As Princess Turandot:

“Despite the fact the title character is an ice maiden princess who executes every suitor who can’t answer her riddles, you begin to feel for Turandot. How could she possibly match the vocal appeal of Liù? Yet Marcy Stonikas answers the throwdown with a force of her own, both dramatically and vocally. She’s dry ice – cold and yet steaming – in her opening scenes, and thaws slowly, beginning with her witness of Liù’s suicide […] Stonikas sings with power, grace and effortless fluidity through the extreme ranges of her taunts, her despair at losing to Calaf and, finally, her realization of love for him.”
–Harriet Howard Heithaus, Naples News

“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

“Marcy Stonikas is a formidable Turandot, physically and vocally. Her voice has the cold, steely edge for an ice princess but there’s a hint of warmth that fully emerged in the final scene to convey a sense of humanity. “In questa reggia” is Turandot’s big aria and Stonikas did not disappoint. Hers is one of the most exciting voices I’ve heard in a long time and I hope she’ll be back.”
–Anne Arenstein, CityBeat

“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

“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

“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

As Ariadne/Prima Donna in Ariadne auf Naxos:

“Marcy Stonikas as the Diva/Ariadne brings a strong, dramatic Wagnerian tone to her delivery and she manages to sing with strength and clarity while standing up or lying down. Her Ariadne is amusingly stiff and classically rigid and her Diva is emotionally packed for a reality jab at anyone who might offend her. She plays both styles to perfection.”

-J. Peter Bergman, the Berkshire edge

“Megawatt soprano Stonikas is thoroughly captivating as the forsaken heroine cast upon a morbid strand by her faithless lover, her voice itself a preternaturally lush and rolling seascape of sound and fury as she renders the gorgeous, expansive liebestod “Ein Schönes war” with which Strauss brilliantly furnishes her.”

-Charles Geyer, La Scena Musicale

“As the despondent Ariadne, Stonikas alone should be reason enough to visit this production. My co-attendee and I cried out in unison when she started singing from her recumbent position on the rocks, mourning Theseus, with perfect messa di voce, a free and even top, and a “Du wirst mich befreien” in her big act two aria that needed no superfluous gulp of air.”

-Joel Rosen,

“As to Marcy Stonikas as Ariadne, we cannot imagine, at least last night in that house, greater perfection. Stonikas metamorphosed from the prologue’s scheming diva into a Goddess in song and stature. She soared in the great arias “Es gibt ein Reich,” “Ein schönes war” and the transcendent concluding apotheosis.”

-Tony Schemmer, The Boston Musical Intelligencer

“Soprano Marcy Stonikas sent heads reeling with her magnificent portrayal of Ariadne in Act II. Her dramatic vocalizing tackled the long aruous passages, Wagnerian in style, with grace and a presence, using her magnificent stentorian voice to stay on pitch throughout. She […] was met by roars of applause.”

-Rex Hearn, Berkshire Record

“Two excellent performances anchored the opera. Marcy Stonikas’s imposing Ariadne showed fine breath control and phrasing, growing from “impressive” to “highly expressive” as the princess’s emotional journey ramped up. One left wanting to hear both leading sopranos in further roles.”

-David Shengold, Opera News

“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

As Tosca:

“The Tosca, Marcy Stonikas, clad in jewels and blood-red velvet, pulled at the audience’s heart strings when she sang her aria asking God why he rewards her prayers and sacrifices with torture. All three principals were outstanding in this act. Stonikas [is a] young singer from whom a great deal more can be expected in the future.”

-Maria Nockin, Opera Today

“Choosing […] Marcy Stonikas for the demanding principal role was a master stroke […]. The Chicago native was a true tour-de force, mesmerizing the sold-out audience with her dramatic vocal ability in the role of an opera singer in Rome in the year 1800 sucked into a game of political intrigue that turns deadly.”

-Richard Mineards, Montecito Journal

“Ms. Stonikas […] was a model of radiance and apt dramatic power, with assured tone and dramatic aplomb, but also the critical admixture of vulnerability and, under the circumstances, a righteous will-to-kill.”

-Josef Woodard, Santa Barbara News-Press

“…powerful directing from Opera Santa Barbara’s Artistic Director Jose Maria Condemi sealed the deal and set the stage, literally, for one of the most important voices of the present generation.

Soprano Marcy Stonikas, in her title role debut, proved the provenance of critical raves that have followed her from Seattle Opera and will no doubt multiply as her career burgeons around the world. From Stonikas’ first entrance, jaws dropped. Not only was she a fabulous actor, her voice, stunningly powerful yet mellifluous, easily filled the room, and then some. Never overpowering the space, her various capabilities in timbre and dynamic contrast were nevertheless an impressive force of nature. Tosca’s famous Vissi d’arte aria, sometimes as gentle as a summer day, could also overwhelm rapturously in vocal power and expression: a joy to experience.”

-Daniel Kepl, CASA

As Leonore in Fidelio:

“Marcy Stonikas as Leonora gave us [a] powerful performance with magnificent voices that filled the hall.”

-Tobias Grace, Out in Jersey

“The soloists are stunning performers. Soprano Marcy Stonikas [is] captivating. [Her] rich, full voice commanded attention every time [she] sang.”

-R Birkel, Princeton Found

“Stonikas’s aria is deeply affecting. Her range is remarkable and thrilling.”

-Bob Brown, Central Jersey

“Sopranos Marcy Stonikas (Leonore) and Danielle Talamantes (Marzelline) were perfectly matched in vocal timbre, playing their characters as formidable and determined women unafraid of anything. Duets between the two were always clean, and the vocal spin on their collective sound was consistently uniform. Ms. Stonikas possessed [a] rich timbre, adding poignancy to her signature first act aria, and was sung with a rich plaintive sound elegantly accompanied by horns from the Festival Orchestra.”

-Town Topics

“The two leads, Stonikas and Baetge, excel. In addition to her commanding voice, Stonikas lends a presence of dignity and conviction to her role, especially evident in the final scene in which she no longer must hide her identity.”

-Linda Holt, Broad Street Review

As Mother in Hansel und Gretel:

“As the parents, Marcy Stonikas and Mark Walters are exceptionally good, able to present conflicting emotions while still caring about their children’s welfare. Both have first-rate voices that illuminate their characters.” -Melinda Bargreen, Seattle Times

“Marcy Stonikas and Mark Walters make equally vivid parents.” -Gavin Borchert, Seattle Weekly

“…the acting of Marcy Stonikas as the mother and Mark Walters as the father — neither singing up a storm but both embodying the exhausted anger or drunkenness that often accompanies poverty.” -Rosemary Ponnekanti, The News Tribune

As Magda Sorel in The Consul, Seattle Opera:

“Ms. Stonikas is a good actress with a massive yet beautiful voice. Ms. Stonikas faints brilliantly; [she] gave [a] riveting performance.”
-Ivan Katz, Huffington Post

“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.”
-Melinda Bargreen, The Seattle Times

“Magda’s role is the heart of the tale, and Stonikas carried it off magnificently, from the practicality of tending to John’s wound and getting him away, her strength and optimism, to her increasing tension, loss of hope and distorted, phantasmagoric nightmares.”
-Phillipa Kiraly, City Arts Magazine

VIDEO: King5 News feature

As Salome 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.”

-Robert Coleman, Opera News

“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

“Marcy Stonikas sang the role of Salome with great brilliance as well as subtlety, often revealing her character’s troubled psychology. Her movement onstage was luxuriously slow; and her constantly shifting gaze gave the impression that Salome sees but does not understand because her reality and morality are somehow warped.”

-Jared Oaks, Reichel Recommends

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 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

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 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

As Donna Anna in 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

As Second Lady in 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

As Soprano soloist in Beethoven’s 9th Symphony:

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

“The soloists are sublime, with Stonikas soaring over the top of the entire ensemble, strings, winds and chorus included.”
-Perth Arts Live

“The four vocal soloists sang with rare skill.”
-Neville Cohn, The West Australian

“Mezzo Fiona Campbell and the American soprano Marcy Stonikas (a fine young Wagnerian), blended perfectly, the latter soaring over the heavier passages with ease.”
-Clive Paget, Limelight Magazine

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

The Seattle Times

In Mahler’s Symphony No. 8:

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

-Chicago Classical Review

As Vanessa in 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

Premiere of Contemporary work with I.C.E.:

“The world premiere of ‘Fallen Eve’ by Chicago composer Geoffrey Gordon set five poems by the British poet laureate Ted Hughes for mezzo-soprano and chamber ensemble…Marcy Stonikas, the limpid-toned and expressive singer, was fully inside them…”

-Chicago Tribune