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


Soprano Siobhan Stagg is one of the most exceptional young artists to have emerged from Australia in recent years. After graduating from the University of Melbourne, Siobhan began her career in the Salzburger Festspiele’s Young Singers Project and as a soloist at the Deutsche Oper Berlin.

Particular highlights in her 2020/21 season include Pamina Die Zauberflöte in her debut for the Glyndebourne Festival and her solo recital debut at London’s Wigmore Hall. Among her recent successes is the title role in Massenet’s Cendrillon for the Lyric Opera of Chicago; Pamina for the Royal Opera House, Covent Garden; Sophie Der Rosenkavalier for the Opernhaus Zurich; Mélisande Pelléas et Mélisande for the Opéra de Dijon and Australia’s Victorian Opera; Pamina, Gilda Rigoletto and Cordelia in Aribert Reimann’s Lear for the Hamburgische Staatsoper; Najade Ariadne auf Naxos for the Bayerische Staatsoper, Munich and as soprano soloist in Mozart’s Requiem staged by Romeo Castellucci at the Festival d’Aix-en-Provence and Adelaide Festival. Her many roles at the Deutsche Oper Berlin include Pamina, Zerlina Don Giovanni, Sophie, Gilda, Micaëla Carmen, Tytania A Midsummer Night’s Dream and Musetta La bohème.

On the concert platform appearances include Brahms’ Ein Deutsches Requiem (Berliner Philharmoniker/Christian Thielemann); Zemlinsky’s Lyric Symphony at the BBC Proms (BBC Symphony Orchestra/Simone Young); Mozart Concert Arias at both the Salzburger Festspiele and the Festival d’Aix-en-Provence (Ensemble Pygmalion/Raphaël Pichon); Strauss’ Vier letzte Lieder (Kristiansand Symfoniorkester/Nathalie Stutzmann); Beethoven’s Missa Solemnis (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) and Mahler’s Symphony No. 2 (Seoul Philharmonic Orchestra/Osmo Vänskä).

Siobhan became a Director of the Melba Opera Trust Board in October 2020, their first scholarship alumna to be appointed, and the first International Director.

Video & Audio

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    28 Feb 20 Mozart Requiem
    Adelaide Festival

    “Local soprano Siobhan Stagg is superb”
    Steve Evans, InDaily, 29 February 2020

    “Stagg sings with a lovely, silvery tone”
    Jo Litson, Limelight, 28 February 2020


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    27 Jan 20 Britten A Midsummer Night's Dream
    Deutsche Oper Berlin

    “Unter den erwachsenen Gesangssolist*innen ragt die Tytania von Siobhan Stagg mit zupackenden Koloraturen heraus.” [“Siobhan Stagg’s Tytania stands out among the adult vocal soloists with gripping coloratura”]
    Peter P Pachel, NMZ Online, 27 January 2020

    “As Tytania, Siobhan Stagg… displayed a flexible and gleaming voice”
    Ako Imamura, Bachtrack, 30 January 2020

    “…James Hall…was well matched by Siobhan Stagg’s spirited, knowing (at least until she was not!) Tytania.”
    Mark Berry, Seen and Heard International, 02 February 2020 

    “…ou comme la Titania agile et claire dans l’aigu de Siobhan Stagg” [“..the agile and clear Titania of soprano Siobhan Stagg”]
    Vincent Guillemin, Altamusica, 04 February 2020

    “Siobhan Stagg ist eine Tytania, die Strenge, Witz und Leidenschaft vereint.” [“Siobhan Stagg is a Tytania that combines rigour, wit and passion”]
    Clemens Haustein, Frankfurter Allgemeine Zeitung (FAZ), 29 January 2020

    “Von den insgesamt guten Sängern verdienen der wohlklingende Countertenor James Hall als Oberon und die in den Höhen sichere Siobhan Stagg als Tytania ein besonderes Lob.” [“Of the overall very good singers…Siobhan Stagg’s Tytania (with security in the high tessitura) deserves special praise”]
    Jürgen Gahre, General Anzeige Bonn, 03 February 2020

    “En cuando a ella, me pareció la mejor del reparto. Se trata de una soprano ligera con voz atractiva y bien manejada, cantando con expresividad y moviéndose de manera destacable en escena.” [“As for (Siobhan Stagg’s Tytania), she seemed the best of the cast. It is a light soprano with an attractive and well-managed voice, singing expressively and moving in a remarkable way on stage”]
    José M. Irurzun, Beckmesser, 04 February 2020

    “Tragender sind die Rollen des Countertenors James Hall als Oberon und der Sopranistin Siobhan Stagg als Titania – sie singen das sehr schön…” [“More important are the roles of the countertenor James Hall as Oberon and soprano Siobhan Stagg as Tytania – they sing it very beautifully”]
    Peter Uehling, Berliner Zeitung, 27 January 2020

    “…Siobhan Stagg, who steals the show as Tytania by showing off her brilliant soprano even in the coloratura which is fiendishly hard to sing.”
    Lutz Nalepa, GB Opera Magazine.

    “Wunderbar die Sängerbesetzung mit dem Countertenor James Hall als König Oberon… und Siobhan Stagg als Königin Tytania.” [“The cast of singers is wonderful with the countertenor James Hall as King Oberlin and Siobhan Stagg as Queen Tytania”]
    Achim Dombrowski, Opera Online, 29 January 2020,

    “…die australische Sopranistin Siobhan Stagg, die mit sanftem lyrischem Sopran betört und das virtuose Zierwerk der Partie souverän absolviert.”[… the Australian soprano Siobhan Stagg, who seduces with gentle lyrical soprano and confidently completes the virtuoso ornamentation of the part.]
    Bernd Hoppe, Opera Lounge, 29 January 2020,


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    31 Dec 19 Beethoven Symphony No. 9
    Bamberger Symphoniker / Nathalie Stutzmann

    “Vier exzellente Solisten waren nun zu hören. Zauberhaft die helle Sopranstimme von Siobhán Stagg… Das Finale fasste den gesamten Abend zusammen.. ein voraus genommenes Silvesterfeuerwerk, farbig und mit Gänsehautmomenten!” [ “Four excellent soloists could now be heard. The bright soprano voice of Siobhan Stagg was magical. The finale summed up the whole evening…an early New Year’s Eve fireworks, colourful and with goosebump moments!”]
    Elke Tober-Vogt, MainPost, 01 January 2020

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    01 Dec 19 Verdi Requiem
    West Australian Symphony Orchestra

    “Soprano soloist Siobhan Stagg capped her year as WASO’s Artist in Residence with a compelling performance, her golden voice and delicately clear top end making every phrase a delight.”
    Rosalind Appleby, Seesaw Magazine, 01 December 2019

    “…Siobhan Stagg’s soprano and Stefanie Irany’s mezzo twin towers in a soaring soundscape. Stagg gave the most powerful of her performances in this year as Artist in Association, rising on wings like eagles’ for the climax, Libera me (Deliver me); and falling gracefully to the last, fateful cadence. Many ovations followed…” David Cusworth, The West Australian, 01 December 2019

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    09 Dec 19 Handel Messiah
    Melbourne Symphony Orchestra

    “Soprano Siobhan Stagg was captivating in I know that my Redeemer liveth.”
    Emma Muir-Smith, The Sydney Morning Herald, 09 December 2019



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    06 Nov 19 Debussy Pelléas et Mélisande
    Opera Dijon

    “Mélisande trouve en Siobhan Stagg une merveilleuse interprète. La pureté de l’émission, un jeu dépourvu d’affection ou de mièvrerie lui permettent de traduire idéalement sa fragilité, et son mystère.”

    “Melisande found in Siobhan Stagg a wonderful performer.”
    Yvan Beuvard, Forum Opera, 06 November 2019

    “À rebours des Mélisande diaphanes à la voix presque blanche, Siobhan Stagg se distingue par un timbre assez rond, aux couleurs certes affirmées mais sans extraversion inutile.”

    “Siobhan Stagg is distinguished by a rather round tone, with colors that are certainly affirming without unnecessary extroversion.”
    Gilles Charlassier, O Lyrix, 11 November 2019

    “La jeune soprano australienne Siobhan Stagg propose une Mélisande très intéressante. Son incarnation scénique et sa voix – suffisamment ronde et chaude pour Pamina ou Micaëla, mais également capable d’allègements et de transparence – lui permettent d’être tantôt femme, tantôt jeune fille, et de préserver ainsi le mystère inhérent au personnage.”

    “The young Australian soprano Siobhan Stagg offers a very interesting Mélisande. Her stage incarnation and her voice – sufficiently round and warm for Pamina or Micaëla, but also capable of lightening and transparency – allow her to be sometimes a woman, sometimes a young girl, and thus preserve the mystery inherent to the character.”
    Stéphane Lelièvre, Bachtrack, 06 November 2019

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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)

Falstaff (Nannetta)
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

Knoxville: Summer of 1915

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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    Viva Italia: Su le Sponde del Tebro

    Label: Capriccio

    Release Date: 06 Sep 20

    DSO Blechbläserquintett portray the rich and colourful musical landscape of Italy. The five musicians present a varied journey through music history, from the Baroque era to the present day. Soprano Siobhán Stagg, one of the most outstanding young artists to emerge from Australia in recent years, lends distinguished support to their inventive, virtuoso arrangements.
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    Label: Challenge Records International

    Release Date: 06 Dec 19

    Playing string quartet is a matter of the heart for all four members of the Noga Quartet. Avishai Chameides dreamed of playing viola in a string quartet ever since he was a child, but only after his musical career had taken him from conservatory in Givatayim and Tel Aviv to Milan and Berlin did he finally meet the three French musicians Simon Roturier, Lauriane Vernhes, and Joan Bachs, with whom he founded the ensemble ten years ago.

    The Noga Quartet has won an impressive number of prizes: Premio Borciani in 2014, the Banff International String Quartet Competition in 2010 and
    2013, the Osaka International Chamber Music Competition in 2011, and First Prize at the renowned Melbourne International Chamber Music Competition in 2015. Those successes are now the Noga Quartet’s worldwide calling card. The ensemble is regularly invited to perform in major concert halls and festivals in Germany, Austria, Italy, the Benelux countries, France, Scandinavia, and Canada. The members of the Noga Quartet are regularly present on the Berlin concert scene – also as members of the Berlin Philharmonic and the Deutsches Symphonie-Orchester. The quartet’s approach – to develop a work from inside out in all of its details, and to immerse and abandon oneself to the music – leads to highly unique, finely explored interpretations, and that takes time.

    Yet the ensemble already masters an impressive variety of repertoire, ranging from Beethoven to Bartók, from Ligeti to Adès. They trained as a quartet with members of the Alban Berg and Artemis Quartets, and they have attended a great number of courses imparted by masters of the string instrument craft.

    Soprano Siobhan Stagg is one of the most outstanding young artists to emerge from Australia in recent years. Christa Ludwig has described Siobhan’s voice as “one of the most beautiful I’ve ever heard.”

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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

Read Siobhan’s Interview in Limelight Magazine (25 September 2020): Siobhan Stagg’s unique musical response to the pandemic