PETER GRIMES (Britten) London

“... 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 (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

MANON LESCAUT (Puccini) 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..."
  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
  MANON LESCAUT, Opera Holland Park, London June 2001
  

NABUCCO (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
• "...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)
  Nabucco 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..."
  Ruth Elleson operajaponica.com
  Nabucco English National Opera, London. Feb 2001

LA GIOCONDA (Ponchielli) Florida Grand Opera, Miami and Fort Lauderdale USA

• “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

FIDELIO (Beethoven), Spier Festival, Cape Town, South Africa

• “... 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

FIDELIO (Beethoven), English Touring Opera. UK

• “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

JÉRUSALEM (Verdi) 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

IRIS (Mascagni) Holland Park Theatre, 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

THE FLYING DUTCHMAN (Wagner), London UK

• “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
  

ATTILA

"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. It was easy to see why. She has a large and exciting voice, which is capable of all the bel canto refinement of Verdi's early work, and of singing piano, and she performs with such commitment as to hold the audience's attention even when she is not singing."
Ruth Elleson, Opera japonica.com and www.operaland.com Feb 2002
ATTILA (Verdi) Royal Opera House, Covent Garden, London

BLUEBEARD'S CASTLE, BARTOK (SOUTH AMERICA)

• "English Soprano Susan Stacey was an extraordinary artist as Judith – fiery, fierce, sexy and frightened – mesmerising eyes and expressions in this close up view of the Bartok score."
  Music spectator reviews – online classics USA and South America Summer 2005
• "Judith is the mercurial light in Bluebeard’s perpetual darkness – Susan Stacey’s performance was indeed the incandescent with awe and horror of her discoveries in the labyrinth of her new husband’s castle".
  Opera South America