SOPRANO
"Susan Stacey unleashed a flood of Wagnerian tone, heroic and sumptuous of voice, she was ideally suited to the role of Sárka, the ruthless and passionate leader of the rebellious warrior women" Jeanne Henny: 'What's on' , UK
Stacey is a real dramatic find, with a big, heroic voice and fearless attack..." Mark Pappenheim, The Independent, UK
"Susan Stacey, a noble, impassioned, heroic Leonore, both in her acting and singing, encompassed the demanding music with power and confidence." David Blewett, The Stage. UK
... and there was a true discovery in Susan Stacey, who sang the soprano lead (Verdi: Jerusalem), with a secure combination of coloratura brilliance, dramatic weight, and enough big open top notes to brighten the lives of more than a few opera managements I can think of ..."
Michael White Independent on Sunday, UK
"...Susan Stacey is a thrilling new talent who is clearly set on the road to stardom ..." Miamigo magazine, Florida, USA
Concert and Oratorio repertoire
Barber : Andromaches Farewell
Beethoven: Ah Perfido (Concert Aria), Symphonie Nr. 9, Messe in C
Britten: War Requiem
Janaček: Glagolitic Mass
Mahler: Symphonie Nr. 8 (Soprano I* and Soprano 2)
Strauss: Vier Letzte Lieder
Verdi: Requiem
Wagner: Wesendonk Lieder
and a wide variety of standard oratorio repertoire
including Rossini Stabat Mater, David Fanshawe;
African Sanctus and many others.
Verdi : Nabucco Abigaille
Verdi: Attila Odabella
Verdi: Macbeth Lady Macbeth
Verdi: Aida Aida
Verdi: Jerusalem Helene
Ponchielli: La Gioconda Gioconda
Puccini: Turandot Turandot
Beethoven Fidelio Leonore
Strauss: Ariadne auf Naxos Ariadne*
Bartok: Bluebeard’s Castle Judit
Britten Albert Herring Lady Billows
Britten: Peter Grimes Ellen Orford
Britten: Gloriana Elizabeth 1
Menotti: The Consul Magda Sorel
Wagner: Der Fliegender Holländer Senta
Wagner: Die Walküre Brünhilde* & Helmwige
Weber: Euryanthe Eglantine de Savoy
Weber: Der Freischutz Agathe
*in Vorbereitung/in preparation
Please ask for a full list of performed roles and those prepared as a cover for principal houses, which include Verdi; ‘Helene’ (Jerusalem), Aida (Aida), Mascagni; ‘Iris’, Puccini; Manon Lescaut, Sister Angelica, Turandot and Tosca and Minne (Fanciulla), Janacek; ‘Sarka’, Poulenc: Dialogues of the Carmelites (Madame Lidione), Spontini; La Vestale (Giulia), and many others.
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Welcome to my photo page - these are a selection of pictures from productions including Nabucco (variously a Matrix style modern interpretation and the full 'Cecil B deMille' grandeur from Brazil, a 1930's Manon in London, The Consul and Albert Herring at Wexford Opera and many others. Double click on each picture in the slider for a close up of each photo - click again to go back to the photo slider!
Many more pictures including a beautiful Japanese style production of Mascagni's Iris (the British Premiere designed by couture designers Charles and Patricia Lester), La Gioconda in Miami and the UK, various productions of Fidelio (UK and South Africa and some early pics in operas including Romeo e Juliette, Lucia di Lammermoor and operettas including Merrie England and Princess Ida. Even a couple of my one woman opera show - high victoriana of the life of Jenny Lind!
Singing CV May 2010.pdf
Singing Biog May 2010.pdf
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NABUCCO Abigaille
Productions: Rio di Janiero (Brazil), Opera North (Leeds), ENO (London) and Richmond Theatre (London)
" Outstanding as Abigaille was the American (English actually!) Susan Stacey, who sings like a full throated songbird, is able to fire off the coloratura and negotiate the constant changes of register which the role demands."
Journal de Brasil
" ...Susan Staceys Abigaille was a revalation. Her Part 2 scena and aria - a huge sing, was beautifully textured between megalomanical fury and pathetic loss. She coloured the sotto voce notes and was suitably agressive in the lower register ... one to watch ." Opera Now (Rosie Johnston) July/August 2006
"...I went to Richmond to see Susan Stacey as Abigaille - I was not disappointed, she is a world-class singer in a worthy performance. Dressed head to toe in leather this dramatic soprano was the catalyst of the production - a bravura performance portraying a schizophrenic personality - a one turn malicious and evil warrior, at another turn - a sulky bored teenager, and again - a vulnerable woman in love. Blistering coloratura, dramatic weight of voice as well as some of the best 'mezza di voce' singing in her Act 2 aria that I have heard, she was for me, the highlight of the evening..."
Bruce Benlow, Whatsonstage.com (also published operaonline.com)
Richmond Theatre, London. Feb 2006
"...And as Nabucco neared the end of its long run, the role of Abigaille was sung at one performance by the promising young dramatic soprano Susan Stacey, who stepped in to replace Lauren Flanigan with great success..."
operajaponica.com, English National Opera, London. Feb 2001
ATTILA Odabella
Productions: ROH Covent Garden (London)
"In Covent Garden's revival of Elijah Moshinsky's staging of Attila, Maria Guleghina, scheduled to sing Odabella, had sung the first performance before becoming ill. For the second night, English soprano Susan Stacey had stepped into the breach. Operajaponica 2002
Susan Stacey has a large and exciting voice, which is capable of all the exacting bel canto of the early Verdi repertoire, and of singing piano, and she performs with such commitment as to hold the audience's attention even when she is not singing." www.operaland.com Feb 2002
LA GIOCONDA Giocnda (Ponchielli)
Florida Grand Opera, Miami and Fort Lauderdale USA, Dorset Opera (England)
ENO (London -cover) , Carnegie Hall, NY, USA (Cover)
•Gioconda is a joy In her American debut, British soprano Susan Stacey tackled the title role gamely and served notice of a healthy, colourful voice. There is fire in her tone, but a lot of sweetness too; she floated the marvellous "Enzo Adorato" line (on a sustained high B) in Act One with considerable expressive beauty. The final act, which puts Gioconda through a mad rollercoaster of emotions, was once a showcase for Maria Callas, and like a young Callas, Stacey seems to have learned from that supreme interpreter, paying attention to every word, every syllable even. The use of a girlish voice when greeting her almost-boyfriend Enzo was as effective as the rage she unleashed upon learning that he still pined for another. The thoughtfulness of her singing was never in doubt and Stacey proved a more than competent actress.
Tim Smith Sun Sentinel
•... Susan Stacey is a thrilling new talent who is clearly set on the road to stardom ...
Miamigo magazine. Florida, USA
IRIS Iris (Mascagni)
Productions Opera Holland Park (2 years), London.
•There was some first class singing ... Susan Stacey as Iris has a gleaming unfettered top that erupts from the core of her being.
Tom Sutcliffe, The Evening Standard
•The opera requires singing of stamina, personality and vocal assurance. In the hugely demanding title role, Susan Stacey gave notice of a spinto in the making, the grandeur and power of her singing, and her ability to convey the range of moods traversed in the big scenes, brought her undeniable success
George Hall: Musical Opinion
•There were some strong vocal performances here from Susan Stacey, showing exceptional vocal promise in the title role of Iris and from Justin Lavender as Osaka.
Hilary Finch, The Times
FIDELIO Leonore (Beethoven)
Productions: Spier Festival, Cape Town, South Africa, English Touring Opera. UK
•... The British soprano, Susan Stacey's Leonore was impressive. Her strong, beautifully modulated voice has strong impact and appeal and she sings with great musical attunement and intelligence. She remained throughout dramatically exciting ... the canon quartet together with Miss Stacey, were indeed the highlight ...Peter Kooij Die Burger
•... Performances from individual artists were superb, topped by British soprano Susan Stacey, who fleshed out her role with enormous warmth and emotional vigour. She displayed total identification with Beethoven's unusual vocal phrasing ... Rexleigh Bunyard Business Day
•There were two remarkable performances. Susan Stacey's soprano met the demands Beethoven makes of Leonore, while fielding that indefinable heroic dimension so essential to the role.
Rodney Milnes, The Times, reprinted in Opera Magazine
•Among the singers a promising young dramatic soprano, Susan Stacey, stood out. Her account of the enormously challenging role of Leonore was accurately pitched and thoughtfully phrased. There's a steely gleam in the upper register of her evenly produced voice, and she cuts a handsome figure on stage.
Rupert Christiansen, The Telegraph
•The two principals are at all points magnificent, Susan Stacey storming through her aria with no hint of nerves, only fury and then rapturous abandon at the prospect of what love can effect ...
Michael Tanner, The Spectator
•Susan Stacey's noble Leonore had Wagnerian power, the top notes ringing out with bright resonance and promise.
Fiona Maddox, The Observer
•Stacey is a real dramatic find, with a big, heroic voice and fearless attack...
Mark Pappenheim, The Independent
•Susan Stacey, a noble, empassioned, heroic Leonore, both in her acting and singing, encompassed the demanding music with power and confidence.
David Blewett, The Stage
MANON LESCAUT |Manon (Puccini)
Productions: Opera Holland Park, London
•"Someone once remarked that when Dame Gwyneth Jones opened her mouth to sing 'no-one knew what would come out, least of all her. She took huge vocal risks, which is what made her such a great dramatic soprano. There were moments on Tuesday night's performance of Manon Lescaut when the wonderful Susan Stacey took similar risks, with absolutely thrilling results. Her characterisation of Puccini's avaricious heroine is perfectly judged, she sings with great subtlety, and when she lets rip, you'd better hang onto your hat..."
Warwick Thompson Metro UK
•"we connected with Susan Stacey's screen godess Manon (blackeyed she looked like a cinema star of the 1930's), who gained in vocal stature throughout the performance, from a charmingly sung 'In quelle trine morbide' to her final dramatic outpourings" Erica Jeal: The Guardian
•The opening performance of 'Manon Lescaut' is in any case strongly cast, with Susan Stacey in the leading role of Manon, Stacey has of course impinged on the operatic consciousness, and her performances here will have made her many new friends. Engaged and affecting, she sings out the big moments with impassioned warmth, ardour and commitment. Barry Millington: The Times
•"So it was elsewhere that good, memorable opera was to be found - at Holland Park, in fact. In the title role of Manon Lescaut was the up-and-coming dramatic soprano Susan Stacey, enhancing her reputation."
Ruth Elleson, Opera japonica.com and www.operaland.com
JÉRUSALEM Helene (Verdi)
Chelsea Opera Group Queen Elizabeth Hall, London
•... and there was a true discovery in Susan Stacey, who sang the soprano lead with a secure combination of coloratura brilliance, dramatic weight, and enough big, open top notes to brighten the lives of a few British opera managers I can think of. Michael White. Independent on Sunday
•Susan Stacey, the Hélène, has much going for her: confidence; a big shining soprano; easy, unforced bravura, spirit. The cadenza of the third-act air was sung in tones as delicate, pure and beautiful as one could hope to hear; she had the house hanging on each move from note to note. Much else was exciting; big notes and big phrases that soared and shone
Andrew Porter, Opera Magazine
BBC CARDIFF SINGER OF THE WORLD 1999
... The night's winner was the judges, but not the audience's favourite, and my guess is that the winner pushed the English dramatic soprano into second place by a whisker. Stacey offered a robust repertoire; 'Ritorna Vincitor' from Verdi's Aida established her immediately as a commanding presence with a powerful, steady and ingratiating tone. Beethoven's aria of love and determination for Leonora in Fidelio finished the programme, but if anything for me the highlight was Frank Bridge's setting of Mary Coleridge's poem in which love rides across the sky on Pegasus; the setting has a wonderfully graphic orchestral style accompaniment. Stacey put this curious song across with style and aplomb, she has done lots of interesting and challenging work, in unusual repertoire - she clearly deserves a big break now and it is hoped that Cardiff singer will be the catalyst for it. Graeme Kay BBC Critic 'On line' for BBC coverage
MACBETH Lady Macbeth (Verdi)
Haddo House Opera and Northern Opera (UK)
"Double Delight at Haddo...Susan Stacey as Lady Macbeth gives a sensational performance, lording it over even Mark Hollands gloriously sung Macbeth ".
Alan Cooper, Scottish Press and Journal
"...Thundering Choruses, a superb leading baritone and an exceptional soprano performance made for a first night at the Peoples Theatre, Newcastle Hollands superb performance accentuates each mood, Stacey as the ruthless Lady Macbeth is never outshone by him and five the performance real edge".
Brian Severs, The Stage
REQUIEM Verdi (Conducted by Sir David Willcocks)
"...Susan Stacey was quite outstanding amongs the fine quartet of soloists. She combined the commanding fortissimo of the dramatic soprano that sails easily over the vast chorus that made the terrifying spectacle in the outpourings of the final Dies Ire section, together with the lyrical and ethereal pianissimo on her BFlat in the Libera Me such as one seldom hears" Bournemouth Herald
FEATURE The Singer Magazine Interview by Della Couling
"...I recently heard her as Leonore in Fidelio, The voice is indeed powerful, a beautiful sound, finely produced, and she negotiated the pitfalls of this most difficult of dramatic soprano roles. She is also a natural stage animal and a convincing actress".
THE FLYING DUTCHMAN Senta (Wagner),
London UK
Susan Stacey sang the role of Senta with warmth and understanding. She controlled the sotto voce admirably and hit the high fortissimos of the role cleanly. A bravura performance. The Stage
The Senta of Susan Stacey put me in mind of a young Jane Eaglen; she displayed commendable warmth of tone and confident attack and transfixed the opera with her assured understanding of the fragile heroine.
Wagner News
•Susan Stacey as Senta projected just the right dreamy intensity for this archetypal Wagnerian heroine and sang with a burnished tone that suggested a Brünnhilde in waiting. A performance that should not be missed.
Sevenoaks Chronicle
PETER GRIMES - Ellen (Britten) London UK
... Susan Stacey's effortless poise as Grimes' Ellen Orford affords the role a welcome return to the territory of the dramatic soprano... In full control of the climaxes of the Sunday morning Scene, impassioned clarity in her denunciation of the village in Act 1and in magnificent form in the famous and testing Embroidery Aria, her 'ppp' singing in this difficult and exacting showpiece was as fine as one of Ellen's own silken threads. Miss Stacey is a consummate actress and her scenes with the apprentice throughout the performance and her relationship with Grimes were heartrending - one really believed that this Ellen had found a real love with this dysfunctional 'family'... This is a world class Ellen that deserves to be heard in a major arena.
'Classicsreview' and 'Operaonline' - world online opera reviews March 2005
SARKA Sarka (Janacek) UK Premiere
Garsington Opera, England
•Susan Stacey unleashed a flood of Wagnerian tone, heroic and sumptuous of voice, she was ideally suited to the role of Sárka, the ruthless and passionate leader of the rebellious warrior women Jeanne Henny: 'What's on' , UK
•Susan Stacey, in the role of Sárka is a talented Wagnerian with a very bright future" David Mellor: Mail on Sunday 6/2002
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