Stephanie Corley

Stephanie Corley


Representation: General Management


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.


Full Biography

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.

UK Opera highlights have included title role The Merry Widow (Scottish Opera & for Opera North), Kristina The Makropulos Case (Opera North), Musetta La Boheme and Mabel The Pirates of Penzance (Scottish Opera), Pamina Die Zauberflöte and Marzelline Fidelio (Glyndebourne Festival), Countess Le Nozze di Figaro, Donna Elvira Don Giovanni and 1st Lady Die Zauberflöte (Longborough Festival), title role Madama Butterfly (Mid Wales Opera), Desdemona Otello and Emma Khovanshchina for Birmingham Opera (Graham Vick), Arminda La finta Giardiniera (Buxton Festival), Laoula in Chabrier’s L’Etoile (New Sussex Opera) and Fiordiligi Cosi fan tutte, Ginevra Ariodante for the Cambridge Handel Opera Group and Antonia Les Contes d’Hoffmann (Diva Opera).   Outside the UK Stephanie has appeared as Musetta La Boheme for Nederlandse Reisopera as well as Freia Das Rheingold and Woglinde/3rd Norn Götterdämmerung for Teatro Massimo in Palermo.

Stephanie has also excelled in contemporary repertoire, making notable appearances in the title role of Hartmann’s Simplicius Simplicissimus (Independent Opera), title role in James MacMillan’s Ines de Castro (Scottish Opera), Gayle The Ice Break for Birmingham Opera multiple roles in contemporary opera company Tête-à-Tête’s Blind Date and The Lottery with Bury Court Opera.

Recent engagements include title role Simplicius Simplicissimus for Independent Opera and Micaela Carmen for Blackheath Halls Opera. 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 Elijah in Aberdeen.

In concert, Stephanie has appeared at the Royal Albert Hall, the O2 centre, St. John’s Smith Square, Glasgow Royal Concert Hall, the Barbican Centre, Snape Maltings, St David’s and Fairfield Halls, Birmingham Symphony Hall, Sage Gateshead, Bridgewater Hall, Cadogan Hall and the Queen Elizabeth Hall.  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.

Recent engagements include a return to Scottish Opera to sing the role of Tina in Jonathan Dove’s Flight, the revival of Opera North’s award-winning Kiss Me, Kate at the London Coliseum and on tour, and the annual Viennese Whirl concerts at Leeds Town Hall, title role in Kat’a Kabanova also for Opera North.  Engagements in 2020 include Desiree Armfeld A Little Night Music for Opera North.

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to ensure that you receive the most up to date version.  Email:



Return to Opera North

January 28th, 2019

Stephanie Corley sings title role Kat’a Kabanova for Opera North

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November 9th, 2016

Hazard Chase artists headline the cast list

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Stephanie Corley returns to Sicily

January 28th, 2016

Hazard Chase soprano in new production of Götterdämmerung

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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)

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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)

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“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)

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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)

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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

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Artist Manager

John McHugh (Cambridge)
01223 706024

Associate Artist Manager

Elin Jones (Cambridge)
01223 706026