"...intriguing...beautifully performed....In addition to the sheer beauty of her instrument, Stacey brought uncommon versatility to this smartly planned program – not only with respect to the varied styles of the composers, but to the range of affect of the pieces, and the general shift of performance mode from the liriche of the first half to the avant-garde edginess of the second. It’s not every soprano who is ready to perform an entire half of a program alone on stage...."
– James Primosch, March 2013
"The magic of her sultry appeal was incarnated by the three offstage siren voices of Stacey Mastrian, Rachel Carlson and Lindsey Paradise..."
– Charles T. Downey, The Washington Post, January 2013
"...intensity, focus and a warm, passionate sound."
– Steve Smith, The New York Times, February 2012
"When Stacey and Ben sang their divine harmonies and ‘Fa, la, la, la, Fa, la, la, la-s’ in this powerful and lush duet ("Stay, Fredric, Stay..."), it was heaven on the high seas. It was some of the most beautiful singing I have ever heard on the stage."
– Joel Markowitz, Musical Scene Stealers Article in DC Theatre Scene, December 2010
"An intense look and determined bearing revealed that the soprano was immediately in command of the stage....Her performance swept through the auditorium; the public was conquered by it....Mastrian’s utterances were at times spoken, at times barely a whisper, at times shouted – an innovative style, powerful language, and technique that fused opera with electronics....The audience was spellbound by her interpretation. The evening concluded with a universal ovation and many enthusiastic remarks."
– Francesca DiFolco, Review of Stacey Mastrian’s recital with piano and tape of works by Dallapiccola, Maderna, Berio, and Nono; Conservatory of Latina (Italy), June 4, 2009
"Stacey Mastrian was both versatile
and passionate in her interpretation of this filigree soprano-part..."
Nikolaidis, Der Tagesspiegel, September 23, 2007 (transl. Bettina Matthias)
"The performance was of great quality and captivated the listener: even
in the highest ranges, Stacey Mastrian’s effortless mastery of intonation was
coupled with her ravishingly tender and flowing soprano voice..."
– Liesel Markowski, Neues Deutschland, Sept. 2007 (transl. Bettina Matthias)
"Very impressive, the American soprano Stacey Mastrian sang with tremendous
ease and beauty."
– Wolfgang Fuhrmann, Berliner Zeitung, September 24, 2007
"Both singers were admirable, mastering their almost impossible
parts. Especially Stacey Mastrian stood out as she displayed her
impressive range in her partially unaccompanied solos."
– Andreas Göbel,
Kulturradio am Morgen,
September 22, 2007(transl. Bettina
Recital by Stacey Mastrian, Soprano: a Vocal Fresco from Bach to Maderna, chiseled with refinement
"The 4th annual concert of the "International Josef Traxel Vocal Society" took place on October 31, 2008 in the intimate setting of the Chapelle Historique du Bon-Pasteur of Montreal, a privileged site....For her Canadian and Montreal debut, [Ms. Mastrian] chose an eclectic and varied program, extending from Bach, Mozart, Mendelssohn, Wolf and Rachmaninoff to contemporary Italian vocal music (Maderna, Liuzzi, Malipiero, Casella, Buzzi-Peccia) and American (Duke, Crumb, Laitman), highlighting her mastery of several languages, especially German and Italian. Dressed with sober distinction in an anthracite evening gown and a black velvet stole, Stacey Mastrian impressed the audience with the flexibility of her silvery-timbered voice,…with her nuanced expressivity, as well as with her remarkable stage presence, particularly evident in the humorous Italian selections. There is no doubt that Stacey Mastrian surprised and charmed a public little familiar with contemporary music, notably in the very entertaining Italian pieces,...and for an encore, a hilarious pseudo-diva who is tone-deaf....In conclusion, a lovely musical evening marked by a young artist who is refined and intellectual, with the discovery of a rich and entertaining contemporary repertoire, finely crafted by a vocal technique that is sure and well-nuanced....According to the wish of all, a future ‘See you again’ in Montreal awaits."
– Gérard Mohr, November 1, 2008
"If you want a comfy and lively evening of well recognized wit, whimsy and pleasing voices,
then take in the Washington Savoyard’s The Pirates of Penzance...a core group of competent professionals...
principals who have the chops to effortlessly reach some surprisingly high soprano notes...and all this
with smiles on their faces and nary a missed lyric or off key adventure. ...energetic cast.... With featured
performances by Stacey Mastrian (Mabel)...this is a pleasant visit to another time and place.... High
audience expectations are met with this production of Pirates. Director Klewin has a solid group of
experienced featured actors who can sing and act at the same time.... In the featured roles, Stacey
Mastrian is a marvel at hitting the highest soprano notes without a crack or a creek and with nary a
need to gasp for breath. She is delightfully coy with a coquettish aura in her facial and body presentations."
– David Siegel,
February 26, 2008
"The Washington Savoyards get a positive "10" for their sparkling production of the "Pirates of Penzance"
at the Atlas Theater. Every musical number was a joy to watch with the wonderful comic interpretations....
The leads Matthew Lloyd Smith and Stacey Mastrian are of excellent tenor and soprano voices....
This production is so well done it deserves full houses for every performance.
It is highly recommended for 150 minutes of sheer joy...."
– Bob Anthony,
"In the supporting roles of Armide's confidante[s] and others, Stacey
Mastrian contributed a
sweet, shimmering soprano...."
Reich, The Washington Post,
Saturday, April 21, 2007
"The Summer Opera Theatre's 'Rigoletto'...a cast that is
strong...singing and acting talent….As Gilda, Stacey Mastrian has a voice
that is sweet and agile with just the right hint of fragility."
McLellan, The Washington Post, Tuesday, July 12, 2005
"As Gilda, soprano Stacey Mastrian
turned in an exquisitely etched performance, unveiling delicate, silvery tones
and pinpoint accuracy."
– T.L. Ponick, The Washington Times, July 16, 2005
at the Summer Opera at Hartke Theater is astoundingly performed….The
performances of the cast, as a whole, were wonderful. Not only were
the voices clear and gorgeous...the performances were also well acted.
It was a pleasure to see a cast really getting into the roles. Miss
Mastrian, in her first professional role, gave a crystal clear, warm and
resonant rendering. She thrilled the audience totally. Jason
Stearns had a huge and beautiful baritone that filled the entire building at
times and not just the theater. Remember these names, they are certain
to be heard of many times in the future. Yes, it was a memorable
and most satisfying production."
– Nancy McCord, Freelance Arts Critic, July 2005
“…a fantastic Rigoletto
at the Summer Opera Theater at Catholic U.….The principals' voices were all quite powerful and very attractive….Stacey
Mastrian, a doctoral student in voice at the
of Maryland, made a fetching Gilda. Although
not yet in the same league as the Met's Gilda of choice, Ruth Ann Swenson, she
handled Gilda's difficult music with apparent ease. Her
‘Caro Nome’ was excellent….This show far exceeded productions I
have seen from much larger companies.”
– http://www.OPERA-L.org, July 14, 2005
"Stacey Mastrian had me rapt with
Mimi's introduction from La Bohème (which, given my devotion to La Freni,
is saying something), and her technique was all but flawless in the doll's aria
from The Tales of Hoffman."
– Review of A Fatal Song or The Great Opera Murders (Maryland Opera Studio);
Trey Graham, The Washington City Paper, December 12-18, 2003
"Soprano Stacey Mastrian
(Julie) was lovely in the work's one true aria."
– Review of the world premiere of the opera Clara;
T.L. Ponick, The Washington Times, May 3, 2004
"And who can resist Stacey
Mastrian's dollish flapper girl smile?- a truly loveable coquette who carries
some vocally difficult numbers with an enthusiastic ease."
– Review of Die Fledermaus, set in the 1920's;
Tamara Weaver, Tower, November 1999
Mastrian as Sidonie and Lucinde are accomplished."
– Review of Gluck's Armide
(Opera Lafayette/Maryland Opera Studio);
LaLonde Alenier, The Dresser, April 21, 2007
"...Stacey Mastrian as the Dew
Fairy...provided ample support."
– Review of Hansel and Gretel (Bel Cantanti);
Cecelia Porter, The Washington Post, Monday, October 24, 2005
"All of the voices were
good....Three were making their first appearances with the company and will
certainly be welcomed for return engagements: sopranos Millicent Scarlett and
Stacey Mastrian, and mezzo Michelle Rice."
– Review of A Fatal Song or The Great Opera Murders
(Opera Theatre of Northern Virginia);
Joseph McLellan, The Washington Post, May 23, 2005
to access the July 25, 2004 Baltimore Sun Profile article about Ms. Mastrian.