Nabucco, Sarasota Opera, March 2019

“In the title role, Stephen Gaertner cut a suitably changeable figure, ranging from stentorian ruler to the pathetic lost soul Nabucco became after being struck by lightning when he had the impiety to declare himself a god. Gaertner’s burnished baritone imbued the demented monarch’s machinations with an elegant sheen.”
(John Fleming, Opera, September 2019)

“The evening probably belonged to baritone Stephen Gaertner, Nabucco...Gaertner’s mad scene was compelling. On his hands and feet he pathetically attempted to reassemble the shredded document revealing Abigaille’s identity. His return to sanity, with the help of cello and flute, was heroic.”
(Phillip Gainsley,, June 2019)

“Baritone Stephen Gaertner was Nabucco. His stage demeanor was royal and rageful and his vocal status excellent. His mellow baritone has power on reserve and great flexibility. His glazed demeanor after being struck by lightning was impressive and his declamatory utterance definitive. His voice had the color and power to take the audience on his emotional irrational ride. He handled the controls very well and deserved his ovation. Nabucco’s aria in Act Four with the chorus ‘Son pur queste mia membra! Dio di Giuda’ had the richness of tone that indicated that resolution was near.”
(Nino Pantano,, March 27, 2019)

“Stephen Gaertner dynamic baritone vocals powered through the gamut of emotions as Nabucco, moving from intense to frail, to deranged, then composed and in control.”
(Carolan Trbovich,, March 18, 2019)

“Stephen Gaertner is imposing in the title role, superb when he finally gets his aria, ‘Dio di Guida’ in act four, as Nabucco returns from insanity and embraces the god of his enemies, the Jewish people.”
(William S. Oser,, March 7, 2019)

“In the title role we heard Stephen Gaertner, a baritone of ringing tone and positive stage presence who realistically (which is to say, not too frenetically) conveyed Nabucco’s post-blasphemy breakdown but also the pathos of his humiliation.”
(Arthur Kaptainis,, March 5, 2019)

“[Stephen] Gaertner brought a hefty bright baritone to the role of the King of Babylon, and his madness, recovery and conversion were most convincing.”
Edward Alley,, March 4, 2019)

“The title role calls for a well-rounded actor, and baritone Stephen Gaertner fills the role with regal confidence...Gaertner is convincing in his mad scene and pathetic as he pleads for Fenena’s life in ‘Oh di qual onta aggravasi questo mio crin canuto’...We were ready to cheer for him as he regained his power with the prayer ‘Dio di Giuda’...and returns forcefully in the last scene to save the day.”
(Gayle Williams, Herald-Tribune, March 3, 2019)

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Verdi: Macbeth

November 2, 4, 7m, 9, 2021

Opéra de Dijon

Il Barone Scarpia

Puccini: Tosca

February 12, 16, 20, 22, 24, 27, March 11, 19, 2022

Sarasota Opera