Marcy Stonikas

Marcy Stonikas is a graduate of Roosevelt University’s Chicago College of Performing Arts (CCPA) and Oberlin College Conservatory of Music. A graduate of the Young Artist Program at Seattle Opera, she performed the roles of Donna Anna in Don Giovanni, Fiordiligi in Così fan tutte, and the title role in Ariadne auf Naxos, whilst a member of the program. She was First Prize winner in the Wagner Division of the 2013 Gerda Lissner Foundational Vocal Competition, and was a finalist in Seattle Opera’s 2014 International Wagner Competition.

Original engagements during the COVID-19 shortened 2019-2020 season include covering the title role in Tosca as she joins the roster of the Metropolitan Opera. With the Minnesota Opera, she debuts the role of Chrysothemis in Elektra, and with San Diego Opera she will perform the role of Gertrude in Hansel and Gretel. Last season Ms. Stonikas joined Seattle Opera as Miss Jessel in The Turn of the Screw and the South Dakota Symphony for Mahler’s Symphony No. 8.

During the 2017-2018 season Ms. Stonikas made a company debut with Arizona Opera as the title role in Tosca, returned to Seattle Opera as the High Priestess in Aida, and joined Cincinnati Opera as Senta in Der fliegende Höllander. She also joined the roster of the Lyric Opera of Chicago to cover the titular Turandot.

The previous season included anticipated role and company returns, as well as company debuts for Ms. Stonikas. She began the season as Gertrude in Seattle Opera’s Hansel and Gretel, then sang the titular Turandot in debuts with Atlanta Opera and Opera Naples, returned to the role of Ariadne in Ariadne auf Naxos at the Berkshire Opera Festival, and bowed as Lenore in Fidelio with the Princeton Festival.

The 2015-2016 season’s performances included a significant company debut with Washington National Opera in their critically praised Ring Cycle, singing Gerhilde in Die Walküre and Third Norn in Götterdämmerung. The 2015-2016 season also included Beethoven’s Ninth Symphony with the San Antonio Symphony, and Donna Anna in Don Giovanni with Opera Santa Barbara.

Ms. Stonikas’ 2014-2015 season, showed performances with the West Australian Symphony Orchestra for Beethoven’s Symphony No. 9, conducted by Asher Fisch. She then returns to the Volksoper Vienna, for Leonore in Fidelio, and to Seattle Opera for the title role in Ariadne auf Naxos. She concludes the season with Cincinnati Opera, as the title role in Turandot.

During the 2013-2014 season, Ms. Stonikas appeared with Utah Opera in a role debut as Salome; Opera Santa Barbara as Tosca; in a return to Seattle Opera as Magda Sorel in Menotti’s The Consul; and the Vienna Volksoper for Fidelio.

During the 2012-2013 season, Ms. Stonikas debuted the title roles in productions of Turandot and Fidelio at Seattle Opera, to great acclaim. Additionally this season, she performed a recital under the auspices of the Wolf Trap Opera Company.

Over two summers, the soprano performed Donna Anna in Don Giovanni, Antonia in Les contes d’Hoffmann, and Rosaura in Wolf-Ferrari’s rarely performed Le donne curiose, with Wolf Trap Opera Company. Additionally, Ms. Stonikas had the unique opportunity to perform the roles of Irene and Mary in the American premiere of Jerry Springer – the Opera (Thomas) at the Bailiwick Repertory Theatre in Chicago. On the concert stage, highlights include Blumenmädchen in Parsifal (Wagner) with the Cleveland Orchestra, conducted by Pierre Boulez

Ms. Stonikas is a recipient of the Richard F. Gold Career Grant from the Shoshana Foundation, winner of the 2009 Elgin Opera Vocal Competition, and was a winner of the 2006 International Meistersinger Competition.

Cincinnati Opera – Der fliegende Holländer

Marcy Stonikas, who was thrilling as Turandot in 2015, performed Senta’s Second Act Ballad beautifully as she stroked a red cloth – to match the Dutchman’s blood-red sails – in a sewing factory where the village women made sails. Her full-toned, dramatic soprano became gradually more gleaming as the evening progressed.

One of the most enthralling moments was her duet with the Dutchman, in which she enfolded him in her red sail as they kissed against the full splendor of the orchestra. She fearlessly climbed up a very high ladder, easily nailing the high note before hurling herself into the sea.”

Janelle Gelfand, Cincinnati Business Courier

Atlanta Opera – Turandot

In the title role, dramatic soprano Marcy Stonikas dazzled with a bright laser beam of sound and tightly spun vibrato. A former young artist at Seattle Opera, Stonikas has a spine-tingling soprano that was worth the the price of admission.”

Stephanie Adrian, Opera News

Cincinnati Opera – Turandot

“In the title role, Marcy Stonikas was fearless, hurling the riddles at Calàf and riding the massive ensemble at the end of the second act. There was sweetness as well when the music revealed Turandot’s vulnerability. It was an impressive debut, and it would be good to hear more from Stonikas.”
Joe Law, Opera News


The performance benefited from several notable debuts. Soprano Marcy Stonikas was excellent in the role of Turandot. She was a mesmerizing storyteller in the famous “In questa Reggia.” Her high notes soared thrillingly over huge orchestral waves, yet her voice was never shrill.”

Janelle Gelfand, Cincinnati Enquirer

Seattle Opera – The Consul

Much of the excitement comes from the powerful singing and acting of Marcy Stonikas as the central character, Magda Sorel. She pours that big, resonant voice and a huge wave of emotion into the role; we feel her fear, her fury, and her resignation as she struggles to join her freedom-fighter husband beyond the borders of an unnamed police state. A former Seattle Opera Young Artist, Stonikas has developed a voice that can really thrill; she will be one of the contenders in the company’s International Wagner Competition this summer.

Melinda Bargreen, Seattle Times

Utah Opera – Salome

Soprano Marcy Stonikas was riveting as Salome, the Judean princess with an outsize sense of entitlement. She navigated the demanding role with confidence…rock-solid all evening, [she] outdid herself in the opera’s closing aria, in which Salome passionately declares her love to the Baptist’s severed head. It’s a chilling scene that viewers won’t soon forget.

Catherine Reese Newton, Salt Lake Tribune

Seattle Opera – Turandot

Sunday’s cast featured a homegrown Turandot in Marcy Stonikas, a graduate of the company’s Young Artists Program. She…made a commanding figure and sang beautifully.”
Bernard Jacobson, Seattle Times

Her voice was warm and round from the very beginning, and the music seemed to fit her like a glove; her high notes seemed effortless. She was emotionally connected to the icy princess, making the love story slightly more believable than it might otherwise be.”
Margaret Higginson, The SunBreak

Marcy Stonikas (silver cast), vocally and physically captured Turandot’s abrupt emotional about-face.”
Rebecca Brown, CityArts

For her performance of the title role […] Marcy Stonikas […] showed remarkable control and focus across her range and vividly embodied the “freezing ice that will burn” which underlies Turandot’s enigmatic passion.”
Thomas May, Crosscut

Wolf Trap Opera – Les contes d’Hoffmann

Soprano Marcy Stonikas was outstanding as the tragic Antonia. She has a huge, clear, commanding voice that is nonetheless capable of great subtlety, and her Act II performance sent a palpable ripple of excitement throughout the performance space.”
Washington Times

As Antonia, Marcy Stonikas brought a good deal of ardor to her singing.”
Opera News

Marcy Stonikas brought considerable fire to the role of Antonia.”
Baltimore Sun

Wolf Trap Opera – Le Donne Curiose

Marcy Stonikas, in particular, commanded attention as Rosaura, whose boyfriend Florindo is among the protective club members. The soprano revealed a big voice, tempered by abundant cream and nuance in the tone; her luscious low register proved especially appealing.”
Opera News

As Rosaura, soprano Marcy Stonikas was simply astonishing in Saturday’s performance. Her voice is magnificently huge, already ready for prime time. And yet she was still able to shape and contain it to match beautifully with the chamber context of this opera.”
Washington Times

Marcy Stonikas sustained lovely, long soprano lines as a determinedly histrionic Rosaura.”
Washington Post

Seattle Opera YAP – Don Giovanni

The singers are splendid, as is their acting: Stonikas has a beautiful soprano of Wagnerian size and I imagine we will hear her in those roles soon.”
The Gathering Note

Marcy Stonikas is an imposing Donna Anna, with more than enough voice to fill Meydenbauer’s auditorium.”

Musically, there was much to enjoy. Marcy Stonikas as Donna Anna displayed strong voice.”
Seattle Times

Seattle Opera – Die Zauberflöte

Anya Matanovic, Marcy Stonikas, and Lindsey Anderson were outstanding as the Queen’s First Lady, Second Lady, and Third Lady, respectively.”
Oregon Music News

The Queen’s Three Ladies, Anya Matanovic, Marcy Stonikas and Lindsey Anderson all had strong singing skills as well as excellent comedic ability and timing.”
Seattle Gay Scene

Appearing in all performaces are the three excellent Ladies: Anya Matanovic, Marcy Stonikas, Lindsey Anderson.”
The Gathering Note

Seattle Symphony – Beethoven Symphony No. 9

The solo quartet of Marcy Stonikas, [et al], individually polished, also blended exceptionally well.”
The Seattle Times

Seattle Opera YAP – Ariadne auf Naxos

For the Ariadne of Marcy Stonikas, only superlatives will do. The warmth, flexibility, and apparently inexhaustible power of her voice easily rode even the larger orchestral climaxes, and enveloped us all with its loveliness — most definitely, this is a singer with a big future.”
Seattle Times

As the Prima Donna (Ariadne), Marcy Stonikas displayed an astoundingly rich voice, with easy production from top to an almost contralto bottom. This was a big voice, such that she didn’t need to approach its limits to rise above the full orchestra. She had poise and a nice appearance. [Gregory Carroll’s] voice combined with that of Ms. Stonikas to make their final duet so exciting that I had to re-evaluate this whole opera! For the first time in my experience, the comic elements were properly balanced by the truly sublime ecstasy of the finale, making more sense out of the whole opera.”
Seattle Gay News

After we’ve heard Ariadne suffer (thanks to the vocal magnificence of Marcy Stonikas, who has an Antony Hegarty-like bitter chocolate to her blues singing and a credibly princess-like physical grace), we also get Zerbinetta’s side…Stonikas and Carroll deliver the vocal goods (Bernard Jacobson backs me up on this)…Conductor Brian Garman gets a strong evening’s performance from the Auburn Symphony Orchestra, who are sitting right there onstage, but Stonikas and Carroll sail right over the top.”

The ringing, vibrant voices of both Marcy Stonikas and Gregory Carroll ride atop the orchestra (almost literally, given the size of the stage) and shake Meydenbauer’s walls as they must rarely have been shaken.”
Seattle Weekly

Symphony of Oak Park River Forest – Mahler Symphony No. 8

Marcy Stonikas brought tonal security and affecting expression to Gretchen’s climactic lines.”
Chicago Classical Review

Chamber Opera Chicago – Vanessa

Marcy Stonikas was a commanding Vanessa. Her big soprano was supple, unfurling Barber’s wide-ranging melodies in bright, seamless lines. Entirely self-absorbed, she made us believe that Vanessa truly did not understand the reason for Erika’s anguish. It was equally clear, however, that had she noticed, she wouldn’t have cared.”
Chicago Sun-Times

Marcy Stonikas brings grande-dame hauteur and a big, sometimes raw soprano to the title role [Vanessa].”
Chicago Tribune

Ariadne in Ariadne auf Naxos