Born in Dresden, Stephan Loges was an early winner of the Wigmore Hall International Song Competition. Apart from regular appearances at the Wigmore Hall, recitals have since taken him to venues like New York’s Carnegie Hall, Concertgebouw Amsterdam, Vienna Konzerthaus and the Musée d’Orsay in Paris.
In concert, he has appeared with the MDR Sinfonieorchester Leipzig, Melbourne Symphony Orchestra, Sapporo Symphony Orchestras; London Philharmonic Orchestra; Swedish Radio Symphony Orchestra, Iceland Symphony Orchestra, Salzburg Mozarteum Orchestra, Staatskapelle Dresden and Ensemble Pygmalion.
Operatic highlights include Wolfram Tannhäuser and Papageno Die Zauberflöte at La Monnaie Brussels, Begearss in Milhaud’s La mère coupable and Sprecher Die Zauberflöte at Theater an der Wien; Golaud Pélleas et Mélisande with English Touring Opera; Bruno in Macmillan’s Parthenogenesis for ROH Covent Garden; Moritz in Mernier’s Frühlings Erwachen at Opéra National du Rhin; Astrologer in Britten’s The Burning Fiery Furnace at the Diabelli Sommer festival, The Blind Man and Father in the world première of Mark Grey’s Frankenstein at La Monnaie, and The Rake’s Progress in a co-production between the opera houses of Caen, Limoges, Reims and Luxembourg.
Recent and future highlights include a return to English Touring Opera for his role debut as Don Alfonso Così fan tutte and a staged production of Bach’s St John Passion, his role debut as Falke Die Fledermaus with Northern Ireland Opera, and concert performances with the RTÉ National Symphony Orchestra, The English Concert, Residentie Orkest, Gabrieli Consort and Orquestra XXI in repertoire including Bach Brahms, Elgar and Berlioz. Current recital appearances include the Wigmore Hall, Oxford Lieder Festival and Lied Festival Victoria De Los Angeles, Barcelona.
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JS Bach St John Passion
English Touring Opera (March 2020)
Stephan Loges’ ‘Mein teurer Heiland’ stand[s] out.
Tim Ashley, The Guardian****
Stephan Loges played Christus, a very intense, dramatic figure, and he also gave a vivid account of the bass aria 'Himmel reisse, Welt erbebe' and a moving performance of 'Mein teurer Heiland'.
Robert Hugill, Planet Hugill
It’s usual to claim that the puppet-master learns more than his pupils, but here we learned more about him: Stephan Loges’s warm tone and subtle vibrato touched on lonely, sexual vulnerability as the mainspring of Don Alfonso’s cynicism - or realism, if we prefer.
Mozart Cosí fan tutte (Don Alfonso)
English Touring Opera (February 2020)
The singers were a pleasure to hear, and in the case of Stephan Loges as Don Alfonso, a privilege to enjoy. The distinguished German baritone negotiated Jeremy Sams’ sparkling English translation with idiomatic panache, and sang and acted likewise. He gave the production its anchor.
Mark Valencia, Bachtrack
Stephan Loges evinced Don Alfonso’s worldly-wise weariness, lounging with a lazy lethargy which was complemented by the languidly uncoiling smoke of his cigarette, but his cool cynicism did not deprive the recitatives of their cutting impact.
Claire Seymour, Opera Today
Comic support came in buckets from Jenny Stafford’s game Despina and Stephan Loges’ lean-back Alfonso, whose languid ennui and understated delivery offered a still point among so many goings-on.
Alexandra Coghlan, The Arts Desk
Die Fledermaus (Falke)
Northern Ireland Opera (September 2019)
Oddly, the soupy “Brüderlein” was the musical highlight, done with a genuine Viennese charm and lilt
Robert Thicknesse, Opera Now
SIGCD554 / Schumann, Kilpinen & Brahms: Nature’s Solace
Piano : Iain Burnside (November 2018)
[Loges] is a trusty guide, using the text intelligently and without exaggeration, and the voice is sturdy and reliable.
This is a touching, sensitive account of [Schumann’s Op 35 cycle]. … The coupling offers a great deal, though, not least in welcome appearances of a handful of songs by the ‘Finnish Schubert’, Yrjö Kilpinen (1892-1959). Though he remains compromised by questions about his political affiliations, as Natasha Loges acknowledges in the booklet, these settings of Hesse are often striking: a stern, almost cool musical language that occasionally – as in the tender ‘Ich fragte dich’ and the close of the memorable ‘Vergänglichkeit’ – melts to offer lyrical warmth. Loges and Burnside make a persuasive case.
They are similarly persuasive in Brahms’s Op 94 Lieder, with Loges bringing impressive gravitas – of manner as well as voice – to ‘Mit vierzig Jahren ist der Berg erstiegen’, and a touching tenderness to ‘Sapphische Ode’.
Hugo Shirley, Gramophone
Loges possesses a lyric bass-baritone that is rich and beautiful in timbre, one that traverses the various registers with ease, and with a consistency of tone. His legato is impeccable, his range of dynamics impressive, and Loges is masterful at wedding the poet’s text and composer’s music in a manner that creates the impression of a spontaneous emotional response.
Ken Meltzer, Fanfare Archive