As Florestan in “Fidelio”

The Guardian, April 17, 2011 · Tim Ashley writes:

The finest singing came from Andrew Foster-Williams’s evilly beautiful Pizarro and Steven Harrison’s visionary Florestan.

TheArtsDesk.co.uk, April 15, 2011 · Graham Rickson writes:

The long-awaited appearance of Steven Harrison’s Florestan is not an anti-climax; his tenor voice is magnificently expressive.

The York Press, May 3, 2011 · Martin Dreyer writes:

Steven Harrison cuts the mustard in his big aria and has plenty of resonance to transcend the orchestra.

Seen and Heard International, May 23, 2011 · Robert J. Farr writes:

As to the singing in the Fidelio performance, the male quartet took the honours. The last time I heard Fidelio, the tenor signing Florestan cracked on the vocally demanding opening Gott! Welch Dunkel Hier and did not recover for several bars. The American tenor, Steven Harrison, lyric in tone had no such trouble and sang with strength and good expression throughout.

As Cavaradossi in “Tosca”

Classical Voice of North Carolina, October 19, 2010 · Jeffrey Rossman writes:

…Mario Cavaradossi, sung by tenor Steven Harrison. It was Harrison who was the most electrifying of the entire cast as his clear tenor voice evoked, and was at least the equal of, many of the great tenors of the past.

News and Observer, October 16, 2010 · Roy Dicks writes:

Steven Harrison gives painter Cavaradossi the right cavalier feistiness and possesses a beautiful tone that expands satisfyingly on-the-money notes.

As Chopin in “Chopin” – Role Debut

Hudebni rozhledy, June, 2010 · Anna Serych writes:

CHOPIN is the tenor role, sung by the excellent American Tenor Steven Harrison with considerable gusto – His voice surely emoted Chopinesque cantilena, whose strong melodic character daringly competes with the most beautiful bel canto arias.

OPERA Magazine, May, 2010 · Josef Kanski writes:

The real star of the performance was the American tenor Steven Harrison (a self-proclaimed lover of Chopin’s music).

Dziennik Teatralny, February 20, 2010 · Maciej Michalkoswki writes:

Steven Harrison in the title role as Chopin possessed a tenor voice of an unusual charm; feeling the freedom to sing in an operatic bel canto style and put his entire heart into the creation of the role.

Neue Musikzeitung, February 12.2010 · Michael Ernst writes:

All the while Wroclaw had come to present quite fine-sounding names for the “Chopin” premiere. American singer Steven Harrison, who had performed successfully in the Silesian city on the Oder shore repeatedly, sings the title part. His performance in Orefice’s opus, soaked in crude melancholy, was a mixture of singing power and culture, increasing as the evening goes by…

Dabei hat Wroclaw zur „Chopin“-Premiere durchaus stimmhafte Namen aufgeboten. Den Titelpart singt der Amerikaner Steven Harrison, der schon wiederholt erfolgreich in der schlesischen Oder-Stadt gastierte. Was er in Orefices von derber Melancholie getränktem Opus ablieferte, war eine Mischung aus im Laufe des Abends gesteigerter Gesangskraft und -kultur!…

Maestro, February 10, 2010 · Joanna Tumiłowicz writes:

Three of the soloists deserve the highest praise. Tenor Steven Harrison had a very difficult part which required him to remain on stage throughout the entire opera. He maintained his voice in the highest level while creating a convincing hero. Apparently, he treated the role with great understanding and emotion.

Prezegląd, February 10, 2010 · Bronisław Tumiłowicz writes:

The American tenor, Steven Harrison, singing with a soft and wonderful tenor voice portrayed Chopin in an excellent manner. He sang the melodies of Chopin’s masterpieces as Puccini’s loveliest phrases. It opened our sorrows to realize that the modern artist passed away so early. Who would have Chopin become if he had lived longer?

As The Duke in “Rigoletto” – Role Debut

Stagediary, October 24, 2009 · John Henningham writes:

It is a privilege to hear American tenor Steven Harrison in the role of the Duke of Mantua. He has a voice of subtle range and colour, a beautiful instrument with a lovely mellowness and richness as well as the power to project over the top of chorus and orchestra.

As Enée in “Les Troyens”

GLT Torn T, July 11, 2009 · Dandini writes:

The Enée of Steven Harrison (a role with a difficult tessitura) diplayed a tenor with great talent (large capacity) and unquestionable magnetic stage presence.

El Énée de Steven Harrison (rol de difícil tesitura) evidenció un tenor de grandes facultades e indudable magnetismo escénico.

As Florestan in “Fidelio”

The Korea Times, May 9, 2009 · Lee Hyo-Won writes:

The production peaked in the second half, with the long-awaited appearance of Steven Harrison – the Florestan of the hour. The act opened in the dark prison dungeon, the stage bare and the tenor all alone. But the stage brimmed with his powerful and tonally beautiful voice: In the anguished cry of “Gott!” his instrument depicted pain most compellingly yet effortlessly, without the least bit of pain hitting his notes.

Der Neue Merker, November 17, 2008 · Dirk Altenaer writes:

The Rheinoper truly have the ideal Florestan currently at their disposal in Steven Harrison. The short but tricky role is not exactly beloved by tenors, but if one knows how to cleverly pace it like the young American, it can go far beyond mere effect. His radiant crescendo taken as a long-held legato on “Gott” is used as a cry of lamentation, not as a monolithic roar as one often hears. His stupendous phrasing with perfect diction leads from the self-doubting lament into the calming self-suggestion part of the Aria. Even after the duet, which calls for much strength, Harrison still possessed enough reserve to shine in the finale. His was the most dazzling and convincing singing performance of this evening.

Mit Steven Harrison verfügt die Rheinoper zur Zeit wohl über einen Idealfall als Florestan. Die kurze aber heikle Partie gehört nicht gerade zu den beliebtesten bei Tenören, wenn man sie sich aber so klug einzuteilen weiß wie der junge Amerikaner, kann sie weit über bloßen Effekt hinausgehen. Sein als strahlendes Crescendo als langanhaltendes Legato genommene “Gott” nutzte er als einen Klageruf, nicht als monolithisches Gebrüll, wie so oft gehört. Eine stupende Phrasierung in perfekter Diktion leitete von der selbstzweifelnden Klage in die beruhigende Selbstsuggestion der Arie über. Nach dem Kraft fordenden Duett besaß Harrison noch genügend Reserven, um das Finale zu überstrahlen. Die glanzvollste und überzeugendste Gesangsleistung dieses Abends.

Opernglas, January, 2009 · A. Laska writes:

With gripping acting and effortless singing, Steven Harrison mastered his debut in the demanding role of Florestan.

Ein Debüt war auch der Florestan von Steven Harrison. Schauspielerisch ergreifend, meisterte er die heikle Rolle stimmlich quasi mit links.

General-Anzeiger Bonn, November 19, 2008 · Bernhard Hartmann writes:

The American, Steven Harrison, sang the exhausting tenor part of Florestan with great mastery and expression.

Der Amerikaner Steven Harrison sang die kraftraubende Tenorpartie des Florestan mit großer Souveränität und Ausdruck.

Opernnetz.de, November, 2008:

Steven Harrison portrayed the suffering of the imprisoned and then freed Florestan without Heldentenor exaltation but with a voice that was variable and capable of carrying, touching in the middle voice range, despairing and jubilant in the well-balanced high register.

Steven Harrisons Florestan vermittelt ohne heldentenorale Exaltationen mit durchsetzungsfähig-variabler Stimme das Leiden des Gefangenen (und Befreiten), anrührend in der Mittellage, verzweifelt und jubelnd in den ausgewogenen Höhen.

Online Music Magazin, November, 2008 · Thomas Tillmann writes:

Also Steven Harrison was not believed by some to be right for Florestan. He has been regarded for years at the Rheinoper as a dependable interpreter of a wide variety of parts in the Italian and especially the French repertoire, but in the German fach, no one really had him on their list. However, no later than after his Enée, which allowed one to forget the less than perfect Premiere cast, and his Faust (Gounod), we knew how secure in the high notes and strong in legato his voice is – on this evening very dark, rested and powerful. Seldom does one hear this difficult aria so securely sung, without glaring distortions and squeezed tones, bizarre vowels, and helden-tenor cavorting, and to be able to listen without fear that the over-strained interpreter could survive the next minutes without artificial respiration. Seldom has one, even in studio-recordings, been offered such a generous, tasteful crescendo on the “Gott”. The somewhat raw tones that occasionally slip in will always be a matter of taste, but they fit a broken prisoner exceedingly well. The German of this American was also flawless, especially in the sung passages – there he left the other male singers and even the Marzelline far behind him.

Auch Steven Harrison hatte mancher den Florestan nicht zugetraut. Man schätzt ihn seit Jahren an der Rheinoper als verlässlichen Interpreten verschiedenster Partien des italienischen und vor allem des französischen Repertoires, aber im deutschen Fach hatte ihn niemand so recht auf der Liste. Dabei hätte man spätestens nach seinem Enée, mit dem er die skandalöse Premierenbesetzung vergessen machte, und seinem Gounodschen Faust immerhin wissen können, wie höhen- und legatostark sein an diesem Abend sehr dunkel, ausgeruht und kraftvoll klingender Tenor doch ist. Selten hört man die vertrackte Arie so souverän gesungen, ohne grelle Verzerrungen und gequetschte Töne, bizarre Vokale, heldentenorale Kraftmeierei und ohne die beklemmende Angst, dass der überanstrengte Interpret die nächsten Minuten nicht ohne Beatmungsgerät übersteht, selten hat man – auch in Studioaufnahmen – ein so großzügiges, geschmackvolles Crescendo auf “Gott” geboten bekommen. Geschmackssache werden immer die rauheren Töne sein, die sich einschleichen, die aber zu einem gebrochenen Häftling hervorragend passen. Tadellos war auch das Deutsch des Amerikaners, besonders in den Gesangspassagen, da ließ er die anderen männlichen Interpreten und auch die Marzelline weit hinter sich.

Der Opernfreund, November, 2008 · Martin Freitag writes:

Steven Harrison sings a vocally nearly perfect Florestan with a radiant tenor voice.

Steven Harrison singt mit strahlendem Tenor einen gesanglich nahezu perfekten Florestan.

Crescendo Klassikmagazin, November, 2008 · Georg Rudiger writes:

In the second Act by contrast this “Fidelio” intensifies. This is due to the increasing musical drama from Steven Harrison (Florestan) and Annette Seiltgen (Leonore) impressively awakening to life. Even though the duet “O namenlose Freude” was staged in an exceptionally uncomfortable lying down position, it was still sung and not screamed – the singing line remained intact.

Im zweiten Akt dagegen spitzt sich dieser “Fidelio” zu. Das liegt an der zunehmenden musikalischen Dramatik, die von Steven Harrison (Florestan) und Annette Seiltgen (Leonore) eindrucksvoll zum Leben erweckt wird. Dennoch wird beim äußerst unbequem liegenden Duett “O namenlose Freude” noch gesungen und nicht gebrüllt – die kantable Linie bleibt erhalten.

Operapoint, November, 2008 · Christine Lauter writes:

The only bright light is Steven Harrison as Florestan.

Einziger Lichtblick ist Steven Harrison als Florestan.

As Werther in “Werther”

OPERA Magazine, October 2008 · Barry Smith writes:

…the American tenor Steven Harrison (Werther). He has an immaculate feeling for the idiom and produces singing and acting of an extremely high standard. He is a musician who understands exactly what the music is trying to say and delivers it with fastidious attention to detail.

In Concert: Tenor Solist in Szymanowski, “Symphony #3″

Der Neue Merker, September 18, 2008 · Dirk Altenaer writes:

This work was the glorious ending of the 2nd Symphony Concert of the Duisburger Philharmonic which followed an extremely exceptional program…Steven Harrison as Guest from the Rhein Opera was visibly and audibly comfortable with the high-flying challenges of his part.

Dieses Werk war der gloriose Schlußpunkt des 2. Symphoniekonzertes der Duisburger Philharmoniker, das einem äußerst ausgefallenem Programm folgte… Steven Harrison als Gast von der Rheinoper fühlte sich sicht- und hörbar wohl bei den Höhenflügen seines Parts.

Der Westen, September 18, 2008:

With him the audience heard a milestone in this concert, because the 3rd Symphony, with the title “Song of the Night,” was impressively interpreted by this internationally popular tenor, Steven Harrison.

Mit ihm bekam das Publikum bei diesem Konzert einen “Meilenstein” zu Gehör, denn als solch einer gilt die dritte Sinfonie mit dem Beinamen “Das Lied der Nacht”, das vom international gefragten Tenor Steven Harrison eindrucksvoll interpretiert wurde.

WAZ, September 19, 2008 ·Hajo Berns writes:

Not one hand moved for a long time on Thursday night. Such a collective shock is thanks to the intensive rendering of the piece. Steven Harrison sang the tenor solo with a stirring/fiery presence.

Lange rührte sich am Donnerstag keine Hand. Solche kollektive Erschütterung war einer höchst intensiven Wiedergabe zu danken. Steven Harrison sang das Tenorsolo mit aufwühlender Präsenz.

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:

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:

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 insteadof 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 Judge Danforth in “The Crucible”

The Washington Post · Tim Page writes:

Steven Harrison was a commanding Judge Danforth.

Opera Now Magazinewrites:

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.