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; Begearss in Milhaud’s La mère coupable and Sprecher Die Zauberflöte at Theater an der Wien; Bruno in Macmillan’s Parthenogenesis for the Royal Opera in London; Moritz in Mernier’s Frühlings Erwachen at Opéra National du Rhin; Golaud Pélleas et Mélisande with English Touring Opera and Father Trulove The Rake’s Progress in Caen, Limoges, Reims and Luxembourg.
Recent and future highlights include returns to La Monnaie to sing the roles of The Blind Man and Father in the world première of Mark Grey’s Frankenstein, and to English Touring Opera for his role debut as Don Alfonso Così fan tutte and a staged production of Bach’s St John Passion. He makes his role debut as Falke Die Fledermaus with Northern Ireland Opera. Concert engagements see him collaborate with the RTÉ National Symphony Orchestra, 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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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