Stephanie studied at the Royal Welsh College of Music & Drama and at the National Opera Studio and has since appeared in major roles with both Scottish Opera, Opera North, Glyndebourne Festival, Buxton Festival, Opera Holland Park and regular appearances with Birmingham Opera (Graham Vick). Foreign engagements have included principle roles at the Nederlandse Reisopera and at Teatro Massimo di Palermo. Stephanie also maintains a busy concert diary throughout the UK in repertoire encompassing Britten, Verdi, Mozart, Vaughan Williams and Rossini.
Stephanie Corley studied at the Royal Welsh College of Music and Drama and the National Opera Studio supported by a Maidment Scholarship from the Musicians’ Benevolent Fund, the Anne Wood/Johanna Peters award from Glyndebourne, a Chilcott Scholarship, the Kathleen Trust, John Wates and the Nichol-Young Foundation. In 2008 she received a Philip & Dorothy Green Award for young concert artists and now continues her studies with John Evans.
Operatic roles include the title role in The Merry Widow, Kristina in The Makropulos Case and Marguerite (cover) in Faust for Opera North, the title role in Madama Butterfly for Mid Wales Opera, Musetta La Bohème for the National Reisopera (The Netherlands), Hannah Glawari, Musetta and Mimi (cover) for Scottish Opera, Contessa Almaviva Le Nozze di Figaro, Donna Elvira Don Giovanni and First Lady Die Zauberflöte for Longborough Festival Opera, Desdemona Otello for Graham Vick’s Birmingham Opera Company and Dorset Opera, Fiordiligi Cosi fan Tutte for Diva Opera and Opera by Definition, Ines Il Trovatore for Opera Holland Park, Contessa Almaviva Le Nozze di Figaro for Iford Opera, Mimì La Boheme for I Maestri, Ginevra Ariodante for the Cambridge Handel Opera Group, Freia Das Rheingold in Palermo with Graham Vick, Mabel The Pirates of Penzance for Scottish Opera, Arminda La finta giardiniera at Buxton Festival and performances of Pamina Die Zauberflöte and Marzelline Fidelio for Glyndebourne Festival whilst covering. In addition, Stephanie sang Laoula in Chabrier’s L’Étoile for New Sussex Opera, Christmas Concerts at the Royal Albert Hall, Emma Khovanshchina for Birmingham Opera Company, The Lottery with Bury Court Opera, a Spring Proms Concert at the Royal Festival Hall and Antonia Les Contes d’Hoffmann for Diva Opera. She has covered the roles of Fiordiligi (GTO) and Aminta Il Re Pastore for Garsington Festival, sung multiple roles in contemporary opera company Tête-à-Tête’s new work, Blind Date and sung Lady-in-Waiting Macbeth and Inez La Favorita for Chelsea Opera Group.
In concert, Stephanie has appeared at the Royal Albert Hall, the 02 centre, St. John’s Smith Square, Glasgow Royal Concert Hall, Barbican Centre, Snape Maltings, St David’s and Fairfield Halls, Birmingham Symphony Hall, The Sage, Bridgewater Hall, Cadogan Hall and the Queen Elizabeth Hall. Recent concert highlights have included a Radio 3 In Tune session featuring her solo recital at St John’s Smith Square, a concert and recording of the aria and cabaletta from The Rake’s Progress (Stravinsky) and Knoxville Summer of 1915 (Barber) with the Lugano Radio Orchestra (Switzerland), Vaughan Williams’ Sea Symphony at Snape Maltings, Britten’s Les Illuminations with the Birmingham Philharmonic Orchestra at the Adrian Boult Hall, Mahler 4 at St James Piccadilly, Mozart Mass in C minor and Rossini Stabat Mater for Hadleigh Choral Society, Viennese Galas with the Northern Sinfonia with Thomas Zehetmair and Jacek Kaspszyk and Verdi Requiem with Carlo Rizzi.
More recent engagements include title role Madama Butterfly for Opera Project in Bristol, title role Ines de Castro for Scottish Opera and Gayle The Ice Break for Birmingham Opera Company, and Woglinde/3rd Norn Götterdämmerung for Teatro Massimo, Palermo and concert performances include Verdi Requiem (De Montfort Hall), a recital for the St Andrews Voices Festival and Elgar Spirit of England, Vaughan Williams Dona Nobis Pacem (Nottingham), and Mendelssohn’s Elijahin Aberdeen.
In the 2017/2018 season, Stephanie will return to Scottish Opera to sing the role of Tina in Jonathan Dove’s Flight and will also feature in the revival of Opera North’s award-winning production of Cole Porter’s classical musical comedy, Kiss Me, Kate at the London Coliseum and on tour.
Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to make sure you receive the most up to date version. Email: Elin Jones
“The role of Simplicius, as the boy is named by his hermit protector, is given to a soprano, and for this belated UK première Stephanie Corley made the role her own, as athletically boyish in her acting as she was focused in her singing.” Matthew Rye. Bachtrack (Nov’16)
“The key to this tricky allegory is the figure of Simplicius himself, a role soprano Stephanie Corley inhabits with uncanny skill – a virtuoso piece of musical theatre.” Alexandra Coghlan, The Independent (Nov’16)
Gilbert & Sullivan: THE PIRATES OF PENZANCE (Scottish Opera)
“Stephanie Corley’s Mabel nails the high notes with aplomb” Kate Molleson, The Guardian (May 2013)
“Stephanie Corley as Mabel is both hilarious and touching” Rosenna East, The Herald (May 2013)
Lehar: THE MERRY WIDOW (Opera North)
“Stephanie Corley is a revelation as Hanna…She’s vivacious, light on her feet and vocally exuberant.” Richard Morrison, The Times
“Stephanie Corley made a delightful Hanna Glawari” Rupert Christiansen, The Telegraph
“The spirited cast here has the bonus of the versatile Stephanie Corley – an outstanding Desdemona in Birmingham Opera’s Otello last year” Fiona Maddocks, The Observer
“Stephanie Corley was a star turn as Mabel…her thrilling performance of ‘Poor Wandering One’ with its thrilling coloratura set the standard for the evening” David Smythe, Bachtrack (May 2013)
Verdi: OTELLO (Birmingham Opera)
“Desdemona is beautifully acted and sung by Stephanie Corley” Rian Evans, The Guardian
“Stephanie Corley was outstanding, in voice and characterisation, as Desdemona” Fiona Maddocks, The Observer
“Stephanie Corley’s Desdemona is intensely, sweetly moving: an innocent in a guilty world. Aided by Stephen Barlow’s lyrical reading of Verdi’s score, her Willow Song and Ave Maria are spell-binding: a loving submission delivered with trembling intimacy across the vast space.” The Independent on Sunday