Stephen Richardson an excellent bass as Zhemchuzhnïy

Music OMH (March 2023)

Smaller parts were all well taken. Stephen Richardson’s cavernous bass suited the gruff Zhemchuzhnïy

Musical America (March 2023)

Le rôle d’Hobson est court mais mélodiquement essentiel : Stephen Richardson en tire le meilleur de sa voix large et profonde, et de son chant chaloupé.

Hobson's role is short but melodically essential: Stephen Richardson makes the most of it with his wide, deep voice and swaying vocals.

Olyrix (January 2023)

le Hobson de Stephen Richardson complètent vaillamment un tableau globalement très réussi.

Stephen Richardson's Hobson valiantly completes a generally very successful picture.

Forum Opera (January 2023)

D’une voix puissante, Stephen Richardson fait ce qu’il faut en Hobson

With a powerful voice, Stephen Richardson does the right thing in Hobson

Anaclase (February 2023)

...la distribution constitue un sans-faute.... ou le Hobson façon hooligan de Stephen Richardson, tous seraient à louer de manière détaillée.

AltaMusica (February 2023)

...and Stephen Richardson as Hobson were equally characterful and vivid.

Planet Hugill (February 2023)

Der englische Bass Stephen Richardson macht das beste daraus mit seiner breiten Stimme und seinem wiegenden Gesang.

ioco.de (February 2023)

from Stephen Richardson’s dignified Titurel onwards, the supporting cast are admirable

Reviews Hub (June 2022)

The rest of the cast – including Titurel (Stephen Richardson), the Esquires and Flowermaidens, as well as the enlarged chorus – gave sterling performances.

Guardian (June 2022)

Stephen Richardson was excellent in the small role of Titurel.

OperaOnline (June 2022)

Stephen Richardson fashioned a suitably hoary Titurel

Opera (August 2022)

Stephen Richardson was an excellent Geronte, bringing a menacing stillness and elegance to the role.

BachTrack (June 2021)

Similarmente efectivo fue el Geronte de Stephen Richardson, aquí un siniestro burócrata con una esvástica como brazalete.

(Similarly effective was Stephen Richardson's Geronte, here a sinister bureaucrat with a swastika for a bracelet.)

Mundo Clasico (June 2021)

During that quartet, I particularly took note of the strong underpinning provided by Stephen Richardson’s Rocco, and he followed it with a superbly sung “Hat man nicht auch Gold beineben”, a neatly judged mix of basso buffo money-grubbing old man and Beethovenian seeker for the high ideals of love.

BachTrack (September 2020)

Bass Stephen Richardson brings unusual warmth to the part of gaoler Rocco

The Independent (September 2020)

Stephen Richardson’s Rocco commanded his limited space with deft dramatic characterisation

The Arts Desk (September 2020)

Stephen Richardson brings lively character to the equivocal gaoler, Rocco.

The Stage (September 2020)

Stephen Richardson makes a troubled, sympathetic Rocco

The Guardian (September 2020)

Barry’s intricate scoring whirls along with exultantly unfettered energy, while the singers – all got up as painted caricatures – cavort, fight, and copulate with brilliantly choreographed comic precision. Special plaudits to Michel de Souza (Paradies), Stephen Richardson (Sir Joshua Cramer), and Patrick Terry (Serafino).

The Independent (September 2019)

The London Sinfonietta’s virtuosity, and the cast’s miraculous achievements – led by Michel de Souza with Adrian Dwyer, Stephen Richardson, Rhian Lois, Stephanie Marshall, Patrick Terry and (recorded solo treble) Rafael Flutter – were, without exaggeration, phenomenal.

The Observer (September 2019)

It would be impossible to perform this work half-heatedly, and the singers were extraordinary in their commitment and in the brilliance of their delivery: Stephen Richardson (who created the role) as Sir Joshua Cramer…

Opera Magazine (December 2019)

Stephen Richardson as Cramer, a solid bass for age and social stature, is a Barry veteran – and it showed.

Opera Now (October 2019)

...Stephen Richardson made for a suave Geronte.

The Guardian (June 2019)

Stephen Richardson’s confidently projected Geronte di Ravoir...

Classical Source (June 2019)

Stephen Richardson gave a vivid, highly enjoyable performance as Geronte. Richardson is a big man with a big voice and looming over virtually everyone else, he dominated his scenes. He has a rich lower register with plenty of power to it, and dramatically he matched with moments of comedy – the senex amator of the first act – with some moments of cold cruelty.

Bachtrack (June 2019)

Stephen Richardson brought a sense of effortless power to his role as the big man, Geronte, doing dodgy deals in the background and regarding Manon as his right. What he also achieved was a sense of the way this power gave the man an attractiveness which explained the pull between him and Manon.

Planet Hugill (June 2019)

Stephen Richardson gave an appropriately weathered account of Manon’s lusty old seducer, Geronte...

Opera Magazine (August 2019)

As the rich and elderly Dikoy‚ Stephen Richardson’s abusive bluster was as potent as Shipp’s machine-gun rattle of demands‚ Richardson’s voice with a powerful swoop that reminded me of John Tomlinson.

BachTrack (February 2019)

Stephen Richardson’s kinky Dikoj inspired fear - this was a portrait that was almost too well sung.

Opera Magazine (April 2019)

Marcellina and Bartolo were in the experienced hands of Joan Rodgers and Stephen Richardson‚ now suitably mature and in faultless command of their stagecraft; Richardson’s stentorian delivery of ‘La vendetta’ was not only powerfully sung but cleverly stage too.

Opera Magazine (August 2018)

...there’s hardly a weak link in the cast. The veterans Joan Rodgers (Marcellina) and Stephen Richardson (Bartolo) bring the ballast of experience to this predominantly youthful ensemble...

The Sunday Times (June 2018)

Fra i comprimari‚ un plauso particolare mi sento di tributare al Dansker di Stephen Richardson‚ non solo per la tenuta vocale ma anche per la bravura nel recitare il personaggio./// Among the supporting actors‚ I particularly applaud the Dansker of Stephen Richardson‚ not only for voice but also for the skill in playing the character.

L’Ape Musicale (May 2018)

With 20 soloists‚ it is impossible detail all the individual performances‚ and although all performed well‚ a number deserve mention. The role of Dansker‚ essayed by Stephen Richardson‚ exemplified the camaraderie that existed amongst the crew below decks. As an old hand‚ he had the confidence of the men and befriended Billy. His bass has a pleasing timbre‚ which he used with intelligence to produce a sympathetic reading.

Opera Wire (May 2018)

Stephen Richardson’s Dansker was the most humane character on the ship; the one who nicknamed the young man Baby on account of his innocence. Their scenes together were touching‚ with warmth and kindness emanating from his solid form and warm bass voice.

Seen & Heard International (May 2018)

A fetishist romp between the Duke‚ sung by the superb British bass Stephen Richardson‚ and a maid/call-girl portrayed by the clear-voiced Irish soprano Daire Halpin‚ ends with her dressing him in an enormous nappy and sticking a gigantic bottle in his mouth. Richardson’s star turn comes as a divorce-court judge straight out of Gilbert and Sullivan‚ who says he’s seen a lot in his life but nothing like the Duchess‚ whom he denounces as "a Don Juan among women".

BachTrack (March 2018)

Every member of the cast rose admirably to the task of combining these directions with the formidable challenge of singing Adès’s demanding vocal lines... there are few basses able to bring off the hilariously grotesque figures of the Duke and Judge better than Stephen Richardson. Indeed Adès’s musical characterisation of the Judge bears more than a passing resemblance to another operatic upholder of the law‚ the ghastly magistrate Sir Joshua Cramer from Gerald Barry’s The Intelligence Park which Richardson has also sung.

The Journal of Music (March 2018)

The supporting characters‚ a riotous medley entrusted to just three singers‚ soprano Daire Halpin‚ tenor Adrian Dwyer and bass Stephen Richardson‚ range from hotel staff and media to her husband and the judge. Their energy and adaptability‚ and the riot of colour exploding from the INO Orchestra under Timothy Redmond‚ are unflagging.

Irish Times (February 2018)

Très nombreux ainsi‚ les moments remarquables pour la distribution‚ que ce soit « La Vendetta » je n’en peux plus bouffe d’un superbe Stephen Richardson en Bartolo...

Classique News (July 2017)

...and they form the perfect trio with Stephen Richardson’s sonorous Bartolo.

MusichOMH (June 2017)

Stephen Richardson prête sa belle voix de basse au personnage de Bartolo. /// Stephen Richardson lends his beautiful bass voice to the character of Bartolo.

Olyxix (June 2017)

Vivid‚ well characterized thumbnail portraits were also provided by a trio of singers playing multiple parts... Stephen Richardson offered especially solid support as a haughty hotel manager‚ apoplectic judge and aggrieved husband‚ the moralizing pomposity of whose outrage at his wife’s promiscuity was somewhat pricked by his own predilection for cavorting in nappies.

Opera Magazine (April 2017)

Adrian Dwyer‚ Stephen Richardson and Daire Halpin throw themselves into the roles‚ always judging the tone perfectly. Richardson is permitted some of the more slapstick moments (and slapping with a stick moments) as Hotel Manager‚ Husband and Judge‚ which he delivers with gusto.

Opera Journal (January 2017)

...Stephen Richardson delivers a tour de force as the hysterical divorce court judge.

The Telegraph (January 2017)

Around her‚ Adrian Dwyer‚ Stephen Richardson and Daire Halpin were superb.

The Times (January 2017)

There were fine cameos‚ too‚ from Adrian Clarke as Mr Flint and Stephen Richardson as Dansker.

Opera Magazine (December 2016)

...and Stephen Richardson as Dansker‚ the old salt who comforts Billy‚ was superb‚ reaching down almost to basso profondo at times.

BachTrack (October 2016)

Stephen Richardson is at his most rewarding as the old sailor Dansker who has seen it all...

Critics’ Circle (October 2016)

There are some decent cameos dotted among the rest of the cast too – Stephen Richardson’s Dansker is a bit more than that

The Guardian (October 2016)

And apart from Stephen Richardson’s great-hearted old salt Dansker the rest of the Indomitable’s crew make little impact as individuals.

The Times (October 2016)

Stephen Richardson makes for a majestic Mikado‚ the touch of luxury in his voice making me wish he’d been singing a whole lot more.

Seen & Heard International (June 2016)

Stephen Richardson‚ making his grand entry with Katisha from a bunting strewn battleship‚ was impressive as the Mikado all top-knot and full colourful military costume with daft winged hat and scary make-up. He had a pleasing authoritative voice

BachTrack (May 2016)

The Mikado himself‚ Stephen Richardson had a magisterial richness in his singing and when he tried to tell us that the punishment must fit the crime‚ he did so in a stately and very courtly manner.

Opera Britannia (May 2016)

Stephen Richardson revels in Gilbert’s ghoulish humour as the Mikado.

The Stage (May 2016)

Stephen Richardson’s fine Mikado makes a spectacular entrance too: disembarking from a flag-bedecked battleship.

The Times (May 2016)

Stephen Richardson’s sonorous Timur

The Guardian (November 2015)

Musically‚ it was given a highly creditable performance by artists who gave absolutely everything of themselves to provide an overwhelming theatrical experience...Stephen Richardson perhaps lacked the ultimate in resonance for Timur but he sang with real feeling and phrased his music with eloquence

Opera Traveller (November 2015)

Stephen Richardson a grave‚ agonised Timur

Opera Journal (November 2015)

Stephen Richardson’s anguished Timur

Spectator (November 2015)

The leads on Saturday were all strongly taken...There were stalwart contributions from Stephen Richardson as Timur and Christopher Gillett as Emperor Altoum (the latter clad only in a nappy)

The Irish Times (November 2015)

Stephen Richardson the very bourgeois Rocco‚ nicely smug in his Gold aria

Opera Magazine (July 2015)

The introduction of Stephen Richardson’s Rocco and Detlef Roth’s wicked Don Pizarro were welcome additions to the vocal ensemble‚ both singing very well‚ and with entertainingly characterful interpretations of their arias

BachTrack (May 2015)

...the cast were outstanding...Stephen Richardson sang the dopey King of Hearts with a booming bass voice

BachTrack (March 2015)

Stephen Richardson offered a richly booming comic turn as the King of Hearts

Opera Britannia (March 2015)

...fine cameos...Stephen Richardson’s sympathetic Micha

Opera Magazine (January 2015)

The principals are without exception excellent and impeccably well matched...Stephen Richardson’s wide boy businessman‚ Tobias Micha

Opera Britannia (October 2014)

Stephen Richardson‚ meanwhile‚ exudes wealth as Tobias Micha

What’s On Stage (October 2014)

Stephen Richardson’s Geronte was a chilling presence

Opera Magazine (April 2014)

Geronte‚ believably and menacingly played by Stephen Richardson‚ is portrayed as a sort of Paul Raymond sleaze merchant surrounded by pole dancers and other scantily clad young ladies

Stage Talk Magazine (April 2014)

Stephen Richardson’s gruff Geronte was creepily effective

BachTrack (March 2014)

...leaving David Kempster’s wheeler-dealer Lescaut and Stephen Richardson’s drug-lord Geronte as the only realistic characters in Trelinski’s metropolitan maze

Financial Times (February 2014)

David Kempster’s Lescaut and Stephen Richardson’s Geronte are horrible but strong

The Guardian (February 2014)

David Kempster and Stephen Richardson were a callous Lescaut and sinister Geronte respectively

The Independent (February 2014)

Stephen Richardson plays Geronte convincingly if disagreeably as a high-class trafficker in (fallen) women‚ re-emerging unexpectedly in the third act as the ship’s captain

The Arts Desk (February 2014)

Musical standards remain high‚ courtesy of Stephen Richardson

The Spectator (February 2014)

Stephen Richardson is a chillingly vile sexual deviant Geronte (and also Naval Captain)‚ with David Kempster a warmly sung‚ mercurial Lescaut

Wales Online (February 2014)

The bass Stephen Richardson sang the part with resonant authority‚ and acted it wonderfully

Opera Magazine (January 2014)

Performances from the singers are all of high quality. Of particular note is Stephen Richardson’s strange and scary turn as the Lady Bracknell (yes – cast as a bass)

Golden Plec.com (November 2013)

Just as (Gerald) Barry tests everything in his musical and dramatic vocabulary to destruction‚ so (Antony) McDonald pushes his imagery as far as he dares‚ uncovering some surprisingly dark subtexts in the process. Barry casts Lady Bracknell as a bass‚ and weird as that is‚ McDonald goes even further‚ dressing Stephen Richardson up as a baleful chimera‚ half hunting-shooting-fishing Edwardian gentleman‚ half Victorian matriarch‚ and that mix of the manically extreme and the edgily unsettling is typical of the show as a whole...musically it is all delivered with as much deftness and inexhaustible energy...the individual performances are faultlessly precise...Richardson’s sinister Lady Bracknell

The Guardian (November 2013)

...the work is a comic gift for all the cast‚ with Stephen Richardson as a scene-stealing Lady Bracknell

Opera Journal (November 2013)

...a brilliant team of singer-actors at their disposal in Stephen Richardson (Lady Bracknell)

The Sunday Times (November 2013)

In a supporting cast with no weak links‚ Catherine Wyn-Rogers and Christopher Gillett both have long associations with this opera and their performances were especially well-defined. Robert Murray (Bob Boles)‚ Henry Waddington (Swallow) and Stephen Richardson (Hobson) were equally assured...

Classical Source (June 2013)

The other parts were filled with equal flair and distinction and all deserve mention...Stephen Richardson’s powerful bass gave an added menace to the lugubrious Hobson

Ipswich Star (June 2013)

There was scarcely a weak link in the rest of the cast. Boles‚ Swallow‚ Adams‚ Keene and Hobson were all vividly and effectively characterized by Robert Murray‚ Henry Waddington‚ Christopher Gillet‚ Charles Rice and Stephen Richardson respectively‚ and none of them put a foot wrong: conveying‚ without a costume‚ prop or stage effect in sight‚ the foibles of each character and the hierarchy of the Borough that Britten establishes so cleverly. Each showed just how much can be conveyed by a tone of voice‚ a wheedling inflection‚ a hint of being drunk‚ a whiff of conspiracy

Musical Criticism (June 2013)

Grimes has been rarely performed in the Maltings‚ but the hall’s relative intimacy seems to intensify its musical and dramatic impact...a vivid gallery of cameo artists seemingly steeped in Grimes tradition...Christopher Gillett (the Rector)‚ Stephen Richardson (Carter Hobson)

The Times (June 2013)

Dalland‚ cleanly sung by Stephen Richardson

Opera Magazine (April 2013)

Stephen Richardson’s avuncular Daland plays up the comic

The Telegraph (February 2013)

Daland is back — in Stephen Richardson a sturdy‚ upright Balstrode of a figure‚ his voice as well-ballasted as his ship‚ and both physically and musically authoritative. He turns out to be not only Senta’s father‚ but also the founder-patron of a school for good Norwegian seamstresses...

The Times (February 2013)

One more man in Wally’s life‚ her abusive father Stromminger‚ who wants to force her into marriage with Gellner or she’s no daughter of his and who dies after Act One‚ is balefully recreated in fine Wagnerian style by Stephen Richardson

Classical Source (August 2011)

There’s exceptional singing and character work...There’s even subtlety to Wally’s short-lived‚ bullying dad - whom Stephen Richardson invests with a pathetic‚ childish pride that is almost likeable

Evening Standard (August 2011)

The singing in this production is almost universally excellent. Stephen Richardson exhibited his woody dark bass and first-rate acting in the role of Stromminger (portrayed in this production as an abusive alcoholic who takes most of his anger out on his daughter Wally)

MusicOMH (August 2011)

Stephen Richardson’s short-lived Stromminger was pretty indomitable in act one and director Martin Lloyd-Evans certainly didn’t pull any punches with his brutality

The Independent (July 2011)

Stephen Richardson was a fearsome Stromminger‚ dominating the stage during his opening birthday celebrations

Opera Britannia (July 2011)

Stephen Richardson’s Stromminger is particularly vicious‚ lashing out at his daughter at every provocation

What's On Stage (July 2011)

Stephen Richardson was a very strong Rocco‚ portraying him as a more youthful man than is customary. His warm and generous bass sounded well in the part and he too gave a detailed dramatic performance‚ emphasising the jailor’s moral awareness but weakness to act. I liked the flashing display of an Amex Gold card during “hat man nicht auch Gold beineben” – a moment of lightness amidst the gloom. Richardson brought out that this Rocco is also aware of a disconcerting occasional oddness of behaviour in Fidelio at moments

Classical Source (July 2010)

Stephen Richardson was unusually credible as the compromised Rocco‚ who manages yet to do the right thing: a truly Beethovenian inspiration. Richardson’s fine command of the vocal text was a significant contributing factor here

Musicweb International (July 2010)

Stephen Richardson made a strong Rocco... his Act I aria on the virtues of money‚ ‘Hat man nicht auch Gold beineben’‚ carried off with a strong sense of humour and energy

Opera Britannia (July 2010)

Stephen Richardson presents gaoler Rocco’s moving moral goalposts and instinct for self-preservation

The Stage (July 2010)

Sarah Redgwick as the self-duping Marzelline and Stephen Richardson as her father Rocco both contribute well delineated characters

What's on Stage (July 2010)

'...and Stephen Richardson delivered a ripe comic scene as the Judge'

Financial Times (June 2006)

...and in the Judge’s monologue Stephen Richardson descended into vicious caricature in a virtuoso lather

The Guardian (June 2006)

Stephen Richardson’s stentorian command of the roles of both Duke and Hotel Manager completes this extended Proverb of Hell

The Times (June 2006)

...Stephen Richardson on the other hand was totally comfortable with Sarastro’s lowest notes‚ and projected the appropriate benevolent authority

Opera Critic (March 2006)

Stephen Richardson‚ avec sa basse sombre et puissante‚ est un Kaspar démoniaque à souhait

Anaclase.com (December 2005)

Stephen Richardson impressionne par son Kaspar très noir‚ au timbre profond‚ scéniquement inquiétant à souhait et vocalement tonnant‚ d’une efficacité à toute épreuve

ResMusica.com (December 2005)

Stephen Richardson towering with self-importance as Falstaff

Sydney Morning Herald (January 2006)

...but of course it’s English bass baritone Stephen Richardson in the role of Falstaff who determines the success of this romp...

Sydney Morning Herald (January 2005)

Stephen Richardson impressionne par son Kaspar très noir‚ au timbre profond‚ scéniquement inquiétant à souhait et vocalement tonnant‚ d’une efficacité à toute épreuve

ResMusica.com (December 2005)

Stephen Richardson has taken over as Baron Ochs and‚ amazingly‚ his marvel-lously leering‚ tongue-out‚ hangdog style is compelling. Richardson’s Ochs is youthful and wicked‚ natural as a comedy king and emotionally truthful

Evening Standard (March 2003)

As Ochs I saw the second cast‚ Stephen Richardson - John Tomlinson was singing Orest in Covent Garden - and I am very glad I did. Finally a fresh and steady voice from top to bottom‚ a singer who can deliver the words and notes with refinement and humour rather than speak‚ shout and bark through the part other more famous singers often do. And played the Baron as rather young and dynamic if not very noble "bonvivant" who as lady-killer is at least more convincing as the jolly old buffo type we are used to seeing in this role.""The cast was headed by Stephen Richardson’s crusty‚ bluff Morosus...
A warm affectionate portrayal of a character who contains elements of Ochs and Falstaff

The Daily Telegraph (March 2003)