Filippo: Beatrice di Tenda / Chelsea Opera Group
“…particularly notable for the incisive and idiomatic singing of Stephen Gadd as the baritone villain…”
The Daily Telegraph
“Stephen Gadd was a suitably strong Filippo, demonstrating an Italianate line and providing all the passion that this brand of melodrama requires.”
Musical Criticism
Alphonse: La Favorite / Chelsea Opera Group
“Stephen Gadd sang Alphonse with strength, both vocally and dramatically, and made a positive character of the Castilian King, authoritatively commanding.”
Classical Source
“”Stephen Gadd was in his element as King Alphonse, communicating throughout and mixing classical precision with a sense of text, and he made sure he used his vocal resources to the full at the right moments.”
Musical Criticism
Gellner: La Wally / Opera Holland Park
“As the hapless Gellner, Stephen Gadd sings with crisp authority…”
The Daily Telegraph
“Stephen Gadd makes Gellner a star turn - a quiet man of action, prone to blurt out his deep passion.”
Evening Standard
“Stephen Gadd’s strong, firm baritone sounded made for Gellner.”
Financial Times
“…Stephen Gadd’s first-class Gellner…”
Mail on Sunday
“Baritone Stephen Gadd as Gellner produced an incisive and fluid sound, which moulded itself to each of his character’s moods. His impassioned declaration of love to Wally in Act I was incredibly touching, and his darker, jealous moments were equally convincing.”
Music OMH
“Gellner is given music far more impassioned than that for the tenor (for most of the evening) and Gadd lavished his rich baritone on outpourings of love and vows of vengeance. Gellner was the most believable character on stage as a result…”
Opera Britannia
“Stephen Gadd was excellent hurling out gloom and doom as the spurned lover.”
The Times
“…Stephen Gadd is outstandingly good as Gellner…”
What’s On Stage
Enrico: Lucia di Lammermoor / Angers Nantes Opéra
“The full, strong and very expressive voice of Stephen Gadd stood out. This distinctive baritone knows how to convey anger, but also the punctilious complicity with his wronged sister. In an ungrateful role – it cannot be otherwise- what he does is marvellous.”
Ouest France
The Apostles / City of Birmingham Symphony Orchestra
“…most uplifting was Stephen Gadd, who brought Jesus gloriously to life in The Apostles. A voice full of character, warmth and intensity, his ‘Beatitudes’ were out of this world.”
The Independent
De Siriex: Fedora / Opera Holland Park
“Stephen Gadd is mightily impressive as De Siriex.”
The Guardian
The Creation / Ulster Orchestra
“It was quite impossible not to be entranced by the narrative especially of baritone Stephen Gadd whose voice particularly in his top register was beautifully resonant.”
BelfastTelegraph
Mahler: Symphony No. 8 / City of Birmingham Symphony Orchestra
“A fine team of soloists sang with fervour and finesse…Stephen Gadd…hurled out his lines with bone-shaking commitment.”
The Times
“Stephen Gadd was a Don Giovanni magnificent in legerity and insouciance, constantly holding one’s attention with his stage presence, his movement and his expression. He was totally at ease in this staging, both refined and theatrical.”
Ouest France
“Stephen Gadd made a striking impact as a seducer both blasé and decadent, gifted with a voice of real quality, suave and inviting in the serenade and meeting the difficulties of ‘Fin ch’han del vino’ with an easy rarely encountered.”
Res Musica
Yeletsky: The Queen of Spades / Angers Nantes Opéra
“Stephen Gadd is to be praised as a classy Prince Yeletsky.”
Le Monde
VaughanWilliams: Fantasia on Christmas Carols / Naxos CD
“The best, most colourful and luminous voice is undoubtedly Stephen Gadd's clear, expressive baritone. He sings all his solos not only with flawless technique but also with sparkling, lively sound, easily raising his voice above the rest, bringing the listener in focus, to truly appreciate the musicality of the piece.”
Music Web International
Macbeth / Glyndebourne Festival Opera
“Gadd engaged with the role from the word go, observing precisely the dynamic markings stipulated by Verdi in the opening duet with Banquo, and what a joy it is to hear pianissimo singing in a passage which is often simply sung too loud. He sounded in excellent voice throughout, with a full baritonal ring and a confident grasp of Verdian phrasing – putting the character into the voice and taking us on Macbeth’s tragic journey.”
Musical Criticism
Macbeth / Glyndebourne On Tour
“Stephen Gadd as Macbeth starts well and gets even better. His act-four monologue had a sense of Verdian line, and he does well with the bitter and brief restored 1847 ending.”
The Guardian
“Macbeth, Stephen Gadd, was the more magnetic of the pair. His career has so far been centred largely on mainland Europe, and this performance suggested that this has been the UK’s loss – he has a forward, resonant baritone and an easy presence onstage.”
Opera
“Stephen Gadd’s Macbeth is a tower of strength. Not only is he in perfect vocal command of the role, but there is plenty of nuance both in his singing and his acting. His realisation is an exceptional achievement.”
The Stage
“Stephen Gadd’s smooth-voiced Macbeth is admirably focused and lyrical.”
The Times
Conte di Luna: Il trovatore / Opera Holland Park
“But there was some polished singing from Stephen Gadd as di Luna, whose smoothly intoned ‘Il balen’ was the evening’s musical highlight.”
The Daily Telegraph
“Stephen Gadd as Conte di Luna nicely combined eloquence and anger.”
This is London
“Thank goodness for the presence of Stephen Gadd's truly aristocratic, beautifully sung Luna - just the sort of baritone voice with which Verdi was in love.”
The Times
Kurwenal: Tristan und Isolde / Grange Park Opera
“…Stephen Gadd proved outstanding as Kurwenal.”
The Daily Telegraph
“The quality of singing is also high, with Richard Berkeley-Steele and Alwyn Mellor strongly cast as the lovers and Stephen Gadd and Sara Fulgoni as their respective retainers Kurwenal and Brangäne.”
Evening Standard
“…Stephen Gadd’s noble Kurwenal – a moving character study in unstinting loyalty…”
The Guardian
“…Sara Fulgoni and Stephen Gadd offer vivid support as Brangäne and Kurwenal.”
Independent on Sunday
“Stephen Gadd was every bit as fine a Kurwenal as I had expected him to be. Blessed with a fine stage presence, athletic, urgent in demeanour, he produced a nobility of tone and melodic line that was unalloyed pleasure to hear. His German ‘spund’ and diction is also an example to others.”
Musical Criticism
“Clive Bayley, Sara Fulgoni and Stephen Gadd gave committed performances.”
The Observer
“Stephen Gadd was perfect for the part of Tristan’s batman Kurwenal, with his punchy baritone and military moustache...”
Opera
“Stephen Gadd is a loyal, devoted Kurwenal, his strong stage presence and vibrant baritone dominating each scene.”
Opera Britannia
“…Stephen Gadd makes a vivid Kurwenal.”
The Sunday Telegraph
“Clive Bayley’s sad, shambling King Mark, Sara Fulgoni’s searingly woeful Brangäne and Stephen Gadd’s stoic old-soldier Kurwenal all impressed.”
The Times
“Stephen Gadd as Kurwenal was excellent, his rich baritone the perfect sonic expression of a powerful loyalty to his master.”
Wagner News
Melot: Tristan und Isolde / Dallas Opera
“Stephen Gadd is aptly chilling, with yet another strong voice, as the betrayer Melot.”
Dallas News
“English Baritone Stephen Gadd as Melot, in his American debut is impressive. His elegant baritone voice and acting abilities enrich this all-star cast.”
The Examiner
“Stephen Gadd as Melot gives us also a complex character that fascinates. He could easily be played as a villain since he eventually mortally wounds Tristan. Mr. Gadd gives his character such resonance that his motive in doing so is fully realized. Vocally he too commands the stage. “
Pegasus News
“…Jukka Rasilainen and Stephen Gadd scored points as Kurwenal and Melot.”
Star Telegraph
Melot: Tristan und Isolde / Glyndebourne Festival Opera
“Stephen Gadd’s Melot could not have been bettered.”
The Daily Telegraph
Lysiart: Euryanthe / Glyndebourne Festival Opera
“I was soon rooting for the villain, Lysiart, dashingly sung by Stephen Gadd.”
The Daily Telegraph