Siobhan Stagg

Winner of the 2019 Green Room Award for Best Female Lead in an Opera,
for her performance as Mélisande for Victorian Opera in 2018.

Photo: Todd Rosenberg


A member of the Deutsche Oper Berlin from 2013-2019, Siobhan’s roles in the house have so far included Pamina Die Zauberflöte, Sophie Der Rosenkavalier, Blonde Die Entführung aus dem Serail, Zerlina Don Giovanni, Micaëla Carmen, Musetta La bohème, Contessa di Folleville Il viaggio a Reims, Marguerite de Valois Les Huguenots and Waldvogel and Woglinde in The Ring Cycle conducted by Sir Simon Rattle.

Elsewhere she has sung the title role in Cendrillon for the Lyric Opera of Chicago; Pamina for the Royal Opera; Sophie for the Opernhaus Zurich; Mélisande for Australia’s Victorian Opera; Gilda, Blonde and Cordelia in Aribert Reimann’s Lear for the Hamburgische Staatsoper; Najade Ariadne auf Naxos for the Bayerische Staatsoper, Munich; Blonde for the Dutch National Opera and she made her debut at the Festival d’Aix-en-Provence in performances of Mozart’s Requiem staged by Romeo Castellucci.

Highlights in Siobhan’s 2019/20 season include Mélisande for the Opera di Dijon; Tytania in  new production of A Midsummer Night’s Dream and Pamina for the Deutsche Oper, Berlin; Giulietta Il giorno del regno in her debut for Garsingon Opera and further staged performances of Mozart’s Requiem at the Adelaide Festival.

On the concert platform she sings Strauss’ Vier letzte Lieder (Kristiansand Symfoniorkester/Nathalie Stutzmann & Royal Philharmonic Orchestra/Sir Andrew Davis); Beethoven’s Missa Solmnis (Sydney Symphony Orchestra/Donald Runnicles & Filarmonica del Teatro Comunale di Bologna/Asher Fisch) and his Symphony No. 9 (Bamberger Symphoniker/Nathalie Stutzmann); Ravel’s Shéhérazade (Stavanger Symphony Orchestra/Marc Soustrot); Debussy’s Ariettes Oubliées orch. Brett Dean (Orchestre national de Lyon/Karl-Heinz Steffens); Mahler’s Symphony No. 2 (Seoul Philharmonic Orchestra/Osmo Vänskä) and Bach’s Matthäus-Passion (Gürzenich-Orchester Köln/Nicholas Collon). She will also tour France with Ensemble Pygmalion/Raphaël Pichon to launch their recently released album of Mozart Arias.


Performance Schedule

  • More info  
    19:30 22 Nov 2019 Perth Concert Hall, city TBC

    RICHARD STRAUSS Morgen Opus 27, No. 4
    RICHARD STRAUSS 5 songs after poems by Otto Julius Bierbaum and Karl Henckell Op. 48: 1. Freundliche Vision

    Conductor: Asher Fisch
    Soprano: Siobhan Stagg
    Orchestra: West Australian Symphony Orchestra

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    19:30 23 Nov 2019 Perth Concert Hall, city TBC

    Conductor: Asher Fisch
    Soprano: Siobhan Stagg
    Orchestra: West Australian Symphony Orchestra

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    19:30 29 Nov 2019 Perth Concert Hall, city TBC


    Conductor: Asher Fisch
    Soprano: Siobhan Stagg
    Mezzo-soprano: Stefanie Iranyi
    Tenor: Paul O’Neill
    Bass: Warwick Fyfe
    Orchestra: West Australian Symphony Orchestra

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    19:30 30 Nov 2019 Perth Concert Hall, city TBC


    Conductor: Asher Fisch
    Soprano: Siobhan Stagg
    Mezzo-soprano: Stefanie Iranyi
    Tenor: Paul O’Neill
    Bass: Warwick Fyfe
    Orchestra: West Australian Symphony Orchestra

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    19:00 07 Dec 2019 Hamer Hall, city TBC


    Conductor: Andrew Davis
    Soprano: Siobhan Stagg
    Mezzo-soprano: Catherine Wyn-Rogers
    Tenor: Topi Lehtipuu
    Bass: James Clayton
    Orchestra: Melbourne Symphony Orchestra

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    17:00 08 Dec 2019 Hamer Hall, city TBC


    Conductor: Andrew Davis
    Soprano: Siobhan Stagg
    Mezzo-soprano: Catherine Wyn-Rogers
    Tenor: Topi Lehtipuu
    Bass: James Clayton
    Orchestra: Melbourne Symphony Orchestra

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    20:30 12 Dec 2019 Salle Poirel - Nancy, NANCY

    Conductor: Raphaël Pichon
    Orchestra: Pygmalion Ensemble
    Soprano: Siobhan Stagg
    Mezzo soprano: Adèle Charvet
    Tenor: Linard Vrielink
    Baritone: John Chest

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    19:30 08 Feb 2020 Deutsche Oper Berlin, BERLIN


    Pamina: Siobhan Stagg

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    01 Dec 18 Massenet Cendrillon
    Lyric Opera of Chicago

    “…the pure-voiced Australian soprano Siobhan Stagg, an eye-catching and dramatically lovable cinder girl in her very welcome American debut… Stagg won hearts early with Cinderella’s self-comforting soliloquy — all grace and humility…”
    Nancy Malitz, Chicago Sun Times, 02 December 2018

    “There was no denying Stagg’s sweetly fetching vocal timbre, nor her affecting – sometimes disarming – acting as the mistreated stepchild.”
    Howard Reich, Chicago Tribune, 02 December 2018

    “Australian soprano Siobhan Stagg is a Disney Cinderella with real emotion.”
    Deanna Isaacs, Chicago Reader, 04 December 2018

    “Australian soprano Siobhan Stagg makes a terrific American debut in the title role, singing and acting with unaffected charm and grace… Her potent, silvery voice brought a touching vulnerability to her moving Cendrillon.”
    Henson Keys, Parterre, 07 December 2018

    “… helped by Stagg’s absolutely stunning and powerful voice, coupled with her undeniably magnetic stage presence. This production represents her American debut and certainly raises hopes that she will find her way back to the Lyric stage again sooner rather than later.”
    Bryson David Hoff, Chicagoland Music Theatre, 05 December 2018

    “Siobhan Stagg is equally strong in the title role, with a clear, even soprano. In the first act scene with the fairy godmother, her meticulous delivery was used to excellent effect. Stagg’s approach — moving fluidly between recitative and longer lines — allowed the monologue’s passion to emerge, showed Stagg’s depth, and was one of the most touching parts of this production.”
    James L. Zychowicz, Seen and Heard International, 04 December 2018

    “…the cast is a fine one, headed by Australian soprano Siobhan Stagg as Lucette/Cendrillon. The Act III aria in which she bids farewell to the modest joys of her home was truly touching, and she positively beamed in the ball sequence.”
    Chuck Lavazzi, KDHK, 06 December 2018

    “Making her American debut, Australian soprano Siobhan Stagg is wonderful as our kind-hearted heroine. She is perfectly cast here, with a youthful, shimmery voice that is remarkable above all for its ease of tone, (no small feat at the Lyric, the second-largest opera house in North America.) Stagg’s considerable charms ensure we’re rooting for her beginning to end.”
    Hannah De Priest, Schmopera, 04 December 2018

    “Siobhan Stagg makes her American debut as Cendrillon. She’s as lovely as her voice and conveys the character’s sense of integrity throughout. An incredible voice…”
    John Accrocco, BuzzNews Centre Stage, 03 December 2018

    “Cendrillon’s (Siobhan Stagg) sweet voice will hold everyone’s attention…”
    Tamara L. O’Shaughnessy, Chicago Parent, 03 December 2018

    “And what of Cinderella? This is soprano Siobhan Stagg’s American debut, and her grace is as otherworldly as anything in the fairytale. Her first aria, about what it means to be Cinderella, is chilling and her duet with the prince, when she feels powerful for the first time, is mesmerizing.”
    Alan Bresloff, Around the Town Chicago, 04 December 2018

    “Australian soprano Siobhan Stagg makes her U.S. debut as Lucette, and she shines both vocally and visually…”
    Lisa Trifone, 3CR Chicago, 04 December 2018

    “Making a formidable American debut in the role of Cendrillon is Siobhan Stagg, a young Australian soprano with a wonderfully warm and expressive voice, and an easy grace and naturalness about everything she does. On stage in almost every scene… Stagg effortlessly captures her character’s stoicism, loneliness and resignation, as well as her capacity for love and forbearance.”
    Hedy Weiss, WTTW News Chicago, 05 December 2018 

    “The starring role … served as a grateful vehicle for the American debut of Siobhan Stagg. The success the young Australian lyric soprano enjoyed as Pamina in Die Zauberflöte at Covent Garden in 2017 clearly was no fluke. Her Lucette sounded as pretty as she looked, while the tinge of melancholy in her brightly appealing timbre, and her dramatic restraint, kept her Cinderella was coming off as too good-goody a fairytale heroine.”
    John von Rhein, Opera Magazine (UK), April 2019 edition

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    11 Oct 18 Debussy Pelléas et Mélisande
    Victorian Opera

    “Siobhan Stagg’s return home a sublime triumph. It’s not often a soprano comes along with the ability to sing with both thrilling frisson and total tranquility. Inhabiting an extraordinarily intricate character, Siobhan Stagg’s performance as Melisande in Pelleas and Melisande was transcendent. The sublime Stagg has sung in some of the greatest opera houses in the world and was, thankfully, lured home to Melbourne for this role debut. Her voice is one of real beauty, completely even from top to bottom. Melisande’s a cappella introduction to Act III was a particular highlight, allowing the audience to clearly hear all Stagg’s shimmering vocal colours. We can only hope it’s not too long before she returns home to perform again.
    Bridget Davies, The Age, 12 October 2018

    “… vocally and dramatically compelling…Stagg, in particular, is an ascendant star, possessed of remarkable purity of tone, easy legato and a natural lyricism.”
    Eamonn Kelly, The Australian.

    “Soprano Siobhan Stagg, ethereal, enigmatic and fragile as Mélisande, sang with clarity and tenderness”
    Patricia Maunder, Limelight, 11 October 2018

    “Stagg adds to the mystery of Mélisande by gently underplaying the role, highlighting the young woman’s proclivity for being coyly obtuse when questioned. In a sterling performance, Stagg sings with a delectably golden tone, producing vocals of unwavering purity. With Mélisande’s long blonde tresses piled high upon her head, Stagg maintains a serene presence, culminating in a moving deathbed scene.”
    Simon Parris, Man in Chair, 12 October 2018

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    12 Sep 17 Mozart Die Zauberflöte
    Royal Opera House, Covent Garden

    “Best of all was Siobhan Stagg, a Pamina who seemed completely suited to the role, releasing a stream of beautiful sound when needed, and with the heft and passion to make ‘Die Wahrheit’ the hinge of the entire drama.”
    Roger Parker, Opera, October 2017

    “… Peter meets his match in Stagg’s animated and expressive use of the text, sensitive, stylish phrasing and beautifully clear timbre. Far from being rescued by Tamino, it is Pamina who rescues her prince by taking his hand and leading him through the trials.”
    Anna Picard, The Times, 14 September 2017

    “[Stagg] really seems to mean every word. Hers is a warm, lithe soprano, and one that captures the character’s girlishness.”
    Hannah Nepil, Financial Times, 13 September 2017

    “Australian soprano Siobhan Stagg was pure delight in the role to which she brought a deliciously clear voice and fine acting skills.”
    William Hartson, Express, 15 September 2017

    “Australian soprano Siobhan Stagg offers an attractively sung Pamina.
    George Hall, The Stage, 13 September 2017

    “Two stand-out performances anchor this Flute. As the heroine Pamina, Siobhan Stagg is a touching and musically delicious discovery – although those of us fortunate to have heard her jump-in account of Rossi’s Orpheus would expect nothing less. The young Australian is the next big thing.”
    Mark Valencia, What’sOnStage, 13 September 2017

    “Siobhan Stagg’s Pamina was an assertive heroine, but also affecting in her Act Two misery, floating high notes with the utmost control.”
    Bernard Hughes, The Arts Desk, 13 September 2017

    “Siobhan Stagg gave a glorious performance as Pamina. It was a heartfelt portrayal of great poise with a voice of sensitive clear timbre and a flawless technique. Her Act II aria Ach, ich fühl’s received rapturous applause, and deservedly so.”
    Alistair Jackson, Australian Book Review, 20 September 2017

    “Siobhan Stagg’s Pamina puts heart and soul into ‘Ach, ich fühl’s’ … also deeply moving, with her impassioned, yet controlled, singing … Siobhan Stagg makes an extremely impressive Royal Opera main stage debut, bringing her sweet soprano to the fore in her very committed and astutely observed performance.”
    Sam Smith, MusicOMH, 17 September 2017

    “[Stagg] gave a strong Pamina throughout the evening. The sound of her voice was rich and moved with ease, giving an extremely heartfelt performance of Pamina’s suicide aria.”
    John Beckett, Schmopera, 13 September 2017

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    15 Jun 17 Haydn Creation
    Melbourne Symphony Orchestra/Sir Andrew Davis

    “Siobhan Stagg an unalloyed success in Melbourne Symphony Orchestra recital…well-suited to the roles of both Gabriel and Eve, she demonstrated unerring accuracy in the composer’s tensile upper-line arcs and occasional rapid ornamental flourishes, as well as having a creamy fullness of timbre that gave weight and interest to her lower passages.”
    Clive O’Connell, The Sydney Morning Herald, 16 June 2017

    “A key focus-point of the oratorio is, of course, its archangels Uriel, Gabriel, and Raphael, performed by [Andrew] Staples, [Siobhan] Stagg, and [Neal] Davies respectively… All performed convincingly – their duets and trios being the most compelling moments…”
    Ben Wilkie, Limelight Magazine, 16 June 2017

    “Siobhan Stagg’s Gabriel was exquisite –her luminous tone throughout the range was equally at ease with florid passagework and longer cantabile melodies, and her diction was always clear. Her serene appearance added to the effect.”
    Margaret Arnold, Classic Melbourne, 20 June 2017

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    31 Aug 16 Zemlinsky Lyric Symphony
    BBC Symphony Orchestra/Simone Young at the BBC Proms

    “…the Zemlinsky was revelatory… Soprano Siobhan Stagg and baritone Christopher Maltman gave thrilling voice to Tagore’s transcendent poems, set by a composer who has languished too long in the shadows of Mahler and Berg. (Simone) Young oscillated sublimely between metaphysical twin poles, pivoting male and female around Zemlinsky’s central ‘Sprich zu mir, Geliebte’; this a near narcotic rapture at the music’s yearning heart.”
    Steph Power, Independent, 06 September 2016

    “While Stagg’s is not an enormous voice, there’s a blade to its purity that helped it project in this challenging space, carrying text and emotion to the back of the hall. The emotional arc of her delivery – from the innocent intensity of “Mutter, der junge Prinz” to the chilly withdrawal of “Vollende denn das letzte Lied” – was the thread on which the songs were threaded, a guiding constant through this extraordinary, excessive work.”
    Alexandra Coghlan, The Arts Desk, 01 September 2016

    “…aided here by two notable soloists, Christopher Maltman… and Siobhan Stagg, a vivid story-teller with a potent stage presence… Particularly compelling was the fourth section given to the soprano – “Speak to me, my love! Tell me in words what you sang” – which was total wonderment, spellbinding…”
    Colin Anderson, Classical Source, 31 August 2016

    “Baritone Christopher Maltman and soprano Siobhan Stagg sang seven songs of lost love and acceptance. Wagner reverberated, Mahler echoed but respectful Zemlinsky kept his identity as the singers, without breaks, sang the seven songs tracing their feelings from joy to painful separation. There was something strangely satisfying in the work’s grandeur …”
    Jeffery Taylor, Express, 04 September 20176



Fidelio (Marzelline)

A Quiet Place (Dede)

Carmen (Micaëla)

Pelléas et Mélisande (Mélisande)

Alcina (Morgana)

Cendrillon (Title Role)
Werther (Sophie)

Les Huguenots (Marguerite de Valois)

Orfeo (Euridice / La Musica)

Le Nozze di Figaro (Susanna)
Die Zauberflöte (Pamina)
La Clemenza di Tito (Servilia)
Don Giovanni (Zerlina)
Der Schauspieldirektor (Mlle Silberklang)

La Boheme (Musetta)

Pygmalion (La Statue)

Lear (Cordelia)

Orpheus (Title Role)

Il Viaggio a Reims (Contessa di Folleville)

Der Rosenkavalier (Sophie)
Ariadne auf Naxos (Najade)

Rigoletto (Gilda)
Don Carlo (Voce dal Cielo)

Siegried (Waldvogel)
Tannhäuser (Hirt)
Das Reingold (Woglinde)
Parsifal (Blumenmädchen)


Mattheus Passion
Johannes Passion
Jauchzet Gott in allen Landen
Mass in B minor

Mass in C

Ein Deutsches Requiem


UNSUK CHIN (b. 1961)
Puzzles and Games from Alice in Wonderland

Ariettes Oubliées

Seven songs with Orchestra (arr. Colin Matthews) : Fleur jetée; Nocturne; Mandoline; Clair de Lune; Notre Amour; Green; Les Berceux

Marc Antonio e Cleopatra (Cleopatra)

Die Schöpfung / The Creation
Kleine Orgelmesse
Nelson Mass
St Nicholas Mass

Ode to St Cecilia’s Day

Symphony No. 2
Symphony No. 4

1610 Vespers

Exultate Jubilate
Laudate Dominum from Vesperae solennes de confessore
Great Mass in C minor (Soprano 1 & 2)

Concert Arias:
Bella mia fiamma… Resta, o cara K. 528
Misera! Dove son?… Ah! Non son io che parlo KV 369
Vado, ma dove? K. 583

Come Ye Sons of Art

Stabat Mater


Orchestrated Songs: Gretchen am Spinnrade; Die Forelle; Du bist die Ruh’; Nacht und Träume; Der Erlkönig
Der Hirt auf dem Felsen (with piano/clarinet)
Auf dem Strom (with piano/french horn)

Frauenlieben und -leben

Vier Letzte Lieder
Orchestrated Songs: An Die Nacht; Ständchen; Ich wollt’ ein Sträusslein binden; Säusle liebe Myrthe; Zeuignung; Morgen; Freundliche Vision; Cäcilie


Bachianas Brasileiras No. 5 (Cantilena)

Dixit Dominus

Lyric Symphony


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    Libertà!: Mozart Et L'opéra

    Label: Harmonia Mundi

    Release Date: 30 Aug 19

    Siobhan Stagg (soprano)
    Sabine Devieilhe (soprano)
    Serena Malfi (mezzo)
    Linard Vrielink (tenor)
    John Chest (baritone)
    Nahuel di Pierro (bass-baritone)

    Pygmalion Ensemble/Raphaël Pichon