Carmen "...All four leads were of exceptional quality. ... Steven Snow, as Don José, sailed through the role with an easily-produced, sweet voice...His Don José was simple, straightforward, almost brutal, and very believable."
Lucia di Lammermoor "...Lyric Opera of San Antonio's staging of 'Lucia di Lammermoor'...brings to mind the supposed Golden Age of Opera in this town..." "...the principal roles on Friday had real voices attached to them...” "...Vocally, this was by far the strongest cast the young company has assembled in its rapid five year rise..." "...The Edgardo, Steven Snow, was stylish, steely and stirring...the most credible tenor to appear hereabouts in a long time."
Il Trittico "Tenor Steven Snow gave a superb performance as Luigi, with freedom and power."
Il Trittico "...tenor Steven Snow soars in "Il Tabarro." [He] sings with a passion, intensity and radiance as the ill-fated lover. [He] also returns to give us [his] comedic talents in "Gianni Schicchi."
The Bartered Bride "The big cast also rose to the occasion...Steven Snow...performed capably. The tenor showed off some powerful high notes..."
Die Fledermaus ”…a vaulting toast to the outstanding singer-actors in this show…the leads sparkled in their roles…Steven Snow's Alfred underscored MGO's commitment to and triumph of both high talent and high spirits.”
Die Fledermaus “…played the role wonderfully, and sang well throughout, as did Steven Snow, in the role of the singer, Alfred, whose voice could seduce a woman into bed – or more exactly – seduce Mrs. von Einstein into his arms or bed, whichever.”
La Boheme "What surprised me the most was the consistently high level of singing. I did not expect a Rodolfo (Steven Snow) with such a big voice."
La Bohéme "Tenor Steven Snow, as the poet Rodolfo, sang stylishly, with lyric smoothness and, when needed, dramatic metal"
Tosca "Tenor Steven Snow sings a convincing Mario, whose voice never wavers during a sublime first-act duet..."
Tosca "...of course, there's luck involved. Tenors as solid as Snow are found more by chance than design...you'd be happy to hear anyone like him who so comfortably inhabits this role."
Tosca “…this production held the audience enthralled, mainly because of the magnificent renditions by Lisa Daltirus as Floria Tosca, Steven Snow as her lover, Cavaradossi and Todd Thomas as the arch villain, Scarpia.”

Tosca

"Tenor Steven Snow was a convincingly romantic Cavaradossi..."

Tosca

"This Tosca rippled with energy and emotion, cast with outstanding singers and a theatrical focus that was visually as well as audibly effective.

"All the principal roles were admirably handled.

"As Cavaradossi, Steven Snow gave an impassioned performance; solidly delivered vocally and utterly believable in character. His voice was well matched to Bernhardt’s Tosca."

Siegfried

"The parts of the two Niebelungs Alberich and Mime require craft in character acting to illustrate dull bullying or whining treachery. Steven Snow (Mime) and Randy Parker (Alberich) portrayed their characters well, both in singing and stage gestures...For their musically complex duet scene, Parker and Snow enterered from opposite sides of the stage and effectively bickered vocally and visually."

Tales from the Manhattan Woods "…The performances by the superlative cast are what really made this show work…The singers were vocally and comedically sensational, a rare combination that made the entire evening, even the less pointed parts of the script, fresh and lively.” “…As Eisenstein, Rosalinda’s philandering husband…Steven Snow was in fine voice."
Tales from the Manhattan Woods "As Alfredo, Steven Snow is strong vocally though he usually plays with an alternate cast, proving that whoever performs, you are treated to fine opera."
The Merry Widow "The role of Camille du Jolidon is one of the most fiendishly difficult of tenor roles, but Steven Snow managed the high tessitura with admirable ease."
Man of La Mancha "Steven Snow, the Padre (what a wonderful voice!)"
Man of La Mancha "Steven Snow...is particularly effective as the Padre."
Man of La Mancha "Steven Snow...has one of the sweetest sounds around and lets us hear it in the role of the Padre."
Evita "Steven Snow looks the part of Juan Perón, assuming a sad, imperial air, and has a fine strong voice."
Evita "Steven Snow's classical voice pumps up the persona of Juan Perón."
Evita "The show's strengths are...Perón, Steven Snow. Snow gives us a complex man who could, at moments anyway, step away from power and its attendant dangers. He's the one who understands the fickle crowds who worship Eva."
Evita "However, the most thrilling voice of the evening was that of tenor Steven Snow (Perón) who sang every note on key with unique clarity. Snow's big voice made a mike seem superfluous. Snow's singing compensated for the fact that, as Perón, he is given little to do on stage except walk around and look important."
Evita "Steven Snow is a convincing Perón. He has a strong voice, not a must for the part but a pleasant bonus for such numbers as I'd Be Surprisingly Good For You. He is also a good actor, especially evident in his underplaying scenes with Eva, who must be the dominant figure."
Evita "Central to Eva's rise was Perón, played by Steven Snow. Snow is no stranger to the role of Perón. A year ago he was a last minute replacement for the Perón role in a production in the Poconos. He was thrown into the (Pocono) production with about 45 minutes of rehearsal. (In this production,) He is simply wonderful in the role and his voice and acting helps you understand the "sliding moral system" of Perón and that the key to Perón is that 'Eva and Juan really do love each other.'"

"Asgar, a rich, successful businessman...settles on a plan to disguise himself as a cloth peddler and thus gain entry to...the home of Sultan Bey (the charismatic Steven Snow)...

"The packed house at the Dorothy Chandler was a testament to the groundbreaking, secular character of the operetta, as leading members of the Azerbaijani diaspora community mingled with diplomatic representatives, leaders from all over L.A., including a sizable contingent from the Jewish community, as well as students and theater goers from L.A.'s diverse communities. Kudos all around to the Azerbaijani consulate, the producer and performers and the audience for this cultural expression of diversity and progress."

"And only through dialog and commitment can people come to happy endings. [Composer] Uzeyir Hajibeyli delivered this message to the viewer in a remarkable way. His work was subsequently supplemented by the outstanding work of the American actors."