IN REVIEW
THE PIRATES OF PENZANCE
Ruth | Opera Theatre of Saint Louis | 2021
"Baritone Benjamin Taylor swaggers powerfully in his opening number as the Pirate King and mezzo Stephanie Sanchez makes a formidable Ruth. Both bring an impressive combination of vocal power and comic flair to their roles."
KDHX SAINT LOUIS
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"Mezzo-soprano Stephanie Sanchez, tenor Ryan Johnson, baritone Benjamin Taylor and bass Alex Rosen combine to make this Pirates a breezy romp and lots o’ fun, with nary a wasted moment. They jump right into the familiar tale with their own agreeable style of bravado and derring-do. Sanchez deftly handles the role of Ruth, the opportunistic maid who has steered Frederic since childhood, all while making sure her own needs have been met."
LADUE NEWS
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"Ruth, a mother and mentor figure to Frederic, the dynamic Stephanie Sanchez provides the show with some emotional heft."
REVIEW STL
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CORALINE
Mother/Other Mother | West Edge Opera | 2022
"Stephanie Sánchez, as Mother/Other Mother, has the most bravura role in the show, and she filled it out extremely well. The melodic intervals get more jagged as she reveals her murderous side, and Sánchez never flagged."
SAN FRANCISCO CLASSICAL VOICE
"Happily, West Edge has assembled first-rate players for this production who eagerly and skillfully draw out whatever nuggets of musical sustenance the score has to offer. On opening night, Stephanie Sanchez and Efrain Solis made a formidable team as both pairs of parents, the real and the ersatz."
SAN FRANCISCO CHRONICLE
"In Coraline's real world, Stephanie Sanchez as Mother is involved with her but strict. Efrain Solis as Father is charming but absorbed in his work as an inventor. Both artists are gifted as singers and actors."
CORDELL REPORTS
HANSEL AND GRETEL
Hansel | Opera San José | 2019
"Stephanie Sanchez and Elena Galván gave sterling performances as Hansel and Gretel, alternately scrappy and sweet, playful and vulnerable, silly and tender, with Sanchez’s lightly shaded mezzo perfectly matching the boyish figure she cut."
PAMINA'S OPERA
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"In particular, Stephanie Sanchez playing Hansel and Elena Galván cast as Gretel created a mesmerizing harmony of voices. Not only did their youthful energy and amazing acting seem to paint the image of two young children, their compelling voices encompassed all that opera is known for."
SAN JOSE CROWN AND SHIELD
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DIE FLEDERMAUS
Orlofsky | Opera San José | 2019
"Stephanie Sanchez negotiated the pants role of Prince Orlofsky with an easy panache. Ms. Sanchez possesses a ripe, throbbing, womanly mezzo, so it is no small feat that she was able to bend it into service to suggest a bored young male character. Her/his party piece, Chacun a son gout was craftily vocalized, but it was when she could really let her voice roll out that we were treated to a major talent."
OPERA TODAY
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"And in her role of Prince Orlofsky, Mezzo-Soprano Sanchez captivated the audience with her resonant tone of voice."
CULTURAL WORLD BILINGUAL
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"Stephanie Sanchez mezzo is just superb."
OPERAVILLE
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IL BARBIERE DI SIVIGLIA
Berta | Arizona Opera | 2018
"Stephanie Sanchez was a most amusing Berta with commanding low tones."
OPERA TODAY
HOLIDAY CONCERT
Soloist | Opera Theatre of Saint Louis | 2020
"For me, though, one of the most moving things in the entire program was Ms. Sanchez’s heartfelt “Have Yourself a Merry Little Christmas.” Written by Ralph Blaine and Hugh Martin for the 1944 film “Meet Me in St. Louis,” the song’s wistful hope that “through the years we all will be together / If the fates allow” seems especially appropriate in the Age of COVID."
KDHX SAINT LOUIS
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"The mood lightens with another of the show’s finest moments, a mash up of Champagne Song/Sing to Love from Johann Strauss II’s Die Fledermaus followed by Stephanie Sanchez’s exquisite singing on Have Yourself a Merry Little Christmas."
REVIEW STL
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"Sanchez, e.g., sparkles on her warm, carefully measured reading of “Have Yourself a Merry Little Christmas."
LADUE NEWS
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TANCREDI
Roggiero | Teatro Nuovo | 2018
"Cast in supporting roles were three resident artists (i.e., younger emerging singers) with promising voices. Stephanie Sanchez was Tancredi’s esquire Roggiero who especially impressed with luscious sound and easy technique."
CLASSICAL VOICE NORTH AMERICA
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"Another singer who made an impression--with just one aria, no less--was mezzo Sanchez, in Act II's 'Torni alfin ridente, e Bella.'"
BROADWAY WORLD
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"Two other full-voiced mezzo-sopranos filled out the cast in minor roles. Stephanie Sanchez as Roggiero had a nice little star turn in her aria, ‘Torni alfin ridente, e bella’, which comes near the end of the opera."
SEEN AND HEARD INTERNATIONAL
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"Mezzo-sopranos Hannah Ludwig and Stephanie Sanchez, both drawn from Crutchfield’s training program, impressed with rich, resonant voices in the supporting cast."
THE CLASSICAL REVIEW
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EUGENE ONEGIN
Olga | Intermountain Opera | 2019
"Stephanie Sanchez (who plays the little sister) is billed as a mezzo soprano but her voice is much richer and full bodied in my estimation. It was my impression that the sound her voices makes is what every viola player in the world wishes that alto instrument could make."
THE GRAPEVINE BOZEMAN
CANDIDE
Paquette | Arizona Opera | 2018
"But those voices — wow! There wasn't a weak voice on the stage, from the excellent Arizona Opera Chorus to the Marion Roose Pullin Studio Artists in lead roles, including Sanchez."
ARIZONA DAILY STAR
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"Sanchez was a smooth toned and sexy Paquette."
OPERA TODAY
ARIADNE AUF NAXOS
Dryad | Opera Theatre of Saint Louis | 2016
"Other singers who particularly caught my ear and eye on Tuesday night included mezzo-soprano Stephanie Sanchez."
REVIEW STL
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"The effortless, limpid, perfectly matched singing by Elizabeth Sutphen (Naiad), Stephanie Sanchez (Dryad), and Liv Redpath (Echo) would be a worthy trio in any major international company. Their lovely vocalizing and immaculate balance as fluid phrases tumbled over each other was simply ravishing."
OPERA TODAY
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IN COMPETITION
Gold Medal Winner | Young Texas Artist Music Competition | 2016
"Mezzo soprano, Stephanie Sanchez, would capture that division’s Gold Medal weaving first a theatrical magic spell with coy and easy grace performing Bizet’s haunting and seductive, 'L’amour est un oiseau rebelle,' from Carmen, and then moving on to a playful, animated and tongue twisting performance of Rossini’s 'Cruda sorte!' from L’italiana in Algeri."
PEOPLE'S CRITIC HOUSTON