Hailed by The Boston Globe as “glowing,” “incandescent,” and “a singing actress to be reckoned with,” American soprano Jacquelyn Stucker is being recognized internationally as a versatile singer of new and interesting repertoire ranging from concert works to opera to contemporary music.
Praised for her “dark-tinged soprano with a dusky lower register,” Jacquelyn will begin a two-year engagement this autumn with the Royal Opera House at Covent Garden as a Jette Parker Young Artist. She will make both her Covent Garden Debut and her Bayerische Staatsoper debut as Azema in David Alden’s new production of Semiramide. She will also perform as Frasquita in Barrie Kosky’s production of Carmen and the production will be broadcast worldwide in March 2018 as part of the Royal Opera House’s Live Cinema Season. She will also be featured in recital through the Royal Opera House: a solo recital of European premieres of music by John Harbison and Mark Kilstofte, and a staged recital with baritone Dominic Sedgwick and pianist David Gowland of Wolf’s Italienisches Liederbuch.
Highlights of Jacquelyn’s 2016/2017 season included the soprano solos in Beethoven’s Missa Solemnis with Maestro John Nelson and the National Symphony Orchestra of Costa Rica, Beethoven’s “Ah, perfido!” with Grand Harmonie, the soprano solos in works by Graupner and Bach with the Handel and Haydn Society and Maestro Ian Watson, the roles of Gabriel and Eve in Die Schöpfung with the Back Bay Chorale and Maestro Scott Allen Jarrett, the soprano solos in Tippett’s A Child of Our Time with Maestro Andrew Clark and the Harvard Choruses, and her Santa Fe Opera principal artist debut as Oberto in Alcina with Maestro Harry Bicket. Also at the Santa Fe Opera in 2017, Jacquelyn covered the role of Rosalinde in Die Fledermaus. In addition to singing in the premiere performance of James Kallembach’s sacred cantata The Most Sacred Body of Jesus, Jacquelyn is the soprano soloist for a commercial recording of the work, scheduled for release in the autumn of 2017. In addition to frequently performing as a soloist throughout the season with the Handel and Haydn Society, Jacquelyn was featured as the 2016/2017 soprano in the Society’s Educational Outreach Quartet. She is also the recipient of the 2016 Anna Case MacKay Career Advancement Grant from the Santa Fe Opera, a semi-finalist in the 2016 Young Concert Artists International Auditions, and a National Semi-Finalist in the 2017 Metropolitan Opera National Council Auditions.
2015/2016 performances included solo cantata BWV 199 at Boston’s King’s Chapel, the soprano solos in the Poulenc Stabat Mater and St. Matthew Passion with Mo. Scott Allen Jarrett, Schubert’s “Der Hirt auf dem Felsen” in Jordan Hall with clarinetist Richard Stoltzman, a role debut as Bystrouška in Příhody Ilšky Bystroušky, and a gala performance with North Carolina Opera as Ada in selections from Jennifer Higdon’s Cold Mountain. Jacquelyn was also recently named the 2015 Ruth Freehof Award winner, as well as a finalist of the Metropolitan Opera National Council’s New England Region auditions, and she originated the role of Meridian in the premiere of Joe Illick and Andrea Fellows Walter’s UnShakeable with the Santa Fe Opera. In the summer of 2015 at the Santa Fe Opera, Jacquelyn covered American soprano Ailyn Pérez as Juliette in Gounod’s Roméo et Juliette, as well as the Italian Singer in Strauss’s Capriccio.
Highlights from her 2014/2015 season include performances of Fiordiligi in Così Fan Tutte with Mo. Stephen Lord, the eponymous role in Handel’s Theodora, and Elle in La Voix Humaine in conjunction with The Knight Foundation. Under the baton of Mo. Jarrett, Jacquelyn performed as the Soprano II soloist in Mozart’s Mass in C Minor with Boston’s Back Bay Chorale and made her solo debut with the Handel and Haydn Society as the soprano soloist in Bach’s Weihnachts Oratorium IV. Jacquelyn spent the summer as a member of the Santa Fe Opera’s Apprentice Artist Program, where she covered Isabel Leonard as Ada in the world premiere of Cold Mountain. An enthusiastic performer of oratorio, chamber, and concert repertoire, Jacquelyn is the Docia Goodwin Franklin Third Place Award winner of the 2015 Lyndon Woodside New York Oratorio Society Competition, and she performed Schoenberg’s Pierrot Lunaire and Ligeti’s Aventures in Boston’s Jordan Hall with John Heiss conducting.
Noted as a “potentially major talent,” other representative operatic credits include Donna Elvira in Don Giovanni and Marie in selected scenes from Wozzeck. The 2013/2014 season saw Jacquelyn in role debuts as Rosalinde in Die Fledermaus with Mo. Lord, and Merab in Handel’s Saul with Mo. Jarrett. In the 2012/2013 season, Jacquelyn created the role of Irina in the world premiere of Elena Langer’s comic opera Four Sisters and participated in I SING BEIJING as a young artist, performing selections from “白毛女,” an opera by Chinese composer 严金萱. Jacquelyn also performed the soprano solos in Elias with the American Symphony Orchestra under the baton of Mo. Leon Botstein.
Jacquelyn enjoys an active academic career, and she graduated summa cum laude with her Doctorate of Musical Arts from New England Conservatory in May 2017. She also is a translator, and has prepared a translation and phonetic transcription of Alban Berg’s Wozzeck, which will be commercially available in the coming year. She graduated with highest honors from Bard College Conservatory’s Vocal Arts Program, under the artistic direction of soprano Dawn Upshaw and pianist Kayo Iwama. Jacquelyn is passionate about raising awareness about lung disease, and is actively involved in philanthropic work with the British Lung Foundation. She will run the London Marathon (her fourth marathon) in 2018 for BLF.
American soprano Jacqueline Stucker, described by the Boston Globe as “glowing”, “incandescent” and “a singing actress to be reckoned with”, has won second place at the Glyndebourne Opera Cup. The Glyndebourne Opera Cup is an international competition for opera...
IMG Artists is delighted to announce the signing of Jacquelyn Stucker to its vocal roster for General Management. The American soprano will be managed out of the company's London office by Senior Vice President of Artist Management, Stefania Almansi. Jacquelyn Stucker...
“Jacquelyn Stucker displays an exceptionally beautiful soprano as Azema on her Royal Opera debut…”
“Feral and feisty from the first, soprano Jacquelyn Stucker brought a magnetic presence and a shimmering gold timbre to the title character.”
“Jacquelyn Stucker was a bright-voiced Azema…”
Mark Pullinger, Bachtrack November 2017
“Jacquelyn Stucker’s fluent Azema…”
George Hall, The Stage November 2017
“the pure-toned Jacquelyn Stucker, who incarnates the strait-jacketed princess, copes heroically with the director’s requirement that she should alternate between convulsive fits and catatonic trances.”
Michael Church, The Independent November 2017
“..Jacquelyn Stucker’s Azema was assured and inappropriately handled by her various suitors.”
Peter Reed, classicalsource.com November 2017
“Soprano Jacquelyn Stucker made a noteworthy debut in the boy role of Oberto, especially in the embellishments she added to the da capo of her final aria, ‘Barbara! io ben lo so.”
Charles T. Downey, The Classical Review July 2017
“soprano Jacquelyn Stucker was an endearing presence in the part, which she infused with earnest energy and a sweet sound.”
James M. Keller, The Santa Fe New Mexican July 2017
“Stucker’s a singer to watch. She’s got a wonderfully lithe instrument, dusky-warm in its low- to mid-register and clear like [a] bell up above. Her tone production throughout is consistent and, while she’s got a good-sized voice, there’s a lightness to her singing that allows her to navigate florid passagework seemingly with ease.”
Jonathan Blumhofer, ArtsFuse March 2017
Displaying a dark-tinged soprano with a dusky lower register, Stucker gave notice she is a singing actress to be reckoned with. Alternately pleading and cajoling in lovely tones, she brought power and strength at the top range as Elle turned agitated and angry.
Lawrence Budmen, South Florida Classical Review February 2015