The always luminous Stacey Tappan as Florestine and Brenton Ryan as an earnest Léon make a delightful pair of star crossed lovers.
Seen and Heard International, February 7, 2015
As Florestine, soprano Stacey Tappan casts aloft a beautifully pure, delicately ethereal tone that sometimes quivers like a theremin.
LA Weekly, February 10, 2015
Rosina's son and Almaviva's daughter, Leon and Florestine, portrayed by Brenton Ryan and Stacey Tappan, sang with honeyed tones.
Daily News, February 11, 2015
The American Stacey Tappan tackles her extraordinary coloratura set-piece with amazing virtuosity, hitting stratospheric heights, including a top F, with nonchalant ease.
Bangkok Post, August 19, 2014
Stacey Tappan, a newcomer to Stella, played the role with a delightful ranginess and ease, but she became wildly disturbed by Blanche's descent into mental incoherence, which intensified the tragic atmosphere at the end.
Opera News, August 2014
Clear and graceful with a hint of sparkle, Stacey Tappan's soprano is well-suited to Messiah's Baroque style.
Isthmus, December 8, 2012
The Oct. 21 matinee cast featured Stacey Tappan in the title role and Joseph Wolverton as her tragic lover Edgardo. "Lucia" belongs to the soprano. Donizetti created the ultimate bel canto piece and style for her with swooping arpeggios, runs, trills and high C's aplenty. Ms. Tappan's mad scene was poignant and tragic with a hopelessness of being totally alone, even her family cowering away as she approached rather than gathering around to support her in her obvious time of need. Ms. Tappan was fully qualified for it all with her beautiful coloratura, easy upper range and unfailing ear.
Green Valley News, October 29, 2102
All of the principals sang with variety and attention to dynamics...Stacey Tappan, seen as Despina in last season's COSI FAN TUTTE with the JSO, performed a well-focused and vocally satisfying Adina. She is a rising star on the opera horizon.
EU Jacksonville, February 10, 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.
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.
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.
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...
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."
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.
Associated Press, June 20, 2011
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
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
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
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
...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
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
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
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
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)
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
...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
...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
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
...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
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
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
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
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
...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
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"
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
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
...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
Stacey Tappan...brought a bright, agile, powerful voice to the role of Sophie.
Wynne Delacoma, Chicago Sun-Times, September 10, 2001
..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
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
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
...looks very much like a Juilliard Star of Tomorrow.
Glenn Loney, Loney's Show Notes, November 24, 1998