“Stephen Milling’s Arkel was sung with sonorous authority and subtle dramatic insight.”

“Stephen Milling’s Arkel was subtly yet powerfully sketched.”

“Stephen Milling makes a powerful impression as the Commendatore. His bass voice is ample, with a dark and dramatic texture, carried by a declamatory phrasing in constant crescendo. His projection is masterful, and his breath control remarkable, culminating in a deeply felt death scene where the final vocal flourish, unexpectedly light in such an imposing low register, strikes the perfect note.”

“Stephen Milling imbues the Commendatore with an impressive authority. Without resorting to excessive spectacle, the scene maintains a very effective and unsettling power.”

“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”