"Shea Owens, though still a young man, seemed to walk onto the stage an artist fully formed; perhaps even a star. He exuded confidence and charisma that put the audience immediately at ease, and unfurled a handsome baritone with a shining top."
–Eric Myers, Opera News
"His vocal quality is stunning, with all the richness of a well-rounded baritone voice but with a striking brightness that thrills, particularly in his upper range."
–Alexis Rodda, Opera Today
"Shea Owens' rich baritone was perfection . . . [his] face was a study in emotion."
–Sherri Rase, QonStage
"Utah Opera resident Shea Owens lent his ample baritone and canny stage presence to the role of Mandarin with great success."
–Robert Coleman, Opera News
"Shea Owens began the afternoon with great promise, his turn as Fiorello well-served by his smoothly produced baritone with its attractive youthful bloom."
–James Sohre, Opera Today
"The fine-voiced Lackey, Shea Owens, seemed another potential Harlekin."
–David Shengold, Opera (UK)
" . . . well-rounded, fluid, and expressive . . ."
–Ed Reichel, Reichel Recommends
"[A Full Moon in March] has plenty of high tension and occasionally melodic vocal writing, which . . . Shea Owens, as the Swineherd . . . mastered completely."
–Allan Kozinn, The New York Times
"Both singers displayed strong, intense voices, and their diction was excellent."
–Mary Wallace Davidson, The Boston Musical Intelligencer
. . . superbly prepared . . ."
"Baritone Shea Owens, the passionate, doomed Swineherd [in John Harbison's A Full Moon in March] . . . should run immediately to the Metropolitan Opera's Lindemann Young Artist Program. James Levine . . . must know some of these emerging artists, who not only show what the Tanglewood vocal department is now, but point toward its future."
–Leslie Kandell, Notes on Notes
". . . vocally superb . . ."
"Owens seems destined to play Don Giovanni. The role is a natural for him."
–Ed Reichel, Deseret News