"A beautiful young woman whose singing is
shining and true..." -Opera Now
"...funny and appealing...a powerhouse voice..."
-Chicago Sun-Times
"...a young soprano of great, shining promise."
-Chicago Tribune
What's New
May 10, 2008: New review for Rigoletto.
March 15, 2008: Reviews for Falstaff and Christ on the Mount of Olives, and several new upcoming performances.
Latest Reviews
Rigoletto, Opéra de Lille, May 2008
"Très belle Gilda, dont Stacey Tappan cumule prise de rôle et première présence scénique en France : son air
« Gualtier Maldé » est bouleversant, et c'est dans ce registre de naïveté passionnée qu'elle convainc le mieux.
C'est une très belle découverte de l'équipe de Lille, soprano colorature aux aigus d'une douceur splendide, issue de
l'opéra-studio de Chicago. A suivre de très près."
- Sophie Roughol, Forum Opéra, May 10, 2008
Christ on the Mount of Olives, Springfield Symphony, March 8, 2008
"The role of the Seraph took Tappan to angelic altitudes, high Ds and even an E just nudging the ceiling of Mozart's Queen of
the Night, and then called her back to an earthy, warm middle and low voice. Both singers gave exquisite performances of
extremely challenging and highly-charged music."
- Clifton J. Noble, Jr., The Republican, March 10, 2008
Falstaff, Lyric Opera of Chicago, January - February 2008
"The evening also fielded a charming pair of young lovers... especially in the winsomely affecting Nannetta of Stacey Tappan,
whose floated pianissimo in "Anzi rinnova come fa la luna" was as beautiful as any in memory."
- Mark Thomas Ketterson, Opera News, April 2008
"...winningly sung and played... Tappan turned Nannetta's invocation of the forest spirits into gorgeous vocal moonlight."
- John von Rhein, Chicago Tribune, January 29, 2008
"As Nanetta, Stacey Tappan is vocally adept, with a wonderfully consistent and inviting sound...
stood out for all the right reasons. As much as Nanetta is part of the ensemble essential to the opera,
she must also show what attracts Fenton to her. These different aspects of the role emerged seamlessly throughout
the work and culminated in the final scene, where her aria "Sul fil d'un soffie etesio" confirms the final revenge on
Falstaff. Both Tappan and Griffin made the subplot of young lovers seem fresh."
- James L Zychowicz, MusicWeb International, Febuary 2008