Recent and forthcoming engagements include Captain The Greek Passion (Opera North)‚ Sweeney Todd (title role) and Mr Peachum The Threepenny Opera (Northern Ireland Opera), Stranger Mamzer Bastard(ROH)‚ Le Gouverneur Comte Ory (Dorset Opera and Chelsea Opera Group)‚ Captain of the Pinafore, Lieutenant Yeomen of the Guard, Don Alhambra Gondoliers and Sir Roderic Murgatroyd Ruddigore (National G & S Opera Company), Entertainer Orango (Rostropovich Festival, Moscow)‚ Iago Otello (Kent Opera)‚ Speaker The Magic Flute (English National Opera)‚ Anna Fewmore in the world premiere of Mark Simpson’s Pleasure (Opera North and ROH)‚ Fillipovich A Dog’s Heart directed by Simon McBurney (ENO/Complicite) and Walsingham in Damon Albarn’s Doctor Dee directed by Rufus Norris (Manchester International Festival and ENO)‚ The Devil Inside by Stuart MacRae (Scottish Opera/ Music Theatre Wales)‚ Judge Turpin Sweeney Todd (Welsh National Opera) and Don Alfonso Cosi fan tutte (WNO‚ Bury Court Opera and West Green Opera).
Steven already had a career as a Trade Mark Attorney and was studying singing privately with Margaret Hyde‚ when he was awarded a Countess of Munster Scholarship to study at the National Opera Studio in London. Understudies of leading roles for both Glyndebourne Festival and Welsh National Opera followed and then he sang Don Alfonso Cosi fan tutte and Nick Shadow Rake’s Progress for Opera 80 (now English Touring Opera). Since then Steven has sung with the major opera companies and orchestras in the UK.
Roles with English National Opera include the Don Alfonso, Paolo Simone Boccanegra‚ the Count and Figaro Marriage of Figaro‚ Gregor Mittenhofer in Henze’s Elegy for Young Lovers directed by Fiona Shaw (Young Vic Theatre/ENO)‚ Calchus La belle Hélène and many others. He has appeared as Alidoro La Cenerentola and Coyle Owen Wingrave (Royal Opera House)‚ Guglielmo Cosi fan tutte‚ Marcello La bohème‚ Chorèbe Les Troyens‚ Ford Falstaff‚ title role Don Giovanni and Count Marriage of Figaro (Scottish Opera)‚ Narrator/Pangloss/Martin Candide (RNCM)‚ and the title role in a highly acclaimed production of Sondheim’s Sweeney Todd for Opera North‚ where he has also appeared as Sharpless Madama Butterfly and Benoit/Alcindoro La bohème. Roles with Carl Rosa Opera include the Pirate King Pirates of Penzance‚ the Mikado‚ Captain Corcoran HMS Pinafore and Lord Chancellor Iolanthe. Steven made his debut at the Glyndebourne Festival in 1994 as Nick Shadow Rake’s Progress and has since returned for Birtwhistle’s The Second Mrs. Kong‚ Leporello Don Giovanni (televised by Channel 4)‚ Coyle Owen Wingrave‚ Minskman in Jonathan Dove’s Flight (commissioned by Glyndebourne and televised by Channel 4)‚ Balstrode Peter Grimes‚ Pizarro Fidelio (televised at The Proms by BBC) and Prus The Makropoulos Case. He has appeared as Pirate King (RTÉ Concert Orchestra)‚ Sir Roderick Murgatroyd Ruddigore (Opera North and at the Barbican Theatre)‚ Sir Richard Cholmondeley The Yeomen of the Guard with the Royal Liverpool Philharmonic Orchestra‚ the Philharmonia Orchestra and the RTÉ Concert Orchestra conducted by John Wilson.
Engagements abroad include the title role Sweeney Todd in Australia‚ Spencer Coyle Owen Wingrave (Théâtre du Capitole‚ Toulouse)‚ Papageno The Magic Flute (Dublin)‚ Olin Blitch in Carlisle Floyd’s Susanna (Nantes)‚ Pizarro Fidelio (Châtelet)‚ Prus Makropoulos Case (Lyon‚ New York and Berlin)‚ Candide (Paris‚ La Scala Milan and Tokyo) directed by Robert Carsen and King The Love for Three Oranges‚ Leporello and Nick Shadow (New Israeli Opera).
In 2001 he took part in the film Tomorrow La Scala for the BBC/Home Movies which appeared at the Cannes Film Festival. He played an opera singer‚ Miles‚ singing the role of Sweeney Todd in a prison. Theatre work also includes Parade (Donmar Warehouse)‚ Oedipus (National Theatre with Ralph Fiennes) and After Aida (Old Vic with Ian Charleson and Richard Griffiths).
Steven has an extensive concert repertoire and has performed in all the major concert halls in the UK. For the BBC Proms at the Albert Hall he has performed in Tippett’s The Mask of Time (also in Stockholm) and in Elgar’s The Apostles.
The experienced supporting cast of Susan Bickley (Dame Carruthers), Neil Davies (Sergeant Meryll) and Steven Page (Lieutenant of the Tower) skilfully assist their younger costars.
London Unattached (November 2022)
Smaller roles are well taken by Neal Davies (Meryll), Innocent Masuku (Leonard) and Steven Page (Sir Richard).
Telegraph (November 2022)
The baritone Steven Page, one of the best G&S performers around, full of vim as Sir Richard Cholmondeley, is similarly versatile, from Verdi to Offenbach to Henze.
The Observer (November 2022)
The smaller roles were all well taken with Innocent Masuku bringing a naive charm to Leonard and Steven Page as a very stiff upper lip Colonel.
Planet Hugill (November 2022)
The rest of the cast is strong….Steven Page's Captain, an alcohol-soaked war veteran, narrates the opera in flashback, finally donning a Santa Claus outfit to drunkenly deposit a sack of presents for the refugees, freezing on the mountain-side.
Bachtrack (September 2019)
The principals‚ Steven Page as Todd with Patrick Stewart diction and a fine baritone...are superb.
Irish News (February 2019)
Steven Page cuts an imposing figure as the demon barber‚ his impassive exterior barely hinting at the anger within.
The Stage (February 2019)
As the titular demon barber‚ Steven Page returned after last year’s scheming Peachum in The Threepenny Opera to bring simmering‚ pent-up menace to a vocally contained performance hinting at baleful victimhood as well as bloodthirsty villainy.
Opera Magazine (April 2019)
...Steven Page made something memorable out of the mysterious Stranger...
Opera Magazine (August 2018)
Page admirably suggests the anguish of a man who can only intervene from the sidelines in the life of the family he might have had if circumstances had been different.
The Guardian (June 2018)
Steven Page’s brisk‚ strongly-sung‚ tracksuited Peachum was partnered by the local drag artist Matthew Cavan…
Opera Magazine (April 2018)
Where caricature and exaggerated counted more than singing ability‚ Matthew ’Cherrie Ontop’ Cavan’s Mrs Peachum and Richard Croxford’s scouse Jackie Brown all delivered wonderfully entertaining performances‚ and in baritone Steven Page’s Jonathan Peachum you had the best of both disciplines.
Opera Journal (February 2018)
The heads of the Peachum family are two of the stand-out performers of this piece. Page’s grand baritone voice is not just a point of considerable admiration throughout his musical portions‚ but‚ his eloquent and gentlemanly accent – whether natural or accentuated for this role – is a wonderful tool to demonstrate the juxtaposed nature of Mr Peachum as a devious and affluent conman.
Queens Radio (February 2018)
…and Steven Page (who was also in the COG performance) gave a fine account of the Tutor’s Act 1 aria.
Opera Magazine (October 2017)
Steven Page‚ another veteran of the COG performance‚ sang the role of the Tutor with authority. Slightly more assured than in the London performance‚ Page’s technique was strong and brought due comedy to the role with the character’s fondness for the bottle and long stockings.
BachTrack (July 2017)
The cast is excellent‚ and by making Don Alfonso the commanding officer of Ferrando and Guglielmo we gain a strong sense of the power that he has over them. Nevertheless‚ it still seems as if he ultimately manipulates them through force of personality rather than status‚ and Steven Page proves especially strong in the role. Don Alfonso can be played as a simple trickster‚ as a cold‚ scheming presence or as a man with his own axe to grind against women‚ and there are traces of all three elements in Page’s multifaceted yet balanced portrayal‚ and his smile during ‘Soave sia il vento’ alludes to so much while ultimately giving away so little.
Music OMH (August 2016)
Steven Page’s Don Alfonso veered from genial to sinister with a face that creased easily in satisfied smirks. His baritone had plenty of colour to it...His technique was strong though; delivery was well-timed and he has a clear appreciation of the manipulation of diction for comic effect.
BachTrack (July 2016)
Steven Page gave a daring performance as Anna Fewmore‚ one of the long term Queens at the nightclub. His two arias were some of the most engaging points of this piece‚ the second in particular showed off the warmer tones of this tenor with qualities that were more smooth and playful. Page’s characterisation was good and sprinkled a light and glittery relief (albeit perhaps one of a false nature) to the harsher moments of this story.
A Younger Theatre (May 2016)
Steven Page‚ as drag queen Anna Fewmore‚ also gave a strong performance and... he was excellent in the showstopper arias that punctuated the backstage drama that was developing
BachTrack (May 2016)
The Drag Queen and Club Performer‚ Anna Fewmore‚ played with panache by Steven Page‚ is suspicious of Nathan’s motives. He senses trouble and he is right. Page’s cabaret numbers‚ performed on a balcony with the musicians above the main action‚ are a highlight.
Classical Source (May 2016)
Flitting in and out‚ Anna is a drag queen past her prime. Sung with salacious glee by Steven Page‚ she enlivens proceedings with two cabaret numbers‚ sung with a microphone‚ which allows Page to escape the fetters of modern operatic style that rather restrict the other singers.
Evening Standard (May 2016)
...Steven Page is a class act as Anna Fewmore
MusicOMH (May 2016)
...and Steven Page brilliant as a cynical drag queen‚ all angles and bones and bling and slap‚ it has the makings of a hit
The Guardian (May 2016)
...breathe maximum life into their colourless characters and both are excellent‚ as is Page in his defacating‚ balloon-popping but dramatically unfocused booze-fuelled pomp.
What’s On Stage (May 2016)
The pick of the singers for me was baritone Steven Page as the Old Man‚ who with firm tone and clarity is the first character to detail the benefits and pitfalls of the bottle. His initial ‘Who is there?’ to the two backpackers set a chilling precedence for what was to come‚ masterfully portraying a character consumed by the devil inside him. Page’s instant makeover having sold the poisoned chalice – gaining a foot in height – was highly revealing and indicative of the moral slipperiness at the heart of the piece. His Vagrant too was excellent‚ sympathetically interpreted.
Seen & Heard International (April 2016)
Strongly convincing performances...Steven Page as the Old Man at the start and the unpleasantly canny vagrant towards the end
Mark Ronan (February 2016)
All four members of the cast created their characters to equally fine effect; they sprang off the page into our mythical consciousness...Steven Page’s Old Man and Vagrant (on the far-away island‚ briefly in possession of the bottle himself) made their theatrical point vividly and without histrionics
Seen & Heard International (February 2016)
Steven Page‚ commanding as ever...
The Arts Desk (February 2016)
...crystal-clear diction of all the singers...Steven Page‚ as the Old Man and the Vagrant‚ makes much of comparatively small parts‚ convincing physically as well as vocally and projecting an other-worldly sense of mystery
The Reviewers Hub (February 2016)
Tenor Nicholas Sharratt and bass-baritone Ben McAteer are riveting as the hapless pair‚ neither of whom does well out of the Imp despite the material wealth it brings‚ while the excellent Steven Page bookends the opera in two pivotal roles
What’s On Stage (February 2016)
...the cast inhabited their roles with panache...the most fully-formed stage animal was Steven Page’s Old Man/Vagrant‚ suitably enigmatic in his opening and closing appearances
Opera Magazine (March 2016)
Baritone Steven Page playing the Old Man (and the Vagrant in the second act) sang with a hearty‚ rich tone that he coloured beautifully and when coupled with his brilliant physicalisation‚ he was a lesson in character singing. Bravo‚ Mr. Page. Bravo.
Schmopera (March 2016)
With baritone Steven Page playing the Old Man‚ there is not a weak link in this uniformly strong cast
BachTrack (January 2016)
With only four singers (baritone Steven Page skilfully plays the Old Man in the first scene and the canny Vagrant in the last)‚ and an orchestra of 14 players‚ the production is as economical as it is engaging
The Guardian (January 2016)
Surtitles are welcome but almost redundant since each of the four singers – Nicholas Sharratt‚ Ben McAteer (a Scottish Opera emerging artist)‚ Steven Page and Rachel Kelly – enunciate clearly. They also sing MacRae’s forgiving and conversational vocal style with rigour‚ and act well under the direction of Matthew Richardson
Observer on Sunday (January 2016)
The old man from whom the bottle is purchased is played by Steven Page who will return later on in the evening as a vagrant who buys the bottle for almost nothing. Another fabulous voice was matched by strong character acting‚ the scene with the first sale of the bottle being particularly striking for its weirdness
Opera Britannia (January 2016)
Doubling as the Old Man and Vagrant‚ Steven Page is rock solid and fittingly sinister
The Scotsman (January 2016)
Steven Page — (David) McVicar’s Sweeney — makes a dourly dislikeable Judge Turpin
Sunday Times (October 2015)
Steven Page and Aled Hall‚ finally‚ are excellent as the corrupt Judge and his sidekick
The Arts Desk (October 2015)
...such powerful singers as Steven Page and Aled Hall as Jude Turpin and Beadle Bamford respectively
The Stage (October 2015)
...a rogue’s gallery of deranged cameos...Steven Page’s pervy predator of a judge
The Times (October 2015)
Happily‚ in an otherwise disappointing evening some classy supporting turns save the day...while two of our finest opera singers‚ Steven Page and Aled Hall‚ are dynamically paired as the evil Judge Turpin and his oleaginous henchman Beadle Bamford
What’s On Stage (October 2015)
Steven Page as the Colonel sang his opening patter song with enthusiasm and great clarity of diction
BachTrack (August 2015)
Act I was lifted by the excellently choreographed Dragoons and a convincing Colonel Calvery who commanded with strength: the delivery of “If you want a receipt” was excellent
Seen & Heard International (August 2015)
Steven Page donne vie à Coyle /// Steven Page gives life to Coyle
Forum Opera (November 2014)
Steven Page dispatched the Speaker’s lines with authority and presence
Opera (January 2014)
Steven Page is an authoritative Speaker
Financial Times (November 2013)
...in Steven Page we get an intensely dramatic Speaker
The Independent (November 2013)
One of the joys of having this in English is the use of accents‚ and Steven Page’s very proper and precise accent as Speaker
Mark Ronan (November 2013)
Steven Page offered firm-voiced authority as the Speaker
Opera Britannia (November 2013)
The cast for this collaboration between Scottish Opera and The D’Oyly Carte Opera Company revelled in ridiculous but always loveable characters‚ whether that was the pompous Major General‚ with his bevy of daughters needing husbands or the Pirate King with his sailors needing wives‚ both of whom have glorious songs that are stalwarts of the Gilbert and Sullivan repertoire. The two roles were splendidly taken by Richard Stuart and Steven Page. Stuart slickly ran through the tongue twisting patter song‚ Modern Major General‚ with aplomb
Wales Online (July 2013)
The boisterous pirates were capably led by Steven Page’s Pirate King
BachTrack (May 2013)
Scottish Opera and the D’Oyly Carte Opera Company have set sail with a sure-fire summer hit with their delightful new production of The Pirates of Penzance. A real crowd pleaser‚ this production deserves the success that it will undoubtedly have...Musically this was also a confident performance with strong leads and some phenomenal choral singing. The Pirate King was first up on stage and Steven Page led a competent crew who appeared slithering about the deck of a cartoon ship. His voice had a satisfying dark molasses rum quality about it...
Opera Britannia (May 2013)
Graeme Broadbent and Steven Page were both excellent‚ the former as an ineffable Police Sergeant and the latter as a forthright and surprisingly urbane Pirate King
RowB Seat87 blog (May 2013)
...splendid of voice...
The Arts Desk (May 2013)
About ten minutes into the first half I realised the big stupid smile on my face was here to stay. Opera isn’t often laugh a minute‚ but this is comic opera from the very best proponents of the form...I can’t fault the cast‚ of which Pirate King Steven Page and Richard Suart as the Major General were both excellent
The Big Issue (May 2013)
…a raft of solo performances that go well beyond G&S stereotypes‚ not least because they sing magnificently...Steven Page’s Pirate King has a dash of Jack Sparrow about him‚ cheeky‚ authoritative...a great night’s entertainment
The Scotsman (May 2013)
Among the other soloists Steven Page’s Walsingham was the most forceful...
Opera Magazine (September 2012)
Walsingham – gravitas-wielding baritone Steven Page
Opera Britannia (July 2012)
Steven Page is a thoughtful and increasingly ominous Walsingham
Classical Source (June 2012)
Walsingham‚ Elizabeth’s spy master‚ periodically appears – on stilts‚ booming threateningly
Financial Times (June 2012)
Steven Page’s bestilted Walsingham is a baleful presence
The Guardian (June 2012)
...there is some confident‚ focused singing from Anna Dennis‚ Katherine (Dee’s daughter) and Steven Page as Walsingham
Opera Today (June 2012)
Steven Page is a mightily impressive Walsingham
Seen & Heard International (June 2012)
...carefully overseen by Steven Page’s Nick Shadow...It sounds good too...Montvidas and Page are outstanding. Page is all dangerous allure and insidious charm
The Guardian (March 2012)
As Shadow‚ Steven Page sang with splendid consistency and firm enunciation...He nudges‚ coaxes and cajoles Tom into reckless self-indulgences‚ rather than effortfully dragging him
Opera Britannia (March 2012)
...Nick Shadow‚ a deliciously urbane Steven Page‚ who commands the stage whenever he appears
Opera Critic (March 2012)
Steven Page’s Shadow‚ bewigged in such a way that drops hints about his demonic origins‚ is excellent. The voice is rich and authoritative while retaining a seductive edge that reminds us why Tom finds this character so enticing‚ and his diction is compelling and believable in every scene
Seen & Heard International (March 2012)
Solid casting‚ too‚ ensures that Stravinsky’s neo-classical masterpiece is delivered at an international vocal level…Steven Page finds the perfect combination of the amiable and the sinister for the devilish Nick Shadow‚ and is on menacing form in the graveyard scene
The Stage (March 2012)
Scottish Opera has provided him (David McVicar) with a cast‚ conductor‚ and creative team that is absolutely top-notch. Tom Rakewell (Edgaras Montvidas) and Nick Shadow (Steven Page) are Faust and Mephistopheles…Both men give swaggering performances
The Herald (March 2012)
Steven Page’s sneakily macabre Nick Shadow
The Scotsman (March 2012)
The coming to life of portraits was particularly well handled‚ and Steven Page’s Ghost’s High Noon was a highlight of the evening
Scotsman (June 2012)
Steven Page in a most beautiful account of the ’Little Flower’ duet
Opera Magazine (December 2011)
The strong cast includes...Steven Page‚ who plays an authoritative Sir Roderic Murgatroyd‚ giving a stunning rendition of “When the night wind howls”
Northern Echo (November 2011)
Inevitably‚ it is the more extrovert characters that make the greatest impact: Steven Page’s no-nonsense army-major Sir Roderick‚ the most recent addition to the ghostly gallery. He gets the best song of the show – the deliciously spine-tingling ‘Ghosts’ high noon’ – which Page delivered with gusto
Classical Source (November 2011)
...the great set piece in the Haunted Picture Gallery is wonderfully inventive. Every one of the principals is pitch perfect but special mention must be made of Steven Page‚ as the ghostly Sir Roderic‚ Grant Doyle and Richard Burkhard‚ as his two wicked nephews‚ and Heather Shipp‚ as a vocally and physically fearless Mad Margaret. An unmitigated triumph!
The Express (November 2011)
Opera North’s lively cast had some G&S luminaries‚ not least the experienced Steven Page as Sir Roderic Murgatroyd who‚ although dead‚ ends up in a passionate embrace with the winsomely alive geordie maiden‚ Dame Hannah (Anne-Marie Owens). Their ability to project without pushing the tone set them apart from others
Observer on Sunday (November 2011)
The cast is impeccable‚ giving due and equal value to Gilbert’s words and Sullivan’s notes. Heather Shipp’s blissfully unruly Mad Margaret is partially tamed by Richard Burkhard’s suavely supercilious Sir Despard Murgatroyd. Steven Page is a mellifluous military martinet as Sir Roderic Murgatroyd. Indeed it is rare to see a production in which every member of the cast meets the highest standards and integrates so flawlessly into the overall dramatic momentum. Ruddigore used to be regarded as a poor relation amongst the Savoy canon‚ but here it comes over as a comic masterpiece
The Stage (November 2011)
Steven Page who is dressed in army khaki as a First World War General. Page initially appears (and disappears) heavily robed and hooded like the Monk in Don Carlos and there’s a clever illusion when he seems to vanish into thin air and the terrified Sir Ruthven is left holding the empty robes! Page’s dark baritone and impeccable diction superbly intones "When the night wind howls" with the chorus of ghostly ancestors and cushioned by some of Sullivan’s most vividly descriptive orchestral writing
Opera Britannia (October 2011)
Melanie Pappenheim’s haunting presence as the spirit‚ Steven Page’s Tim Burton-esque Walsingham and Christopher Robson’s portrayal of Kelley – the psychic’s sinister presence emphasised by Robson’s icy countertenor voice – are all divine
Manchester Evening News (July 2011)
...first-rate support from Christopher Robson as Dee’s nemesis Edward Kelly‚ Anna Dennis and Melanie Pappenheim as the women in his life‚ and Steven Page as Sir Thomas Walsingham
The Telegraph (July 2011)
Page sang well in his incisive bass-baritone‚ effectively contrasting the character’s apparent calmness against the bullish emotions lurking beneath the surface. As with all the cast his diction was exemplary
Classical Source (April 2011)
Such an opera leaves relatively little room for character development‚ but Steven Page gave a masterful portrayal of Preobrazhensky – somewhere between Henry Higgins and Ivan Michurin in his conceit and ambition‚ with a degree of (im)moral authority that compels the admiration of others
Classical Source (November 2010)
Steven Page also performs excellently in the difficult and demanding role of Prof Preobrazhensky
The Express (November 2010)
Of the excellent cast‚ Steven Page is outstanding as the professor
Express (November 2010)
Steven Page’s Faustian scientist makes a commanding centrepiece
Financial Times (November 2010)
And Steven Page’s Professor Filipp Filippovich Preobrazhensky is superb too‚ powerfully conveying – too late in the day – his mortification at what his scientific arrogance has produced
The Guardian (November 2010)
Steven Page captures Professor Preobrazhensky’s sense of superiority
Londonist (November 2010)
...outstanding‚ as was Stephen Page as Professor Preobrazhensky‚ the experimenting surgeon who drives the action which becomes out of control
Musical Pointers (November 2010)
There were splendid performances all round…the impressive Steven Page as the Professor
Opera Critic (November 2010)
Steven Page has an impressive stage presence that makes his portrayal gripping
Seen & Heard International (November 2010)
There are outstanding performances from many in the large cast‚ especially Steven Page as the surgeon
The Stage (November 2010)
Steven Page exudes aristocratic urbanity as the professor who creates the Frankenstalin monster
What's On Stage (November 2010)
Steven Page gave a virtuoso performance in the role of Gregor Mittenhofer. Vocally rock solid and with admirable diction‚ he portrayed the selfish artist – apparently based on the poet Yeats but befitting far too many representatives of the arts – with a wide palette of tonal shades and detailed body language (the latter of which might have had significant input from director Fiona Shaw)
Musical Criticism (November 2010)
Steven Page’s Mittenhofer dominates the stage: charismatic creative type‚ manipulative child‚ abusive bully all in one
Financial Times (April 2010)
Steven Page’s performance as the monstrous Mittenhofer‚ already coming apart at the psychological seams‚ is a tour de force
The Guardian (April 2010)
Steven Page’s strongly sung portrayal
New York Times (April 2010)
As the celebrated poet Mittenhofer‚ Steven Page gave a bravura performance of remarkable intensity. In his portrayal of malignant eccentricity‚ unadulterated self-centredness‚ and‚ ultimately‚ sheer monstrosity‚ he embodied the callous poet to a degree that was chilling… while Page’s strong baritone voice sliced through the orchestra with ease‚ it was its overall dramatic impact that rendered his characterisation so effective. The aloof madness‚ the venom‚ the unctuous grace‚ transitioning terrifyingly into crazed‚ boundless fury; all were delivered impeccably‚ a powerful portrayal of inhumanity in man
Opera Britannia (April 2010)
Steven Page is Mittenhofer and is quite outstanding in a role…Page conveys cruelty and wickedness in a convincing way‚ and he also has to perform a genuine coup de théâtre at the end of Act II which needs to be seen not read about
Opera Critic (April 2010)
The cast are all superb. Steven Page as Mitenhofer excels
Operaticus (April 2010)
Steven Page commands the stage as Mittenhofer
Seen & Heard International (April 2010)
Gregor Mittenhofer‚ the central character‚ an egoistic monster of a poet‚ is fortunately incarnated in Steven Page‚ one of our finest baritones and actors‚ here looking like Bertrand Russell‚ another old goat with high ideals
Spectator (April 2010)
…well worth seeing in Fiona Shaw’s crisp and detailed production‚ with the entire cast acting their collective socks off. Steven Page finds the role of a lifetime in Mittenhofer
The Stage (April 2010)
A first-rate cast was led by Steven Page as the monstrous Mittenhofer
The Telegraph (April 2010)
Played with relish by the fine acting singer Stephen Page‚ the bear-fixated tyrant lurches unpredictably‚ damaging all in his path‚ amidst brief moments of lucidity
What's On Stage (April 2010)
As the ghost of Sir Roderic Murgatroyd‚ Steven Page almost stole the show with a stylish and powerfully sung rendition of “When the night wind howls”. Making a dramatic entrance in a long dark cloak‚ Page’s tall and commanding stage presence was reminiscent of Mozart’s Commendatore and he exuded the same gravitas‚ acting the role as a stereotypical WWI army general who likes to bellow orders and bully his subordinates
Opera Britannia (February 2010)
A fine‚ mostly young cast had been assembled‚ with the ‘veterans’ Steven Page and Susan Gritton providing reliable‚ musical singing as Alfonso and Fiordiligi
Classical Source (June 2009)
Steven Page’s deceptively attractive Alfonso and Susan Gritton’s troubled‚ sensual Fiordiligi are performances of considerable stature
The Guardian (June 2009)
Steven Page brings his immaculate Gilbert and Sullivanesque enunciation to Don Alfonso’s patter
The Independent (June 2009)
Steven Page and Elizabeth Woollett are tremendous as a couple that half- heartedly try to stand up for Owen
Bloomberg (April 2007)
Steven Page and Elizabeth Woollett as the Coyles‚ and Toby Spence’s Narrator (recorded) were outstanding
Evening Standard (April 2007)
Steven Page’s Coyle is one of the best things he has done
Financial Times (April 2007)
Steven Page had clear diction and good intonation as Spencer Coyle
Musical Criticism (April 2007)
…a very sympathetic and strongly sung performance by Steven Page as the upright and principled Spencer Coyle
MusicOMH (April 2007)
Steven Page returns to the Coliseum as a memorable Calchas
MusicOMH (June 2006)
The men in the cast are particularly good: that invaluable baritone Steven Page does a dry comic turn as Calchas
The Telegraph (June 2006)
…one can pinpoint Steven Page‚ as Prus‚ both impressive and stylish
