGARDO in “LUCIA DI LAMMERMOOR”
-Islander Arts……Frank Wagner writes:
The voices were uniformly excellent but there was little doubt that the
powerful, resonant and dramatic tenor voice of Steven Harrison was extra-special.
He makes a seemingly effortless sound and the control and support of his
vocal instrument was outstanding.
As the JAILKEEPER/GRAND INQUISITOR in “IL
PRIGIONIERO”
In Mr. Harrison’s European debut, Theatre Royale de La Monnaie:
-De Standaard……Jo Paumen writes:
Of all the soloists, only Lucio Gallo and Steven Harrison left an especially
strong impression.
As SAM POLK in “SUSANNAH”
-The Toronto Globe and Mail……Urjo Kareda writes:
Tenor Steven Harrison, as her alcoholic brother Sam, created a telling
portrait of weakness struggling toward strength.
-The Imprint……Wendy Vnoucek writes:
Tenor Steven Harrison plays the role of Sam Polk, Susannah’s brother.
His voice is rich and tender and he was clearly an audience favourite.
An excellent performer and strong singer, Mr. Harrison’s debut with
the Hamilton opera is a definite plus for the company.
As JUDGE DANFORTH in “THE CRUCIBLE”
-The Washington Post……Tim Page writes:
Steven Harrison was a commanding Judge Danforth.
-Opera Now Magazine writes……
Steven Harrison created an authoritative vocal and dramatic presence as
Judge Danforth.
-The Virginia Gazette……John Shulson writes:
Absolutely convincing and hateful is tenor Steven Harrison’s Judge
Danforth who presides at the witch trial. He’s so wonderfully evil
at manipulating facts that you’d think he’s been a part of the
impeachment hearings.