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As La Voce in Idomeneo at the reopening of the Cuvilliés-Theater
in Munich
conductor - Kent Nagano
production by Dieter Dorn
"The voice of the Oracle came thundering through unseen
from the back
of the theater in one particularly effective moment. Mozart
would surely
have been pleased with the first-rate singers in the performance."
Vivian Schweitzer, New York Times, June 21, 2008
Für den majestätisch vorgetragenen Orakelspruch steht
Steven Humes
mit den Posaunisten im wirkungsvoll hallenden Foyer.
translated from German:
"For the majestic presentation of the Oracle,
Steven Humes sang together with the trombones from the Foyer"
Markus Theil, Münchener Merkur,
June 15, 2008
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As the King of Hearts in Unsuk Chin's Alice in
Wonderland with the
Bayerische Staatsoper
conductor - Kent Nagano
production by Achim Freyer
"Steven Humes’ smooth bass stood him in
good stead as the King of Hearts."
Raphael Mostel, Opera Today, August 20, 2007
"As the King of Hearts, Steven Humes sang with fantastic
falsetto and deep bass"
File name here
Photo: Wilfred Hösl
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 As
Eremit in Der Freischütz
with the Bayerische Staatsoper
conductor - Paolo Carignani
production by Thomas Langhoff
"And also the unfortunately often underestimated Steven Humes as
Eremit."
Original German:
"In bühnenbebender Donnerlaune dagegen zeigen sich Samiel
Jörg Hube
und der leider oft unterschätzte Steven Humes als Eremit."
Egbert Tholl - Sueddeutsche Zeitung,
December 27, 2007
Photo: Wilfred Hösl
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As
Timur in Turandot with Atlanta Opera
conductor - Arthur Fagan
director - Bliss Hebert
"Angela Fout was a confident, rich-voiced Liù, Steven Humes an
impressive Timur. Humes's exciting, mellifluous bass often filled
the theater better than the voices of many of his onstage
colleagues."
Stephanie Adrian - Opera News, September 29, 2007
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 As
Alaska Wolf Joe in Mahagonny with Los Angeles Opera
conductor - James Conlon
director - John Doyle
"In their turns as McIntyre's lumberjack buddies, baritone
Mel Ulrich provided a well-sung, impassioned Bank Account Bill; bass
Steven Humes was a stentorian Alaska Wolf Joe; and tenor John
Easterlin offered a sweet-voiced Jack O'Brian"
Carl Byron - Opera News, May 2007
Photo: Robert Millard
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 As
Il frate/Carlo Quinto in Don Carlo with the Bayerische
Staatsoper
conductor - Paolo Carignani
director - Jürgen Rose
"Steven Humes’ bass on the other hand seems to have matured
wonderfully
in the course of time as you could hear from his Monk/Charles V. All the
parties –
including the chorus – proved up to the singing contest that was
instigated by
Carignani’s partly uninhibited volume and were acclaimed for it most
fervidly in the sold out Nationaltheater."
*translated from German
Dorothea Zweipfennig, Der neue Merker - November 1, 2006
Photo: Wilfred Hösl
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 As Sam in Ballo
in Maschera with the Bayerische Staatsoper
conductor - Maurizio Barbarcini
director - Tom Cairns
"However, with Elena Zaremba as Ulrica we had luxury in great
quantities.
Likewise with Steven Humes who has finally earned main
roles at this house."
*translated from German
Markus Thiel, Redaktion Kultur
- January, 2006
Photo: Wilfred Hösl
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 As Fasolt in Das Rheingold with Eos Orchestra of New York
City
conductor- Jonathan Sheffer
director- Christopher Alden
"A class difference between the giants (both were clearly "Outer
Boroughs" men to the gods "Manhattanites) yielded Kevin Burdette as
a louche, gold-chain-wearing contractor Fafner and Steven Humes as a
good-hearted lunk construction worker Fasolt. Burdette sang with
solid point; Humes' warm voluminous bass (unlike other fine singers
here, Pavelka excepted) promised much for his role in a fully
orchestrated version."
-David Shengold, Classics Today - May 24, 2002
"The beautiful singing of Steven Humes made the gentle giant
Fasolt adorable."
-Paul Griffiths, Andante - May 24, 2002
Cartoon from the New Yorker magazine, May 2002
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As Sarastro in Die Zauberflöte with Opera Festival of New
Jersey
conductor- Patrick Hansen
director- Gina Lapinski
"The vocal star of the show was Steven Humes. Humes was a notably
youthful, handsome Sarastro, and he sang with a rich voice capable
of handling the role's deep tones which more than did justice to
Sarastro's two big arias."
-Donald P. Delany, The (Trenton) Times - June 27, 2001
"The voices here were really very good, with several superb
performances. One rarely singles out the role of Sarastro, since
this is a basso role that finds most performers struggling at both
its top and bottom. Humes was the best these ears have ever heard.
His richly resonant upper register sounded like a baritone, but when
he went down to the lows, the voice kept both body and pitch. This
is a singer to watch, because it seems to me he could become a
phenomenal Wotan."
-Albert H. Cohen, Asbury Park Press - June 27, 2001
" ..Kara Shay Thomson and Shawn Marie Williams were fine as the
three ladies. Steven Humes, as Sarastro, offered the most enjoyable
performance. He is young..., but his basso voice is full and rich,
right down to those treacherous low notes Mozart dared anyone to
sing."
-Albert H. Cohen, Opera News - July, 2001
"Humes provided a solid Sarastro in a register that is fiendishly
low."
-Nancy Plum, Town Topics - June 27, 2001
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As Colline in La bohème with Athena Grand Opera
conducor- Mark Cedel
director- Stephani Pierce
"The voices were awesome, the sets were spectacular, the
orchestra was seamless, the opera a smash. Humes, however, really
sent people into reverie. His voice was truly magnificent. A
splendid production from start to finish."
-M.A. Barnes, Athens Daily News - February 25, 2001
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As Sarastro in Die Zauberflöte with Opera Birmingham
conductor- Garold Whisler
director- John Harris
:
"Consistently strong performances by the leads kept this
production progressing assuredly. Some stood out more than others.
With his rich, booming bass, Humes played an authoritative and
benevolent Sarastro."
-Michael Huebner, The Birmingham News - March 17, 2002
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