Winner of the Kathleen Ferrier Memorial Scholarship, Canadian mezzo soprano Stephanie Marshall studied at the Royal Academy of Music, where she was awarded the Queen's Commendation for Excellence. She was a member of the Young Artist Programme at English National Opera, where she later became a Company Principle.
In the 2019/20 season, Stephanie makes her debut at Teatro Massimo, Palermo in a new production of Parisfal conducted by Omer Meir Wellber and directed by Graham Vick; she will also sing the Lady in Waiting Macbeth in a new production for Opera de Dijon and she will return to the ROH as Faranesi The Intelligence Park (Gerald Barry), which will then tour the UK with Music Theatre Wales.
Stephanie recently reprised her performance as Gwendolen The Importance of Being Earnest for the Royal Opera House, at the Barbican Theatre and with the New York Philharmonic Orchestra at the Lincoln Centre, marking the premiere of this work in the United States; also for the ROH she created the role of Susannah in the World Premiere of The Crackle and appeared in the new production of The Rise and Fall of the City of Mahagonny; she returned to ENO as Kasturbai Satyagraha and she made her role debut as Romeo I Capuleti e Montecchi for the Buxton Festival.
Her engagements in North America include include the title role in The Handmaid's Tale for the Canadian Opera Company, Proserpina L'Orfeo for the Handel and Haydn Society in Boston, Erika Vanessa and Nancy Albert Herring for Pacific Opera Victoria.
Among numerous engagements at English National Opera are Cherubino Le nozze di Figaro, Annio La Clemenza di Tito, Mercedes Carmen, Sonja War and Peace, Kasturbai Satyagraha and Wellgunde in Phyllida Lloyd's staging of The Ring Cycle. Further appearances include the title roles of Maria Stuarda, Ariodante and Xerxes, Sesto La Clemenza di Tito, Nerone L'incoronazione di Poppea, Le Prince Charmant Cendrillon and Octavian Der Rosenkavalier.
On the concert platform, Stephanie has sung the Angel The Dream of Gerontius and El amor brujo with the Hallé, with the BBC Symphony Orchestra she performed Vander Aa's Spaces of the Blank at the Spitalfield's Festival and with the RTE National Symphony Orchestra she created the role of Sidonie von Grasenabb in Gerald Barry's The Bitter Tears of Petra von Kant - a performance that was later released on CD. Stephanie returned to the BBC Proms in 2012 as Nancy T'ang Nixon in China She has appeared regularly with the Classical Opera Company, in roles including Arbate Mitridate, Re di Ponto and Giacinta La Finta Semplice.
As a recitalist, Stephanie has performed with Julius Drake, Christopher Glynn, Michael McMahon and Jonathan Papp. She made her debut at the Wigmore Hall in 2002. Her recitals have been recorded and broadcast by the both the BBC and the Canadian Broadcasting Corporation.
Biography not for publication, for an up to date version please contact Oliver Clarke.
"She holds the stage with quiet authority and artless concentration, in a way that vividly illuminates Offred’s emotional, sexual and psychological dilemmas. And she sings with radiant purity."
The Handmaid's Tale, Financial Times
"Stephanie Marshall offered a convincing and beautifully sung account of the tormented Erika, presenting in the closing scenes a picture of a young woman possessed of volcanic emotions yet also of rarely breached self control.”
"Stephanie Marshall was an ENO principal artist for many years after winning the 2001 Ferrier prize, and although she still looks about nineteen her wide experience showed in her confident, swaggering impersonation of Nero and her assured, pliant phrasing.”
"Stephanie Marshall excels as Cherubino!”
"Confidence and command radiated from Stephanie Marshall the moment she stepped through the door..."
“Without Offred, this opera couldn′t sing, couldn′t persuade, couldn′t move...Marshall’s ability to communicate terror, humour, tenderness and despair through her sweet, fresh, honest voice... “
The Handmaid's Tale, The Independent
"Stephanie Marshall made a remarkable Nerone, combining his waywardness with a certain warmth of character. It was clear that Marshall's Nerone was dictatorial, but Marshall made us warm to him.”