Mendelssohn ELIJAH (Orchestra of the Age of Enlightenment)

‘Anna Stéphany made a dignified and warm Angel in Part One, shaping her phrases with great care and poise, and her arioso ‘Woe unto them’ was understated yet very moving.’
Robert Hugill, Planet Hugill (October 2019)

‘Anna Stéphany’s Angel impressed with warmth and feeling;’
Amanda-Jane Doran, Classical Source (October 2019)


Handel GIULIO CESARE (Glyndebourne Festival)

‘Anna Stéphany’s exquisitely poised account of Sesto’s “Cara speme” […] the evening’s vocal highlight.’
Rupert Christiansen, the Telegraph (June 2018)

‘Anna Stephany presented Cornelia’s hot-headed son Sesto with dramatic authority and complete vocal command.’
The Stage, George Hall (June 2018)

‘Patricia Bardon’s Cornelia is a grandly tragic creation, while Anna Stéphany’s Sesto has a flame-like fury; the beauty of the solos and duets by these very contrasting mezzos makes time stand still.’
Michael Church, The Independant (June 2018)

‘Anna Stéphany was vocally superb and dramatically convincing as the revenge-seeking son Sesto’
Sebastian Scotney, The Arts Desk (June 2018)

‘Her lithe mezzo projected well. “Cara speme” was heartbreaking, with sensitive ornamentation in the da capo.’
Mark Pullinger, Bachtrack (June 2018)


EINE SCHUMANNAIDE– Heidelberger Frühling with pianist Sholto Kynoch

‘Anna S. brought [the Schumann songs] to life with an open mezzo soprano which carried the words far and wide into the venue. Every vowel was exploited in its full breadth and with light colouring. She succeeded in gracefully forming the words, all imbedded in melodious lines and possessing a childlike sense of wonder… in further songs from “Myrten”, such as the Hochlaender-Witwe, every word sung she sang, in any register, could be clearly understood, so that even her literary interpretation became audible.’
Simon Scherer, Feuilleton (April 2018)


BLACK IS THE COLOUR (Labyrinth Ensemble, Alpha Classic CD)

‘Stéphany’s singing gives all colours, there is light and shade, and an intense spontaneity and presence. The passion and vocal strength of her singing has an true immediacy’.
Remy Franck, March 2018

‘showcasing the beguiling talents of Anglo-French mezzo-soprano Anna Stéphany, […] There is no doubt here that Stéphany’s is a highly trained voice […] Stéphany is utterly entrancing, savouring each syllable so that her characterisation of each song builds wonderfully form the text.’
BBC Music Magazine (April 2018)


Mozart LA CLEMENZA DI TITO – Glyndebourne Festival

“Anna Stéphany, replacing a pregnant Kate Lindsey, sang with searing Classical directness and refulgent tone, and in ‘Parto, parto’ she displayed sensational control. Her ‘masculine’ presence was complete too”
John Allison, Opera Magazine, (August 2017)

“But the evening’s undoubted star was Anna Stéphany – a  slender and youthful Sesto, touchingly full of angst and remorse, dispatching both his/her big arias with terrific élan and immaculate technical control.”
Rupert Christiansen, The Telegraph (27 July 2017)

“Stéphany trawls Sesto’s emotional and moral anguish with tragic intensity. Her technique is also formidable: Parto, Parto is simply breathtaking.”
Tim Ashley, The Guardian (27 July 2017)

“cross-dressed Stephany’s ravishingly-sung and vividly-characterised Sesto deservedly stole the show.”
Michael Church, The Independent (27 July 2017)

“The stars, however, are the women. Anna Stéphany is a revelation as Sesto. She looks terrific as a handsome boy, and her voice is lithe, clear and expressive.”
Richard Morrison, The Sunday Times (27 July 2017)

“Mezzo Anna Stéphany shines as Sesto, in anguish over the conflict between love and friendship.”
Clare Colvin, Sunday Express (6 Aug 2017)

“Stéphany proved the sensation of the night, singing with a thrilling edge and admirable dexterity.”
Stephan Pritchard, The Guardian (30 July 2017)

‘With Anna Stéphany as the protagonist, the drama of betrayed friendship takes a powerful turn.  A perfect Annio in Aix in 2011, Stéphany brings a technical freedom to the role of Sextus, an intimate colouring of tone,  all carefully and minutely detailed in her interpretation’
Jean-Philippe Grosperrin, Diapason [DVD review] (November 2018)

Massenet WERTHER – Oper Zürich

“Anna Stéphany embodies the complex role of Charlotte’s as conceived by the director, with her sleek, warm mezzo”
Badische Zeitung, (April 2017)

“Stephany plays this role with such intensity that one would almost forget that she is making her role debut as Charlotte”
Christian Wildhagen, Neue Zurcher Zeitung (April 2017)

“Intense and moving, she offered a well-rounded middle register and shining top notes”
Nicolas Blanmont, Opera Magazine, (August 2017)

“Anna Stéphany sings an accomplished Charlotte, dignified, contained, her lines sensitively phrased and coloured”.
Mark Pullinger, Gramophone (June 2018)

R. Strauss DER ROSENKAVALIER – Royal Opera House, Covent Garden

“Anna Stéphany was a compelling Octavian, who on top of fielding a velvety mezzo and musically sculpted lines brought boyish charm and the body language of emerging masculinity.  Her voice was well matched to the plush-toned Rachel Willis-Sørensen [Marschallin]”
John Allison, Opera Magazine (March 2017)

Handel SERSE – Early Opera Company, St John’s Smith Square (Christian Curnyn)

“The mezzo Anna Stéphany was superb as the eponymous monarch, compellingly capturing Serse’s pomposity and capriciousness.  ‘Ombra mai fu’ confirmed Stéphany’s innate appreciation of the pulse and fluidity of Handel’s vocal lines.  Throughout she found precise emotion – and often a surprising sincerity – in Serse’s phrases, making evident the inner workings of his mind.  There were the requisite flashes of fire.  Stéphany revealed a wide range and confident control in ‘Piu che penso’ as the king anticipated Romilda’s capitulation with petulant arrogance: the fine-spun closing elaboration was a silken thread that spiralled beguilingly to a burnished bottom.  She hurled herself into Serse’s bravura aria ‘Se bramate’, making real music of the coloratura; but she showed Serse’s sensitive side too, in the poignant gentleness of ‘Il core spera’.”
Claire Seymour, Opera Magazine (February 2017)

Anna Stéphany and the Labyrinth Ensemble, Opernhaus Zurich

“Anna Stéphany graces a stage with charm and poise. Her alluring mezzo soprano voice is effortlessly produced, and her phrasing and sensitivity to text is exceptional.”
Rick Perdian, Seen and Heard International (Apr 2016)

Lorraine Hunt Lieberson Tribute Concert – OAE

“It was the Peter Sellars staging of Theodora at Glyndebourne in 1996, conducted by Christie, that gave Hunt Lieberson her most memorable UK role, as the rock-like disciple Irene. So it was little surprise that the singer here who brought Hunt Lieberson’s presence most to mind should be Anna Stéphany, with two of Irene’s arias. Her low, sonorous tones captured the character’s serenity, and she began the reprise of As With Rosy Steps the Morn so quietly that one almost thought her voice might crack; Hunt Lieberson was nothing if not a risk-taker.”
Erica Jeal, The Guardian (5 June 2013)

“Stéphany’s well-sustained line and rich timbre in two noble arias from Theodora was touching”
Richard Morrison, The Times (5 June 2013)

“Reviewing the live recording of Peter Sellars’ acclaimed production, Rupert Christiansen commented, ‘it is impossible to conceive of this character’s arias being sung with more grave beauty or emotional commitment than [Hunt Lieberson] brings to them’.

Quite a tall order, then, for Anna Stéphany, performing ‘Ah! Whither should we fly’ and ‘Lord to Thee each night and day’. Stéphany combined vocal beauty with convincing characterisation, Christie shaping the contrasting tempos and textures with style but without undue mannerism. A gentle firmness characterised the voice in ‘As with rosy steps’; Stéphany’s lower register was rich and sonorous, and she dared to adopt a whispering pianissimo to moving effect. In ‘Lord to thee’ Stéphany introduced a startling change of character in the second part of the aria, ‘Though convulsive rocks the ground’, which served to make the profound devotion of the da capo repeat yet more affecting.”
Claire Seymour, Opera Today (9 June 2013

Prokofiev – ALEXANDER NEVSKY, Philharmonia (May 2013)

“… so did Anna Stéphany’s chocolate brown mezzo, darkly radiant in her battlefield lament.”
Geoff Brown, The Times (7 May 2013)

Mozart – LA CLEMENZA DI TITO – Aix en Provence (July 2011

“Glorious singing from Sarah Connolly (Sesto) and Anna Stephany as Annio”
Francis Carlin, The Financial Times (8 July 2011)

Charpentier: MEDÉE – Chicago Opera Theater (April 2011)

“In the title role, the English mezzo-soprano Anna Stephany rose splendidly to hte intensely dramatic scenes of the final acts…”
John von Rhein, Opera Magazine (August 2011)

“Anna Stephany is superb in the title role.  As singer and actress, she manages to capture her character’s external anger and inner hurt.  We believe both that she loves her children and would kill them to destroy her husband Jason.”
Andrew Patner, Sun Times (25 April 2011)

Blessed Spirit: A Gluck retrospecive – WIGMORE HALL LIVE CD

“The disc is not just a musicological feast but a vocal one, above all for Anna Stephany…In the Semiramide riconosciuta opener her individual cut and thrust of phrase and tone instantly recalled for me the vibrant, electrifying impression created by the young Josephine Barstow in a similar area of 18th century repertory; later, Stephany takes the parts of Orfeo and – even more inspiringly, in excellent French – Clytemnestre in one of the peak passages from Iphighénie en Aulide”
Max Loppert, Opera Magazine (August 2010)