"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
Now Available!
The new recording featuring Ricky Ian Gordon and Stacey Tappan
Once I Was: Songs of Ricky Ian GordonWith such favorites as Joy and Run Away, as well as songs never before recorded, Once I Was tells a life story through Ricky Ian Gordon's beautiful and evocative songs.
Order it here!
What's New
November 20: Once I Was: Songs of Ricky Ian Gordon, Stacey's debut album, is now available for purchase!
Stacey featured in "Meet the Project" on the Fractured Atlas blog, about her fundraising campaign for the Once I Was album.
Next Performances
The Gospel of Mary Magdalene, San Francisco Opera, June 18 - July 7, 2013
Reviews
Ring cycle, San Francisco Opera, May-June 2011
"Another enchanting idea was to portray the Forest Bird as a lanky, bookish young woman in cardinal-red pants and coat; the
soprano Stacey Tappan sang the part with nimbleness and sweet sound."
- Anthony Thommasini, New York Times, June 20, 2011
"Tappan sang clearly, with great beauty and carrying power, and moved with a restrained, birdlike lightness and curiosity.
Everything about her was a joy."
- Jason Serinus, San Francisco Classical Voice, May 29, 2011
"The earlier interaction between Siegfried and the Forest Bird is, I believe, an original touch in that she is not simply an
offstage voice but appears on the catwalk, in the person of the comely, lithe Stacey Tappan, with flowing reddish hair. She wore
a coral-colored frock coat and pants and sang in a sparkling high voice that captivated. She cocked her head and moved birdlike,
conversing in pantomime and voice with Siegfried. It was utterly charming."
- Robert P. Commanday, San Francisco Classical Voice, May 29, 2011
"Some of the added ideas were entertaining, particularly in depicting the Forrest Bird anthropomorphically as a
woman. She became a real player, on-stage in human form to interact with Siegfried. It created charming elements
including her covering her ears when Siegfried played his reed so frightfully off pitch. While fitting in with the
literal quality of the direction, it robbed much of the magic from the scene. Debutante Stacey Tappan offered a
cleanly sung Forest bird and a charming stage presence."
- Robert del Bonta, Opernglas, July 11, 2011
"Stacey Tappan as a sweetly chirping Forest Bird and Woglinde..."
-John von Rhein, Chicago Tribune, June 20, 2011
"Another breath of fresh air, also played for fun: Stacey Tappan, as the 'bird.' Until Brünnhilde wakes up,
she's the only female voice, and her bright voice is a soothing welcome."
- SFist, June 18, 2011
"Stacey Tappan, Lauren McNeese and Renée Tatum made a particularly mellifluous, well-blended trio of Rhinemaidens."
- Heidi Waleson, Wall Street Journal, July 6, 2011
"The Rhine Maidens sang in gorgeous harmony thanks to soprano Stacey Tappan (also delightful as the Forest Bird)
and mezzos Lauren McNeese and Renee Tatum. "
- Mike Silverman, Associated Press, June 20, 2011