Reviews
Bach's Mass in B Minor, Miami Bach Society, Fl
Among the vocal soloists,countertenor Steven Rickards was a standout. His unique plaintive vocal timbre and superb musicianship were the essence of great singing.
The Miami Herald- April 27, 2005
Bach's Mass in B Minor, Champaign, IL
In the aria,”Qui sedes ad dextram Patris, counter-tenor Steven Rickards’agile voice blended beautifully with the smoky tone of Alison Robuck’s oboe d’amore.”
The News-Gazette-March 23, 2004
Moretti's Vespro, New York City Ballet, New York State Theater, New York, NY
Anyone familiar with the fragmented sounds of the Italian Avant garde will feel at home. Bruno Moretti, a leading Italian composer and conductor, has written a fine commissioned score, which he played on stage on a grand piano. Albert Regni, principal saxophonist with the New York Philharmonic and the City Ballet, and Steven Rickards, as a splendid countertenor, contributed to the variety of texture and sudden near-void of notes hanging in the air.”
The New York Times-May 10, 2002
Bach's Three Weimar Cantatas, BWV 182, 12, 172 -The Bach Ensemble, Joshua Rifkin
"This historically informed performance will certainly please the purists who prefer their cantatas in an unadulterated form, played on original instruments as though freshly sprung from the mind of the composer. This performance is spare and delicate rather than passionate, partly because the cantatas' tight composition leaves little room for individuality and personal expression. In keeping with their devotional spirit, the singing is serious, smooth (particularly Rickards's), and straightforward."
Audiophile Audition Classical CD Reviews, September 2001
John Adams's El Niño, Davies Hall, San Francisco, CA
"The Texture of El Niño achieves a new kind of eloquence for Adams. The almost medieval harmonies assigned to a consort of countertenors from Paul Hillier's Theatre of Voices—Daniel Bubeck, Brian Cummings, and Steven Rickards, all exceptionally mellifluous and wonderfully pristine in projection, —lends a serene, other-worldly quality to much of the work."
San Francisco Chronicle-January 11, 2001
John Adams's El Niño, Théâtre du Châtelet, Paris
"A trio of excellent countertenors —Daniel Bubeck, Brian Cummings, and Steven Rickards—both narrate and take part in the in action as the Three Wise Men."
The Times (London)- December 20, 2000
Carissimi's Jephte, May Festival, Cincinnati, OH
"Adding to the authentic touch was the timbre of countertenor Steven Rickards, who made an arresting narrator (Historicus). He performed his recitatives with agility and remarkably pure penetrating tone."
The Cincinnati Enquirer-May 23, 2000
Pergolesi's Stabat Mater, Seattle Baroque Orchestra, Seattle WA
"Rickards' voice is of the same type as the pioneer of the 20th-century, Alfred Deller, but reaps all the benefits of a generation later, of Deller's and others research and experience. Rickards strong straight voice is warm, open, and excellently supported, with no hint of his predecessor's somewhat hooty quality, and as perfectly on pitch as that of (Ellen) Hargis."
Seattle Post-Intelligencer- January 26, 1998
John Dowland:"Flow my Tears" and other Lute Songs
"This disc is an unalloyed delight. Steven Rickards’s flexible and limpid voice seems to me just right for Dowland’s highly expressive songs, and he receives admirable support from lutenist Dorothy Linell. Nineteen lute songs are interspersed with seven solo lute pieces. The selection could hardly be better: a good range of the popular songs, "Come again," "Flow my tears," "Me, me, and none but me," "Now, oh now" and "Fine knacks for ladies," as well as some wonderful songs that aren’t quite so well known: "In darkness let me dwell," "Come, heavy sleep" and my own favourite, "Time stands still". Dorothy Linell’s lute solos are, for the most part, not by Dowland, but include several anonymous pieces, as well as Francis Cutting’s divisions on Greensleeves. They do a good job of lightening the predominately dark tone of Dowland’s songs. Given Naxos’s unbeatable -, I’d say go right out and buy this one!"
Continuo, Magazine June 1998 Vocal Reviews
Handel's Messiah, Princeton Pro Musica, Princeton, NJ
"Countertenor Steven Rickards brought crystal-clear diction, intelligent musicianship, and a lovely pure falsetto tone to his solo work. He was mesmerizing in all his numbers. His expertise in Baroque performance was evident in the frequent and sometimes elaborate ornaments he added to his recitatives and arias."
Town Topics- December 24, 1997
"Four superb soloists contributed to the success of the presentation. Countertenor Steven Rickards was the most effective. His voice is a striking instrument, which gave a deeply moving impact to the segments "He was despised," "O thou that tellest good tidings to Zion," and "He shall feed his flock." His singing was also marked by a deep sense of involvement with the texts."
The Times-December 27, 1997
Recital, Rickards Linell Duo, presented by Capriole Williamsburg, VA
"The quality that deserves attention is superbly Rickards takes words and tunes and fashions them into emotionally meaningful moments. Inflection and a slight gesture or two, at the hands of such a superb vocalist, generate degrees of rare visual imagery, sublime and auditory excitement. The audience seemed to hang on to every word, fully captive to his lyrical voice, meaningful delivery, and thoroughly delightful commentary."
The Virginia Gazette- February 2, 1997
Bach's Mass in B Minor, The Bach Ensemble, Perth, Australia
"And with unfailing bouyancy of momentum (and where appropriate, of mood) and gratifying liner and harmonic clarity, one was exposed more often than not to a euphoric listening experience, as gratifying as it is rare. This was especially so in relation to countertenor Steven Rickards, whose pure-toned account of Qui Sedes was beyond reproach, singing in which the soloist took up an interpretative stance at the emotional epicentre of the aria."
Western Australian-March 3, 1997
Bach's Mass in B Minor, Dayton Bach Society, OH
"The clouds opened and the angels sang, however, whenever countertenor Steven Rickards opened his mouth. "Glorious" was the word most often heard afterward."
Dayton Daily News-May 12, 1996
Handel's Terpsichore, Dallas Bach Society, Dallas, TX
"But what made the music seem to rise to a new dimension were the performances of Ms. Turocy, as Terpsichore, and Steven Rickards, the countertenor who sang in the register alto castrato. Mr. Rickards made a magnificent Apollo-panniered, plumed, powdered and glittering in gold. His rich serene voice perfectly matched his outrageous exterior. With one hand on an orb and the other floating in the air at his chest, he bobbled sweetly on golden heels and opened his mouth to float exquisitely modeled sounds.
The Dallas Morning News- September 29, 1996
Bach's Christmas Oratorio, Dayton Bach Society, OH
"Countertenor Steven Rickards performed the alto part with an expressiveness that defied earthly bounds,"
Dayton Daily News- October 28, 1996
Williamsburg Baroque Music Festival, Capriole, Williamsburg, VA
"Gayle Johnson, director of the festival, led Capriole in "Odes to Life and Death," pieces written by Purcell for Queen Mary's birthdays and at her death. Countertenors Derek Lee Ragin and Steven Rickards excelled in florid songs and duets. The small group of instruments provided support and contrast. John Blow's Ode on the Death of Mr. Henry Purcell was a fitting close to the program, the sections of which displayed Capriol's multiple talents and were an appropriate reflection of Purcell's own many-sided musical personality."
Early Music America-Winter 1995
Handel's Messiah, Apollo's Fire, Cleveland, OH
"In place of a female alto, countertenor Steven Rickards made a splendid impression, affording the coloratura passages plenty of dramatic punch (and none of the hootines sometimes associated with this voice type) as well as tenderness when Handel becomes reflective."
The Plain Dealer-December 10, 1995
An Afternoon With Mr. Henry Purcell, Ensemble Ouabache, Indianapolis, IN
"Ensemble Ouabache got the jump on composer anniversary celebrations for 1995 with a charming program called An Afternoon With Mr. Henry Purcell….
This celebration was in expert hands here: Ensemble Ouabache has cultivated the field of Baroque music for many years, and its guest, Steven Rickards is among today's most accomplished artists in his voice category–the countertenor, or male alto…
The singer displayed his impeccable technique in the florid long lines of Purcell's Sweeter Than Roses. And his fine diction helped convey the meaning of the slightly risqué Scots air Cold and Raw, a hit with Queen Mary."
Indianapolis Star-January 16, 1995
Bach's Mass in B Minor, The Bach Ensemble, Mostly Mozart Festival, New York, NY
"Rickards revealed a dulcet, flexible instrument in his "Qui Sedes," with Stephen Hammer on oboe d'amore, and a melting "Agnus Dei."
New York Native-August 8, 1994
Duet Recital with Derek Lee Ragin, Capriole, Williamsgurg, VA
"The concert was highlighted by the presence of two of the most outstanding countertenors in the music world, Derek Lee Ragin and Steven Rickards. Combined with Capriole's outstanding instrumentalists and unerring sense of musical right, the program was as fine as you could want."
The Virginia Gazette-March 13, 1993
Bach's Mass in B Minor, The Bach Ensemble, New York, NY
"The glories of the performance were two of the soloists…Steven Rickards, whose "Agnus Dei" acted as a reproach to the inflexible character of the performance."
The New York Times-April 3, 1993
Bernstein's Chichester Psalms, Virginia Symphony, Norfolk, VA:
" The only truly embracing moment came from the brief but beautiful contribution made by Steven Rickards, guest countertenor, in the Psalm 23 section. Given his pure focused tone and delivery, it's not surprising that his acclaim is international. His participation in this program was a treat."
The Virginia Gazette-September 27,1992
Bach's Cantata BWV 185, Basically Bach, Chicago, IL:
"With his pleasing timbre, clarity of projection and keen response to the words and music, Rickards again impressed as one of the ablest countertenors around."
Chicago Tribune-March 30, 1992