Janacek KATYA KABANOVA – Opera North

“Stephanie Corley’s Katya was a superb picture of conscience splintered by guilt, her inner battles constantly spilling onto the surface”
Opera Magazine, Martin Dreyer (April 2019)

“For Katya Opera North have Stephanie Corley, their former Hanna Glawari in The Merry Widow and Kristina in The Makropulos Case: her pure tone and youthfulness are perfectly suited to the role, and she plays the frustrated Katya with desperate sincerity.”
The Arts Desk, Robert Beale (4 February 2019)

“As expected, the company of Opera North put on an excellent performance particularly from Corley as Katya. Her emotive and moving performance portraying this troubled character is very memorable.”
The Reviews Hub, Jane Hobson (2 February 2019)

Cole Porter KISS ME KATE – Opera North

“As you’d hope from an untamed shrew, Corley gives as good as she gets, always bossy and sharp-witted, and with the basic power of voice to be firmly in charge. She delivered a splendid “I Hate Men”, later demonstrating her own operatic chops with a bit of high wire coloratura for “Never” (her answer to the question “when shall we be married”).
David Karlin, Bachtrack (June 2018)

“Corley achieves the right balance between conveying the scowling, expectant ‘shrew’ and a person who has genuine needs and feelings as revealed in ‘So in Love’, in which her impressive soprano comes to the fore.”
Sam Smith, MusicOMH (June 2018)

“The same can be said of Stephanie Corley, in the central role as Lilli Vanessi (Kate). She makes this demanding and surprisingly nuanced part look effortless. She has just the required grandeur, and like all of the central foursome she moves with ease from the heartfelt to the jovial. Her spine-tingling “So In Love” gives way to the music-hall japery of “We Open In Venice” (showcasing her lovely Groucho impression, by the way), and she excels throughout”
Mark Smith, British Theatre Guide (May 2018)

Hartmann  SIMPLICIUS SIMPLICISSIMUS – Independent Opera

“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 (November 2016)

“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 (November 2016)

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