Quotes/reviews:

"Howell possesses a light instrument, yet it has resonance in the upper register and is well-tuned, with a lovely, mellow, almost meditative quality. He is smooth and even throughout his registers, and musical in his phrasing, showing an affinity for legato and emotions of the plaintive and gentle variety. He never oversings or forces… Technically, he was flawless, as several perfectly executed trills showed…. He sang passionately in “Cara sposa,” from Rinaldo… The encore, “Ombra mai fu” from Serse, was marvelous — spacious, and lovingly phrased… Ian Howell is moving up in the ranks, and certainly his artistry demands further hearings."

-San Francisco Classical Voice, 22 April 2008;
American Bach Soloists

“Ian Howell, the countertenor (filling in for David Walker, who was ill), has a lovely sound that grew in strength and confidence through the evening.”

- The New York Times, 21 December 2007;
Handel's Messiah (Alto Soloist) at Carnegie Hall

“The young countertenor Ian Howell sang with a clear voice and attractive timbre as Daniel, a Jewish prophet…”

- The New York Times, 27 October 2007;
Handel's Belshazzar (Daniel)

"Countertenor Ian Howell has a rare and glorious voice… his notes ranged far above the ceiling, very likely reaching the stars."

- The Davis Classical Review, 4 December 2007;
Buxtehude Jubilate Domino

“Mr. Howell sang with clarity and strength that carried to the back of the hall and a free and open sound which could have gone on forever. [He is]…clearly looking at a great future on the concert stage.”

- Town Topics (Princeton, NJ), 2 May 2007;
Handel's Hercules (Lichas)

“The judges seemed to have been bowled over by Howell's polished sound, clear resonance, and powerful enunciation…”

- San Francisco Classical Voice, 4-11 June 2006;
Bach BWV 170 Vergnügte Ruh

“… The agile, other worldly timbre of countertenor Ian Howell turned vocal cameos into star turns.”

- Miami Herald, 12 October 2005;
Monteverdi's Vespers 1610