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)

La Forza del Destino, New Amsterdam Opera, March 24, 2017

“Stephen Gaertner, whose dark, manly baritone thrives on such roles as Don Carlo, sang ‘Son Pereda, [son ricco] d’onore’ robustly but really hit stride in his duets with Alvaro and the double aria between those duets, the proper fiendish gleam arising in his earthy clash with [Errin] Brooks’s metallic tenor. Both singers built tense excitement in this scene, and their rage had an inspiring fire.”
(John Yohalem,, March 27, 2017)

“...Stephen Gaertner’s Carlo demonstrated a true Verdi baritone force. His opening aria ‘Son [Pereda], son [ricco] d’onore’ was given a darker color and there was some restraint as he emphasized certain words to really create the story he was telling. But it was his ‘Urna Fatale’ that really demonstrated his range. Gaertner showcased torment in Carlo as he delivered each line. While there was no prop he could work with, Gaertner used the audience as he looked into it, expressing the uncertainty in his vow. But as he concluded the aria, he regained his vocal strength and delivered the final note with assertion. And in the second part ‘Ah! Egli e salvo! Oh gioia immensa,’ Gaertner savored each moment. The torment was gone and his voice regained the strength of a man ready for revenge. The cabaletta was propelled by his swift tempo, which only made for a more passionate delivery. That strength was once again emphasized in his second duet with Alvaro...Gaertner’s Carlo was firm, cutting each phrase short with a staccato sound. That...gave the duet dynamism. The final duet allowed Gaertner to once again show that muscular strength. But this time, he was allowed to demonstrate his legato line in full force.”
(Francisco Salazar,, March 25, 2017)

Aida, Teatro di San Carlo, July 2016

“Pregevoli Amonasro di Giovanni Meoni e [Stephen Gaertner], quest’ultimo dal timbro abbastanza scuro ma dalla morbida gradevolezza...”
(Pietro Puca,, August 12, 2016)

Peter Grimes, The Princeton Festival, June 2016

“Stephen Gaertner seemed ideally voiced for Balstrode and made aptly manly, marbled sounds all afternoon, while acting sympathetically...”
(David Shengold,, September 2016)

“Baritone Stephen Gaertner — who has gone on to great things since triumphing here some years back in a double bill of Rachmaninoff’s Francesca da Rimini and Puccini’s Gianni Schicchi — brought a combination of world-class vocal glamor and appropriately sober restraint to his portrayal of the wise old skipper Balstrode.”
(Andrew Moravcsik, Opera Today, June 27, 2016)

“Baritone Stephen Gaertner sings the sympathetic Balstrode, a retired merchant skipper who, in the end, offers Peter his only option. Gaertner impressed with his range and intensity in a Princeton double-bill of Rachmaninoff’s ‘Francesca da Rimini’ and Puccini’s ‘Gianni Schicchi’ in 2012. Here, he’s all worldly wisdom, wry, a tad cynical, but advocating tolerance.”
(Ross Amico, The Times of Trenton, June 22, 2016)

Zazà, Opera Rara studio recording (recorded November 2015, released June 2016)

“Le chanteur Cascart, collègue de Zazà, de [Stephen] Gaertner, s’impose par sa sonorité et son beau legato de puissant baryton lyrique.”
(Bruno Peeters,, January 4, 2017)

“[In the role of Cascart, Stephen] Gaertner’s voice shows considerable velvet and the right sympathetic manner.”
(Roger Pines, Opera News, November 2016)

“As Cascart, the opera’s most sympathetic character (a spiritual cousin to Michonnet in Adriana Lecouvreur), baritone Stephen Gaertner sings well and projects the character’s kindness.”
(Richard Sininger, American Record Guide, September 26, 2016)

“Equally affecting is American baritone Stephen Gaertner as Cascart, Zazà’s soft-hearted former stage partner who watches her back and doles out wise advice. His warm voice embraces the two best arias – Buona Zazà del mio buon tempo and Zazà, piccola zingara – both of which used to be done by Gobbi and Cappuccilli.”
(Clive Paget, Limelight, September 15, 2016)

“...Stephen Gaertner convence como Cascart, sonando como debe un personaje que reviste autoridad moral y sabiduría de edad.”
(Raúl González Arévalo,, August 12, 2016)

“...the American Stephen Gaertner, an already practiced Cascart, [sings] with a conviction and strength of delivery (...skilfully sustained and controlled) that render powerful and moving each one of his later appearances.”
(Max Loppert, Opera, August 2016)

“Der Bariton Stephen Gaertner als Cascart hat eine vor allem in der höheren Lage noch einmal eine spezielle Schönheit des Klanges offenbarende Stärke, die ihn zu einem großen Hoffnungsträger für das (italienische) Fach werden lässt...”
(Michael Lehnert, Das Opernglas, July-August 2016)

“Ganz ausgezeichnet ist Stephen Gaertner als Cascart, der seine Paradenummer mit einem dunklen und profunden Bariton singt und es schafft, dass man jeder seiner Zeilen gerne zuhört.”
(Rolf Fath,, July 26, 2016)

“In reviewing a 2005 Alice Tully Hall concert performance of Zazà by Teatro Grattacielo, New York Times critic Bernard Holland praised the ‘strong, cultured baritone’ that Stephen Gaertner wielded in his interpretation of Zazà’s once-and-future lover Cascart. A decade later, that assessment applies even more fully to the singer’s Cascart for Opera Rara. Gaertner is a connoisseur’s baritone, one whose performances offer tantalizing glimpses of bygone eras in which singers like John Charles Thomas, Lawrence Tibbett, and Leonard Warren were emblematic of the magnificence of American baritone singing. In this portrayal of Cascart...Gaertner sings with the unapologetic machismo of Frank Sinatra and Dean Martin, the true swagger of a nightclub star sure of his value and virility. From the beginning of his scene with Zazà in Act One, there is obvious tenderness in his approach to the part, however, and Gaertner woos and pleads without crooning. In Act Two, the sheer sonic impact of his singing of ‘Buona Zazà del mio buon tempo ascolta’ is arresting, but the character’s gentleness towards Zazà is again evident in the humor with which Gaertner’s Cascart goads her with ‘E s’anco ti spossare [sic]? saresti...una borghese!’ When the baritone sings ‘Zazà, piccola zingara, schiava d’un folle amore’ in Act Four, the extent to which Cascart’s destiny is intertwined with Zazà’s is palpable, and the sincerity of Gaertner’s delivery is moving. With a singer of Gaertner’s abilities in the rôle, Cascart’s part in the drama is all the more pivotal, and the misfortune of Zazà’s love for Milio is intensified by her neglect of a man so devoted to her.”
(Joseph Newsome,, July 3, 2016)

“Here baritone Stephen Gaertner...[sings] Cascart with a particularly strong sense of engagement. Gaertner’s attractive baritone sounds suitably mature and highly expressive with a performance full of sincerity.”
(Michael Cookson,, July 2016)

“Stephen Gaertner is eloquent and touching as Cascart, Zazà’s old friend, and makes the most of his Act 4 aria.”
(Hugo Shirley, Gramophone, July 2016)

“...Leoncavallo provides some nicely meaty cameos. Perhaps the most touching is Stephen Gaertner as Cascart, Zazà’s stage partner who seems still loves her. Gaertner’s Act Four aria brought the house down at the Barbican and it comes over superbly on disc too, sung with a superb sense of well supported line.”
(Robert Hugill,, June 9, 2016)

“Strong performances come from American baritone Stephen Gaertner as Cascart — the former lover and colleague of Zazà who tries to convince her to forget Milio...”
(Rebecca Schmid,, June 7, 2016)

“...Stephen Gaertner uses his firm baritone to beautiful effect as Cascart.”
(Francis Muzzo, Opera Now, June 2016)

“...the finest of the other singers is the American baritone Stephen Gaertner, as Zazà’s ex and singing partner, Cascart.”
(Hugh Canning, The Sunday Times, May 22, 2016)

Zazà, Opera Rara, November 27, 2015

“...Stephen Gaertner made Cascart a figure of compassion and authority, with a concentrated lustre to his tone.”
(Yehuda Shapiro, Opera, February 2016)

“Dass man daneben in Stephen Gaertner als unglücklich in Zazà verliebtem Cascart einen veritablen dramatischen Bariton von der großen Vielseitigkeit und Klangreinheit eines Sherrill Milnes entdecken konnte, zählte zu den weiteren Höhepunkten dieser aus den Aufführungen des zu Ende gehenden Jahres herausrangenden Präsentation. Gaertner (bisher bereits Macbeth in Savonlinna und Heidenheim hier in Europa) begeisterte mit fantastischer, mühelos und geschmackvoll kontrollierter Attacke bei ausgeglichener Stimmführung.”
(Michael Lehnert, Das Opernglas, January 2016)

“The singer Cascart, an old flame of Zazà’s who is on hand to offer restraining advice, sings probably the best aria in the piece, and Stephen Gaertner rose imposingly to the occasion: it used to be a repertoire piece, recorded by many distinguished baritones on 78s.”
(Michael Tanner, The Spectator, December 12, 2015)

“As [Zazà’s] old friend and ex-lover Cascart, Stephen Gaertner showed warmth and conflicted wisdom.”
(Fiona Maddocks, The Observer, December 6, 2015)

“...the most powerful singing came from Stephen Gaertner as Zazà’s jilted lover, who rightly foresees looming catastrophe.”
(Richard Morrison, The Times, December 1, 2015)

“...Zazà’s singing partner Cascart, her counsel in affairs of the heart, [was] affectingly portrayed by Stephen Gaertner. The American baritone’s warm, forthright delivery embodied the character’s dependability as the voice of reason.”
(Mark Valencia,, November 30, 2015)

“Stephen Gaertner, [an] exceptional artist, was [Zazà’s] level-headed, affectionate Cascart...”
(Tim Ashley, The Guardian, November 29, 2015)

“The two most memorable set-pieces, surely, belong to the sympathetic baritone, Zazà’s fellow singer, career-launcher and one-time lover Cascart...Stephen Gaertner did them opulently proud.”
(David Nice,, November 29, 2015)

“...Stephen Gaertner was excellent as Cascart, the rejected lover whose indignant vexation is out-weighted by his undiminished love. Gaertner was rare among the cast in singing securely off the score. He was commanding in his big arias, his rich, dark baritone rising powerfully above the orchestral roar; and his nuanced and expressive phrasing made for convincing interaction with [Ermonela] Jaho in their duets. Cascart’s Act 4 show-stopper, ‘Zazà, piccola zingara’, was one of the high-lights of the evening.”
(Claire Seymour,, November 29, 2015)

“The actor Cascart is a former lover and you suspect is still in love with her. He is a constant presence, looking out for Zazà throughout the plot. Baritone Stephen Gaertner played the role with a fine sense of personal commitment and a lovely freedom to the voice. His high lying passages were a joy to listen to and his account of his aria in Act Four rightly brought the house down.”
(Robert Hugill,, November 29, 2015)

“...Stephen Gaertner made a firm mark as Cascart, Zazà’s former lover and confidant, who dispenses sage advice in two rather lovely lyrical effusions.”
(Rupert Christiansen, The Telegraph, November 28, 2015)

“Things came to life in Act II, as Zazà’s singing partner and former lover Cascart finds himself forced to tell her about Milio’s double life. Stephen Gaertner gave us a rich baritone that was filled with nuance as he negotiates Cascart’s mixed feelings of enduring love, business interests and true friendship. Gaertner expressed all of this while singing his duets with [Ermonela] Jaho beautifully; he was also the one singer consistently capable of being heard above the orchestra.”
(David Karlin,, November 28, 2015)

“Leoncavallo wrote well for baritones, and Stephen Gaertner relished his chances in his two arias, particularly in his Act Four, his warm honeyed tone making terrific impact. He was also dramatically engaging, particularly in the encounter with Zazà’s mother Anaide...”
(Alexander Campbell,, November 27, 2015)

Macbeth, Südwestdeutsche Philharmonie Konstanz, July 8, 2015

“Ein großer Wurf auch die Rollen-Besetzungen: Stephen Gaertner mit markantem und beweglichem, auch im Piano tragfähigen Baßbariton [sic] lotet die psychologische Bandbreite vom Unentschlossenen zum mordlustigen, nach der Königswürde Gierenden mit großartiger Präsenz aus. Sehr intensiv die gesungenen Wahnvorstellungen, die im Orchester stets ähnliche musikalische Muster finden.”
(Veronika Pantel, Südkurier, July 10, 2015)

Risurrezione - Act IV, 20th Anniversary Gala Benefit Concert, Teatro Grattacielo, November 2014

“[Baritone Stephen] Gaertner’s performance [as Simonson] was emotionally powerful...”
(Arlo McKinnon,, March 2015)

“Stephen Gaertner wielded his wine-dark baritone beautifully as Simonson...”
(Eric Myers, Opera, February 2015)

“...a ravishing baritone aria, sung with commanding majesty by Stephen Gaertner, was one of many highlights of the evening.”
(Peter Danish,

“The honors of this love-blooms-even-in-the-Gulag scene went to Stephen Gaertner, a Verdi-style baritone of great range and admirable polish, as the lovesick Simonson.”
(John Yohalem,

“Alfano gives the most beautiful solo vocal music in the opera to the character of Simonson, the heroine’s savior and fiancé, who only appears in the final act set in Siberia. Stephen Gaertner’s rich baritone filled out the humanity and decency of the character while doing full justice to the broad, expansive melodies.”
(Eli Jacobson,

Macbeth, Savonlinna Opera Festival, July 2013

“Savonlinnan Macbethista tulee ensimmäisenä mieleen Jorma Hynnisen legendaarinen, vahva tulkinta. Hänen Macbethinsä oli voimakas atleetti. Tämän vuoden Macbeth, Stephen Gaertner on tämän vastakohta: jo valmiiksi pelokas, ja pian hermoheikko, arvaamaton ja verenhimoinen hullu. Gaertnerin baritoni on notkea ja tiivis...kauttaaltaan hyvin soiva. Näin pelokasta ja siksi kovin uskottavaa Macbethiä ei linnassa ole ennen nähty...Neuroottisesti käsillään elehtivä Gaertner on täydellinen vastapari...[Lady Macbeth] sopraano Csilla Borossille...”
(translation from Finnish to English: “Savonlinna’s Macbeth brings first to mind the strong and legendary interpretation by Jorma Hynninen. His Macbeth was a powerful athlete. This year’s Macbeth, Stephen Gaertner, is the opposite of this: the already fearful, and soon to be neurotic, unpredictable and bloodthirsty madman. Gaertner’s baritone is supple and firm...entirely great sounding. Never before has the castle witnessed this fearful and therefore very credible Macbeth...Gaertner, with his neurotic hand gesturing, is the perfect counterpart to the...[Lady Macbeth of] soprano Csilla Boross...”)
(Riitta-Leena Lempinen-Vesa, Itä-Savo, July 14, 2013)

“Es gehört Stärke dazu, auf der Bühne Schwäche darzustellen. Der neue Macbeth (Stephen Gaertner) besaß diese Fähigkeit in hohem Maße, und...begeisterte auch er durch die Kraft seines Vortrags, durchaus nicht einseitig auf forte-Attacke setzend, sondern z.B. in seiner Todes-Arie sehr zu klangschönem piano findend. Damit knüpfte er nahtlos an die (in ihrer Individualität sehr unterschiedlichen) Savonlinna-Macbeths von Jorma Hynninen und Juha Uusitalo an.”
(Sune Manninen,

Otello, Metropolitan Opera, October 2012

“Stephen Gaertner (Montano)...also represented casting from strength.”
(David Shengold,, December 2012)

“Todo un lujo fue contar con el barítono Stephen Gaertner en la parte de Montano...”
(Horacio Tomalino,

Francesca da Rimini & Gianni Schicchi, The Princeton Festival, June 2012

“Baritone Stephen Gaertner dominated the afternoon with fine, flowing, solidly produced sound...his singing was excellent [as the cuckolded Lanceotto]; it proved a pleasure to hear Puccini’s notes and lines usually negotiated by fading buffo Schicchis vocalized so firmly [in Gaertner’s skilled, forthright impersonation].”
(David Shengold, Opera News, October 2012)

“The most commanding voice of the evening belonged to baritone Stephen Gaertner, who sang both the roles of [Lanceotto] Malatesta in the Rachmaninoff and Gianni Schicchi in the subsequent Puccini opera. Mr. Gaertner is a veteran of the Metropolitan Opera and had no trouble taking over the stage and convincing the audience of [Lanceotto’s] torment...Mr. Gaertner returned in the title role [of Gianni Schicchi], still commanding the stage but relaxed in intensity and clearly enjoying the comedic physicality as he elaborately scammed the rest of the [Donati] family.”
(Nancy Plum, Town Topics, July 3, 2012)

“Gaertner’s heart-wrenching aria as he goes off to war is a show-stopper. Tortured by his wish for Francesca’s love, not merely her obedience, he reaches the hearts of the audience, whose acclaim interrupts the performance. Gaertner’s tormented Lanceotto is cut from a cloth different from his energetic, clever Gianni Schicchi.”
(Elaine Strauss, U.S.1, June 27, 2012)

“As the cuckolded husband, Stephen Gaertner was a particularly powerful presence, vocally and theatrically, thanks to his willingness to go over the top when the role needed it. [As Schicchi,] Gaertner...had the dignity of a principled strategist.”
(David Patrick Stearns, The Philadelphia Inquirer, June 25, 2012)

“Stephen Gaertner as Lanceotto drew a great deal of well justified applause for his powerful performance...Stephen Gaertner again gave a powerful and commanding performance in the title role [of Gianni Schicchi].”
(Toby Grace, Out In Jersey, June 24, 2012)

Simon Boccanegra, Metropolitan Opera, January-February 2010

“...Stephen Gaertner as Paolo is a vocally commanding and headstrong villain.”
(Evan Mitchell,, November 26, 2013)

“The scene where Paolo, played by Stephen Gaertner, is cursed and is forced to curse himself was a chilling scene. Gaertner and [Plácido] Domingo played their roles perfectly...”
(Melanie O'Neill,, June 30, 2011)

“A šanci záskoku na poslední chvíli pod stresem přímého přenosu využil a s přehledem zvládl i Stephen Gaertner v roli Paola.”
(translation from Czech to English: “Stephen Gaertner used a chance to be a stand-in at the last moment and under the stress of live broadcast wonderfully mastered the role of Paolo.”)
(Helena Havlíková, Hudební Rozhledy, April 2010)

“Magnífico también el Paolo de [Stephen Gaertner] considerable presencia a lo largo de la trama y al que el cantante le supo sacar buen partido, tanto en lo musical como en lo dramático.”
(Daniel Fernandez, El Nuevo Herald, February 10, 2010)

“Den ende som höll normal Metstandard var [Stephen Gaertner], en utmärkt, eldig Paolo.”
(translation from Swedish to English: “The only one who was normal Met standard was [Stephen Gaertner], an excellent, fiery Paolo.”)
(Jens Runnberg, Dalarnas Tidningar, February 7, 2010)

“...[der junge amerikanische] Bariton Stephen Gaertner...lieferte...ein sehr stimmiges, interessantes Rollenporträt, ohne zu vordergründig böse zu wirken. Ein Name, den man sich merken sollte.”
(Margit Rihl,

“Le jeune Stephen Gaertner est un Paolo bien chantant, sans excès vériste, à la voix sonore, et dont on suivra les progrès avec intérêt.”
(Placido Carrerotti,

“Pochválit je rozhodně třeba i Stephena Gaertnera jako výrazného a pěvecky suverénního Paola, kterému nelze prakticky nic vytknout.”
(translation from Czech to English: “One must certainly praise Stephen Gaertner as an exceptional and vocally masterful Paolo, whom one practically cannot fault with anything.”)
(Vít Dvořák,

Rigoletto, Kentucky Symphony Orchestra, January 2009

“Most impressive of all perhaps, as the hunchbacked court jester…was baritone Stephen Gaertner, who revealed himself as a star Rigoletto-of-the-future with his warm, burnished voice and potent acting skills.”
(Mary Ellyn Hutton,, January 12, 2009)

Edgar, Opera Orchestra of New York, Carnegie Hall, April 13, 2008

“Stephen Gaertner...was the robust, earnest Frank.”
(Steve Smith, New York Times, April 15, 2008)

“...Stephen Gaertner [as Frank] was warm and passionate. He gave the impression of pleasure in singing. And he projected power without forcing.”
(Jay Nordlinger, New York Sun, April 15, 2008)

“Stephen Gaertner...was suave and dark as Frank, showing quality throughout a moving ‘Questo amor.’”
(Ronald Blum, Associated Press, April 14, 2008)

“Stephen Gaertner as...Frank displayed an impressive, warm baritone...”
(Robert Levine,

“As Frank...baritone [Stephen] Gaertner sang ‘Questo amor, vergogna mia’...with polish and full feeling...”
(Bruce-Michael Gelbert,

“Stephen Gaertner, a frequent figure in concert operas and a recent Met debutante...was impressive as Fidelia’s manic brother, Frank.”
(John Yohalem,

Tristan und Isolde, Metropolitan Opera, March & November-December 2008

“...Stephen Gaertner como Melot [debería] augurar mayores roles.”
(Eduardo Brandenburger, Ópera Actual, January-February 2009)

“...Stephen Gaertner’s strong baritone impressed in Melot’s brief duties.”
(David Shengold, Gay City News, December 24, 2008)

“...Stephen Gaertner [portrayed] a sinister, but conflicted Melot...”
(Michael Miller, The Berkshire Review for the Arts, December 5, 2008)

“...Stephen Gaertner gave us the most convincing and vocally satisfying performance of the evening as Melot.”
(Raymond Beegle,

“...Stephen Gaertner [was] a sensitive Melot (who acts the character’s understandable confusions).”
(John Yohalem,

“El barítono Stephen Gaertner una vez más dió muestras de total seguridad y de buen rendimiento a cargo de la parte del caballero Melot.”
(Horacio Tomalino,

“...Stephen Gaertner’s dangerous Melot [was a] positive [contribution]...”
(Peter G. Davis,, March 27, 2008)

“Stephen Gaertner was a rich and convincing Melot.”
(Jay Nordlinger, New York Sun, March 12, 2008)

“Having polished baritone Stephen Gaertner play Melot was luxury casting, and one hopes that the Met will soon put his considerable talent to better use.”
(Bruce-Michael Gelbert,

Lucia di Lammermoor, Metropolitan Opera, October 5, 2007

“...Stephen Gaertner, sang the final act, making his house debut at the Met...”
(New York Times, October 8, 2007)

“...baritone Stephen Gaertner [made] his Met debut [as Enrico] with aplomb, rushing onto the scene in time for the third-act Wolf’s Crag scene opposite [Marcello] Giordani.”
(, News Flash, October 6, 2007)

“A cargo de la parte de ‘Lord Enrico’, el barítono polaco Mariusz Kwiecien...[fue] sustituido [en el tercero acto] por el barítono americano Stephen Gaertner quien supo con profesionalismo salvar la situación.”
(Horacio Tomalino,

Dom Sébastien, Opera Orchestra of New York, Carnegie Hall, November 7, 2006

“Stephen Gaertner...distinguished himself as Abayaldos, mustering an impressively projected baritone with high, concentrated placement and declaiming with considerable intensity.”
(David Shengold, Gay City News, November 22, 2006)

“Stephen Gaertner sang Abayaldos with furious determination.”
(Bernard Holland, New York Times, November 9, 2006)

“...Stephen Gaertner...sang with a handsomely focused sound and a dramatic presence as Abayaldos...”
(George Loomis,, November 9, 2006)

“...Stephen Gaertner sang Abayaldos with passion and true Verdi-baritone sheen...”
(Robert Levine,

“[Stephen] Gaertner [was] fiery as Abayaldos...”
(Bruce-Michael Gelbert,

Zazà, Teatro Grattacielo, Alice Tully Hall, November 12, 2005

“The baritone Stephen Gaertner, singing Zazà’s confidant and stage partner Cascart, is a star in the making: his voice is penetrating and firm, his phrasing elegant, his presence striking.”
(Eric Myers, Opera, March 2006)

“...baritone Stephen Gaertner...won a warm ovation for his silky rendition of the score’s best-known aria, ‘Zazà, piccola zingara.’”
(James Jorden, Gay City News, November 24, 2005)

“I was taken with the strong, cultured baritone of Stephen Gaertner as Cascart...”
(Bernard Holland, New York Times, November 14, 2005)

“As...Cascart, baritone Stephen Gaertner lent polished tone to ‘Buona Zazà del mio buon tempo’...and to the best-known aria, ‘Zazà, piccola zingara’, which he made a lyrical outpouring.”
(Bruce-Michael Gelbert,


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