Reviews

Mahler's Symphony of a Thousand, Los Angeles Philharmonic

But near the end, when soprano Stacey Tappan exhorted us to raise ourselves to higher spheres, she did so from the ring that holds the lights high above the stage. The effect was thrilling.
Mark Swed, Los Angeles Times, September 10, 2008

All eight soloists...were in top form, with Brewer, Griffey and Tappan proving to be the highlights.
Robert D. Thomas, Class Act, September 10, 2008

Gilda in Rigoletto, Opéra de Lille

As for Stacey Tappan, she is without a doubt the revelation of the evening. Her superb soprano voice radiated throughout, by turns the loving innocent, the dutiful but impatient daughter, and finally the woman determined to the point of giving up her life. Her qualities as an actress never took second place to her qualities as a singer. The audience was justified in giving her a fine ovation.
Paul  K'ros, Liberté Hebdo, May 16, 2008

He has a daughter, Gilda, young and loving (the much applauded Stacey Tappan, with a stunning soprano voice)... one will remember Tappan's vocal performance, full of lightness...
La Voix du Nord, May 9, 2008

The tremendous American soprano Stacey Tappan deploys her talent as a tragedienne. She tells the story, bringing to life through her singing vitality lost to despair.
Patrice Demailly, Nord Èclair, May 9, 2008

...the juvenility of Stacey Tappan, a luminous Gilda whose singing well portrays the evolution from naivety in love to wounded woman...
Michele Friche, Le Soir, May 13, 2008

A very beautiful Gilda, in which Stacey Tappan combines her role debut and her debut on the French stage: her aria "Gualtier Malde" is overwhelming, and it is in this register of passionate naivety that she is most convincing. She is a magnificent discovery by the Lille team, a coloratura soprano with high notes of a splendid sweetness, coming from the opera studio in Chicago. To follow very closely.
Sophie Roughol, Forum Opéra, May 10, 2008

Stacey Tappan has herself also constructed a very lovely portrait of Gilda, the ideal of purity, the personification of love that believes all, accepts all, and finally gives all. Her luminous, delicate voice is the embodiment of clarity, and in "Caro nome", stretched out on the floor, she offered an ode to bewitched love, where innocence and voluptuousness meet.
Alexandra Diaconu, ResMusica, May 20, 2008

Christ on the Mount of Olives, Springfield Symphony

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

Nannetta in Falstaff, Lyric Opera of Chicago

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 soffio 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

Recovered Voices, Los Angeles Opera

Stacey Tappan was the attractive-voiced soprano in arias by Braunfels and Krenek.
Mark Swed, Los Angeles Times, March 9, 2007

The prelude and Nightingale's aria from Braunfels' "The Birds" was sweetly delicious, especially as sung by soprano Stacey Tappan.
John Farrell, Class Act, March 8, 2007

Yet there is no substitute for hearing music live, and in this program's best moments, a listener really did feel that buried treasure was being uncovered. Those moments? ...soprano Stacey Tappan's acrobatic flights in the Nightingale's aria from Braunfels' 'The Birds'...
David Mermelstein, San Bernardino County Sun, March 9, 2007

...the surreal delicacy of Walter Braunfels' The Birds (with soprano Stacey Tappan deftly warbling an aria of bird-song stratosphere that could become a showpiece)...
Rodney Punt, Martini Republic, March 9, 2007

Carmina Burana, Elgin Symphony

...a gorgeous performance by Stacey Tappan whose supple, unvarnished soprano graced the exquisite "In truitina," making for the evening's most sublime moments.
Barbara Vitello, Daily Herald, March 3 2007

Dew Fairy in Hansel und Gretel

The Dew Fairy was a towering, blue-lit apparition, with soprano Stacey Tappan singing ethereally from on high.
Carl Byron, Opera News, February 2007

Encumbered in elaborate costumes, Christine Brandes and Stacey Tappan sang the Sandman and the Dew Fairy, respectively, with ringing tones.
Chris Pasles, Los Angeles Times, November 21, 2006

In the morning, they're awakened by the Christmas tree-tall Dew Fairy, a sweet-sounding Stacey Tappan.
Madeline Shaner, Reuters, November 27, 2006

The most beautiful singing of the evening came from sopranos Christine Brandes and Stacey Tappan as the Sand Man and the Dew Fairy. Although their costumes restricted their movements, they sang with well-shaped phrases and ringing tones.
Maria Nockin, Music and Vision, December 9, 2006

The wholesome melodies and sonorous richness of Engelbert Humperdinck's opera are exemplified in the minor roles of the Sandman and the Dew Fairy. Selected to perform these parts are Christine Brandes and Stacey Tappan, respectively, who both add a pristine aura when singing their beautiful yet abbreviated arias.
- Christie Grimstad, ConcertoNet.com

Tappan's lovely vocal quality caught our ear even though we couldn't keep our eyes off her imaginative blue, then pink-lit costume which elevated her into a heavenly vision.
- Carie J. Delmar, OperaOnline.us

Sopranos Christine Brandes (Sandman) and Stacey Tappan (Dew Fairy) bespoke luxury casting.
- David Shengold, Gay City News, December 28, 2006

After the restful night, the Dew Fairy, Stacey Tappan, graciously wakes up the children.
- Ester Molayeme, The Epoch Times, December 16, 2006

Christine Brandes and Stacey Tappan piped prettily as the Sandman and Dew Fairy, respectively.
- Michael Van Duzer, Showmag.com, December 2006

Virtù and Pallade in L'incoronazione di Poppea

Stacey Tappan was a spirited Virtù and an unwavering Pallade.
Maria Nockin, Music and Vision, December 24, 2006

They knew that this was a snapshot in time, and that Virtue didn't always conquer, that Fortune and Love were powers as fickle as dice. These last three characters, opening the proceedings to set the stage and give warning of what is to come, were well sung by young singers Stacey Tappan, Tonna Miller and Hanan Alattar respectively...
Sue Loder, Opera Today, December 6, 2006

Tonna Miller, Stacey Tappan and Hanan Alattar sang the vain goddesses of Fortune, Virtue and Love, respectively, strongly.
Chris Pasles, Los Angeles Times, November 27, 2006

Though handling smaller assignments, Tonna Miller (La Fortuna), Keith Jameson (Valletto), and Hanan Alattar and Stacey Tappan in multiple roles achieved the same remarkable standard.
David Shengold, Gay City News, December 28, 2006

Adele in Die Fledermaus

The most polished singing, though, comes from the American soprano Stacey Tappan as Adele, the ambitious housemaid who Cinderella-like goes to the ball. Tappan is both skittish and poised, her coloratura bright and well focused.
Mark Gale, Mid Sussex Times, May 25, 2006

...the housemaid Adele, prettily sung by Stacey Tappan, has to think on her feet in a Laughing Song that turns from distraught humiliation to delicious triumph...
Neil Fisher, The Times, May 25, 2006

...the young Stacey Tappan sings her heart out as the mischievous maid Adele.
Mike Howard, Argus, May 24, 2006

Stacey Tappan as Adele was slight in body but her voice was perfect in tone and she hit the high notes with unchallenged clarity. Her performance as the maid-cum-actress was witty and sexy; being stripped down to her tights and corset didn't seem to fluster her but it certainly had an effect on the audience!
Gareth Webb, Music OMH, June 11, 2006

The singing, though, is good throughout, with particular fine performances from Stacey Tappan's vibrant and direct sounding Adele...
Edward Bhesania, The Stage, June 8, 2006

The production is visually stunning and beautifully sung. I was particularly impressed by the young and impish Stacey Tappan, making her English debut as Adele, the maid. She will go far.
John Eccles, Sussex Express, May 26, 2006

...the 'marquis' meets his wife's maid Adele posing as an actress (the outstanding Stacey Tappan)...
Chris Sallon, Counsel, July 1, 2006

...ebullient performances from Bonaventure Bottone's Alfred and Stacey Tappan's Adele.
David Gillard, Daily Mail, May 26, 2006

Bella in The Midsummer Marriage

Among the leads, the best singing came from soprano Stacey Tappan, a charming Bella who did her hair and makeup without missing a beat of her aria; she and tenor Kurt Streit, the likeable Jack, seemed the only "real" characters in the opera.
John von Rhein, Chicago Tribune, November 21, 2005

Bella...affectingly handled by the delightful Stacey Tappan...
Mark Thomas Ketterson, Opera News

Opera Center for American Artists alum Stacey Tappan shines as a member of the lead quartet, truly a breakthrough performance for this gifted singing actress.
Andrew Patner, WFMT: Critic's Choice

Stacey Tappan's bright soprano was perfect for the bustling Bella...
Heidi Waleson, The Wall Street Journal

Deliciously sung by Stacey Tappan and Kurt Streit, this working-class pair provides the human heart of Midsummer Marriage.
Steve Smith, Musical America

Stacey Tappan infused Bella with vibrant humanity and delivered her sturdy music with flair.
Harvey Steiman, Seen and Heard International (MusicWeb)

The earthy couple Bella and Jack are strongly presented by Stacey Tappan and Kurt Streit.
Mark Swed, Los Angeles Times

Accomplished coloratura Stacey Tappan was terrific as Bella...
David Shengold, Gay City News (New York)

Lyric Opera in Millennium Park

Can any soprano glitter more dazzlingly in that imperishable coloratura-canary showpiece, "Je suis Titania" (from Thomas' "Mignon"), than Stacey Tappan? She's a Lyric Center alum who's already making it big just about everywhere she sings.
John von Rhein, Chicago Tribune, September 12, 2005

And soprano Stacey Tappan, yet another Lyric training alum, thrillingly closed out the show with her saucy performance in the coloratura showcase "Je suis Titania" from Thomas' "Mignon." Dare we hope for a full performance at Lyric in the near future?
Laura Emerick, Chicago Sun-Times, September 12, 2005

Hannah Glawari in The Merry Widow

...it was wonderful to have the role sung by a fresh-voiced and attractive young soprano, Stacey Tappan. One of the star recent graduates of the Lyric Opera Center for American Artists, Tappan sang divinely, looked glamorous in a succession of elegant gowns and, like most of the cast, delivered her spoken lines with conversational ease. She caught just the right tone of rapturous sadness in Hanna's "Vilja" Song, capped off with a lovely diminuendo on the high note. She and Larry Adams, the dashing Danilo, sent sparks flying each time their characters met.
John von Rhein, Chicago Tribune, August 22, 2005

Soprano Stacey Tappan, who sang Woglinde and the Wood Bird in Lyric Opera of Chicago's presentation of Wagner's "Ring cycle" last spring, has the voice and experience for any role. She was a charmer in her Light Opera Works debut as Hanna, the wealthy young widow visiting Paris from her homeland, the imaginary Eastern European country of Pontevedria...Of particular note was Tappan's performance of "Vilia," which she sang very slowly to stunning effect.
Dorothy Andries, Pioneer Press, August 25, 2005

The title role, so often the property of haggard divas, is given over to a young, radiant soprano and Lyric Opera Center for American Artists success story, Stacey Tappan, who makes the familiar century-old melodies sound as fresh as ever.
Dennis Polkow, NewCityChicago.com

Above all there's the title role. From her first entrance Stacey Tappan commands the stage and breaks hearts as Hanna, never more so than in her exquisitely sung 'Vilja Lied.'
Lawrence Bommer, Chicago Free Press

Stacey Tappan has a world-class voice that delivers her numbers with elegance. Her delivery of the gripping "Vilja," a folksy homage, was beautiful. Tappan's acting talents were obvious and her stage chemistry with the suave commanding Larry Adams allowed the romantic flame burn brightly. Adams and Tappan land Lehar's songs magnificently as do Sharon Quattrin (Valencienne) and Colm Fitzmaurice (Camille). You'd be hard pressed to find four finer singers in any show.
Tom Williams, Chicagocritic.com, August 22, 2005

Stacey Tappan is incredible as the female romantic lead, Hannah Glawari, and is almost reason enough to see to this show.  She carries the most beautiful songs - especially the opening song and dance of Act II - to such wrenching heights that you'd have to be heartless not to feel anything at all when she sings...Together, Adams and Tappan weave a wonderfully acted, danced, and sung relationship seamlessly and beautifully.
Eric Tanyavutti, Chicagocritic.com, August 22, 2005

Hanna Glawari (Stacey Tappan, whose creamy soprano has often been heard at the Lyric Opera) is the fabulously wealthy young widow from the economically failing state of Pontevedra, who has settled in Paris and is being hotly pursued by any number of fortune-seekers.
Hedy Weiss, Chicago Sun-Times, August 22, 2005

Woglinde and Forest Bird in the Ring Cycle

...with soprano Stacey Tappan a radiant, pure-toned Woodbird.
South Florida Sun-Sentinel

Stacey Tappan was a model of supple clarity as the Forest Bird...
Kansas City Star

The aerialists' maneuvers again were choreographed by Debra Brown to match the beautifully blended singing of Stacey Tappan, Lauren McNeese and Guang Yang as the Rhine maidens.
Chicago Tribune

The amplified offstage voices of the Forest Bird and the dragon Fafner were solidly taken by Stacey Tappan and Raymond Aceto.
Chicago Tribune

Carmina Burana

But the sublime moments outnumbered the sluggish ones. Soprano Stacey Tappan wore a deep-red dress to match her character in the 'Stetit puella' solo -- singing 'a girl stood in a red dress' and then 'a girl stood like a rosebud.' Earlier, the children sang 'love flies everywhere' as if they were cherubs flitting around Tappan's head. Whispers like this, and Tappan's exquisite surrender in the short 'Dulcissime' moment, can be forgotten among the brassy fanfares and full-bore singing that most remember about 'Carmina Burana.' But it was the quiet moments that stood out in the stirring performance of Orff's choral classic on Saturday.
Chris Shull, Wichita Eagle, November 14, 2004

Woglinde in Rheingold

...the voices of the singing Rhine maidens, Stacey Tappan, Lauren McNeese and Guang Yang, blended elegantly in the opening scene.
Wynne Delacoma, Chicago Sun-Times, October 4, 2004

Saturday's audience was wowed by the aerialist Rhinemaidens who dived, spun and bounced on bungee cords in choreography by Debra Brown that was synchronized to the dulcet and finely meshed singing of Stacey Tappan, Lauren McNeese and Guang Yang.
John Von Rhein, Chicago Tribune, October 4, 2004

Fire, Princess, and Nightingale in Bewitched Child

Stacey Tappan, a Lyric Center alum who has already snared roles in Lyric's upcoming "Ring," was the vocal showstopper as the angry Fire, the conjured storybook Princess and a glorious Nightingale.
Andrew Patner, Chicago Sun-Times, August 7, 2004

...regal soprano Stacey Tappan provided the evening's most impressive vocal pyro-techniques as Fire, Princess and Nightingale.
Michael Cameron, Chicago Tribune, August 4, 2004

Mabel in Pirates of Penzance

As Mabel, [Frederick's] true love, Stacey Tappan provided the show's vocal touchstone, a ringing lyric soprano that confidently managed Sullivan's florid lines.
Lawrence B. Johnson, Detroit News, May 11, 2004

Cunegonde in Candide

Soprano Stacey Tappan looked as alluring as she sounded, reveling in the high-wire coloratura acrobatics of Cunegonde's showpiece, "Glitter and Be Gay."
John Von Rhein, Chicago Tribune, July 25, 2003

Pamina in Die Zauberflöte

Advance publicity proclaimed the production as "starring Stacey Tappan," and in her role as Pamina she did just that. Tappan is a soprano with a wonderful tone throughout her range that supports her effortless natural phrasing and excellent shades of characterisation. When on stage, everybody around her lit up.
Dennis Kiddy, Bangkok Post, May 3, 2003

La Charmeuse in Thaïs

...Stacey Tappan as La Charmeuse breathed extra sensuality into her part, showing the audience that [Renée] Fleming was not the only sexy femme fatale on stage.
James Edwards, Aurora Beacon-News, January 2, 2003

In her short moment in the spotlight, lyric soprano Stacey Tappan was especially beguiling as La Charmeuse...
Harvey Steiman, S & H International Opera Review, December 2002

...soprano Stacey Tappan wowed the Act Two party guests with her coloratura hijinks.
classicalvoice.org, January 2003

Nicole Cabell and Lauren McNeese dueted with melting beauty, with the radiant Stacey Tappan treading the vocal tightrope above them as La Charmeuse.
John von Rhein, Chicago Tribune, December 16, 2002

"Who's Hot"

Stacey Tappan, soprano, a first-year member of the Chicago Lyric Opera's apprentice wing, is turning heads throughout operatic America. She stole the proverbial show when she sang a leading role in the world premiere of LOCAA composer-in-residence Michael John La Chiusa's Lovers and Friends (Chautauqua Variations). A former ensemble artist with the Santa Fe Opera and Opera Theatre of St. Louis, and a former member of the Juilliard Opera Center, she was recently seen in American television as Beth in Houston Grand Opera's production of Mark Adamo's Little Women. A beautiful young woman whose singing is shining and true, Tappan already possesses the musicality and finely honed stage skills of a far more experienced singer.
John von Rhein, Opera Now, November/December 2001, "Who's Hot"

Isis in Lovers and Friends (Chautauqua Variations)

Stacey Tappan's soprano voice hits the rafters of the theatre, and she plays the lost soul with perfection.
J.T. Bowen, Centerstage.net, July 2001

In the closest the composer gets to a bona fide operatic scena, the punkish daughter (sung with limpid tonal beauty by Stacey Tappan) has an epiphany in which she declares that impending motherhood has brought a new sense of purpose to her life... Tappan, a first year ensemble member, is a young soprano of great, shining promise.
John von Rhein, Chicago Tribune, July 2, 2001

...Stacey Tappan was the standout in a cast largely drawn from the Lyric's training wing.
John von Rhein, Opera Now, January/February 2002

...there was also striking work from the talented Tappan as the bizarre Isis.
Chris Jones, Variety, July 16, 2001

...the funny and appealing Stacey Tappan, who possesses a powerhouse voice...
Hedy Weiss, Chicago Sun-Times, July 4, 2001

...performances that were fully realized: Stacey Tappan, for one, made the role of the pregnant punk grow from repulsion to radiance.
David Patrick Stearns, Philadelphia Inquirer, July 2, 2001

Stacey Tappan sang Isis with a sense of newly attained peace in her voice.
Leighton Kerner, Opera News, October 2001

...elaborate...high-soprano arias for Isis, which were elegantly sung by Stacey Tappan.
Heidi Waleson, Wall Street Journal, July 5, 2001

Madana in Madana

The singing was uniformly of a high quality, but special mention must be made of Stacey Tappan's spectacular coloratura technique in the title role. Her attacca top E flat, sustained over a belting orchestra, was spine-chilling. Her diction is flawless, her voice grand. There is no doubt in my mind that this is an up-and-coming star.
Mona Engvig, Opera Now, July/August 2001

Of the three, only the Juilliard-trained Ms. Tappan, who joins the Lyric Opera of Chicago in March, could be considered world-class. Her stunning coloratura soprano transcended the bad acoustics of the hall and was the only voice that was understandable without the supertitles.
Jennifer Gampell, Wall Street Journal, March 15, 2001

Stacey Tappan in the title role and Lars Mellander as King Jayasena delivered their interpretations with graceful lyricism and oriental sensitivity.
Bancha Suvannanonda, Bangkok Post, Feb 17, 2001

Beth in Little Women (performance, broadcast and recording )

...soprano Stacey Tappan sang the doomed Beth's deathbed aria with haunting delicacy and poignancy.
William Albright, Opera News, July 2000

The death scene of young Beth (sweet-voiced Stacey Tappan)...
Anthony Tommasini, New York Times, August 29, 2001

...I was especially taken with Stacey Tappan's float and spin in Beth's death scene.
Stephen Francis Vasta, Opera News, December 2001

Rosenkavalier trio, Stars of Lyric Opera concert

Stacey Tappan...brought a bright, agile, powerful voice to the role of Sophie.
Wynne Delacoma, Chicago Sun-Times, September 10, 2001

Susanna in scenes from Le Nozze di Figaro at Grant Park

..Stacey Tappan a lively Susanna...
Andrew Patner, Chicago Sun-Times, July 3, 2001

Stacey Tappan, with her warm, attractive soprano, made a convincing Susanna; her 'Deh, vieni,' was a charmer.
Dan Tucker, Metromix, August 2, 2001

First Fairy in Mendelssohn's Midsummer Night's Dream

The most impressive of these was soprano Stacey Tappan (one of the leading lights from Lyric's recent premiere of "Lovers and Friends"), who was joined by mezzo-soprano Lauren McNeese and the kids' chorus for a really delectable account of "Ye Spotted Snakes."
John von Rhein, Chicago Tribune, July 16, 2001

Stacey Tappan and Lauren McNeese gave the soprano and mezzo-soprano parts a sense of delight.
Bernard Holland, New York Times, July 16, 2001

Soprano Stacey Tappan, so memorable in last month's production of [Michael] John LaChiusa's "Lovers and Friends" by Lyric's Center for American Artists, was Titania's honey-voiced chief sprite. A fine actress, she and [John] DeLancie deftly sorted out the tangled action in a few quick exchanges in the opening scene.
Wynne Delacoma, Chicago Sun-Times, July 16, 2001

Drusilla and Virtù in L'incoronazione di Poppea

Soprano Stacey Tappan sang beautifully and acted well in her two roles. She showed great comedic ability as the goddess Virtu in the opera's opening scene, and was equally convincing when she portrayed Drusilla's selfless (or self-deluding?) love for Ottone. She handled the difficult runs with ease. One hopes to hear her soon in larger roles.
Margaret Harrison, Classical Singer Magazine, Oct 2000

Soprano Stacey Tappan sang beautifully and acted well in her two roles. She showed great comedic ability as the goddess Virtu in the opera's opening scene, and was equally convincing when she portrayed Drusilla's selfless (or self-deluding?) love for Ottone. She handled the difficult runs with ease. One hopes to hear her soon in larger roles.
Margaret Harrison, Classical Singer Magazine, Oct 2000

...soprano Stacey Tappan was vocally solid and sure of pitch as Drusilla, the dumbest and happiest woman in Rome.
Philip Kennicott, Washington Post, July 24 2000

Elena in Il Cappello di Paglia di Firenze

...looks very much like a Juilliard Star of Tomorrow.
Glenn Loney, Loney's Show Notes, November 24, 1998