​Humperdinck HANSEL AND GRETEL / Royal Opera House
 

‘So the context is well set for the outstanding Hansel of Anna Stéphany, gangly, ardent and crystal clear’
Nicholas Kenyon, Telegraph (December 2023)
 
‘The title roles are attractively taken by Anna Stéphany, a vocally distinguished Hansel, and by Anna Devin’s bright-voiced and feminist Gretel.’
Martin Kettle, The Guardian (December 2023)

‘Anna Stéphany (Hansel) and Anna Devin (Gretel) sing with much style and lustre.’
Neil Fisher, The Times (December 2023)
 
‘the tender Evening Prayer is sung by Stéphany and Anna Devin at a beautifully hushed pianissimo’
David Benedict, The Stage (December 2023)
 
‘Anna Devin as Gretel and Anna Stéphany as Hansel are a dynamic duo who master their surprisingly difficult roles with ease and convincingly portray the mischievousness of the children throughout.’
Michael Higgs, Broadway World. (December 2023)

Mozart LE NOZZE DI FIGARO / Royal Opera House

'Anna Stéphany’s youthful, plush-voiced scamp of a Cherubino stood out from the crowd'
Hugh Canning, Operalogue (July 2023)

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Handel THEODORA / Arcangelo

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'As Irene, Anna Stéphany exudes warmth and beauty in a succession of beautiful arias.' 
Hugh Canning, Operalogue (April 2023)

Mozart LA CLEMENZA DI TITO / Opéra de Rouen

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'Anna Stéphany dispatches Sesto two arias with velvety tone and swaggering technical bravura – the celebrated Parto, parto with clarinet obbligato is the highlight of her outstanding performance' 
Hugh Canning, Operalogue (November 2022)

handel GUILIO CESARE / glyndebourne festival 

‘Joelle Harvey [...] vying with Anna Stéphany’s exquisitely poised account of Sesto’s “Cara speme” as 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.'
George Hall, The Stage (June 2018)

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‘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)

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

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'Anna Stéphany, who thrilled in last year's La clemenza di Tito here, plays another Sesto here. Her lithe mezzo projected well. “Cara speme” was heartbreaking, with sensitive ornamentation in the da capo. '

Mark Pullinger, Bachtrack, (June 2018)

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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)

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Black is The Colour / Labyrinth Ensemble, Alpha Classic CD

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‘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 from the text.’

BBC Music Magazine (April 2018)

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Mozart LA CLEMENZA DI TITO / Glyndebourne Festival

“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 (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 (July 2017)

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“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 (July 2017)

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“Stéphany proved the sensation of the night, singing with a thrilling edge and admirable dexterity.”

Stephan Pritchard, The Guardian (July 2017)