Corrie Stallings, Mezzo Soprano http://www.corriestallings.com/
Mezzo-soprano Corrie Stallings is quickly earning acclaim for her work on both the operatic and concert stage. She was awarded a first prize in the 2017 Gerda Lissner International Vocal Competition and performed in the winners concert at Carnegie Hall's Zankel Hall on April 30 before returning to Santa Fe Opera (in her second season as an Apprentice Artist) to cover Orlofsky in Die Fledermaus.
Ms. Stallings also recently completed her second year as a Resident Artist at Pittsburgh Opera, where she will return to perform Cherubino in Le Nozze di Figaro in November 2017 before making her company and role debut as Isoletta in Bellini’s La Straniera with Washington Concert Opera. Other roles she performed while with Pittsburgh Opera were Jo in Little Women, Rosina in Il Barbiere di Siviglia, Bertarido in Rodelinda, and Mercédès in Carmen. After completing her summer as an Apprentice Artist with Santa Fe Opera in August 2016, Ms. Stallings made her role and company debut in the title role of La Cenerentola with Syracuse Opera in October of that year.
In April of 2016, she performed Berlioz’s cantata La Mort de Cléopâtre with the Erie Symphony, where she also sang the alto solos in the Mozart Requiem and the Beethoven Mass in C. For her debut with the Pittsburgh Symphony Orchestra, in December of 2015, Ms. Stallings sang as the alto soloist in Mozart's Coronation Mass under the baton of Manfred Honeck, later appearing in Denver to perform the alto solos in Handel's Messiah with the Colorado Symphony.
|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?"