2023
“Steven Soph, a University of North Texas alum, has made something of a national specialty of the Evangelist’s part. His keen tenor narrated the events of Jesus’ last hours in tones alternately amazed, anxious and horrified.” - Dallas Morning News, (Bach’s St. Matthew Passion, Highland Park Chorale)
“Tenor Steven Soph brought to “Sacred raptures cheer my breast” a rugged resonance and intelligent phrasing.” - Boston Globe, (Handel’s Israel in Egypt, Handel & Haydn Society)
“Steven Soph used his smooth tenor voice, in the role of Obadiah, to project with clear diction such arias as, “If with all your hearts…” - The News-Gazette, (Mendelssohn’s Elijah, Urbana-Champaign Symphony Orchestra)
“Eight excellent singers served equally well as soloists throughout the evening and as a beautifully blended choral ensemble… Tenors Oliver Mercer and Steven Soph made an ideally balanced pairing in the twin solo parts.” - Washington Classical Review, (Monteverdi’s Lost Vespers of 1650, The Thirteen)
“If you want to just bask in some Bach-ish word painting, the treatment of the word “everlasting” (ewiges) in the final phrase of the tenor aria “Meine alles in allem”, rendered so serenely in this concert by Steven Soph, is a kick.” - Oregon Artswatch, (Bach’s BWV22, Oregon Bach Festival)
2022
“In the unique “Duo Seraphim” movement, tenors Oliver Mercer, Aaron Sheehan, and Steven Soph brilliantly realized the initial ornamented duet material as the seraphim call to each other, as well as in the close suspensions illustrating the trinity.” - Washington Classical Review, (Monteverdi’s Vespers of 1610, The Thirteen)
“Stylish contributions came from the soloists -- soprano Nola Richardson, tenor Steven Soph, bass-baritone Enrico Lagasca and, especially, the robust-toned mezzo Lucia Renata Bradford.” - byTimSmith, (Mozart’s Requiem, Baltimore Choral Arts Society)
"Tenor Steven Soph, long one of Seraphic Fire’s finest singers, stepped in to sing the first recitative and aria “Comfort ye” and “Every valley” and was, in every way, outstanding. His diction was clear and he phrased elegantly. Coloratura runs were impeccably assayed and his top was devoid of pressure or strain. In his narrative of the Passion sections, Soph’s lyric tenor delivered the text with a fine combination of finesse and fervor.” - South Florida Classical Review, (Handel’s Messiah, Seraphic Fire)
“In solo arias, tenor Steven Soph’s high range shown impressively.” “Soph’s distinctive projection of the text in recitative highlighted some stellar solo work.” - South Florida Classical Review, (Bach’s BWV 62 & 147, Seraphic Fire)
“Steven Soph’s tenor was an utter delight in “She Loves and She Confesses Too” from The Mistress, the high notes thrown off with assurance and accuracy.” “Soph’s deft enunciation highlighted his stentorian “Let Monarchs Fight.””- South Florida Classical Review, (Enlightenment Festival, Seraphic Fire)
2021
"Steven Soph’s fine lyric tenor and John Buffett’s warmly resonant baritone effectively conveyed the brief recitatives, accompanied in stalwart fashion by cellist Guy Fishman and harpsichordist Leon Schelhasse.’” - South Florida Classical Review, (Bach’s O ewiges Feuer, o Ursprung der Liebe, Seraphic Fire)
2019
"There had also been power aplenty from the soloists, as we were quickly reminded after the prayerful choral lament, when tenor Steven Soph as the Evangelist continued Matthew’s narrative – with the rending of the Holy Temple, the earthquake, the opening of graves, and the rising of the dead upon Jesus’ death." - Art on My Sleeve, (Bach’s St. Matthew Passion, Charlotte Bach Festival)
"Steven Soph has long been a pillar of the South Florida choral-vocal scene and he was in peak form for the spare recitative and extended flights of Uriel. Clear enunciation, attention to subtleties of dynamics and expressive detailing are hallmarks of his smooth, strongly projected lyric tenor. Soph’s patrician sense of classical style and freely produced top range took the full martial stride of ‘In native worth and honor clad.’" - South Florida Classical Review, (Haydn’s The Creation, Master Chorale of South Florida)
2018
"Quigley gave the work an infectious momentum, and the three vocal soloists – soprano Margot Rood, tenor Steven Soph and bass Steven Eddy – wove their overlapping vocal lines dexterously." - San Francisco Chronicle, (Monteverdi’s Confitebor tibi Domine, Philharmonia Baroque Orchestra)
"Soph’s opening recitative and aria not only presented the Biblical text well, but were also an elegant conversation between tenor soloist and the few strings accompanying him. Possessing a light yet clear voice, Soph always had a good command of the musical line and executed vocal runs cleanly. He particularly excelled in the Part II dramatic recitatives leading up to the “Hallelujah” chorus.” - Town Topics, (Handel’s Messiah, New Jersey Symphony Orchestra)
"The singing of soprano Margot Rood, tenor Steven Soph, and baritone Steven Eddy was excellent throughout." - Classical Voice, (Bach’s Wachet Auf ruft uns die Stimme and Monteverdi’s Confitebor tibi Domine, Philharmonia Baroque Orchestra)
"Soph proves a wholly-qualified partner for Brisson Paquin, as well, delivering his part in their account of ‘Io voglio provar’ with dulcet but sonorous vocalism…. The tenor voices his music with dramatic immediacy and silver-clad tone that gleams most brightly in his enunciation of vowels.” - Voix des Artes, (Steffani’s O barbaro Amore, Jory Vinikour)
2017
"The performance also featured a fine quartet of soloists already familiar to Severance Hall audiences. Soprano Lauren Snouffer, mezzo Emily Fons, tenor Steven Soph, and bass-baritone Dashon Burton all were in outstanding voice." - The Plain Dealer, (Mozart's Requiem, The Cleveland Orchestra)
"Tenor Steven Soph brought smooth tone and agile ornamentations to “Ev’ry valley shall be exalted.” He sang with biting aggression and drama in “Thou shalt break them,” bringing extra urgency and force to the word “break” in a manner that elevated the passage to high drama." - South Florida Classical Review, (Handel's Messiah, Master Chorale of South Florida)
"The soloists were members of Seraphic Fire, a South Florida-based vocal ensemble with a repertoire that ranges from early music to newly commissioned contemporary works. The difficult phrasing, awkward pauses and octave leaps were handled with impressive aplomb by Margot Rood, Margaret Lias, Brian Giebler, Steven Soph, James Bass and Charles Wesley Evans." - Bach Track, (Stravinsky's Threni: Lamentations of Jeremiah, The Cleveland Orchestra)
"The performance was ritualistic, riveting, and thoroughly impressive. The six singers from Seraphic Fire (Margot Rood, Margaret Lias, Steven Soph, Brian Giebler, James K. Bass, and Charles Wesley Evans), prepared by founder Patrick Dupré Quigley, were in complete command of their vocal roles, plucking entrance notes seemingly out of thin air (several of them with the help of tuning forks)." - ClevelandClassical.com, (Stravinsky's Threni: Lamentations of Jeremiah, The Cleveland Orchestra)
"[Threni] was, in many ways, the most delightful of all. Six rich-voiced, beguiling vocalists from Seraphic Fire, a Florida ensemble directed by Patrick Dupré Quigley, and a stage-filling Cleveland Orchestra chorus, both spoke and sang biblical verses from the book of Jeremiah the prophet." - CoolCleveland, (Stravinsky's Threni: Lamentations of Jeremiah, The Cleveland Orchestra)
"Arguably the group's smartest decision was hiring Seraphic Fire to join its first performance of Stravinsky's "Threni: Lamentations of Jeremiah." The six Miami-based vocalists who sang the solo roles helped elevate what could have been a drab and brutal reading of a 12-tone rite into a surprisingly listenable and spellbinding experience.... But oh, those guests from Seraphic Fire. They did what so few singers can: make serialism sound natural. Theirs was the rare 12-tone performance that transcended technique and operated solely on the level of real music." - The Plain Dealer, (Stravinsky's Threni: Lamentations of Jeremiah, The Cleveland Orchestra)
"Three all-male trios also stood out: The catchy Deus tuorum militum, with tenor Steven Soph joining Muehleise and Bass to dig into its “blue” note along with the chamber group; a somber Salve Regina with Dodson joining Soph and Bass, and a vibrant-and-gloomy Chi vol che m’innamori with Dodson and Muehleise joined by bass Steven Eddy. - Palm Beach Arts Paper, (Monteverdi's Selva Morale e Spirituale, Seraphic Fire)
"No less dramatic was the musical narration by Evangelist Steven Soph, a University of North Texas alum with a professional career taking him all over the country. With a tenor ranging from feathered intimacies to powerful, glinting top notes, with German diction crisp and clear, he left no doubt that life and death developments were happening by the minute: the betrayal, condemnation, crucifixion and death of Jesus." - The Dallas Morning News, (J. S. Bach's St. John Passion, 1725 version, University of North Texas Baroque Orchestra and Collegium Singers)
"Soph has an attractive, ringing tenor... His “Benedictus” ...was evocatively reverential..." - Chicago Classical Review, (J. S. Bach's Mass in B minor, Chicago Chorale)
"Among the vocal soloists, tenor Steven Soph gave an outstanding account of his aria with two flutes — a gorgeous lullaby in the mold of Bach’s familiar “Sheep may safely graze.” - Palm Beach Arts Paper, (J. S. Bach's Easter Oratorio, Seraphic Fire)
"...his brilliant clarity and warm color at the top did full justice to Bach’s melody and ornamentations." - South Florida Classical Review, (J. S. Bach's Easter Oratorio, Seraphic Fire)
"In recitatives, Steven Soph’s excellent lyric tenor and James K. Bass’ firm and voluminous bass were pillars of strength." - South Florida Classical Review, (J. S. Bach's BWV 34 O ewiges Feuer, o Ursprung der Liebe, The Cleveland Orchestra and Seraphic Fire)
2016
"All three soloists should be commended for their performances. They have fine oratorio voices and sang their solo recitatives and arias with careful attention to expression."- Sharps & Flatirons (Haydn's Creation, Pro Musica Colorado Chamber Orchestra and the Colorado Masterworks Chorus)
"The highlight of the first half was Bach’s “Wie will ich mich freuen,” from “Wir müssen durch viel Trübsal,” for tenor and bass. Clear-voiced tenor Steven Soph — a real find — and bass-baritone Dashon Burton have excellent voices and were well-matched in every respect. It would have been nice to hear more from both of them." - St. Louis Post-Dispatch (Bach's Wie will ich mich freuen and Mozart's Mass in C minor, Bach Society of St. Louis)
"Tenor Steven Soph brought an equal vitality to his part." - San Diego Union-Tribune (Mozart's Orphanage Mass, Mainly Mozart Festival)
"The four soloists–soprano Meredith Ruduski, mezzo-soprano Misty Bermudez, tenor Steven Soph, and bass baritone Douglas Williams–contributed refined, well-projected voices that stood out from the chorus." - South Florida Classical Review (Haydn's Lord Nelson Mass, Master Chorale of South Florida)
"The singing of Seraphic Fire was crystalline and committed (with excellent solo work by soprano Margot Rood and tenor Steven Soph), and, in this generous acoustic, the Sebastians' period instruments sounded wonderful." - The Philadelphia Inquirer (Mozart's Requiem, Seraphic Fire)
"Steven Soph’s seasoned lyric tenor and Steven Eddy’s dark baritonal timbre proved impressive." -South Florida Classical Review (Mozart's Requiem, Seraphic Fire)
2015
"A solo tenor, Steven Soph, sang the first two arias. In “Comfort ye, my people,” his breath control was good, as were his trilly decorations of the music. Soph’s refined tenor took off in “Ev’ry valley shall be exalted,” with more and more decorations, which were amazing." - Palm Beach Arts Paper (Handel's Messiah, Seraphic Fire)
"Steven Soph’s nimble coloratura and individual ornamentation enlivened 'Ev'ry valley.'" - South Florida Classical Review (Handel's Messiah, Seraphic Fire)
"Among the excellent soloists, the warm bass of James Bass, Steven Soph’s dulcet lyric tenor and Reginald Mobley’s agile countertenor demonstrated mastery in the difficult male vocal writing." - The Miami Herald (Charpentier's Te Deum in D Major, Seraphic Fire)
"Countertenor Reginald Mobley and tenor Steven Soph sang a lovely 'Te per orbem terrarum.'" - Palm Beach Arts Paper (Charpentier's Te Deum in D Major, Seraphic Fire)
"...Steven Soph’s finely shaded lyric tenor added balance to the quartet, the blend of voices in the Benedictus near ideal. The entire concert proved one of the Master Chorale’s most successful offerings of recent seasons." - South Florida Classical Review (Mozart's Requiem, Master Chorale of South Florida)
"The soloists in the Schubert provided individual pleasures.... Steven Soph’s tenor is smooth and handsome." - The Miami Herald (Schubert's Mass in G, Seraphic Fire)
"Tenor Steven Soph fulfilled his duties with sweet, focused singing." - San Diego Story (Mozart's Great Mass in C minor, Mainly Mozart Festival)
"Soloists tenor Steven Soph and bass-baritone Paul Max Tipton were featured to great effect in this work. Their sensitive, heartfelt solos were well supported by the orchestra." - South Florida Classical Review (Bach's Aus der Tiefen rufe ich, Herr, zu dir, Master Chorale of South Florida)
"The demanding role of the Evangelist, the listener’s guide through Christ’s tribulations, was expertly inhabited by tenor Steven Soph. Throughout the performance his shining voice intelligently advanced the story’s action, his keen dramatic sensibility always attuned to the events he was describing. Soph’s arias were stunning. “Ich will bei meinem Jesu Wachen” was sung with a noble defiance and “Geduld! Geduld!” with a spirit resolute piety, sensitively integrated with viola de gambist Craig Trompeter’s obbligato." - Chicago Classical Review (Bach's St. Matthew Passion, Chicago Chorale)
"Among an outstanding quartet of vocal soloists... Steven Soph firmly assayed the high tenor lines." - South Florida Classical Review (Haydn's Lord Nelson Mass, Seraphic Fire)
2014
"Steven Soph assayed “Comfort ye” and “Every valley” with heroic declamation, breezing through the ornaments freely, even in the tenor’s upper range." - South Florida Classical Review (Handel's Messiah, Seraphic Fire)
"...the rousing paean highlighted Steven Soph’s strong lyric tenor." - South Florida Classical Review (Tomorrow Shall Be My Dancing Day, Seraphic Fire)
"As embodied by soloists Suzanne Ramo, Bradford Gleim, and Steven Soph, the angels who narrate this formation of all things felt less like celestial messengers proclaiming holy writ than astonished witnesses to a miracle. Their musicality was virtuosic, their diction impeccable, and yet informing every solo was a forthright quality of "I was there; I saw this..." - The Austin Chronicle (Haydn's Creation, Texas Choral Consort)
"Steven Soph’s tenor and James K. Bass’ sturdy bass-baritone captured the unexpected rhythmic beat and adventurous harmonic palette in Undine S. Moore’s setting of Daniel, Daniel." - The Miami Herald (Undine S. Moore's Daniel, Daniel, Seraphic Fire)
"Steven Soph was excellent, as I have come to expect from him. He has a wonderful voice quality..." - Opus Colorado (Schütz's Herr, Unser Herrscher, Seicento Baroque)
2013
"Among soloists, a highlight was the tenor Steven Soph in Thou shalt break them, an urgent, forward-leaning performance, with an aggressive style that matched the text and with no sacrifice of tonal beauty in his smooth, agile singing." - South Florida Classical Review (Handel's Messiah, Seraphic Fire)
"Indeed, one felt cheated on behalf of the fine tenor Steven Soph for having to sit through the whole concert for four minutes of singing. His clear, focused voice was ideal for Handel’s music, and we would have liked to have heard more from him." - Bach Track (Handel's Te Deum in D Major "Dettingen", The Cleveland Orchestra)
"Steven Soph joined the other two soloists with his ringing tenor for “Thou sittest at the right hand of God,” a glorious trio, delivered with the kind of crystalline blend that can only be achieved when singers rein in the vibrato." - Seen and Heard International (Handel's Te Deum in D Major "Dettingen", The Cleveland Orchestra)
"As the Evangelist, Steven Soph was first-class across the board. The young tenor possesses the high, agile instrument necessary for this pivotal narrator role, and vividly characterized the text while keeping the narrative moving forward." - Chicago Classical Review (Bach's St. John Passion, Chicago Chorale)
2012
"Steven Soph’s nimbly spun Ev’ry valley revealed a lyric tenor of depth and strength." - South Florida Classical Review (Handel's Messiah, Seraphic Fire)
"...Robert Shafer led his highly regarded 140-voice City Choir of Washington, an orchestra, and four superb vocal soloists in a generally impressive account of George Frideric Handel’s four Coronation Anthems, along with Handel’s “Dettingen Te Deum.” - The Washington Post, (Handel's Te Deum in D Major "Dettingen", City Choir of Washington)
"The vocal soloists, drawn from the choir and singing in German, performed with impressive clarity and color. All three angels — John Taylor Ward, bass, as Raphael; Steven Soph, tenor, as Uriel; and Jessica Petrus, soprano, as Gabriel — projected a velvety suaveness that seemed perfect for these otherworldly roles." - The New York Times (Haydn's Die Schöpfung, Yale Schola Cantorum and Juilliard 415)
"Tenor Steven Soph's Uriel projected bright clarity." - Opera News (Haydn's Die Schöpfung, Yale Schola Cantorum and Juilliard 415)