German-British bass-baritone Stephan Loges has appeared at opera houses including Staatsoper Berlin, La Monnaie Brussels, Opera national du Rhin, Théâtre du Capitole de Toulouse, Theater an der Wien and the Royal Opera House, Covent Garden, and with orchestras including the London Symphony Orchestra, London Philharmonic Orchestra, Melbourne Symphony Orchestra, Sapporo Symphony Orchestra, MDR-Sinfonieorchester, Sächsische Staatskapelle Dresden, Orchestra dell’Accademia di Santa Cecilia, the Mozarteum Orchestra Salzburg, National Symphony Orchestra in Washington and the San Francisco Symphony Orchestra.
As well as a return to the role of Golaud Pelleas et Mélisande, he recently added to his repertoire the title roles of Oberto (his first major Verdi role) and Sweeney Todd, as well as Don Alfonso and Boris Berezovsky in the world premiere of The Life and Death of Litvinenko.
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Oberto (Title Role)
Chelsea Opera Group (April 2022)
Stephan Loges, one of the world’s great Lieder singers, was an unexpected choice but brought distinctive beauty of line here...
David Nice, The Arts Desk
...as Oberto Stephan Loges revealed an exceptionally warm and assertive bass-baritone.
Sam Smith, Music OMH
In the title role, Stephan Loges performed with a steady, quiet focus, rather than overt outrage or malice, even as he seeks revenge for Riccardo’s seduction and abandonment of his daughter. The sense of injustice he has suffered was underlined by Loges’s occasional trembling emphasis on some phrases, humanising a character whose single-minded mission to eliminate Riccardo otherwise renders him unsympathetic, and despite losing the duel to which he has challenged the latter.
Curtis Rogers, Classical Source
Stephan Loges was an excellent bass for the role of Oberto...
Hugh Kerr, Edinburgh Music Review
JS Bach St John Passion
English Touring Opera (March 2020)
Stephan Loges’ ‘Mein teurer Heiland’ stand[s] out.
Tim Ashley, The Guardian****
Stephan Loges played Christus, a very intense, dramatic figure, and he also gave a vivid account of the bass aria 'Himmel reisse, Welt erbebe' and a moving performance of 'Mein teurer Heiland'.
Robert Hugill, Planet Hugill
It’s usual to claim that the puppet-master learns more than his pupils, but here we learned more about him: Stephan Loges’s warm tone and subtle vibrato touched on lonely, sexual vulnerability as the mainspring of Don Alfonso’s cynicism - or realism, if we prefer.
Opera Magazine
Mozart Cosí fan tutte (Don Alfonso)
English Touring Opera (February 2020)
The singers were a pleasure to hear, and in the case of Stephan Loges as Don Alfonso, a privilege to enjoy. The distinguished German baritone negotiated Jeremy Sams’ sparkling English translation with idiomatic panache, and sang and acted likewise. He gave the production its anchor.
Mark Valencia, Bachtrack
Stephan Loges evinced Don Alfonso’s worldly-wise weariness, lounging with a lazy lethargy which was complemented by the languidly uncoiling smoke of his cigarette, but his cool cynicism did not deprive the recitatives of their cutting impact.
Claire Seymour, Opera Today
Comic support came in buckets from Jenny Stafford’s game Despina and Stephan Loges’ lean-back Alfonso, whose languid ennui and understated delivery offered a still point among so many goings-on.
Alexandra Coghlan, The Arts Desk
The cast worked superbly well together with Stephan Loges a wonderfully urbane Don Alfonso...
Mark Ronan, The Article
Die Fledermaus (Falke)
Northern Ireland Opera (September 2019)
Oddly, the soupy “Brüderlein” was the musical highlight, done with a genuine Viennese charm and lilt
Robert Thicknesse, Opera Now
Batman to his Robin is Stephan Loges’ Falke, played as a deceptively upright and decent fellow, until his revengeful plan is revealed.
Alan in Belfast
SIGCD554 / Schumann, Kilpinen & Brahms: Nature’s Solace
Piano : Iain Burnside (November 2018)
[Loges] is a trusty guide, using the text intelligently and without exaggeration, and the voice is sturdy and reliable.
This is a touching, sensitive account of [Schumann’s Op 35 cycle]. … The coupling offers a great deal, though, not least in welcome appearances of a handful of songs by the ‘Finnish Schubert’, Yrjö Kilpinen (1892-1959). Though he remains compromised by questions about his political affiliations, as Natasha Loges acknowledges in the booklet, these settings of Hesse are often striking: a stern, almost cool musical language that occasionally – as in the tender ‘Ich fragte dich’ and the close of the memorable ‘Vergänglichkeit’ – melts to offer lyrical warmth. Loges and Burnside make a persuasive case.
They are similarly persuasive in Brahms’s Op 94 Lieder, with Loges bringing impressive gravitas – of manner as well as voice – to ‘Mit vierzig Jahren ist der Berg erstiegen’, and a touching tenderness to ‘Sapphische Ode’.
Hugo Shirley, Gramophone
Loges possesses a lyric bass-baritone that is rich and beautiful in timbre, one that traverses the various registers with ease, and with a consistency of tone. His legato is impeccable, his range of dynamics impressive, and Loges is masterful at wedding the poet’s text and composer’s music in a manner that creates the impression of a spontaneous emotional response.
Ken Meltzer, Fanfare Archive
Pelléas et Mélisande, English Touring Opera (October 2015)
English Touring Opera (October 2015)
The pick of the singing performances are in the low voices, from Michael Druiett as Arkel and Stephan Loges as Golaud… Loges is powerful and urgent as Golaud: his voice is attractive and manly, and he convinces in each of his different moods.
David Karlin, Bachtrack
The ambivalent relationships between the protagonists are beautifully delineated and observed. Susanna Hurrell’s fragile Mélisande first reacts to Stephan Loges’s handsome, stiff-backed Golaud with a mixture of attraction and fear... Loges’s racking sobs after Mélisande’s death will haunt you long after the curtain falls.
Tim Ashley, The Guardian
Stephan Loges is a properly forthright Golaud.
Rupert Christiansen, The Telegraph
Stephan Loges was a vividly jealous Golaud, and projected with seething intensity from the word go… Loges' Golaud who dominated… Stephan Loges was vividly vibrant, and frankly one of the most terrifying Golaud's I have come across… Loges sang with a lovely dark, rich tone which brought the sense of darkness and light in the opera even more into focus.
Robert Hugill, Planet Hugill
Stephan Loges’s Golaud [is] strong in [his] magnetic tug on Hurrell’s Mélisande. …the older, more rooted Loges [is] sternly beautiful in his anger.
Alexandra Coghlan, The Arts Desk
Stephan Loges was a striking Golaud, using his instrument to shade the character’s progression from uptight stranger to broken father and husband.
Opera Traveller
J S Bach St Matthew Passion
Monteverdi Choir, Barbican (March 2016)
Loges made a charismatic, at times tellingly assertive Christus.
Tim Ashley, The Guardian
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