Recital of works by Ned Rorem with Brooklyn Art Song Society, January 2019

"There was a touch of wistfulness in baritone Steven Eddy’s smile as he floated out the vocal line of 'Early in the Morning.' But Eddy turned on the power, and a solid lower register, for the rough-hewn, even malodorous poetry of Theodore Roethke in 'My Papa’s Waltz' and 'Root Cellar.'  [He] rounded out the first set dramatically, alternating sostenuto and rapid delivery amid the fast-moving imagery of Elizabeth Bishop’s ironic poem “A Visit to St. Elizabeth’s.'"

- David Wright, New York Classical Review

"Eddy gave voice to the bliss of being twenty and a lover in Paris in ‘Early in the Morning’ with his firm, fine baritone. ‘Visit to St. Elizabeth’s’ (a psychiatric hospital in Washington DC and the Bedlam in Elizabeth Bishop’s poem) was no less frenetic for his seamless phrasing and the sense of line that he brought to it. He also got to sing Rorem’s wonderful setting of ‘Root Cellar’ in which voice and piano vividly depict the dank and smells of a subterranean hotbed of life."

- Rick Peridian, Seen and Heard International 

Pablo Picasso in After Life with Chelsea Opera, December 2018

"Baritone Steven Eddy might not have resembled Picasso, but he nicely conjured his brash personality as he bellowed and boasted and deftly handled a vocally challenging role."

- James Paulk, American Record Guide 

Mozart's Mass in c minor with American Classical Orchestra, November 2017
"Later still, bass Steven Eddy finally had his turn, his similarly open, well-projected sound easily holding its own in the quartet “Benedictus”—the vocal high point of the performance, as Mozart surely meant it to be."

- David Wright, New York Classical Review

Charlie in Three Decembers with Opera Birmingham, January 2017

"As Charlie, baritone Steven Eddy convincingly imparts his love for Burt, his partner who is dying of AIDS, and his disdain for his mother, who mistakenly calls his partner Curt. Equal parts anger and anguish, Eddy’s multidimensional portrayal was given further depth with his impassioned singing."
-Michael Huebner,


Howard Goodall's Eternal Light, November 2016

"The three soloists were top-notch, and each delvered strong, passionate performances. Baritone Steven Eddy projected with strength and confidence."

-Jeffrey Williams, New York Concert Review

Fauré's Requiem with Seraphic Fire, November 2016

"Quigly drew out the long thematic threads of the 'Offertorium' with baritone Steven Eddy bringing tonal warmth and eloquent phrasing to his solo."

- Lawrence Budman, South Florida Classical Review

Raimbaud in Rossini's Le comte Ory with LoftOpera, June 2016

"The supporting cast is strong, with Steven Eddy robust as the count's henchman Raimbaud."

- Zachary Woolfe, The New York Times

Mozart's Requiem (Gregory Spears completion) with Seraphic Fire, Feb. 2016

"The vocal soloists were consistently strong. In Spears’ Benedictus, Amanda Crider’s warm and voluminous mezzo and Jolle’s exquisite high tones were standouts. Steven Soph’s seasoned lyric tenor and Steven Eddy’s dark baritonal timbre proved impressive."

- Lawrence Budman, South Florida Classical Review


Joy in Singing Debut Artist Recital, Oct. 2015

"Mr. Eddy excelled in his interpretation of Barber's Mélodies passagères. We enjoyed Barber's music so much better in French and we think that Rilke's poetry inspired him to new heights. Mr. Eddy's French served the music well and the fact that he translated them himself likely increased his involvement.  Particularly suited to his voice was "Le clocher chante" and Mr. Dover's piano made sure we heard the carillon. We also liked "Départ" a great deal."

-Meche Kroop, Voce di Meche


Telemann's Der Tag des Gerichts, American Classical Orchestra, Oct. 2015

"Mr. Crawford’s performance was quite simply splendid. “Der Tag” is populated by a variety of characters, two named (Jesus and John), the rest allegorical (Faith, the Archangel, the Blessed and the like). Mr. Crawford divided them among his 16 choristers, who were almost uniformly excellent, both individually and as a body.


To single out a few is to slight many. But some demand mention: Jonathan Woody (Disbelief), Helen Karloski (Reason), Brian Giebler (Mocker), Enrico Lagasca (Devotion) and Steven Eddy (Jesus)."

-James R. Oestreich, The New York Times


Ponchel, Silent Night, Fort Worth Opera, May 2014

"... the coffee-brewing French soldier Ponchel, winningly portrayed by Steven Eddy, provides welcome humanity, even humor, and a particularly tragic death."

-Scott Cantrell, The Dallas Morning News


"...Steven Eddy (the spritely French soldier Ponchel) endowed [his character] with full humanity and vocal power."

-Willard Spiegleman, Opera News


"There is a smattering of comic relief, but hardly a knee-slapper, furnished by Steven Eddy as the French aide-de-camp Ponchel, who supposedly makes the world’s best coffee. His death, caused by a mistaken perception, is the only one in which we, the audience, feel personally involved, and it is a devastating moment indeed."

-Gregory Sullivan Isaacs,


"The relatively small but noticeable role of the tragicomic French barber Ponchel, was winningly performed by baritone Steven Eddy"

-Wayne Lee Gay, D Magazine


"All the lyricism is cut by Steven Eddy’s tasty little comic turn as the French commander’s eccentric adjutant, who carries an alarm clock and prides himself on making good coffee regardless of the war’s hardships."

-Kristian Lin, Fort Worth Weekly


"Fort Worth Opera Studio Artist Alum Steven Eddy was an admirably comedic and sympathetic Ponchel —a sometimes difficult combination to pull off. "

-David Weuste,


"As often happens a side-kick character ends up stealing the show, and this was the case with Ponchel, sung by baritone Steven Eddy, a FWO studio artist alum. His comedic timing doubles the delight of his tenacity."

-Laurie Lynn Lindemeier, The Column



Winner of the Howard County Arts Council Rising Star Award

"He had us rapt from the first note of 'Largo al factotum' from Rossini's The Barber of Seville. Hidden in the wings of the Smith Theatre, we first heard the baritone sing the familiar "Figaro, Figaro" before we actually saw Steven Eddy, one of two opera-singing contestants in the recent Rising Stars competition at Howard Community College. He flew onto the stage, pulled off some vaudeville tricks, finished the aria flawlessly and delighted folks with tales from his musical beginnings at Atholton High School."His solo was polished and perfectly presented, and he performed it as an actor, as well as a singer," said HCC professor and theater maven Barbara Brickman, who, like many of us sitting in the audience, knew this guy would take home the prize."

-Carolyn Keleman, The Baltimore Sun


Harlekin, Ariadne auf Naxos, Fort Worth Opera, May 2013

"The commedia dell'arte players were superb, both individually and as a group. Steven Eddy was Harlekin who could walk on stilts and sing at the same time." 

-Willard Spiegelman, Opera News


"..sterling musical and physical work…”

-Michael van Duzer,


“Eddy stands out in particular for his comic grace on stage…”

- Gregory Sullivan Isaacs,

Out of the Loop Fringe Festival, Addison, TX, March 2013

“Baritone Steven Eddy opened the concert with "Largo al factotum" from Rossini's The Barber of Seville. Completely at ease on stage, Eddy worked his way through the aria easily, reinforcing the music with a large dose of humor and charm. His voice filled the black box studio easily, yet maintained a delicate balance between strident and overbearing; his elocution was excellent and every syllable he sung throughout the night was completely understood. Later in the concert he was able to show a more somber and serious tone with the Congregation Aria from Glory Denied, a 2006 opera by composer Tom Cipullo that FWO will produce at this year's festival. Evoking a sound of Britten and Barber, Eddy's calm demeanor made it even easier to hang on every note and word being sung. Bridging the two was "Lieben, Hassen" from Strauss's Ariadne auf Naxos, a short but effective aria that Eddy spun off with his characteristic ease.”

-Gregory Sullivan Isaacs,


Cabaret concert with John Bucchino, Cliburn at the Modern,

Fort Worth, January 2013

“Probably the most endearingly sentimental and closest to old traditions was 'If I Ever Say I'm Over You,' sung movingly by Eddy. The same singer was at the very opposite end of the emotional scale with the raging 'On My Bedside Table,' whose objects awoke far from sentimental memories.”


Ford, Falstaff, University of Michigan Opera, November 2011

“Steven Eddy shone as Ford with his polished baritone voice and acting skills, artfully handling the comic aspect of the role.”

- Laurel Firant, Ann


Belcore, L'elisir d'amore, University of Michigan Opera, November 2010

“Steven Eddy burst into the opera with a comic punch he sustained in the role of Belcore. The strong baritone gave a solid performance and broadly acted the part, drawing appreciative chuckles from the audience for his humorous touch.”

- Laurel Firant, Ann