A Concert for Peace: Winston-Salem Symphony

"The finale brought mezzo-soprano Stephanie Foley Davis to the stage to sing declamatory text from Jeremiah... Davis' singing of the text was appropriately dark and full of despair – profound and moving." - Tim Lindeman/Classical Voice of North Carolina

A Concert for Peace: Portland Symphony Orchestra

"Stephanie Foley Davis was superb in “Now the Guns Have Stopped," a moving portrayal of the “survivors guilt" experienced by soldiers who return while their friends do not."-Christopher Hyde/Maine Classical Beat

Berta in Il Barbiere di Sivglia:

"In too many performances of Barbiere, the ladies who portray Bartolo’s housekeeper Berta look and sound as though they may have studied the rôle under the tutelage of Rossini himself. A particular joy of Greensboro Opera’s Barbiere was the casting of mezzo-soprano Stephanie Foley Davis as a Berta who sang powerfully in every scene in which she appeared without prompting fears that she would need to be defibrillated at the end of every phrase like a broken-down bel canto incarnation of Offenbach’s Olympia. A dramatic whirlwind in the Act One finale, Foley Davis delivered a wonderful account of Berta’s Act Two arietta ‘Il vecchiotto cerca moglie,’ rising to top A with ease. Ideally, a Berta should sound as though she might be a capable Rosina: Foley Davis would undoubtedly be considerably more than capable and was a magnificent Berta."- Joseph Newsome/Voix des Arts

"Another gem was the brief appearance of soprano Stephanie Foley Davis in the aria sung by the governess, Berta, that “the old guy wants a wife, the girl wants a husband…" and bemoaning her fate as a spinster."-Peter Perret Special to the News & Record

"And we know we have a luxury cast when the small role of Berta is so well staffed by someone as good as Stephanie Foley Davis."- Luiz Gazzola/Opera Lively

Suzuki in Madama Butterfly:

“Mezzo-Soprano Stephanie Davis is fine as Butterfly’s devoted servant and friend, Suzuki, and her mellow voice blends exquisitely with Gardner’s in their duets." - Lynn Felder/Winston-Salem Journal

“Butterfly's nurse and personal servant, Suzuki, sung by mezzo-soprano Stephanie Davis, was a warm and touching character on stage and is graced with a beautiful and powerful voice. She is also a fine actress, reeling from blows and prostrating herself agilely. She was at her most tender when she brought out the cute young 2-year-old Pinkerton son (Gabe McNair Deibler) to his mother." – Peter Perret/Classical Voice of NC

“Stephanie Foley Davis was an excellent Suzuki. She is a graduate of the A. J. Fletcher program (headquartered in Winston-Salem so she is a local girl) and all her friends who came to support her were in for a treat. Stephanie's voice is witness to the good training that the Fletcher delivers to the students, because her technique is exquisite. Her diction is perfect, she has good stage presence, and she was definitely not underpowered even when sharing the stage with Jill. A great surprise!" – Luiz Gazzola (Almaviva)/Opera Lively

Mezzo-soprano solo in Alexander Nevsky:

"...young mezzo soprano Stephanie Foley Davis, a rising star, was guest soloist in the Prokofiev. Her rich voice was particularly effective as she sang of a woman searching for her lover on the field of dead heroes." - The Winston-Salem Journal, Margaret Sandresky

"...the lament of a girl who seeks her fallen lover and kisses the eyelids of the dead, touchingly sung by Stephanie Foley Davis." - Classical Voice of NC, Peter Perret

Cherubino in Le nozze di Figaro:

"Also appearing in Rigoletto, Foley Davis was particularly charming as the count's pageboy, who falls under the countess's ploy to dress him up as a girl in order to seduce the unfaithful Count Almaviva. The soprano's performance was warm and very memorable." - The Examiner, Esteban Meneses

Giovanna in Rigoletto:

"...mezzo-sopranos Mabel Ledo and Stephanie Foley-Davis, as Maddalena and Giovanna, respectively, were nearly perfect fits for the characters they portrayed. Most importantly, they sang with emotion and poise, controlling dynamics and peculiarities of their respective characters."
-Examiner, Esteban Meneses

Mary McCarthy in A Blizzard on Marblehead Neck:

"In the small roles of the offending critics, Carin Gilfry (Louis Kronenberger), Aleksey Bogdanov (Bernard DeVoto) and especially Stephanie Foley Davis (Mary McCarthy) sang persuasively and blended well." – Opera Today, James Sohre

“The trio of theater critics who taunt O’Neill in his arguing with Carlotta were well sung and acted by Carin Gilfry, Aleksey Bogdanov and Stephanie Foley Davis. Miss Davis was the critic who remained to chat with Carlotta."
–Opera Pulse, David Browning

Emilia in Otello:

"...Stephanie Foley Davis made a solid, effective Emilia," - Opera News, David Shengold

“Stephanie Foley Davis was a rich sounding Emilia." – Opera Today, Maria Nockin

Mercedes in Carmen:

“Their femine counterparts Rebecca Sjöwall and Stephanie Foley Davis suffused their phrases with emotion as Frasquita and Mercédès. “ – Opera Today, Maria Nockin

“Cameron Schutza (Remendado), Kevin Wetzel (Dancaïre/Moralès), Rebecca Sjöwall (Frasquita), and Stephanie Foley Davis (Mercédès) live up to the expectancies of the second act quintet "Nous avons en tête une affaire", as well as in the third act duet "Mêlons, coupons,", Christian Dalzon

Kate in Pirates of Penzance:

“With their strong performances in this show, Arizona Opera’s Pullin Studio artists: Rebecca Sjöwall, soprano, as Edith, Stephanie Foley-Davis, mezzo-soprano, as Kate and Kevin Wetzel, tenor, as Sam proved that they are worthy heirs of the operetta stage." – Opera Today, Maria Nockin

Ma Moss in Tender Land:

“Mezzo Stephanie Foley Davis contributed a loving, careworn Ma, warm of voice and presence," - Joanne Sydney Lessner, Opera News

“Stephanie Foley Davis a poised, touching Ma Moss." – Steve Smith, The New York Times

“Of the adult characters, mezzo-soprano Stephanie Foley Davis as the mother gave the most believable and well-rounded performance." – Joseph Dalton, The Times Union

“Stephanie Foley Davis sings Ma Moss with a handsome mezzo voice…" – George Loomis, The Classical Review

“My favorite performer is mezzo-soprano, Stephanie Davis, as the mother. Copland’s vocal line fits this role and Davis’ singing and acting has nuance." – Lesley Valdes, WRTI-FM Critic at Large

“As her mother, mezzo-soprano Stephanie Foley Davis showed a determined character with vulnerable edges. Every one of the principals sang with extraordinary beauty of tone, with excellent intonation and expressivity, with amazing assurance." – Jane Dieckmann, The Ithaca Times

“The rich voiced mezzo-soprano Stephanie Foley Davis embodying her worrisome and good-hearted mother." – Richard Beams, Opera con Brio

“…mezzo Stephanie Foley Davis is a singer to watch." – Robert Levine, Classics Today

“Ma Moss, mezzo-soprano Stephanie Foley Davis, scenting the air of change and growth, reminisced in her plaintive and expressive aria in Act I." – Seth Lachterman, The Berkshire Review for the Arts

“As her sympathetic but ineffectual mother, Stephanie Foley Davis gives the kind of well-grounded portrayal that the entire cast realizes." – Michael Johnson,

“I found Stephanie Foley Davis not only able to suggest a couple of decades of life experiences as Ma Moss, but also to sing it with a knowing richness of tone and musical authority that belie her years. This was a secure and memorable role assumption. “ – James Sohre, Opera Today

“Tender Land, Aaron Copland’s only full-length opera, was an inspired choice for a production utilizing only Young Artists... It was quite a moving evening, thanks to wonderful, unaffected portrayals of the leading character (Laurie Moss, a farm girl about to graduate high school) and her mother (Ma Moss) by Lindsay Russell and Stephanie Foley Davis. Both combined eloquent simplicity with healthy, individual sounds." – David Shengold, The Boston Musical Intelligencer

“Stephanie Foley Davis as Ma Moss and Joseph Barron as Grandpa Moss ad luster the tale." – Liz Keill, New Jersey On-line

“…mezzo Stephanie Foley Davis and bass-baritone Joseph Barron are good singers…" - Heidi Waleson, The Wall Street Journal