"In recitatives, Steven Soph’s excellent lyric tenor and James K. Bass’ firm and voluminous bass were pillars of strength."
- South Florida Classical Review, 1/28/2017, The Cleveland Orchestra and Seraphic Fire, J. S. Bach's BWV 34 O ewiges Feuer, o Ursprung der Liebe
"All three soloists should be commended for their performances. They have fine oratorio voices and sang their solo recitatives and arias with careful attention to expression."
- Sharps & Flatirons, 11/30/2016, Pro Musica Colorado Chamber Orchestra and the Colorado Masterworks Chorus, Haydn's Creation
"The highlight of the first half was Bach’s “Wie will ich mich freuen,” from “Wir müssen durch viel Trübsal,” for tenor and bass. Clear-voiced tenor Steven Soph — a real find — and bass-baritone Dashon Burton have excellent voices and were well-matched in every respect. It would have been nice to hear more from both of them."
- St. Louis Post-Dispatch, 10/10/2016, Bach Society of St. Louis, Bach's Wie will ich mich freuen and Mozart's Mass in C minor
"Tenor Steven Soph brought an equal vitality to his part."
- San Diego Union-Tribune, 6/13/2016, Mainly Mozart Festival, Mozart's Orphanage Mass
"The four soloists–soprano Meredith Ruduski, mezzo-soprano Misty Bermudez, tenor Steven Soph, and bass baritone Douglas Williams–contributed refined, well-projected voices that stood out from the chorus."
- South Florida Classical Review, 4/30/2016, Master Chorale of South Florida, Haydn's Lord Nelson Mass
"The singing of Seraphic Fire was crystalline and committed (with excellent solo work by soprano Margot Rood and tenor Steven Soph), and, in this generous acoustic, the Sebastians' period instruments sounded wonderful."
- The Philadelphia Inquirer, 2/20/2016, Seraphic Fire, Mozart's Requiem
"Steven Soph’s seasoned lyric tenor and Steven Eddy’s dark baritonal timbre proved impressive."
-South Florida Classical Review, 2/13/2016, Seraphic Fire, Mozart's Requiem
"A solo tenor, Steven Soph, sang the first two arias. In “Comfort ye, my people,” his breath control was good, as were his trilly decorations of the music. Soph’s refined tenor took off in “Ev’ry valley shall be exalted,” with more and more decorations, which were amazing."
- Palm Beach Arts Paper, 12/27/2015, Seraphic Fire, Handel's Messiah
"Steven Soph’s nimble coloratura and individual ornamentation enlivened 'Every valley.'"
- South Florida Classical Review, 12/19/2015, Seraphic Fire, Handel's Messiah
"Among the excellent soloists, the warm bass of James Bass, Steven Soph’s dulcet lyric tenor and Reginald Mobley’s agile countertenor demonstrated mastery in the difficult male vocal writing."
- The Miami Herald, 11/8/2015, Seraphic Fire, Charpentier's Te Deum in D Major
"Countertenor Reginald Mobley and tenor Steven Soph sang a lovely 'Te per orbem terrarum.'"
- Palm Beach ArtsPaper, 11/8/2015, Seraphic Fire, Charpentier's Te Deum in D Major
"...Steven Soph’s finely shaded lyric tenor added balance to the quartet, the blend of voices in the Benedictus near ideal. The entire concert proved one of the Master Chorale’s most successful offerings of recent seasons."
- South Florida Classical Review, 10/24/2015, Master Chorale of South Florida, Mozart's Requiem
"The soloists in the Schubert provided individual pleasures.... Steven Soph’s tenor is smooth and handsome."
- The Miami Herald, 10/15/2015, Seraphic Fire, Schubert's Mass in G
"Tenor Steven Soph fulfilled his duties with sweet, focused singing"
- San Diego Story, 6/17/2015, Mainly Mozart Festival, Mozart's Great Mass in C minor
"Soloists tenor Steven Soph and bass-baritone Paul Max Tipton were featured to great effect in this work. Their sensitive, heartfelt solos were well supported by the orchestra."
- South Florida Classical Review, 4/26/2015, Master Chorale of South Florida, Bach's Aus der Tiefen rufe ich, Herr, zu dir
"The demanding role of the Evangelist, the listener’s guide through Christ’s tribulations, was expertly inhabited by tenor Steven Soph. Throughout the performance his shining voice intelligently advanced the story’s action, his keen dramatic sensibility always attuned to the events he was describing. Soph’s arias were stunning. “Ich will bei meinem Jesu Wachen” was sung with a noble defiance and “Geduld! Geduld!” with a spirit resolute piety, sensitively integrated with viola de gambist Craig Trompeter’s obbligato."
- Chicago Classical Review, 3/30/2015, Chicago Chorale, Bach's St. Matthew Passion
"Among an outstanding quartet of vocal soloists... Steven Soph firmly assayed the high tenor lines."
- South Florida Classical Review, 2/14/2015, Seraphic Fire, Haydn's Lord Nelson Mass
"Steven Soph assayed “Comfort ye” and “Every valley” with heroic declamation, breezing through the ornaments freely, even in the tenor’s upper range."
- South Florida Classical Review, 12/20/2014, Seraphic Fire, Handel's Messiah
"...the rousing paean highlighted Steven Soph’s strong lyric tenor."
- South Florida Classical Review, 12/11/2014, Seraphic Fire, Tomorrow Shall Be My Dancing Day
"As embodied by soloists Suzanne Ramo, Bradford Gleim, and Steven Soph, the angels who narrate this formation of all things felt less like celestial messengers proclaiming holy writ than astonished witnesses to a miracle. Their musicality was virtuosic, their diction impeccable, and yet informing every solo was a forthright quality of "I was there; I saw this..."
- The Austin Chronicle, 8/22/2014, Texas Choral Consort, Haydn's Creation
"Steven Soph’s tenor and James K. Bass’ sturdy bass-baritone captured the unexpected rhythmic beat and adventurous harmonic palette in Undine S. Moore’s setting of Daniel, Daniel."
- The Miami Herald, 5/8/2014, Seraphic Fire, Undine S. Moore's Daniel, Daniel
"Steven Soph was excellent, as I have come to expect from him. He has a wonderful voice quality..."
- Opus Colorado, 3/22/2014, Seicento Baroque, Schütz, Herr, Unser Herrscher
"Among soloists, a highlight was the tenor Steven Soph in Thou shalt break them, an urgent, forward-leaning performance, with an aggressive style that matched the text and with no sacrifice of tonal beauty in his smooth, agile singing."
- South Florida Classical Review, 12/21/2013, Seraphic Fire, Handel's Messiah
"Indeed, one felt cheated on behalf of the fine tenor Steven Soph for having to sit through the whole concert for four minutes of singing. His clear, focused voice was ideal for Handel’s music, and we would have liked to have heard more from him."
- Bach Track, 5/13/2013, The Cleveland Orchestra, Handel's Te Deum in D Major "Dettingen"
"Steven Soph joined the other two soloists with his ringing tenor for “Thou sittest at the right hand of God,” a glorious trio, delivered with the kind of crystalline blend that can only be achieved when singers rein in the vibrato."
- Seen and Heard International, 5/10/2013, The Cleveland Orchestra, Handel's Te Deum in D Major "Dettingen"
"As the Evangelist, Steven Soph was first-class across the board. The young tenor possesses the high, agile instrument necessary for this pivotal narrator role, and vividly characterized the text while keeping the narrative moving forward."
- Chicago Classical Review, 3/13/2013, Chicago Chorale, Bach's St. John Passion
"Steven Soph’s nimbly spun Ev’ry valley revealed a lyric tenor of depth and strength."
- South Florida Classical Review, 12/23/2012, Seraphic Fire, Handel's Messiah
"...Robert Shafer led his highly regarded 140-voice City Choir of Washington, an orchestra, and four superb vocal soloists in a generally impressive account of George Frideric Handel’s four Coronation Anthems, along with Handel’s “Dettingen Te Deum.”
- The Washington Post, 10/29/2012, City Choir of Washington, Handel's Te Deum in D Major "Dettingen"
"The vocal soloists, drawn from the choir and singing in German, performed with impressive clarity and color. All three angels — John Taylor Ward, bass, as Raphael; Steven Soph, tenor, as Uriel; and Jessica Petrus, soprano, as Gabriel — projected a velvety suaveness that seemed perfect for these otherworldly roles."
- The New York Times, 5/2/2012, Yale Schola Cantorum and Juilliard 415, Haydn's Die Schöpfung
"Tenor Steven Soph's Uriel projected bright clarity."
- Opera News, 4/30/2012, Yale Schola Cantorum and Juilliard 415, Haydn's Die Schöpfung