Corrie Stallings

Mezzo Soprano

Corrie Stallings, Mezzo Soprano


Hansel & Gretel, Pittsburgh Opera- 2018

Mezzo Soprano Corrie Stallings captured Hansel’s youthful energy both visually and vocally. Except for the voice, you might believe she was a strapping young boy. Stallings and Hansel were a fit.”

-Rick Perdian, Seen & Heard Internationally

Il barbiere di Siviglia, Cleveland Opera Theater- 2018 

“As Rosina, Corrie Stallings sang with remarkable virtuosity and poignancy, and played up her character’s agency and bite. The most lasting image of the night came when during Una voce poco fa when she climbed atop the onstage piano and drew herself up to the full height.”

Cleveland Classical

Le nozze di Figaro, Pittsburgh opera- 2017

“Corrie Stallings creamy-voiced Cherubino succeeded projecting an adolescent manly presence, emitting ebullience and joy in her two familiar arias”

Robert Croan, Opera News

Giulio Gari Winner's Concert- 2017

"Non più mesta was sung by rising mezzo soprano Corrie Stallings. Ms. Stallings possesses a bright silvery voice with expressive and expansive plentitude of sound, dexterity, and flexibility so necessary in producing coloratura flow and ease and gave and exciting and generous performance. Only a few feet from the stage was honored guest Joyce DiDonato who smiled at Ms. Stallings and whose eyes sparkled with loving encouragement and support. To me, this was a defining moment, and a wonderful one!" 

Nino Pantano, Brooklyn Discovery

La Straniera, Washington Concert Opera- 2017

"The other striking company debut was by mezzo-soprano, Corrie Stallings,whose appearances as Isoletta, were one of the highlights of the evening, a voice capable of chesty strength and silvery lightness at the top."
Charles T. Downey, Washington Classical Review

"Corrie Stallings' sweet but strong Isoletta captured our hearts with her stunning red gown, and even more stunning, luminous mezzo-soprano timbre."
Erin Ridge, Maryland Theatre Guide


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."

-Mark Kanny, Pittsburgh Tribune


"Ms. Stallings showcased a bright, flexible voice characterized by a pure tone and even vibrato."

-Elizabeth Bloom, Pittsburgh Post-Gazette



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.”

 -Mark Kanny, Pittsburgh TribLive


“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.” 

-Elizabeth Bloom, Pittsburgh Post-Gazette



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.”

-Elizabeth Bloom, Pittsburgh Tribune


“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.”

-Mark Kanny, Pittsburgh TribLive



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.”

-Mark Kanny, TribLive


 “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.”

-Robert Croan, Pittsburgh Post-Gazette  


The Magic Flute, Opera Theater of Saint Louis – 2014

“Raquel González, Summer Hassan and Corrie Stallings may be the best Three Ladies I’ve heard anywhere, singing with gleaming tones and elegant nuance.”

-Scott Cantrell, Dallas News

“Equally adept are the Three Ladies portrayed by Raquel González, Summer Hassan and Corrie Stallings, who are delightful in attitude and performance throughout.”

-Christopher Reilly; Alive Magazine


“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.”

-Annie Midget, The Washington Post


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.”

-St. Louis Post Dispatch