Ariadne Hug Yellow Dress
Tosca over-the-shoulder shade
Magda Throws Papers
Florestan hug
Turandot Hand
Ariadne ‘tude
Sad Rose Color Solo
DG Waltz
Bucktown Headshot
Sad Rose Color Duet
Ariadne & Bacchus
Don’t Shoot DG
Blue Violin
Hopeful Rose Color Duet


As Antonia in 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 Solome with Utah Opera:

“Stonikas was brilliant in her role debut as the eponymous princess with a taste for perversion. Her focused soprano ably rode the crest of the orchestra’s might, spinning amazingly fluid, legato passages. Her Salome was single-mindedly focused on lustful desires — blinded by all else in a dogged pursuit of the Baptist.”

– Opera News -

As Turandot with the Cincinnati Opera:

“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.”

– Jow Law, Opera News -

With the San Antonio Symphony:

“The four solo singers, soprano Marcy Stonikas […] were outstanding, […] who entered with operatic emphasis.”

– David Hendricks, -

As Rosaura in 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 Princess Turandot in Turandot:

“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 -

As Salome with Utah Opera:

“Soprano Marcy Stonikas was riveting as Salome, the Judean princess with an outsize sense of entitlement. She navigated the demanding role with confidence. Stonikas, rock-solid all evening, 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, The Salt Lake Tribune -