“Stephen Milling’s Priest introduced a darker vocal color, his authority undercut by a certain reserve.”

“Stephen Milling was solid as the priest. His first scene is written very low and the bass delivered the lines with clarity … this musical choice fits in with the narrative, emphasizing the hollowness of the priest’s words. The thoughts and prayers were useless here.”

“Stephen Milling as the Doktor, delivered a masterclass in contempt for humanity.”

“Stephen Milling also ranks among the pinnacles of Wagnerian singing: his voice has astonishing power, allowing him to effortlessly convey the dark colour and menacing accent befitting the fearsome Hunding.”

“Stephen Milling’s Sarastro rose to an admirable ​‘In diesen heil’gen Hallen’”

“Stephen Milling as Sarastro gave a knockout vocal performance. His arias ​“O Isis und Osiris” and ​“In diesen heil’gen Hallen” filled the Met’s main hall with his rich bass voice.”

“Milling gives the high priest [Sarastro] an imposing presence and a beautiful bass voice, more noble and serene than solemn and authoritarian.”

“Milling has an ideal presence as Sarastro, tall and commanding and also sympathetic … his singing was rounded and strong with a regal phrasing.”

“[König Marke] Milling’s impressive deep bass sound kept the tense audience on the edge of their seats.”

“Stephen Milling’s full and resonant bass contributed strongly to his portrayal of Hagen as a duplicitous villain, carefully manipulating Gunther, Gutrune and Siegfried with his affability while secretly biding his time until the right moment when he can cast aside those he has deceived and seize the ring for himself.”

“Stephen Milling was Hunding, and his imposing presence and massive bass exuded menace.”

“The Danish bass Stephen Milling was a sterling Daland, smooth-toned and not unduly demonstrative, hence a satisfying counterweight to the Welshman’s scaled-up Dutchman.”

“As it is, Stephen Milling’s King Marke provides some missing imagery in embodying all the worldly certainties the lovers seek to look past. Milling’s voice is monumentally pleasurable to listen to and his experience in this repertoire, vocal and dramatic, proves priceless.”

“With an awesome bass [Stephen Milling as Hunding]; his mere presence exuded menace.”

“The new Hagen, Stephen Milling, concentrates all the diabolical darkness of the character in his voice and acting.”

“The warmth, opulence and intensity of Stephen Milling’s Gurnemanz is not easily surpassed”

“Riding high above the waves, though, Danish bass Stephen Milling as Senta’s father, Daland, … flooding our ears with Wagnerian brilliance.”

“By the time we got to ​“In diesen heil’gen Hallen,” Milling’s voice was suffused with deep warmth, like stone warmed by the sun. The scene with [Pamina] is surprisingly tender — a lesson from a father to a daughter that doesn’t feel condescending but instead full of love and understanding.”

“Stephen Milling brings the executor of the end — Hagen — to the stage with a powerful voice and a lot of presence. With full force, his calls echo pithy over the well-prepared Staatsopernchor.”

“Stephen Milling is a perfect fit for what can be expected of Sarastro. His calm and warm voice makes him the ideal male figure wanted by Mozart and Schikaneder to symbolize justice and knowledge.”

“Stephen Milling as Hagen, with his poise and dark voice producing a chilling call to arms “

“A cast in which the nobility and the line of Stephen Milling’s singing stand out, whose brilliance in the character of Hagen shows that there are no secondary roles”

“Stephen Milling, as Hunding, has the most beautiful voice with his built-in subwoofer. Delicious how those consonants roll out.”

“Bass Stephen Milling was also top-drawer, combining power with effortless lyricism as Landgrave Hermann.”

“Stephen Milling’s Hagen, by contrast, was an awesome, overbearing presence both physically and vocally.”

“Stephen Milling is excellent, a Rocco with a beautiful burnished tone, full bodied and incisive. He knows how to highlight humanity from great simplicity, his Rocco has foresight and is maybe even a little corruptible but certainly not a killer. And in the aria Hat man nicht auch Gold beineben he adds wisdom and common sense.”

“There were some truly exceptional performances:… Stephen Milling’s stentorian Hagen, whose famous call in Act 2 of Götterdämmerung seemed to shake the theatre’s wooden structure”

“Stephen Milling, who sings the role of Hagen with inexhaustible power reserves and a soothing bass”

“in vocal terms [Hans Sachs] was outgunned by the Pogner of Stephen Milling, a singer of dark Wagnerian power.”

“Stephen Milling’s Hermann tramped the stage fiercely and filled the theatre with generous waves of sound.”

“Danish bass Stephen Milling is a tower of strength as the Landgrave.”

“Stephen Milling sang Gurnemanz with dark, focused tone and excellent diction.”

“Stephen Milling was a top quality Gurnemanz. He maintained a compelling line in his poignant song, as well as strong stage presence.”

“Stephen Milling, already physically convincing as Hagen, gives a highly dramatic vocal performance also. Ideal casting.”

“The central force of the evening is Stephen Milling. His Hagen is both theatrically and vocally terrific. With his soft, dark bass, Milling gives gives the scheming character a demonic streak with great charisma and a seductive power.”

“Stephen Milling convinces as King Marke, full of desperate sound with a voluminous penetrating dark voice.”