Il Barbiere di Siviglia

The Atlanta Opera 2022

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"...an exquisite mezzo soprano..."

The Atlanta Journal-Constitution

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"The aria “Una voce poco fa” highlights her skills. She sings like a spring day: birds singing, sun shining, a wink of joy at every turn."

Artsatl.org

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"Making her Atlanta Opera debut as the feisty Spaniard, mezzo soprano Stephanie Lauricella, fulfills the vocal demands of the role with flying colors. Her instrument is of lyric weight and exceptionally limber, allowing its mistress to accomplish the score’s florid complications with apparent ease."

Newoutpost.com

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"Stephanie Lauricella, with her sonorous voice is impressive as Rosina, especially in the “Una voce poco fa”. She gives the character much passion and ambition."

Playstosee.com

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"Rosina’s aria “Una voce poco fa” (“A voice just now”), a staple of operatic repertoire, was a showpiece for Lauricella."

Earrelevant.net

 

Idomeneo

The Israeli Opera 2020

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"Prince Idamante has a large and complex role... I really liked the character that Stephanie Lauricella created, noble and powerful, as well as her singing, pure and clear even at the high register." (translation)

Haaretz

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"No wonder Lauricella is a rising star in the opera world - She has a wonderful voice, stage charisma and precise musicality and diction." (translation)

Ynet.co.il

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"Stephanie Lauricella was impressive in the role of Idamante..." (translation)

Habama.co.il

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Roméo et Juliette

San Francisco Opera 2019

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"Perhaps the evening's most electrifying surprise, though, was the arrival after intermission of mezzo-soprano Stephanie Lauricella, making her company debut as Romeo's page Stephano. This is a small, practically evanescent role...but Lauricella sang it as though it were a star vehicle, lavishing every phrase with robust and beautifully shaped vocalism. It may not be too much to hope that she'll be back this way again." 

San Francisco Chronicle

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"Mezzo Stephanie Lauricella made an ebullient turn as Stephano, Romeo’s taunting page, in her winning single aria."

San Francisco Classical Voice

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"...mezzo-soprano Stephanie Lauricella was delightful in her SFO debut in the pants role of Romeo’s page Stephano."

San Francisco Examiner

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"...and Stephanie Lauricella's bright, winning Stéphano made fine impressions..." 

Opera News

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"There were two standouts however. The Page, as interpreted by Stephanie Lauricella  sang with panache and offered fresh appeal..."

Operawire.com

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"Of note was Stephano’s (Roméo’s page) aria splendidly sung by young mezzo Stephanie Lauricella..."

Operatoday.com

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"In her San Francisco Opera debut, [Stephanie] made a strong impression as Stephano, displaying an attractive, resonant voice and acting skill."

Operawarhorses.com

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" Stephano, Romeo’s page, gloriously sung here by debuting soprano Stephanie Lauricella, mockingly taunts the Capulets."

Berkeleydailyplanet.com

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"...Romeo’s lowly page Stephano commands the vacated stage, and the trousers role portrayer, Stephanie Lauricella excels with the chanson “Que fais-tu, blanche tourterelle.”

Berkshirefinearts.com

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"Making their SFO debuts, mezzo-sopranos Eve Gigliotti and Stephanie Lauricella were convincing as Juliet's nurse Gertrude and Romeo's page Stephano. The audience rewarded Lauricella with warm applause for her brief but pleasing aria in Act III."

The Bay Area Reporter

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"Also impressive [was]... mezzo Stephanie Lauricella, in her company debut, bright and spirited as Romeo’s page Stephano."

localnewsmatters.org

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"Among secondary roles, mezzo Stephanie Lauricella distinguished herself in her SFO debut as Stéphano, Romeo’s male page.  Following her magical Act III aria, “Que fais-tu, blanche tourterelle?,” several in the audience rose to their feet."

ARThound

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"I was especially impressed with mezzo-soprano Stephanie Lauricella who made house debut in the trouser-role Stephano. Her taunting song “Que faistu, blanche tourterelle” was performed with perfect comic timing and particularly with full round dark mezzo voice that was truly attractive."

parterre.com

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"Making her SF Opera debut in this trouser role, Stephanie Lauricella knocks it out of Verona, and receives a well-deserved ovation."

theatrestorm.com

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Così fan tutte

Staatsoper Stuttgart 2019

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"The almost supernatural and almost spherical cheerfulness is transferred to the vocal performances of Laura Wilde as Fiordiligi, Stephanie Lauricella as Dorabella, Johannes Kammler as Guglielmo and Mingjie Lei as Ferrando. Especially in the quartets, the singers manage to maintain an excellent tonal balance." (translation)

{Die nahezu überirdische und geradezu sphärenhafte Heiterkeit überträgt sich auf die gesanglichen Leistungen von Laura Wilde als Fiordiligi, Stephanie Lauricella als Dorabella sowie Johannes Kammler als Guglielmo und Mingjie Lei als Ferrando. Gerade in den Quartetten gelingt es den Sängern, eine ausgezeichnete klangliche Balance zu halten.}

Onlinemerker.com

 

Così fan tutte

Staatsoper Hamburg 2018

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"Always a bit more daring and emotional, Stephanie Lauricella gives a wonderful Dorabella." (translation)

{Immer etwas draufgängerischer und emotionaler gibt Stephanie Lauricella eine wunderbare Dorabella.}

Neue Osnabrücker Zeitung

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"...Dorabella singer Stephanie Lauricella convinced with soulful vocalization." (translation)

{...Dorabella-Sängerin Stephanie Lauricella mit seelenvoller Stimmgebung überzeugt.}

Godot-Hamburg.de

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"Stephanie Lauricella thrilled as Dorabella with charming mysterious joke and every wiggle with her behind in a close-fitting wonder of fashionable evening gown elegance as well as with her dark timbral eloquence." (translation)

{...begeisterte Stephanie Lauricella als Dorabella mit charmant hintergründigem Witz und jedem Wackler mit ihrem Hinterteil im eng anliegenden Wunder an modischer Abendkleid-Eleganz genauso wie mit ihrer dunkel timbrierten Eloquenz.} nmz.de

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Der Rosenkavalier

Glyndebourne Festival 2018

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"Exceptionally well-taken middle and smaller roles this time - ... the best coloratura dudgeon ever from Stephanie Lauricella when his accomplice Annina plays a discarded "Baroness" Ochs." theartsdesk.com

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"Among a distinguished roll-call of secondary players, Alun Rhys-Jenkins and Stephanie Lauricella stood out as the oleaginous turncoats Valzacchi and Annina." WhatsOnStage.com

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Così fan tutte

Opéra National de Paris September/October 2017 

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"...and she finds in Stephanie Lauricella an ideally playful counterpart, carried by an extroverted vocality." (translation)

{...et elle trouve en Stephanie Lauricella un pendant idéalement enjoué, porté par une vocalité extravertie.}  Forumopera.com

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"The female duo synchronizes the lines of body and vocals....also beautiful, ample and sonorous but in a solar register, the voice of Stephanie Lauricella (Dorabella) gives the dancer Samantha Van Wissen the impulse of sensual awakening, in heels and tailor. The duo bounces together to the rhythm of a frivolous heart." (translation)

{Le duo de femmes synchronise les lignes corporelles et vocales......Tout aussi belle, ample et sonore mais dans un registre solaire, la voix de Stephanie Lauricella (Dorabella) donne à la danseuse Samantha Van Wissen l'impulsion d'un éveil sensuel, en talons et tailleur. Leur duo bondit ensemble au rythme d'un cœur frivole.} Olyrix

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"The mezzo Stephanie Lauricella is a Dorabella passionate, lively and very assertive whose scenic ease and quality of play reveal all the richness of her role." (translation)

{La mezzo Stephanie Lauricella est une Dorabella passionnée, vive et très affirmée dont l’aisance scénique et la qualité de jeu révèlent toute la richesse de son rôle.} Bachtrack

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"...Stephanie Lauricella, mezzo of smokey timbre, who makes of Dorabella a woman of sensuality skin deep and of voice." (translation)

{...Stéphanie Lauricella, mezzo au timbre vaporeux, qui fait de Dorabella une femme à la sensualité à fleur de peau et de voix.} WebThéâtre

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"-but complimentary of the Dorabella of Stephanie Lauricella,  with her beautiful mix of charm, power, and assurance (triumphant in the aria «E amore un ladroncello» thanks to the precision of timbre and rhythm.)" (translation)

{-si complémentaire de la Dorabella de Stephanie Lauricella, au bel alliage de charme, de puissance et d’assurance (triomphant dans l’air «E amore un ladroncello» grâce à la justesse du timbre et du rythme).}  ConcertoNet.com

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Il Barbiere di Siviglia

Opera Hong Kong 2017

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"Her voice is clear in the high notes while her lower register is rich and resonant, controlled and expressive throughout. Lauricella is, in addition, an actress with great charisma. Entirely in keeping with the production, she vamped the portrayal of Rosina up while simultaneously endowing her with a distinct, and distinctive, character: “feisty” doesn’t half cover it."

Asianreviewofbooks.com

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La Cenerentola

El Paso Opera 2017

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"Stephanie Lauricella as Cinderella – called Angelina in Rossini’s work – is the most delightful character I’ve ever seen in an opera. The under-appreciated stepsister is not a shrinking violet, but vivacious and playful, even when she’s pushing a broom. She can also be feisty, especially after her stepfather forbids her to go to the movie studio. Yet when she shows up at Palace Pictures in her classic blue ensemble and veiled hat, she takes on a graceful new nobility.  With her velvety, lush voice, Stephanie rules the stage. Cinderella can’t help but smile radiantly at Ramiro, her true love, and her smile makes us smile." El Paso Inc.

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Così fan tutte

Opéra National de Paris January/February 2017

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"The Dorabella of Stephanie Lauricella, a plump timbre, is deliciously clever." (translation)

{La Dorabella de Stephanie Lauricella, au timbre pulpeux, est délicieusement délurée.}  Opéra Magazine

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"Reverse sensation in the Dorabella of Stephanie Lauricella, vibrant and sensitive in É amore un ladroncello." (translation)

{-sensation inverse chez la Dorabella de Stéphanie Lauricella, vibrante et sensible dans É amore un ladroncello.} Wanderer

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"From the young and homogeneous selection, stands out the creamy timbre Dorabella of Stephanie Lauricella...."(translation)

{Du plateau vocal jeune et homogène (1), se détachent la Dorabella au timbre crémeux de Stephanie Lauricella....} La Croix

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"In Dorabella, Stephanie Lauricella offers a more fleshy middle and rich bass. The voice, ductile, contrasts in an interesting manner with that of her sister." (translation)

{En Dorabella, Stephanie Lauricella offre un medium plus charnu et des graves aisés. La voix, ductile, contraste de manière intéressante avec celle de sa consoeur.} Forumopera.com

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Roméo et Juliette

Madison Opera 2016

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"Perhaps most striking, though, is Stephanie Lauricella, who makes a show-stopping appearance as the page Stephano."

Isthmus.com

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"Special mention should be made of Stephanie Lauricella for her fantastic moments as Romeo’s page"

The Well-Tempered Ear

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Così fan tutte

Deutsche Oper Berlin 2016

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"Stephanie Lauricella, an American mezzo- soprano who appeared here two seasons ago as Siebel in Faust sang warmly and with impressive coloratura..." Opera News

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Le Comte Ory

Seattle Opera 2016

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"Will Liverman (as Raimbaud) and Stephanie Lauricella (Isolier) were both first-rate." The Seattle Times

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Der Rosenkavalier

Deutsche Oper Berlin 2015

 

"Much satisfaction within the smaller roles, notably the Annina of Stephanie Lauricella, ready for more substantial mezzo roles." (translation)

{Beaucoup de satisfaction dans la myriade de petits rôles et notamment pour l’Annina de Stephanie Lauricella, prête pour des emplois de mezzo plus conséquents.} Forumopera.com

 

"The Italians were uncommonly fine in vocal terms, and more complex character than one generally sees; Patrick Vogel’s quicksilver Valzacchi was complimented by Stephanie Lauricella’s glamorous Annina." 

SeenandHeard-international.com

 

"When an Annina is as good as Stephanie Lauricella then it’s clear that the casting really is of the highest level. Lauricella sang in a well-schooled mezzo, absolutely even from top to bottom with an excellent legato. I would certainly love to hear her Octavian one day." Operatraveller.com

 

"Stephanie Lauricella sang the role of Annina and was marvelous in it. Her strong and warm mezzo soprano has a very erotic and seductive timbre which suited the role perfectly." Operamusicologist.blogspot.de

 

Beethoven's Missa Solemnis

Atlanta Symphony Orchestra 2016

 

"The guest soloists blended together as one during the frequent quartet passages, but were still able to assert their individuality during solo singing. Soprano Kim-Lillian Strebel and mezzo-soprano Stephanie Lauricella joined tenor Shawn Mathey and baritone Brian Mulligan to infuse the solo singing with passion and exuberance." myAJC.com

 

A Midsummer Night's Dream

Grand Théâtre de Genève 2015

 

"Stephanie Lauricella's [voice] is striking for its beautiful ease in the bass." (translation)

{Stephanie Lauricella frappe par sa belle aisance dans le grave.} Forumopera.com

 

"Beautiful, short scene offered Stephanie Lauricella, in particular." (translation)

{Belle, courte scène offensée de Stephanie Lauricella, notamment.} Anaclase.com

 

"Stephanie Lauricella, with a mezzo-soprano register beautifully balanced" (translation)

{Stephanie Lauricella, au registre de mezzo-soprano magnifiquement équilibré} Resmusica.com

 

"All the couples were nicely matched (with perhaps particular strength in the Hermia of Stephanie Lauricella)."

SeenandHeard-International.com

 

"In a distribution of very high homogeneity, one must acknowledge the harmonious colors emerging from the voices of two couples - Stephanie Lauricella as Hermia...." (translation)

{Dans une distribution d’une très grande homogénéité, il faut alors saluer les couleurs harmonieuses qui se dégagent des voix des deux couples - Stephanie Lauricella en Hermia.....} Tribune de Genève

 

Faust

Deutsche Oper Berlin 2015

 

"After the intermission, the production gains something in atmospheric density, mainly thanks to Stephanie Lauricella and Markus Brück. The ensemble singer plunges with convincingly youthful emphasis in the secondary trouser role of Marguerite's admirer, Siébel.....One of the rare goosebump moments happens when he kneels in front of Marguerite, fumbles for a wedding ring box, and looks up in disbelief as he is rejected by her." (translation)

{Nach der Pause immerhin gewinnt die Produktion etwas an atmosphärischer Dichte, vor allem dank Stephanie Lauricella und Markus Brück. Die Stipendiatin der Opera Foundation New York stürzt sich mit überzeugend jugendlicher Emphase in die Neben- und Hosenrolle des minderjährigen Gretchen-Verehrers Siebel....Einer der seltenen Gänsehautmomente gelingt, wenn er vor Marguerite niederkniet, aus seinem Bauchladen ein Trauring-Kästchen nestelt, von ihr abgewiesen wird und der entschwindenden Geliebten dann fassungslos nachschaut.} Der Tagesspiegel

 

"[The audience] launched into a large, well deserved round of applause for the dazzling Mezzo soprano, Stephanie Lauricella, in the trouser role of Marguerite's admirer, Siébel." (translation)

{Zu Recht großen Applaus gibt es für die Hosenrolle des Marguerite-Verehrers Siébel in Gestalt der blendend aufgelegten Mezzosopranistin Stephanie Lauricella.} Berliner Morgenpost

 

"As Siébel, Marguerite's spurned admirer, Stephanie Lauricella sings as if her life depends on it, with charisma, warmth, and passion." FT.com

 

La Rondine

Deutsche Oper Berlin 2015

 

"...Magda’s trio of cocottish friends were played by no less than three of the house’s baby prima donnas (Siobhan Stagg, Elbenita Kajtazi, Stephanie Lauricella). Yes… Pamina, Sophie or Rosina one day: a cocotte the next. Bravo, ladies." operamagazine.nl

 

Il Barbiere di Siviglia

Deutsche Oper Berlin 2015

 

"Malgré Stephanie jeune âge, elle pourrait en remontrer à maintes collègues plus âgées sur l'art de mettre le public dans sa poche sans donner dans les clowneries inutiles. La voix est ample, solaire et grimpe dans l'aigu avec une facilité qui justifie le triomphe que lui réserve le public la fin de son air." Scènes Magazine

 

Hänsel und Gretel

Deutsche Oper Berlin 2014

 

"It was gratifying to note that even in a production specifically targeted at a younger demographic, the Deutsche Oper offered an A-list cast. The two chief protagonists, Stephanie Lauricella (Hänsel) and Kim-Lillian Streben (Gretel) were both first-rate singers, and their voices melded beautifully in the prayer duet." Bachtrack.com

 

Carmen

Deutsche Oper Berlin 2014

 

"Further accolades must be given to Elbenita Kajtazi and Stephanie Lauricella as Frasquita and Mercédès...All of them sang with beauty and clarity." Bachtrack.com

 

Hänsel und Gretel

Minnesota Opera 2014

 

"Stephanie Lauricella’s Hansel, sharply etched, was touching in its boyishness; her voice blended bewitchingly with Mortellaro’s." Opera News

 

"The singing, though, is first-rate. Stephanie Lauricella (Hansel) and Angela Mortellaro (Gretel) wisely — and convincingly — play their roles more as young adolescents than as 10-year-olds. Both are fresh-voiced and superbly musical, their voices nicely blended in duets." Star Tribune

 

"Angela Mortellaro's Gretel and Stephanie Lauricella's Hansel are very fun kids, she a cherubic, sweet-voiced innocent, "he" a gangly goofball. Brimming with believable awkwardness and antsy playfulness, the two are such engaging companions that you may start missing them when they're offstage (which is mercifully seldom)." Pioneer Press

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"Much of the opera is carried solely on the backs and voices of Hansel (mezzo-soprano Stephanie Lauricella) and Gretel (soprano Angela Mortellaro). This pair is excellently cast, playing off each other with dynamic sibling chemistry; Lauricella’s portrayal of Hansel is laced with bursts of adolescent fire. Both are a joy to listen to and watch."

Twin Cities Daily Planet

 

Le Comte Ory

Des Moines Metro Opera 2014

 

"Stephanie Lauricella as Isolier, exhibited impressive comic timing as well as impressive vocalism." Opera

 

"Stephanie Lauricella boasted a ringing upper register and immaculate passagework....as the cunning page, Isolier." Opera News

 

"As the page Isolier, Stephanie Lauricella was a delectable puppy dog, believably boyish, and possessed of a robust mezzo that nonetheless had amazing dexterity, sort of an impish Cherubino on uppers. She strode around the space with understated masculinity, modulated her “handsome” putty face into an endless variety of fretting takes and wide-eyed surprises, and milked being a woman-playing-a-man-playing-a-woman for all it was worth." OperaToday.com

 

Götterdämmerung

Grand Théâtre de Genève 2014

 

"...seldom has there been such a perfect trio of Rhinemaidens." Seenandheard-international.com

 

Ariadne auf Naxos

Virginia Opera 2014

 

"Velvety-toned mezzo Stephanie Lauricella soared and sighed beautifully as the Composer and offered vividly detailed acting to go with the winning vocalism." Opera News

 

"Mezzo-soprano Stephanie Lauricella was quite convincing in the pants role of the composer. Moreover, she used her warm voice expertly throughout its wide range to express passionate emotions." HamptonRoads.com

 

"It’s a trouser role that’s well handled by mezzo-soprano Stephanie Lauricella...Her passionate and skilled defense of high art is both profound and convincing..." Commdiginews.com

 

Rusalka

Grand Théâtre de Genève 2013

 

"Les Dryades (Elisa Cenni, Stephanie Lauricella, Cornelia Oncioiu) forment un trio d'une harmonie et d'une cohésion rêvées." ODB-Opera.com

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​Le Chat botté​

Grand Théâtre de Genève 2013



"Stephanie Lauricella, interprète particulièrement alerte et expressive du Chat botté, rencontre un franc succès."

Tribune de Genève 



Das Rheingold​

Grand Théâtre de Genève 2013



​"Polina Pasztircsàk, Stephanie Lauricella, Laura Nykänen consituent un trio de filles du Rhin très homogène et aux voix bien différenciées." ODB-Opera.com



"Tout comme les trois filles du Rhin (Polina Pasztircsàk, Stephanie Lauricella, et Laura Nykänen) à la présence affirmée, aux timbres qui s'accordent bien entre elles et à la diction soignée." Le Blog du Wanderer

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The Music Man​
Glimmerglass Festival 2012

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"The Pick-a-Little Talk-a-Little ladies [Samantha Korbey, Lisa Williamson, Stephanie Lauricella and Amanda Opuszynski] proved a hilarious assortment of village gossips." MusicalCriticism.com

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Il Barbiere di Siviglia​
New Jersey State Opera 2012

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"Stephanie Lauricella showed a lovely well-knit mezzo ideal for Rosina, with admirable agility, good line, and a wide range; a very accomplished performer, she looked most attractive, like a taller Roberta Peters." Opera News

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"One couldn't have asked for more than Stephanie Lauricella's polished, charismatic Rosina. With a warm, flexible mezzo-soprano, she had just the right mix of sweetness and sass." The Star-Ledger

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​Lili Boulanger, Psalm 130​

Pittsburgh Symphony Orchestra 2012​



"Mezzo soprano, Stephanie Lauricella sang with beauty and emotional force, as well as good diction." Pittsburgh Tribune

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​Hänsel und Gretel​​​​

​Pittsburgh Opera 2012

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"Stephanie Lauricella transformed into the little boy Hansel most effectively...Each embraced the subtle mannerisms and curious wonder that ultimately lead the two astray as though they truly were the small children they portrayed.  In perfect balance, their instruments soared beautifully at every moment, accentuating wonderful points in the story such as when Gretel teaches Hansel to dance, and the two sing about their guardian angels as they fall asleep on the forest floor." Opera Pulse

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"Mezzo-soprano Stephanie Lauricella as Hansel and soprano Suzanne Vinnik as Gretel were each outstanding and a well-matched pair of siblings. Lauricella adjusted her timbre to an appealing boyish purity and shaped her lines with artful simplicity." Pittsburgh Tribune
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"Sung by two women, Hansel (Stephanie Lauricella) and Gretel (Suzanne Vinnik)...These two resident artists meshed brilliantly." Post-Gazette.com

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​La Traviata

Pittsburgh Opera 2011



"...the opera continues with another Parisian party. This one is hosted by Violetta's friend Flora Bervoix, who was very well sung by Stephanie Lauricella."   Pittsburgh Tribune

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"...the gypsies and matadors hosted by Violetta's friend Flora Bervoix, sung very well by Resident Artist Stephanie Lauricella..."  Opera Pulse

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Dialogues des Carmélites
Pittsburgh Opera 2011

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"With featured parts by Stephanie Lauricella and Daphne Alderson, the cloistered chorus impressed by being able to switch from penitent to panicked, establishing their humanity."   Post-Gazette.com

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Rinaldo
Pittsburgh Opera 2011

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"But the most impressive singer was the one whose voice and technique were appropriate for the period: mezzo-soprano Stephanie Lauricella in the title role. With superb control of Handel's characteristic runs, a clear, yet rosy, timbre and exceptional acting (whether in the spotlight or not), she shined as the crusader in love with Almirena. A tinge of mahogany tone lay at the core of Ms. Lauricella's agile voice, lending a splendor to her arias originally written for a castrato. In an opera full of sometimes ponderous da capo arias, in which the opening music returns after a sojourn, I was more than happy to hear Ms. Lauricella's flowing, yet precise voice again and again... this was Ms. Lauricella's night to shine."   Post-Gazette.com

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Pittsburgh Opera Brown Bag
2011

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"The selections for the concert ranged from the Bach/Gounod "Ave Maria" (OMG the voice on mezzo soprano Lauricella!  I welled up, and the BF left with a little bit of an Opera crush) to selections from the upcoming performance of "Dialogues of the Carmelites" by Poulenc."   Burg Living by Erin Marton

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Santa Fe Opera Apprentice Scenes
2010

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"There were a good many singers from whom I would like to hear more - notably Rachel Willis-Sørensen, Kiri Deonarine, David Goversten, Craig Verm and Stephanie Lauricella."   Instant Encore

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Cavalleria Rusticana
Sarasota Opera 2010

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"Stephanie Lauricella was a sexy, provocative Lola and her Fior di giaggiolo had a sweet beguiling quality."  

Opera-L Review

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Hansel and Gretel
Sarasota Opera 2010

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"Stephanie Lauricella gracefully stepped into the role of Hansel...displaying a fine high mezzo, and bringing apt rambunctious androgyny to the role."   The Clasical Review

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La Cenerentola
Opera San Jose 2009

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"Angelina was played by Stephanie Lauricella, who in my opinion stood out as the brightest light of the entire cast. Her mezzo tone was full and had a good range of color, and her portrayal of her character spanned the range from downtrodden stepsister to royal favorite to princess smoothly and authentically."   Stark Insider