Corrie Stallings, Mezzo Soprano http://www.corriestallings.com/
Corrie Stallings was awarded a first prize in the prestigious 2017 Gerda Lissner International Vocal Competition and will perform in the winners concert at Carnegie Hall's Zankel Hall on April 30, 2017. She recently completed two years as a Resident Artist at Pittsburgh Opera and is now based in Pittsburgh, PA. In Pittsburgh's 2015-16 season, she performed Jo in Adamo’s Little Women and Rosina in Rossini’s Il barbiere di Siviglia. In 2014-15, she appeared as Bertarido in Handel’s Rodelinda and Mercedes in Bizet’s Carmen. In December of 2015, Ms. Stallings made her debut with the Pittsburgh Symphony Orchestra as the alto soloist in Mozart's Coronation Mass under the baton of Maestro Hoenick and returned to Denver, CO to perform the alto solos in Handel's Messiah with the Colorado Symphony. After completing her summer as an Apprentice Artist at Santa Fe Opera in August 2016, Corrie made her role and company debut as the title role in Rossini's La Cenerentola at Syracuse Opera in October 2016.
In Summer 2015, Ms. Stallings was a member of the Young American Artists Program at Glimmerglass Festival and appeared as Jazz Trio Girl in Bernstein’s Trouble in Tahiti and covered Vanderdunder & Paquette in Bernstein’s Candide. She will join the company in Toulouse and Bordeaux, France in a remounting of Francesca Zambello's Candide in the winter of 2016/17. After concluding her time in France, Corrie will return to The Sante Fe Opera as a 2017 Apprentice Artist and cover the role of Prince Orlofsky in Die Fledermaus.
Ms. Stallings was a Festival Artist with Opera Theatre of Saint Louis in 2013 and 2014, where she performed as Third Lady in The Magic Flute under the baton of Jane Glover, and covered Stephanie Blythe in the role of Gertrude Stein in the world premiere of Ricky Ian Gordon’s 27, both in 2014. She also performed the role of Kate in The Pirates of Penzance in 2013. Additionally in 2013, Ms. Stallings was a soloist in Chicago Symphony Orchestra’s Christmas production, Welcome, Yule! as well as the alto soloist cover in Bach’s Mass in B Minor under the baton of Maestro Muti. In 2012, she was the alto soloist in Handel’s Messiah with the Colorado Symphony Orchestra, and was a 2013 third place regional finalist in the Metropolitan Opera National Council regional auditions. While pursuing her master’s degree at Northwestern University, Ms. Stallings performed the roles of Cherubino in Le nozze di Figaro, Samira in The Ghosts of Versailles, and Second Lady in Die Zauberflote.
A native of the San Francisco Bay Area, Ms. Stallings holds a B.A. in Vocal Performance and Art History from Cal Poly State University and a M.M. in Opera Performance from Northwestern University.
|Bellini||I Capuleti e I Montecchi *||Romeo|
|Bernstein||Trouble in Tahiti||Jazz Trio Girl|
|Corigliano||The Ghosts of Versailles||Samira|
|Donizetti||Maria di Rohan||Gondi|
|Gilbert & Sullivan||The Pirates of Penzance||Kate|
|Gounod||Romeo et Juliette||Stephano|
|Handel||Giulio Cesare *||Sesto|
|Mozart||Le nozze di Figaro||Cherubino|
|Mozart||Cosi fan tutte||Dorabella|
|Mozart||Die Zauberflote||Second Lady & Third Lady|
|Mozart||Don Giovanni *||Zerlina|
|Mozart||La Clemenza di Tito *||Sesto|
|Offenbach||Le contes d’Hoffmann *||Nicklausse|
|Rossini||Il barbiere di Siviglia||Rosina|
|Strauss||Der Rosenkavalier *||Octavian|
|J. Strauss||Die Fledermaus||Orlofsky|
|* Suggested Repertoire|
|Bach||B Minor Mass||Alto Solos|
|Beethoven||Mass in C||Alto Solos|
|Berlioz||La mort de Cleopatre||Alto Solo|
|Mozart||Coronation Mass in C||Alto Solos|
Il barbiere di Siviglia, Pittsburgh Opera -2016
“Only a few weeks ago the announcement was made that the singer originally slated for the crucial role of Rosina was bowing out due to “personal reasons.” It says a great deal for the resources of Pittsburgh Opera that the company has on hand a resident artist as talented as Corrie Stallings to fill the breach at such short notice. Her performance was so enchanting that had the most famous mezzo-soprano in the world been originally scheduled to sing the part, she would scarcely have been missed.
Ms. Stallings’ talents are already well known to local opera habitués, but Saturday night she gave undoubtedly the best
exhibition of her art that has been heard and seen to date. Her singing and acting of the role were those of a seasoned performer who knows her part inside
and out, and if she has been studying the character with an eye on singing Rosina at some future date, she has more than fulfilled her ambition. If she accomplished all she did with just weeks to prepare, it seems hardly possible that she could have honed the role to such a perfected state.
Either way, this lovely and gifted young woman was a delight to see and hear, no mere substitute, but a star in her own right. It will be a great loss to the company when she moves on to the Santa Fe Opera this summer, and it can only be hoped that she will return in future productions.”
“Stallings’ musical and dramatic assurance in performing Rosina was especially impressive because she was performing the role the first time. She delivered the florid writing in “Una voce poco fa” in Act 1 and in the music lesson in Act 2 with
flair, and dramatically negotiated a fine balance between a movie star’s ego and the openness of a person in love.”
“Ms. Stallings showcased a bright, flexible voice characterized by a pure tone and even vibrato.”
Little Women, Pittsburgh Opera- 2016
“Mezzo-soprano Corrie Stallings offered a thoroughly convincing and sympathetic portrayal of Jo, which was especially impressive because of the character’s complexity. Stallings’ singing easily encompassed not only the wide range of her notes, but also her character’s strong will as much as her emerging doubts and personal growth.
Stallings’ Act I aria “Perfect As We Are,” which expresses Jo’s feelings about her sisters growing up, was a highpoint of the evening.”
“Mezzo-soprano Corrie Stallings made for a charming, comic Jo, with a delivery as natural as conversation. She used every bit of bandwidth to achieve a wide dynamic range, steady execution and sensitive phrases. At the end of the opera, Jo’s sisters joined her for a gorgeous quartet.”
Rodelinda, Pittsburgh Opera - 2015
“Ms. Stallings, singing the pants role originally written for a castrato, demonstrated nimble musicianship throughout, with elegant expression in the slow aria “Dove sei” and thoughtful ornamentation in “Vivi, tiranno.”
“Mezzo-soprano Corrie Stallings was completely convincing as Bertarido. Her voice was vibrant and agile, while her characterization of the King was bold and heroic without a hint of exaggeration.”
Grand and Glorious Concert, Pittsburgh Opera – 2014
“Tanner, Cornetti and resident artist Corrie Stallings brought the first half of the concert to an intense conclusion with the
confrontation scene between Santuzza and Turiddu in Mascagni’s opera. Stallings, in her first year with Pittsburgh Opera, was an asset as Lola, the third side of the romantic triangle.”
“Notable was the contribution of new resident Corrie Stallings in Lola’s interruption. This appealing young performer exudes the feeling that she loves to sing.”
“Equally adept are the Three Ladies portrayed by Raquel González, Summer Hassan and Corrie Stallings, who are delightful in attitude and performance throughout.”
“The Three Ladies in ‘The Magic Flute,’ Raquel Gonzalez, Summer Hassan, and Corrie Stallings, were so outstanding that for the first time ever, I wished their parts were longer.”
The Pirates of Penzance, Opera Theater of Saint Louis – 2013
“Corrie Stallings (Kate) made a solid impression in her featured moments, acting with real commitment and defined purpose, and singing with effortless aplomb.”
MediaRodelinda "Pompe vane... Dove sei" Handel
Pittsburgh Opera - The Barber of Seville "Una voce poco fa" (excerpt)
Pittsburgh Opera: Little Women - "Couldn't I unbake the breads?"