gregory stappgregorystapp.com/gregorystappbass.pdf · in spoleto, festival founder gian carlo...

Gregory Stapp

…Jupiter-like performance of Sarastro… San Francisco Chronicle

…produced a huge, sympathetic sound as Raimondo… Opera News

…sang the role of the Emperor Altoum with intelligence and musicality… New York Times

…a true bass, his singing of Osmin’s familiar aria in the final act stopped the show… Trenton Times

…has a commanding presence, a keen sense of satire, and a fabulously rich voice… Reno Gazette-Journal

…Stapp, another royal bass-baritone, as Fasolt, was a joy to hear and watch… San Jose Mercury News

…beautiful voice of Gregory Stapp, who sang impeccably… Rome Psicoanalisi Contro

…the only singer whose every word was understandable… Sacramento Union

…bouquets for Gregory Stapp’s sonorous Friar Lawrence… Opera

…acted and sang flawlessly… Opera News Arizona Opera Michigan Opera Theatre

Austin Lyric Opera Mississippi Opera

Baltimore Opera National Grand Opera

Basically Bach Festival Nevada Opera

Bear Valley Music Festival New Orleans Opera

Berkeley Symphony New York City Opera

Birmingham Opera Theatre NYCO National Company

Carnegie Hall Oakland Opera

Carmel Bach Festival Opera/Columbus

Centro Internacional de Opera Opera Company of Philadelphia

Cincinnati Opera Opera Memphis

Cleveland Opera Opera Pacific

Colorado Opera Festival Opera Theatre of Saint Louis

Colorado Springs Symphony Osaka Symphoniker

Connecticut Grand Opera Pacific Repertory Opera

Connecticut Opera Pennsylvania Opera Theatre

Edinburgh Festival Philadelphia Orchestra

Eugene Opera Philadelphia Singers

Festival dei due mondi Pittsburgh Opera

Festival Opera of Walnut Creek Portland Opera

Fresno Philharmonic Orchestra Potomac Symphony

Fort Worth Opera Sacramento Opera

Glimmerglass Opera Sacramento Symphony

Greater Buffalo Opera Sakai City Opera

Greater Miami Opera San Francisco Chamber Orchestra

Great Performances San Francisco Opera

Greensboro Opera San Francisco Symphony

Hawaii Opera Theatre Seattle Opera

Illinois Symphony Spoleto Festival

Indianapolis Opera Spring Opera Theater

June Opera Festival of New Jersey Syracuse Opera

Knoxville Opera Toledo Opera

Lake George Opera Festival Tulsa Opera

Live From Lincoln Center Ventura County Symphony

Los Angeles Master Chorale Walla Walla Symphony

Lyric Opera Cleveland Westfield Symphony

Mendocino Music Festival Yountville Lincoln Theatre

t Basso Profondo

3427 Taraval Street San Francisco, California 94116 Telephone/Fax: (415) 681–7625

E-mail: [email protected] Web: http://www.gregorystapp.com

t Table of Contents I

Gregory Stapp

Curriculum Vitae

FP Front Page, Photograph, Contact Information ........................................Page 1

I Table of Contents .......................................................................................

II Curriculum Vitae Summary......................................................................Page 3

III Biographical Sketch...................................................................................Page 5 Philosophical tenets of voice teaching ....................................................Page 8

IV Performing Highlights (Sorted by Companies) ..............................................Page 9

V Teaching & Service ..................................................................................Page 15 Teaching & Conducting Experience......................................................Page 15 Service ....................................................................................................Page 17

VI Education, Scholarships, Training & Awards........................................Page 18

VII Review Extracts .......................................................................................Page 22 Osmin .....................................................................................................Page 22 Sarastro ..................................................................................................Page 25 Falstaff, Raimondo, Figaro....................................................................Page 26 Don Quixote, Pluto, Kecal .....................................................................Page 27 Emperor Charlemagne, Emperor Altoum ............................................Page 28 Nilakantha, Friar Lawrence, Don Basilio ............................................Page 29 Reverend Hale, Achillas, Hunding........................................................Page 30 Fasolt ......................................................................................................Page 31 Ramfis, Grand Inquisitor ......................................................................Page 32 Sparafucile .............................................................................................Page 33 Dansker ..................................................................................................Page 34 Timur, Priest, Don Fernando ................................................................Page 35 Parson, Nourabad, Brander ..................................................................Page 36 Commendatore .......................................................................................Page 37 Ashby ......................................................................................................Page 38 Colline.....................................................................................................Page 39 Miscellaneous .........................................................................................Page 40

VIII Operatic Repertoire .................................................................................Page 42

IX Performance Experience (Sorted by Roles) .................................................Page 44

X Additional Materials................................................................................Page 50

Gregory Stapp • Curriculum Vitae • Summary •

t Summary II

Professional Singer — Details in Highlights, Repertoire & Experience Sections ! Operatic Bass, 1971–present

! Dorothy Cone Artists Representatives, Inc., Artist Roster, 1983–2007 ! 70+ roles performed

! 60+ American festivals, orchestras and opera companies

! Also performed in Europe, Mexico, China & Japan ! 5 world premieres, 3 American premieres

! San Francisco Opera 30 roles, 15 NPR national broadcasts

! New York City Opera Sarastro, Die Zauberflöte, PBS’ Great Performances: LIVE FROM LINCOLN CENTER

! Spoleto Festivals USA/Italy Ashby, La Fanciulla del West, RAI Italian telecast Showcased in recital in Italy on Gian Carlo Menotti’s Concerti di Mezzogiorno

! Edinburgh Festival Mr. Kofner, The Consul, cast & directed by Gian Carlo Menotti

! Connecticut Grand Opera Altoum, Busoni’s Turandot, American stage premiere

! Nevada Opera Silver Anniversary John Mackay, Herbolsheimer’s Mark Me Twain, world premiere

! Universidade de Brasilia Chorus at Carnegie Hall Bass soloist, Garcia’s Requiem, American premiere

! Wagner Ring Festivals Fasolt, Arizona Opera, Seattle Opera

! Sakai City Opera, Japan 5 roles, 2 concerts

! Osaka Symphoniker, Japan Bass soloist, Verdi’s Requiem

! Shandong Symphony, China Featured Guest Artist

! Kunming Symphony, China Featured Guest Artist

! Centro Internacional de Opera, Guadalajara, Mexico Ramfis, Aïda, Plaza de Toros

! Festival and Orchestra appearances include: Bear Valley Music Festival, Carmel Bach Festival Colorado Springs Symphony, Illinois Symphony Los Angeles Master Chorale, Mendocino Music Festival Opera Company of Philadelphia, Philadelphia Orchestra Sacramento Symphony, San Francisco Symphony

Gregory Stapp • Curriculum Vitae • Summary •

Teaching & Service — More Information in Teaching & Service Section ! Private Voice Studio

Denver, Colorado, 1975–1976; San Francisco, California, 1984–present

! Notre Dame de Namur University (Faculty, 2010–2012) Taught Conducting, Music History, Voice, and Film Music History; Directed Two Opera Scenes programs; Conducted The Marriage of Figaro

! Master Classes Presented in America, China and Japan

! Indiana University, School of Music Graduate Assistant Instructor in Voice, Summer, 1979

! State of Colorado Teaching Certificate for Secondary Schools — Music, 1976

! Loretto Heights College Assistant Instructor, 1974, 1975 Associate Conductor, 1973–1975

! Cherry Creek High School Vocal Music Director, My Fair Lady, 1975, Jesus Christ Superstar, 1976 Practicum Teacher, January—June, 1976

! Wheatridge High School Student Teacher, Fall, 1975

! Opera America Singer’s Workshop Panelist, 2000, 2003, 2007

! American Guild of Musical Artists (AGMA) Board of Governors, 1996–1998, 2002–2007; 5th Vice President, 2007–2009

Education & Awards — More Information in Education & Awards Section ! San Francisco Opera Center

Kurt Herbert Adler Fellow, 1982

! San Francisco Affiliate Artists–Opera Program Atlantic Richfield Affiliate Artist, 1981; Combustion Engineering Affiliate Artist, 1980

! Academy of Vocal Arts Full Scholarship, 1976–1980; Whelen Award, 1977; Artist’s Diploma, 1980

! Indiana University Full Scholarship, Graduate Assistantship, Summer, 1979

! Loretto Heights College Bachelor of Arts, Cum Laude, Degree with Distinction, 1976 Colorado Academic Scholarship, 1972–1976

! Voice Teachers George Lynn, Dorothy DiScala, Margaret Harshaw, Janet Parlova, Jerome Hines, Judith Natalucci

! Competitions Metropolitan Opera, National Semi-Finalist, 1982; Awards, 1980–87 National Institute for Music Theater Grantee, 1981–1987 Sullivan Musical Foundation Grantee, 1979–1987 Affiliate Artists, Inc., Artist Roster, 1980–1984 Baltimore Opera, Ver Valen Award, 1979; Jovanovski Award, 1980

Gregory Stapp • Curriculum Vitae • Biographical Sketch •

t Biographical Sketch III

Featured as Sarastro on PBS’s Great Performances: LIVE FROM LINCOLN CENTER telecast of New York City Opera’s Die Zauberflöte, and heard in fifteen NPR broadcasts with the San Francisco Opera, Gregory Stapp is a true basso profondo who has garnered acclaim across the United States, as well as in Europe, Mexico, China and Japan.

Born and raised in Denver, Colorado, during his three years at Cherry Creek High School he enrolled in 12 music courses; toured Japan and Europe with choirs led by Thomas Miyake and Michael D. Mendoza; and twice won selection to the Colorado All-State Choir.

At age 16, he was permitted to join the University of Denver’s Summer Choir, conducted by George Lynn, Westminster Choir College’s recently retired Music Director. Six months later, while directing Stapp’s first All-State Choir, Lynn accepted him as a private voice student.

Stapp received a scholarship to Loretto Heights College, where, under the guidance of Lynn and Max DiJulio, he was given many opportunities to conduct, teach and perform. Twice he was the bass soloist for the United States Air Force Academy’s annual Messiah presentations.

Following his junior year at Loretto, Cherry Creek High School engaged him as vocal music director for its summer musical, My Fair Lady. That fall, his traditional student teaching residency in choral and vocal music took place at Wheatridge High School, supervised by James Dalton.

The following January, he returned to Cherry Creek for a unique six-month Practicum in Teaching under Michael D. Mendoza and Charlotte Adams; teaching two full loads simultaneously in the choral/vocal depart-ment, while also providing the primary vocal music direction for America’s first high school production of Jesus Christ Superstar.

Upon graduation from Loretto Heights College in 1976, he received certifi-cation from the State of Colorado to teach music at the secondary level, and was actively recruited by several school districts.

However, he had been awarded a full scholarship to the Academy of Vocal Arts in Philadelphia, the world’s only conservatory created exclusively for opera singers. Seizing that extraordinary opportunity, he pursued his advanced education and professional training at AVA.


In four years as a full-time student at AVA he studied voice with Dorothy DiScala; had coachings and classes with many master artists; performed recitals, concerts and educational programs for AVA’s Concert Bureau; and sang 14 roles with the AVA Opera Theatre, including Graf Waldner in Arabella, Tommaso in Tiefland, and Charlemagne in the American pre-miere of Schubert’s Fierrabras.

Before graduating from AVA in 1980, he had already received awards from the Baltimore Opera, Sullivan Music Foundation and Metropolitan Opera competitions; made debuts with the Philadelphia Orchestra and Opera Company of Philadelphia; and, won an appointment to the presti-gious San Francisco/Affiliate Artists–Opera Program.

Over the next three years he sang twenty roles with San Francisco Opera (many broadcast nationally over NPR) and performed numerous concerts, recitals and informances; first as an Affiliate Artist and then as one of San Francisco Opera Center’s inaugural Adler Fellows, while receiving further professional instruction directly from SFO’s artistic and music staff.

Stapp has since appeared with scores of American opera companies, music festivals and orchestras, as well as abroad. He was directed by filmmaker Bruce Beresford as Ashby in the Italian telecast production of La Fanciulla del West, which was mounted for the Spoleto Festivals in Charleston, South Carolina, and Italy.

In Spoleto, festival founder Gian Carlo Menotti showcased Stapp in recital on his prestigious Concerti di Mezzogiorno series and then invited him to Scotland to perform Mr. Kofner in the Connecticut Grand Opera Edin-burgh Festival production of his opera, The Consul, directed by Menotti.

Additional international engagements have included Ramfis in Aïda for the Centro Internacional de Opera in Guadalajara, Mexico; several roles, master classes and concerts for Japan’s Sakai City Opera, including Sarastro in a joint production of Die Zauberflöte with Germany’s Chem-nitz Opera; Verdi’s Requiem with the Osaka Symphoniker; and, in 2009, concerts with the Shandong Symphony and Kunming Symphony in China.

His 30 roles under the auspices of San Francisco Opera include Raimondo in Lucia di Lammermoor, Achillas in Julius Caesar, Brander in La Dam-nation de Faust, Pluto in Il ballo dell’ingrate, Friar Lawrence in Roméo et Juliette, the Priest in Lady Macbeth of Mtsensk, Lodovico in Otello, and, in 2004, the Parson in The Cunning Little Vixen and Dansker in Billy Budd.


He was Fasolt in the François Rochaix production of Wagner’s Ring for Seattle Opera; Emperor Altoum in Connecticut Grand Opera’s American stage premiere of Busoni’s Turandot; John Mackay in the world premiere of Bern Herbolsheimer’s Mark Me Twain for Nevada Opera; and the bass soloist in the American premiere of Garcia’s Requiem at Carnegie Hall.

Widely hailed for his spectacular Osmin in The Abduction from the Sera-glio, he has also been praised as Bluebeard in Duke Bluebeard’s Castle, Falstaff in The Merry Wives of Windsor, Figaro in The Marriage of Figaro, Kecal in The Bartered Bride, Nilakantha in Lakmé, Reverend Hale in The Crucible, Don Basilio in The Barber of Seville, Ferrando in Il Trovatore, the Grand Inquisitor in Don Carlo, Timur in Turandot, Hunding in Die Walküre, and Don Quixote in Man of La Mancha.

He has also performed with opera companies in Pittsburgh, Costa Mesa, Philadelphia, Miami, Baltimore, Saint Louis, Portland, Jackson, Detroit, Cincinnati, Hartford, Cleveland, New Orleans, Austin, Indianapolis, Fort Worth, Honolulu, Buffalo, Oakland, Eugene, Syracuse, Phoenix, Tucson, Columbus, Princeton, Cooperstown, Toledo, Memphis, Saratoga Springs, Birmingham and Colorado Springs, among others, and appeared with the Sacramento Symphony, Illinois Symphony, Colorado Springs Symphony, Philadelphia Orchestra and San Francisco Symphony.

Stapp’s Profondo Delights & Laments program was premiered with pianist Robert Ashens at San Francisco’s Old First Concerts. He recently sang Beethoven’s Missa Solemnis Gloria with Jeffrey Thomas conducting the UC Davis Symphony & Chorus; Verdi’s Requiem with Stanford’s Summer Chorus and Freiburg’s Junge Kammerphilharmonie; Haydn’s Harmoniemesse with the Berkeley Community Chorus & Orchestra; Zechariah in the premiere of Peter B. Allen’s The Message of Gabriel; Friar Lawrence and The Mikado with Townsend Opera; and, Bartok’s Bluebeard’s Castle with UC Davis’ Symphony, conducted by Christian Baldini (available on UCTV and YouTube). Noted composer David Garner is presently composing the song cycle Opening Nights for Stapp.

From 2010–2012, he served on the faculty of Notre Dame de Namur Uni-versity, where he taught conducting, music history, voice, and film music history; directed two opera scenes programs; and, conducted The Marriage of Figaro. A panelist at several Opera America’s Workshop(s) for Singers, and at Classical Singer’s Conventions, for many years he represented soloists as an elected Governor or National Officer of the American Guild of Musical Artists. He currently serves as AGMA’s 2nd Vice President.


Stapp received intensive pedagogical training while studying with George Lynn and Dorothy DiScala. He has been able to continue this process during his subsequent vocal work with Margaret Harshaw, Janet Parlova, Jerome Hines and Judith Natalucci.

Stapp has given master classes in America, China and Japan, and has a private voice studio in San Francisco. He enjoys teaching beginners, ama-teurs, and those requiring vocal therapy, as well as aspiring and estab-lished professionals. Students of his have found success in the operatic, concert and music theatre realms, and have won prizes in notable com-petitions. His teaching is guided by certain tenets and precepts, including:

! Each of us has unique gifts within; learning to sing well can highlight and bring these forth, enriching us all.

! Everyone can enjoy singing; but prosperous singing careers are rare.

! Students should be cognizant of the realities of professional singing and encouraged to explore other viable career options as well.

! Pitch frequency is determined solely by the vibratory speed of the vocal cords. Therefore, high and low notes don’t exist!

! Each pitch has a preferred subjective tonal resonance center: chest, mouth, pharynx, mask, head, etc., — but it’s still all one voice. Maintaining a re-laxed jaw and tongue, raised soft palate, low-floating larynx, open throat, comfortably expanded rib cage and flexible, buoyant breath support, enables easy, transparent transitions throughout the tonal resonance centers.

! Unencumbered, energized, vibrant resonance achieves optimum vocal tone, simultaneously vast and gently produced, regardless of pitch, resonance, tempo, emotion or dynamic.

! An even vibrato is essential for vocal health and precise pitch.

! Accurate lyric diction and enunciation enhances vocalism as well as clarity.

! To properly serve the composer, librettist and audience, one must under-stand and communicate the words and music while ignoring one’s own ego.

! A particular voice may be especially suitable for certain kinds of singing, but a healthy technique can easily accommodate many different vocal styles.

! Nurture and rest are as vital as technical proficiency to beautiful singing.

! Teach the student, not the subject; address their needs, not yours.

! A singer’s own ears are great deceivers; stop listening and start feeling!

! Singing should feel good; it is a release, not an effort.

Gregory Stapp • Curriculum Vitae • Performing Highlights •

t Performing Highlights — see experience for details IV

San Francisco Opera ! Performed in 30 productions ! Heard in 15 NPR national broadcasts of live SFO performances ! 27 roles performed at War Memorial Opera House, including:

Dansker, Billy Budd, 2004 Parson, The Cunning Little Vixen, 2004 Monk, Don Carlos, 2003 Brander, La Damnation de Faust, 2003 Lodovico, Otello, 2002 Tommaso, Un Ballo in maschera, 1982 Achillas, Julius Caesar, 1982 Raimondo, Lucia di Lammermoor, 1981 Priest, Lady Macbeth of Mtsensk, 1981 2nd Armored Man, The Magic Flute, SFO debut, 1980

! 12 roles covered at War Memorial Opera House, including: Daniel Webster, The Mother of Us All, 2003 Sarastro, Die Zauberflöte, 2003 Don Basilio, Il Barbiere di Siviglia, 2003 Grand Inquisitor, Don Carlos, 2003 Timur, Turandot, 2002 Hunding, Die Walküre, 1981 Sparafucile, Rigoletto, 1981 Seneca, L’Incoronazione di Poppea, 1981 Old Hebrew, Samson et Dalila, 1980

! San Francisco Spring Opera Theater at the Curran Theatre Pluto, Il ballo dell’ingrate (Monteverdi), 1981 Ajax, The Cry of Clytaemnestra (John Eaton), 1981 Friar Lawrence, Roméo et Juliette, 1981

! SFO’s Brown Bag Opera Concerts & Staged Opera Scenes 1980–1982

! San Francisco Opera Center Commendatore, Don Giovanni, SFOC/Yountville Lincoln Theater, 2005 Kurt Herbert Adler Fellowship, 1982

! San Francisco Affilitate Artists–Opera Program Atlantic Richfield Affiliate Artist, 1981 Combustion Engineering Affiliate Artist, 1980

New York City Opera ! Sarastro, Die Zauberflöte, 1987

PBS telecast, Great Performances: LIVE FROM LINCOLN CENTER, 1987 ! Nourabad, Les Pêcheurs de Perles, NYCO debut, 1983 ! NYCO National Company

Sparafucile, Rigoletto, American Tour, 1985


Spoleto Festivals ! Spoleto Festival U.S.A., Festival dei due mondi, RAI Italian telecast

Ashby, La Fanciulla del West, 1985 ! Festival dei due mondi, Concerti di Mezzogiorno

Presented in recital by Gian Carlo Menotti, 1985

Connecticut Grand Opera ! Emperor Altoum, Turandot, American stage premiere, 1986 ! Mr. Kofner, The Consul, cast and directed by Gian Carlo Menotti

Connecticut production, November, 1985 Edinburgh International Festival production, August, 1985

Sakai City Opera, Osaka, Japan ! Sarastro, Die Zauberflöte, co-production with Chemnitz Opera, 1995 ! Sparafucile, Monterone, Rigoletto, 1994 ! Colline, La Bohème, 1992 ! Headliner Star, Gala Cabaret Show, Osaka, Japan, 1992 ! Commendatore, Don Giovanni, 1991 ! Featured Concert Artist, Performing Arts Center, Osaka, Japan, 1991

Centro Internacional de Opera ! Plaza de Toros, Guadalajara, Mexico

Ramfis, Aïda, 1991

Osaka Symphoniker, Kawachi–Nagano, Japan ! Bass Soloist, Verdi’s Requiem, 1997

New Orleans Opera ! Nilakantha, Lakmé, 1997 ! Biterolf, Tannhäuser, 1994 ! Grand Inquisitor, Don Carlo, 1992 ! Don Fernando, Fidelio 1992

Hawaii Opera Theatre ! Timur, Turandot, 1996 ! Kecal, The Bartered Bride, 1990

Knoxville Opera ! Don Quixote, Man of la Mancha, 1992 ! Ramfis, Aïda, 1990

Greater Miami Opera ! Raimondo, Lucia di Lammermoor, 1992

Seattle Opera ! Fasolt, Der Ring des Nibelungen 1986, 1987


Nevada Opera ! Sarastro, The Magic Flute, 1997 ! Sergeant of Police, The Pirates of Penzance, 1995 ! John Mackay, Herbolsheimer’s Mark Me Twain

Nevada Opera Silver Anniversary World Premiere Production, 1993 ! Figaro, Le Nozze di Figaro, 1992 ! Grand Inquisitor, Don Carlo, 1991 ! Archbishop, The Maid of Orleans (Tchaikovsky), 1988 ! Don Basilio, The Barber of Seville, 1984 ! Colline, La Bohème, 1983

Arizona Opera ! Fasolt, Der Ring des Nibelungen, Flagstaff, Summer, 1996 ! Fasolt, Das Rheingold, Tucson, Phoenix, January, 1996 ! Raimondo, Lucia di Lammermoor, 1984

Cincinnati Opera ! Frère Laurent, Roméo et Juliette, 1989

Michigan Opera Theatre ! Old Hebrew, Samson et Dalila, 1992 ! Raimondo, Lucia di Lammermoor, 1992

Tulsa Opera ! Don Basilio, Il Barbiere di Siviglia, 2004 ! Reverend Hale, The Crucible, 1995

Lake George Opera Festival ! Osmin, Die Entführung aus dem Serail, 2002

Indianapolis Opera ! Osmin, The Abduction from the Seraglio, 1994 ! Sarastro, The Magic Flute, 1989

Austin Lyric Opera ! Osmin, The Abduction from the Seraglio, 1993

Opera Cleveland ! Osmin, Escape from Mars! (Abduction), Lyric Opera of Cleveland, 2006 ! Sparafucile, Rigoletto, Cleveland Opera, 2002

Mendocino Music Festival ! Osmin, The Abduction from the Seraglio, 1988

Carmel Bach Festival ! Sarastro, The Magic Flute, 1987


Opera Memphis ! Osmin, The Abduction from the Seraglio, 1999 ! Sarastro, The Magic Flute, 1989

Carnegie Hall ! Universidade de Brasilia Chorus, New England Symphonic Ensemble

Bass Soloist, Garcia’s Requiem, David Junker, conductor, American premiere, 1994

Berkeley Symphony — Kent Nagano, conductor ! Bluebeard, Duke Bluebeard’s Castle (Bartok), 1995 ! Tiresias, Œdipus Rex (Stravinsky), 1994

Sacramento Symphony— Carter Nice, conductor ! Bass Soloist, Mozart’s Requiem, 1983, 1991 ! Bass Soloist, Beethoven’s Missa Solemnis, 1985

Opera Company of Philadelphia ! Count Ceprano, Rigoletto, 1978 ! Featured Artist, Opera in the Parks, Richard Woitach, conductor, 1978

Los Angeles Master Chorale — Kurt Herbert Adler, conductor ! Bass Soloist, Opera Highlights, 1981

Colorado Springs Symphony — Yaacov Bergman, conductor ! Hunding, Die Walküre, 1997

Illinois Symphony — Kenneth Kiesler, conductor ! Bass Soloist, Verdi’s Requiem, 1997

Philadelphia Orchestra — Rafael Frühbeck de Burgos, conductor ! Tío Sarvaor, La vida breve (Falla), 1978

Opera Pacific ! Old Hebrew, Samson et Dalila, 1992

Baltimore Opera ! Don Fernando, Fidelio, 1996 ! Old Hebrew, Samson et Dalila, 1995 ! Sparafucile, Rigoletto, 1994

Portland Opera ! Grand Inquisitor, Don Carlo, 1994 ! Commendatore, Don Giovanni, 1989 ! Nourabad, Les Pêcheurs de Perles, 1988


Opera Columbus ! Sparafucile, Rigoletto, 1990 ! Ferrando, Il Trovatore, 1990 ! Border Captain, Sergeant, Boris Godunov, 1990

Mississippi Opera

! Frère Laurent, Roméo et Juliette, 1989 ! Mr. Kofner, The Consul, directed by Gian Carlo Menotti, 1988 ! Raimondo, Lucia di Lammermoor, 1985 ! Guest Affiliate Artist, recitals, concerts, 1985 ! Colline, La Bohème, 1984

Opera Theatre of Saint Louis ! Hobson, Peter Grimes, 1990 ! Totor, Margot la Rouge, 1983 ! Commendatore, Don Giovanni, 1983

Connecticut Opera ! Commendatore, Don Giovanni, 2000

Fort Worth Opera ! Sparafucile, Rigoletto, 1987

Bear Valley Music Festival ! Bass Soloist, Broadway & Opera Pops, 1993, 1995, 1998, 1999 ! Don Basilio, The Barber of Seville, 1999 ! Sparafucile, Rigoletto, 1998 ! Figaro, The Marriage of Figaro, 1995 ! Osmin, The Abduction from the Seraglio, 1993 ! Sarastro, The Magic Flute, 1990 ! Commendatore, Don Giovanni, 1984

June Opera Festival of New Jersey ! Osmin, The Abduction from the Seraglio, 1991

Sacramento Opera ! King, Aïda, 2006 ! Raimondo, Lucia di Lammermoor, 1986 ! Colline, La Bohème, 1985 ! Sparafucile, Rigoletto, 1984

Colorado Opera Festival ! Timur, Turandot, 1994 ! Ramfis, Aïda, 1993

Birmingham Opera Theatre ! Osmin, The Abduction from the Seraglio, 1991


Festival Opera of Walnut Creek — Company Grand Opening Premiere ! Osmin, The Abduction from the Seraglio, 1991

Syracuse Opera ! Timur, Turandot, 1990

Greensboro Opera

! Ferrando, Il Trovatore, 1991

Greater Buffalo Opera ! Timur, Turandot, 1990

Glimmerglass Opera ! Commendatore, Don Giovanni, 1988

Oakland Opera ! Sarastro, The Magic Flute, 1986 ! Falstaff, The Merry Wives of Windsor, 1984

Pacific Repertory Opera ! Osmin, The Abduction from the Seraglio, 1991

Toledo Opera ! Don Basilio, The Barber of Seville, 1984

Eugene Opera ! Sarastro, The Magic Flute, 1983

California’s Salute to the President

Soloist, National Anthem, Century Plaza Hotel, Los Angeles, 1981

Ventura County Symphony ! Affiliate Artist, 1980 (Informances)

Bass Soloist, Messiah, Ventura, December, 1980 Featured Artist, operatic arias, Oxnard; Ojai Bowl, July, 1980

Feature Film ! Jackson, Independent film written, cast and directed by J.F. Lawton

Singing Homeless Man, Filmed & Recorded, SAG, 2002–2003

UC Davis Symphony, Christian Baldini, conductor ! Bluebeard’s Castle, Mondavi Center, 2011 (Available on UCTV and YouTube) ! Beethoven’s Missa Solemnis Gloria, Jeffrey Thomas, conductor, 2008

China Tour — Featured Artist ! Shandong Symphony, 2009 ! Kunming Symphony, 2009

Gregory Stapp • Curriculum Vitae • Teaching & Service •

t Teaching Experience and Service Commitments V

Teacher, Conductor, Music Director

Private Vocal Studio ! Denver, Colorado, 1975–76; San Francisco, California, 1984–present

Master Classes ! Vocal Technique, Dramatic Interpretation, Career Path Guidance

Notre Dame de Namur University Kunming Conservatory, (China) Jinan Teacher’s University (China) Golden State Baptist College Lafayette Christian Church University of New Orleans Sakai City Opera BASOTI San Francisco Conservatory of Music California State University, Los Angeles The College of New Jersey Loretto Heights College Ursinus College York College

Notre Dame de Namur University, Belmont, California ! Faculty Responsibilities

Conducting Class, 3 units, Upper division / Graduate, 2010–2011 History of Musical Performance Class, 16 units (4 per semester)

Upper division / Graduate, 2010–2012 History of Film Music, 3 units, Upper division / Graduate, Spring, 2011 Individual Vocal Instruction, 1 unit, Upper division / Graduate — 2010–2012 Individual Conducting Instruction, 1–3 units

Upper division / Graduate, 2011–2012 Opera Workshop, 1–3 units

Music & Stage Director & Conductor, Two Scenes Programs, 2011 Music Director & Conductor, The Marriage of Figaro, Fall, 2010

Master Classes Public Master Class, November, 2010 Vocal Performance Class, Fall, 2009, Substitute Instructor, 2010

Sheriff Norm in Cadillac by Wayne Self World premiere workshop production, 2011

Captain Vasquez in Children of the Sun by Henry Mollicone World premiere workshop production, 2010

Various Concerts, including a recital with Daniel Lockert on the Ralston Hall series

! Guest Artist NDNU OnStage/Pocket Opera production, Sarastro, The Magic Flute, 2009


Lectures ! Livermore Opera ! Palo Alto Jewish Community Center ! Redwood City Jewish Community Center ! San Mateo Adult School

Indiana University, Bloomington, Indiana

! Associate Instructor: Applied Voice, Summer, 1979

State of Colorado ! Teaching Certificate for Secondary Schools — Music, 1976

Cherry Creek High School, Englewood, Colorado ! Practicum Teacher, Conductor

4 Choirs, 2 Theory classes, 2 Voice classes, January–June, 1976

! Music Director Jesus Christ Superstar, Primary Vocal Music Director & Chorus Master, 1976 Down in the Valley, Assistant Music Director, 1976 My Fair Lady, Vocal Music Director & Chorus Master, 1975

Wheatridge High School, Wheatridge, Colorado ! Student Teacher, Conductor: 5 Choirs, Fall, 1975

Loretto Heights College, Denver, Colorado ! Assistant Instructor, Associate Conductor

Conducting classes, 1974, 1975 Studio Singers, 1973–1975

La Foret Conference Center, Black Forest, Colorado Springs, Colorado ! Instructor/Counselor, Children’s Choir Camp, 1975


Volunteer Service Commitments

American Guild of Musical Artists (AGMA) ! 2nd Vice President, 2009–present ! 5th Vice President, 2007–2009 ! Governor, Board of Governors, 1996–1998, 2002–2007 ! AGMA delegate, Classical Singer Convention, 2007 ! Spearheaded AGMA’s first National Leadership Conference ! AGMA Board & Area Committees

Chair, former Vice-chair, Administration and Policy Former Chair, Membership and Member Relations Former Chair, Merger and Affiliation Crafted, presently serve, Auxiliary Committee on Negotiations Crafted, served, TEXCOM (AGMA’s 1st Executive Committee) Served, Staff Interviews, AGMA Management Negotiating Team Served, Work Rules & Contracts; Schedule C; San Francisco Area

! Performing Artist, AGMA Relief Fund Benefit Concert ! Guided passage, Code of Professional Standards for Agents & Managers ! Designated spokesman during negotiations for eight collective bargaining contracts

at San Francisco Opera, New York City Opera, and Los Angeles Opera, among others, helping win unprecedented gains in wages, benefits and working conditions for principal singers.

Conferences & Conventions ! Opera America Singer Workshops: Moderator, 2003; Panelist, 2000, 2003, 2007 ! Classical Singer Conventions: Moderator, 2008; Delegate, 2007

Sakai City Opera, Osaka, Japan ! Advisory Board, 1994–present

Adjudicator ! San Jose Opera Guild Voice Competition, 2012 ! Henry and Maria Holt Vocal Competition, West Bay Opera, 2008 ! Berkeley Piano Club Van Waynen Vocal Competition Finals, 2006

Y.E.S. Foundation for the Arts — Scholarships for young musicians ! Volunteer, Fundraising events, 2006–2009 ! Featured Performing Artist, Fundraising concerts, 2004, 2005

Bear Valley Music Festival ! Volunteer, Raffle Sales, Fundraising Auctions, 1990–2000

Author ! Articles for AGMAzine ! A Collection of Opening Nights, 40 Essays and Poems, Teddy’s Music Press ! Myths & Realities of Professional Singing, Pamphlet, Teddy’s Music Press ! Articles for several 350-page, semi-annual BMUG Newsletters (Apple Macs) ! News Editor & Feature Writer, The Tower, Loretto Heights College paper, 1974–75

Gregory Stapp • Curriculum Vitae • Education & Awards •

t Education, Scholarships, Training & Awards VI

San Francisco Opera ! San Francisco Opera Center

Inaugural Kurt Herbert Adler Fellowship, 1982

! San Francisco/Affiliate Artist–Opera Program Atlantic Richfield Affiliate Artist, 1981 Combustion Engineering Affiliate Artist, 1980

! Adler Fellowship & Affiliate Artist Programs Jointly founded and administered by the San Francisco Opera and Affiliate Artists, Inc., the San Francisco/Affiliate Artists–Opera Program was the crowning achieve-ment designed by Affiliate Artists for its singer residencies.

Funded by a variety of well-known corporations and grants from the National Endowment for the Arts, participants in the San Francisco/Affiliate Artists–Opera Program spent one month a year in traditional Affiliate Artist outreach residencies and another ten months each year as resident artists with San Francisco Opera, benefiting from extraordinary professional training with its artistic and musical staff as well as by exceptional performing opportunities with San Francisco Opera and its subsidiaries.

In 1982, San Francisco Opera replaced its Affiliate Artists program with the Adler Fellowships, the premier program of its new Opera Center, proclaiming it to be for the crème de la crème. Stapp was chosen to receive one of the five inaugural Adler Fellowships bestowed by the San Francisco Opera Center.

Academy of Vocal Arts, Philadelphia, Pennsylvania ! Artist’s Diploma, 1980 ! Full Scholarship, 1976–1980

! Whelen Award for Excellence, 1977

! AVA Concert Bureau Recitals, concerts and master classes, 1977–1980 Narrator and performer for educational programs

Opera: Myth & Reality, 1978–1979; Opera For Kids!, 1979–1980

! AVA Opera Theatre — Roles included: Charlemagne, Schubert’s Fierrabras, American premiere, 1980 Buckingham, Turok’s Richard III, premiere concert reading, 1980 Superintendent Budd, Albert Herring, 1979 Vladeck, Laderman’s Shadows Among Us, premiere reading, 1979 Graf Waldner, Arabella, 1979 Don Alfonso, Così fan tutte, 1979 Sarastro, The Magic Flute (Cover), 1978 Tommaso, Eugen d’Albert’s Tiefland, 1978 Doctor Grenvil, La Traviata, 1978 Pistola, Falstaff, 1977 Simone, Talpa, Gianni Schicchi, Il Tabarro, 1977


Indiana University, Bloomington, Indiana ! Part-time Special Student, Voice

Full Scholarship, Associate Instructorship, Summer, 1979 Colline, La Bohème, Indiana University Opera Theater, Summer, 1979

Loretto Heights College, Denver, Colorado ! Bachelor of Arts, Cum Laude, 1976

Fine Arts Division Award: Degree with Distinction, 1976 Colorado Academic Scholarship, 1972–1976 Music Major — Voice & Conducting Education Program Minor — Secondary Music Bass Soloist, DiJulio’s Lumen Christi, Händel’s Messiah; Mozart’s Requiem Balthazar, Amahl & the Night Visitors

Colorado School of Mines, Golden, Colorado ! Music History, Fall, 1975

Ghost Ranch Conference Center, Abiquiu, New Mexico ! George Lynn Choral Workshops, Scholarship Participant 1972, 1973, 1974

University of Denver, Denver, Colorado ! Lamont School of Music, Awarded Music Scholarship (Declined), 1972

! Paul Christiansen Choral Directors Program Scholarship Participant, Bass Soloist, 1972

! Lamont School of Music Summer Choir, Participant, 1970

Cherry Creek High School, Englewood, Colorado ! Diploma, Cum Laude, 1972

Six choirs, four bands (flute, piccolo, tympani) and orchestra (flute) Toured Europe as soloist with madrigal choir, 1972 Toured Japan as soloist with select choir, 1972 Delivered the Benediction for Commencement, 1972 Featured Soloist for Commencement, 1972 Overall Outstanding Marching Band Participant, 1972 Special Achievement Award in Choral Music, 1972 Special Achievement Award in Band Music, 1972

! National Forensics League Elected, 1972

! Centennial League Championship, Colorado 1st Prize, Analysis & Interpretation of Oratory, 1972

! Harrison Forensics Match Competition, Colorado Springs 1st Prize, Interpretation of Poetry, Harrison Forensics Match, 1971

! Colorado All-State Choir Competitively selected participant, 1971, 1972


Voice Teachers Judith Natalucci, 1998–present Jerome Hines, 1996–1997 Janet Parlova, 1988–1997 Margaret Harshaw, 1979 Dorothy DiScala, 1976–1983 George Lynn, 1971–1976

Alexander Technique Teacher George I. Lister, 1995–2007

Conducting Teachers Charlotte Adams James Dalton Max DiJulio George Lynn Michael D. Mendoza Thomas Miyake Maxine Westfall

Vocal Coaches David Agler Renato Capecchi Martha Gerhardt Thomas Grubb Harriet Gyllenhall Mark Haffner Vernon Hammond Paul Harris Thomas Jaber Monroe Kanouse Patricia Kazarow Ben Terry Lusk Christofer Macatsoris John Paar Felix Popper Margaret Singer Martin Smith Marcie Stapp Richard Woitach

Other Instruments Studied Flute, Piccolo Piano


Participant in Master Classes ! Renato Capecchi, Charles Elsen, Thomas Grubb, Margaret Harshaw, Gian Carlo

Menotti, Max Rudolf, Regina Resnik, Martin Rich, Dino Yannopoulos, George Lynn

Foreign Language Instruction ! French, German, Italian, Japanese

Languages Performed ! Czech, English, French, German, Italian, Latin, Japanese, Russian, Spanish

William Matheus Sullivan Musical Foundation ! Contract Grants, 1979–1987

National Institute for Music Theater (formerly the National Opera Institute) ! Contract Grants, 1981–1987; ! George London Auditions, National Semi-finalist, 1986

Affiliate Artists, Inc. ! Artist Roster, 1980–1984 ! Artist Training and Informance Development, 1980

G.B. Dealey Awards ! National Semi-finalist, 1983

D’Angelo Young Artist Competition ! National Finalist, 1983

Baltimore Opera National Vocal Competition ! Jovanovski Award, 1980 ! Ver Valen Award, 1979

Metropolitan Opera National Council Auditions ! Colorado-Wyoming District, 1st Prize, 1980, 1986, 1987 ! Rocky Mountain Region, 3rd Prize 1980; 2nd Prize, 1986 ! Colorado Wagner Society Award, 1986 ! National Council Educational Grant, 1983 ! National Semi-finalist, Metropolitan Opera, NYC, 1982 ! Western Region, Los Angeles, 1st Prize, 1982 ! San Francisco District, 1st Prize, 1982

Biographical Directories ! Who’s Who in American Music: Classical, 1983, 1985 ! Who’s Who Among Students in America’s Universities & Colleges, 1976

Gregory Stapp • Curriculum Vitae • Reviews: Osmin •

t Review Extracts VII

OSMIN, Mozart’s The Abduction from the Seraglio

! Top honors for pleasing the crowd as well as vocalism went to Gregory Stapp as Osmin…Stapp has the vocal wherewithal to execute this demanding role—both its tongue-twisting fury and its extremes of range—and did it all with an enchanting comic flair. Joshua Kosman, San Francisco Chronicle

! The leading light was gifted young bass Gregory Stapp as Pasha Selim’s comic overseer Osmin, his voice and musical grasp right as could be.

Robert Commanday, San Francisco Chronicle

! Stapp’s spectacular performance as Osmin was the hit of the evening. A natu-ral basso with the enormous range Mozart demands, he is also a fine comic actor and very agile for a tall man. His singing was superb. Asbury Park Press

! No single singer stole the show [but] Gregory Stapp as Osmin, came close. His large, deep basso and his six-foot-eight stage presence held the attention when he was present. Despite his height he was nimble of foot and tumbled into a waiting wheelbarrow gracefully. Newark Star-Ledger

! Stapp as Osmin, portrayed a role with seemingly few, if any, likeable quali-ties, yet one which was a big success with the audience, thanks to his good comedic timing and phenomenal Russian bass voice. Princeton Town Topics

! Abduction from the Seraglio featured one singer who commanded the audi-ence’s full attention, vocally and dramatically, every moment he was onstage. Basso Gregory Stapp…had what it took to carry off the role’s vocal challenges. Too often, the role is portrayed with either vocal or dramatic strengths — what a pleasure to have one person with the necessary combination.

New Brunswick Home News

! Bass Gregory Stapp came close to stealing the show as Osmin… Stapp’s six-foot-six-inch figure dominated the stage, as did his big voice, which is a true bass — a welcome change from the bass-baritones we hear so often these days passing as basses. Stapp showed himself capable of descending to the low D the role calls for, and it was a pleasure to hear him handle his low-lying music with ease and richness of tone. His singing of Osmin’s familiar aria in the final act stopped the show. Trenton Times


! And talk about imposing: Gregory Stapp’s Osmin towers over everyone on the stage. His deep, resonant voice is just as looming. Princeton Packet

! Stapp was a sensational Osmin. A tall, muscled fellow, he…had a resounding, luminous bass voice to match. Whether he spoke or sang, the sound was won-derful. Quite simply, he stole the show. Hayward Daily Review

! The comic rogue role of Osmin — the most human of all those on stage —demands much both vocally (he frequently goes below the bass clef) and in acting. Gregory Stapp aced both aspects. Birmingham News

! Stapp, whose powerful, finely focused bass makes him a superb Osmin, proved to be a fine comic also. Osmin is one of Mozart’s great dramatic creations, genuinely and consistently comic, yet no mere figure of fun and is as dangerous as he is laughable. Everything depends on his performance. The bass was especially fine in his battle of wits with Blonde at the beginning of Act II, in the merry duet with Pedrillo who gets him drunk and when, after capturing the lovers, he sings that at last he is going to settle old scores with Pedrillo and Belmonte. Never has one operatic character gloated so convinc-ingly over the misfortunes of others and Stapp managed to touch a top E and a bottom D in his highly satisfactory efforts. Five Cities Times-Press-Recorder

! The comic scene stealer though, was Stapp, a bass with a cavernous voice and an awesome physical presence. This huge mountain of a man has the strength to pick up others in the cast without even straining. He was perfect in this role of one of opera’s most likable villains and totally dominated the first act.

Schenectady Daily Gazette

! Abduction from the Seraglio…boasts a score by the master. Three things going for this opera were Mozart, excellent soprano Elizabeth Carter, who tackled a challenging part with great vocal beauty, and Gregory Stapp, the giant — giant! — bass who stole this show. Glens Falls Chronicle

! All the singers were in exceptional voice…Bass Gregory Stapp as the overseer Osmin was sometimes overwhelming with his large frame and big voice. But they were an effective addition to his role. He also looked magnificent in his wine and gold robes. Glens Falls Post

! Whenever Osmin took to the stage (sung by bass Gregory Stapp) he tended to dominate it, with expertise and presence, along with a wonderfully resonant voice [and] his array of colorful antics and enthusiastic characterization.

San Luis Obispo Telegram-Tribune


! A tall, lanky and expressive bass, Stapp’s standout performance captures all the musical and dramatic charms of this melodramatic villain.

Contra-Costa Times

! Osmin, more than six feet tall and turbaned, is roundly sung by Gregory Stapp, who punctuates his deep bass notes with hugely comic physical turns.

Saratoga Springs Saratogian

! …rendered superfluous the supertitles…giant stature and roomy bass voice. Indianapolis Star

! …an able comedian as the cantankerous harem overseer, Osmin, Gregory Stapp sang with a rich bass… Memphis Commercial Appeal

! …performed marvelously…displayed a remarkable voice. Birmingham Post-Herald

! Gregory Stapp has droll moments as the oafish overseer, Osmin, and his basso is sonorous on the low end… Cleveland Plain Dealer

! The first act was brilliant…a green-faced Osmin (Gregory Stapp) vigorously interacted with the down-home Pedrillo of Tim Culver. These two…were wonderful singers and actors throughout. Cool Cleveland

! Superior voices: Carter as the heroine and Stapp as the imperious Osmin… Stapp was simply wonderful, his size very much in synch with his role as gate-keeper. — He was vocally and dramatically terrific. As a matter of fact, I think he abducted the show. Vox/inCamera

! Among the many highlights would be Stapp’s singing of Osmin’s entrance aria and his triumphant O wie will ich triumphieren near the end.

Indianapolis News

! …Bass Gregory Stapp was a tall, powerful Osmin, who handled the comic turns with wit and a flexible bass voice, which could handle Mozart’s classy comic music with an agile smile in his voice. Albany Times Union

Gregory Stapp • Curriculum Vitae • Reviews: Sarastro •

SARASTRO, Mozart’s The Magic Flute

! Stapp, a tall authoritative Sarastro, sang with easy legato. Opera News

! Sarastro is a basso profundo in the true meaning of the word. The possessor of a rather unique voice, bold with its stentorian quality and excellent diction, Gregory Stapp was an excellent choice as the High Priest.

Eugene Register-Guard

! Worth special note were…Stapp’s Jupiter-like performance of Sarastro… H. Tircuit, San Francisco Chronicle

! Gregory Stapp is a golden-voiced Sarastro. Reno Gazette-Journal

! The solid level of singers numbers among the strengths of City Opera; this time as well the thoroughly good cast without weak points, all reliable singers of distinction, contributed decisively to the success…Gregory Stapp, a Sarastro of vocal stature… Opernwelt

! …their voices are just about all one could wish for…Stapp was picture perfect as the all-wise high priest Sarastro. His stage presence was dignified, radiating calm strength and rectitude. Carmel Pine Cone

! …singing was superb…vocally handsome bass Gregory Stapp. Oakland Tribune

! …consistently excellent singers…Gregory Stapp was an imposing Sarastro with an imposing voice, particularly in O Isis und Osiris. Monterey Herald

! Gregory Stapp created a memorable Sarastro with his towering height, regal bearing and dazzling costume. Hayward Daily Review

! …talented cast performed admirably…Gregory Stapp’s impressive Sarastro… Oakland Post

! The solo and ensemble singing were of an even and high level…Gregory Stapp made an imposing Sarastro, [displaying] all the tonal attractions of his bass.

M. Tucker, San Francisco Chronicle

! The nobility and dignity of Stapp’s on-stage presence was matched by his singing of In diesen heil’gen Hallen. Indianapolis News

Gregory Stapp • Curriculum Vitae • Reviews: Falstaff, Raimondo, Figaro •

FALSTAFF, Nicolai’s The Merry Wives of Windsor

! Vocally, he was outstanding, the resonant warmth of his fine bass shining through. San Francisco Chronicle

! …Stapp made a rich-voiced Falstaff…led off the second act with a rousing version of the basso drinking song…has a clear bass. Oakland Tribune

! Stapp was almost too appealing as the fat but audaciously amorous Falstaff. He sang with a richly resonant voice and skillfully affected the movements of a grossly overweight, bumbling knight. The tavern scene, where Falstaff held forth with a speaking voice as syrupy rich as his singing, was fast-moving fun.

Hayward Daily Review

! With Gregory Stapp as Falstaff, the quality of singing and acting was very high…diction was exceptionally clear…was as much fun to watch as he was to hear…his drinking scene in the tavern was a gem. Oakland Montclarion

RAIMONDO, Donizetti’s Lucia di Lammermoor

! Stapp produced a huge, sympathetic sound as Raimondo. Opera News

! Bass Gregory Stapp, who sang the role of Lucia’s ally, Raimondo, dominated the stage both through his height and his powerful voice. Arizona Daily Star

! Stapp (Raimondo), again showed himself to be a most competent bass and a superior actor. Sacramento Bee

! Equally remarkable is Gregory Stapp as Raimondo, the Protestant divine. Sacramento Union

! Stapp as Raimondo elicited cheers for his deep, ringing bass. Arizona Republic

FIGARO, Mozart’s The Marriage of Figaro

! Gregory Stapp’s Figaro is everything one could hope for…He has a commanding presence, a keen sense of satire, and a fabulously rich voice that flows with ease across the range of Mozart’s demands…his voice was seamless, supple and in absolute control. Reno Gazette-Journal

Gregory Stapp • Curriculum vitae • Reviews: Don Quixote, Pluto, Kecal •

DON QUIXOTE, Leigh’s Man of La Mancha

! Everything about Stapp’s (Don Quixote) performance worked: his command of the stage, his tall, straight body, the way he used it, and his vocal inflections. …His full-bodied and very deep bass tones resonated throughout the audito-rium, matching the dynamism of his role. The Oak Ridger

! Bass Gregory Stapp plays the part of Don Quixote; rather he sings the part and he does an excellent job of it. Stapp is an experienced performer and that shows from the first scene to the last. Monroe Advocate / Democrat

! A fine cast led by Stapp as Don Quixote, delivered a performance that brought the audience to its feet at the finale for a standing ovation.…Stapp’s sonorous bass carried the majority of the musical load… Knoxville News-Sentinel

PLUTO, Monteverdi’s Il ballo dell’ingrate

! The giant emerged, Gregory Stapp, resplendent in the fanciest of the baroque costumes,…was a grand bass for Pluto. San Francisco Chronicle

! Bass Gregory Stapp had a wide range and vocal depth as Pluto. Peninsula Times Tribune

! Stapp as a towering Pluto,…were all impressive. Critics Choice, KCBS–Radio

! Bass Gregory Stapp’s Pluto was sonorous. San Francisco Examiner

! …a tremendous sight as Pluto…shows that he has the low notes of a real bass. Sacramento Bee

KECAL, Smetana’s The Bartered Bride

! Gregory Stapp is great as Kecal –– not a villain as much as a cynical realist…he dominates much of the dramatic action with his visual presence.

Honolulu Magazine

! Bass Gregory Stapp as Kecal, the marriage broker, cuts an imposing physical and dramatic figure. Stapp captured the spirit of the role very well, turning Kecal into an avaricious but generally likeable dirt bag.

Honolulu Star-Bulletin & Advertiser

Gregory Stapp • Curriculum Vitae • Reviews: Charlemagne, Altoum •

CHARLEMAGNE, Schubert’s Fierrabras

! It is easy to visualize Mr. Stapp [Charlemagne] as King Marke in ten years or so. [1980] Harold C. Schonberg, New York Times

! The one singer who remained imbedded on one’s memory even when offstage was Gregory Stapp as Charlemagne. The darkest voice in the work, the role served as its dramatic pivot. Were Mr. Stapp a shade older, the title figure, poor Fierrabras, would have been largely eclipsed. The Georgetowner

! …a worthy Charlemagne… Philadelphia Inquirer

! Gregory Stapp’s bass-baritone was worthy of Charlemagne. Opera News

EMPEROR ALTOUM, Busoni’s Turandot

! Gregory Stapp sang the role of the Emperor Altoum with intelligence and musicality. New York Times

! The Emperor, who in this version has a wonderful part,…was sung marvelously by Gregory Stapp. He is marvelous! Darien News-Review

! This first-ever American staging featured strong singing…Gregory Stapp provided an imposing old Emperor Altoum. Opera News

! The production also had the benefit of a superior cast…Gregory Stapp endowed the aged Chinese Emperor, Altoum, with imperial dignity and concern at his offspring’s reign of death. Bridgeport Post-Telegram

! Stapp as the Emperor Altoum, made [a] strong musical impression. Bergen Record

! The opera is well cast vocally…supporting roles are also filled with strong singers, including Gregory Stapp as the Emperor,… Stamford Advocate

! The rest of the cast was equally fine. Bass Gregory Stapp’s Altoum sang with sensitivity. Greenwich News

! Anyone recalling Gregory Stapp in the company’s Edinburgh appearances [Mr. Kofner in The Consul] can readily picture his affecting Altoum. Opera

Gregory Stapp • CV • Reviews: Nilakantha, Friar Lawrence, Basilio •

NILAKANTHA, Delibes’ Lakmé

! Bass Gregory Stapp was a commanding Nilakantha [who] sang with deep resonance and lyrical tone…the diction was bright and clear among all the principals… New Orleans Times-Picayune

FRIAR LAWRENCE, Gounod’s Roméo et Juliette

! Bouquets for Gregory Stapp’s sonorous Friar Lawrence. Opera

! There was admirable and incisive singing from Gregory Stapp as Friar Lawrence. Stapp has a real bass voice…his work in this production is one of its major strengths. Sacramento Bee

! Gregory Stapp displayed a rich, full bass voice as the sympathetic Friar Lawrence. Bay City News Service

! Friar Lawrence has the most genuine music in the entire opera’s bag of tunes and Gregory Stapp was affecting in the role. San Francisco Chronicle

! The Friar Lawrence of Gregory Stapp is visually very impressive and vocally resonant. Sacramento Union

! Bass Gregory Stapp, as Friar Lawrence gave [an] admirable performance. Jackson Daily News

! Stapp’s Frère Laurent contributed substantially to the evening. Opera News

! Among the outstanding cast: bass Gregory Stapp as Frère Laurent. Cincinnati Enquirer

DON BASILIO, Rossini’s The Barber of Seville

! …Gregory Stapp’s forceful bass rumble, and some tricks with a few handkerchieves, made Don Basilio’s description of how slander will win Rosina’s hand for Bartolo, La Calunnia, a delight. Tulsa World

Gregory Stapp • CV • Reviews: Reverend Hale, Achillas, Hunding •

REVEREND HALE, Ward’s The Crucible

! Stapp, with his towering height and stately bass voice, was an imposing Reverend Hale. Tulsa World

ACHILLAS, Händel’s Julius Caesar

! Stapp bathed the rolling platitudes of Achillas in warm, long-winded, basso tone. Los Angeles Times

! Stapp, whose every English word could be understood, was well heard as Achillas, Ptolemy’s general. San Diego Union

! …singers respond handsomely to their responsibilities, with Stapp especially distinguishing himself as Ptolemy’s general. San Francisco Examiner

! Stapp made an imposing Achillas. Los Angeles Herald Examiner

! …outstanding performances from Gregory Stapp, Achillas,… Hollywood Drama Logue

! Valerie Masterson’s tonal projection ran a close second to Gregory Stapp’s robust Achillas. The Opera Guide

! Stapp, tall and rugged, is a good choice for Ptolemy’s general, Achillas. Sacramento Bee

! Gregory Stapp sang in an exhilarating fashion as Achillas, demonstrating a fine control of tone and phrasing, particularly in his dying aria.

Oakland Tribune

! Special credit must go to Gregory Stapp as Achillas, who was the only singer whose every word was understandable. Sacramento Union

HUNDING, Wagner’s Die Walküre

! …exceptionally enjoyable program…singers were up to the task set by Wagner…Stapp gave his character the right menacing presence.

Colorado Springs Gazette Telegraph

Gregory Stapp • Curriculum Vitae • Reviews: Fasolt •

FASOLT, Wagner’s Das Rheingold

! Seattle has conclusively proved that all the complaints about today’s lack of voices suitable to Wagner are simply uninformed…Seattle had no trouble finding unfamous singers who could fill a 3,000-seat house in the great heroic roles. Gregory Stapp and James Patterson were an imposing pair of giants…

Boston Globe

! In the supporting cast are several exceptional singers, the kind you hope get bigger parts next time around…Gregory Stapp, another royal bass-baritone, as Fasolt, was a joy to hear and watch. San Jose Mercury News

! I found Rheingold to be successful on several levels. First, there was the singing…the cast performed to international standards…Gregory Stapp as Fasolt and James Patterson as Fafner commanded attention with powerful interpretations. Portland Oregonian

! Jenkins is to be congratulated on his sense of rightness in casting…for the giant figures of Gregory Stapp and James Patterson as Fasolt and Fafner, with rolling voices to match. International Herald-Tribune

! This Ring was truly an ensemble production, well-matched voices, fine actors,…Two sets of brothers brought us superior performances through-out…Bravos to Julian Patrick and Hubert Delamboye as Alberich and Mime and to Gregory Stapp and James Patterson as Fasolt and Fafner.

Delaware NewArk Post

! Musically, the Seattle Ring offered little to complain about, much to admire…Gregory Stapp reprised his sympathetic Fasolt… Chicago Tribune

! Gregory Stapp as Fasolt, a believable, amorous giant in work overalls,…made [an] excellent impression. Northwest Arts Magazine

! Das Rheingold was beautifully sung, with several strong characterizations of world class…Outstanding among the giants and young gods were Gregory Stapp,… Salt Lake City Deseret News

! Other positive contributions came from Gregory Stapp (Fasolt),… Opera News

! Fasolt’s longing for the goddess Freia is far more stirring here than usual. Christian Science Monitor

Gregory Stapp • CV • Reviews: Fasolt, Ramphis, Grand Inquisitor •

! Fasolt’s (Gregory Stapp) ardent love for Freia was a poignant focal point. Opernwelt

! Fasolt, the giant, was sung with commanding voice by Gregory Stapp. Seattle Arts Focus

RAMFIS, Verdi’s Aïda

! …the Ramfis of Gregory Stapp, whose bass was richly foreboding. Opera News

! Stapp sang Ramfis with a commanding and resonant bass. Denver Post

! Gregory Stapp has a fine voice as the vindictive priest Ramfis… Colorado Springs Gazette Telegraph

! Bass Gregory Stapp (Ramfis, the High Priest) possesses a sonorous but bright voice and established his character with great presence.

Knoxville News-Sentinel

! A grand bass sound was prevalent throughout the opera…Gregory Stapp (Ramfis) intoned endless litanies with solemn beauty and impressive technique. The Oak Ridger

! Gregory Stapp, a fearsome Fasolt in Seattle Opera’s Ring, sings a noble Ramfis. Boulder Daily Camera

GRAND INQUISITOR, Verdi’s Don Carlo

! In the pivotal and vindictive role of Grand Inquisitor is basso Gregory Stapp’s monument to ecclesiastical corruption and bigotry. Stapp’s superb vocalism, insistent phrasing and menacing presence lent needed vitality and saved the day in his long duologue with the king. Reno Gazette-Journal

! …has the deep bass notes and the physique for an imposing Grand Inquisitor. Portland Itemizer Observer

! Other dark-voiced contributions of quality came from Stapp’s Inquisitor… New Orleans Times-Picayune

Gregory Stapp • Curriculum Vitae • Reviews: Sparafucile •

SPARAFUCILE, Verdi’s Rigoletto

! [Rigoletto’s] duet with Gregory Stapp, a giant Sparafucile, was memorable. Stapp possesses a large bass voice…dominated the last scene easily and made the killing of Gilda seem very much a premeditated event. Opera News Online

! The murderous brother-sister pair of Sparafucile and Maddalena had excel-lent champions in Gregory Stapp and Kate Aldrich…grandly sonorous, just right for Sparafucile. Cleveland Plain Dealer

! Sparafucile was particularly well cast. Stapp has the right tall, lean menacing looks for the hired murderer (with his own peculiar ethics) and the satisfyingly deep, low tones in his dark, bass voice. Sarasota Herald Tribune

! Stapp, as the slimy assassin Sparafucile, sang wonderfully well. Nevertheless, the ultimate success of his performance lay more in his acting ability than in the actual singing. Ann Arbor News

! The best and brightest in the supporting cast was bass Gregory Stapp, as hired assassin Sparafucile. Jackson Clarion-Ledger

! Stapp’s Sparafucile stood out in a uniformly excellent cast. Las Vegas Sun

! As the assassin Sparafucile, bass Gregory Stapp was big and resonant enough to make one wish the role gave him more solo opportunities. Buffalo News

! Sparafucile, was vocally convincing in Gregory Stapp’s interpretation. Providence Journal-Bulletin

! Notable among a strong cast were…Stapp as the assassin Sparafucile,… Des Moines Register

! Gregory Stapp (Sparafucile) was also quite impressive, vocally and dramatically. Sacramento Bee

! Stapp, who sang the part of Sparafucile, the assassin, epitomized the dark side of human nature. His voice had power, resonance and control.

Sacramento Suttertown News

! Gregory Stapp sang a powerful Sparafucile. Newark Star-Ledger

Gregory Stapp • Curriculum Vitae • Reviews: Sparafucile, Dansker •

! Sparafucile, the paid assassin, as played by Gregory Stapp, added an almost light-hearted touch to his Honor Among Thieves in Act IV. His characterization of villainy as the apotheosis of the incarnation of evil [and] final escape is a concession to Italian melodrama that you can catch the devil but you can’t hold him. Ann Arbor Michigan Daily

! Stapp was a vocally and physically imposing Sparafucile. Baltimore Sun

DANSKER, Britten’s Billy Budd

! Gregory Stapp’s Dansker, John Duyker’s Red Whiskers, Harold Gray Meers’ Novice and Scott Scully’s Squeak made fine contributions. Opera News

! Gregory Stapp’s Dansker was a likeable old salt;…his round bass voice and palpable sincerity gave him a powerful presence. Andante.com Magazine

! Gregory Stapp (Dansker) contributed mightily. Opera West

! …memorable solo performances by Gregory Stapp as the wise old seaman,… Fairfield Daily Republic

! The large cast was excellent:…Gregory Stapp (Billy’s pal, old Dansker),… San Francisco Classical Voice

! Particularly appealing were…Gregory Stapp’s compassionate Dansker. Bay Area Reporter

! The singing by the versatile performers was commendable, with the Iago-like persona of Ens dominant, supported by stalwarts like Dansker (Gregory Stapp),… Arts San Francisco

! There were fine performances in supporting roles by Gregory Stapp (Dansker),… Contra Costa Times

! Standouts among the large cast were bass Gregory Stapp as the friendly but realistic Dansker,… San Francisco Chronicle

! Among the denizens of HMS Indomitable, Gregory Stapp’s Dansker, John Duyker’s Red Whiskers and Harold Meer’s novice commanded attention.

Opera

Gregory Stapp • Curriculum Vitae • Reviews: Timur, Priest, Don Fernando •

TIMUR, Puccini’s Turandot

! As Timur, bass Gregory Stapp presented a notable portrayal of ruined majesty. Denver Post

! Timur was sympathetically interpreted by bass Gregory Stapp, who caused Timur to become so pathetic and so vulnerable in his blindness that you wanted to go right up on stage and take him home to safety.

Colorado Springs Cheyenne Edition

! Gregory Stapp proved a fine resonant bass as the dethroned King Timur… Buffalo News

! Timur was well sung by Gregory Stapp… Opera

! Gregory Stapp as a dignified and tragic Timur… Boulder Daily Camera

! Gregory Stapp plays Timur, Calaf’s blind father, with dignity… Colorado Springs Gazette Telegraph

PRIEST, Shostakovitch’s Lady Macbeth of Mtsensk

! …acted and sang flawlessly… Opera News

! Nicely etched cameos are contributed by Gregory Stapp as a boozy-basso priest,… Los Angeles Times

! Stapp is an imposing Priest. Sacramento Union

! Stapp was very impressive as the Priest. Oakland Tribune

! …a splendid performance by Gregory Stapp as the superstitious Priest. Fine Arts News Service

DON FERNANDO, Beethoven’s Fidelio

! Gregory Stapp (Don Fernando) handles his brief appearance in the final scene with aplomb. Opera

! Gregory Stapp rode handsomely to the rescue as Don Fernando who rights all political wrongs. New Orleans Times-Picayune

Gregory Stapp • Curriculum Vitae • Reviews: Parson, Nourabad, Brander •

PARSON, Janacek’s The Cunning Little Vixen

! Among the standouts in an almost uniformly fine cast…bass Gregory Stapp [Parson] and tenor Anthony Laciura [Schoolmaster] as the Forester’s drinking companions. San Francisco Chronicle

! …the sonorous Parson of Gregory Stapp… Met Opera Guild Standing Room

! Bass Gregory Stapp’s Parson…made fine contributions. Contra-Costa Times

! …bass Gregory Stapp, a resonant but embittered parson… Opera Japonica

NOURABAD, Bizet’s Les Pêcheurs de Perles

! Bass Gregory Stapp made an admirable Nourabad. Opera News

! Gregory Stapp, a very handsome bass, managed to dominate his scenes in spite of a costume more out of Assyrian music hall than grand opera.

Portland Itemizer-Observer

! Gregory Stapp was a dramatically effective Nourabad. Opera Canada

! American bass Gregory Stapp gave a fine performance as Nourabad, the high priest. Portland Our Times

BRANDER, Berlioz’s The Damnation of Faust

! Gregory Stapp made a solid success of his tavern scene comic song, the coarse “The Rat In The Cellar.” The American bass has appeared in more than 20 SFO productions and added a solid musical moment to this Damnation.

Seattle Gay News

! In the Tavern scene, Gregory Stapp sang the Brander’s “Song of the Rat” in broad style, suggesting a very large rodent indeed. San Francisco Classical Voice

! Gregory Stapp was a commanding Brander. Contra Costa Times

! For the “Flea Song” in Auerbach’s cellar, Sigmundsson had the grotesquerie of his role down brilliantly (and he had a wonderful counterpart in Gregory Stapp’s deliciously repulsive Brander)… Andante.com Magazine

Gregory Stapp • Curriculum Vitae • Reviews: Commendatore •

COMMENDATORE, Mozart’s Don Giovanni

! Highlighting the opening and closing sequences was Gregory Stapp as the Commendatore. Stapp’s tall bearing and deep bass voice commanded the audience’s attention when he appeared. Washington Observer Reporter

! Stapp fought a commendable duel and sang sonorously as the Commendatore alive, dying and dead. Albany Times Union

! The Opera Theatre of St. Louis’ finest musical achievements could be heard in a Don Giovanni production that was brimming with fine vocal talent…Gregory Stapp’s awesomely sung Commendatore… Houston Post

! The Commendatore’s ghost voice was very well produced by Gregory Stapp. St. Louis Post-Dispatch

! The Commendatore got a lift from the velvety voice of Gregory Stapp, who deserves bigger and better parts. Monterey Peninsula Herald

! …awesome Commendatore… Opera

! …the cast is superb…and Gregory Stapp round out the talented cast, performing admirably from start to finish. Pittsburgh Valley News Dispatch

! …may well be the best, and the best matched, cast likely to be seen and heard for a long time…some of the finest solo and ensemble singing in Portland Opera’s history…Gregory Stapp was a magnificent Commendatore when alive and a chilling one later. Portland Itemizer-Observer

! …wonderfully sung…cast succeeded on every count…the Commendatore, Gregory Stapp was fine and he also made a realistic statue at the end when the stone guest appears for dinner. Cooperstown Post-Standard

! Bass Gregory Stapp was the vocal anchor for the ensemble, his avenging Commendatore deeply sonorous, and full of doom for the Don.

Napa Valley Register

! Gregory Stapp’s Commendatore was admirable. Philadelphia Evening Bulletin

! …Don Giovanni is excellent…it features a cast of eight principals without a weak member…I don’t recall another company cast so outstanding vocally and visually as the one that graces the new production…Bass Gregory Stapp intones a baleful, unmiked Commendatore. Portland Oregonian

Gregory Stapp • Curriculum Vitae • Reviews: Commendatore, Ashby •

! Gregory Stapp was the Commendatore and his considerable height helped make the opera’s climax—where his statue comes dramatically to life—particularly impressive. Schenectady Gazette

! Stapp didn’t get to sing much as the Commendatore. It’s a great pity, too. He would make a fine Méphistophélès in Faust. Stockton Record

! Combined with Milnes’ strong vocal, Stapp’s vigor brought the finale to a peak. Pittsburgh Dominion Post

! Stapp’s monumental stature stood him in good stead as the Commendatore. Syracuse Herald-Journal

! …the avenging Commendatore, his tones deeply sepulchral and resounding with doom for the Don. San Francisco Classical Voice

ASHBY, Puccini’s La Fanciulla del West

! Stapp made a magnificent Ashby. Opera News

! Stapp was unexceptionable [i.e., perfect] and commandingly tall (a would-be Wotan of the High Sierras). Opera

! Stapp stood out, cinematically robust, with enviable low notes. Rome La Stampa

! Lesser parts were often outstanding, particularly Gregory Stapp’s Wells Fargo agent,… Washington Post

! …the only singer with any command was Gregory Stapp as Ashby. Rome International Courier

! Gregory Stapp as Ashby the Wells-Fargo Company agent…turned in a fine, sensitive performance. Charleston Post-Courier

! The best singing came from the interpreters of the minor roles, a group of excellent actors with fine voices,…Gregory Stapp (Ashby),… Opera

! The best of the musical interpretations were…Gregory Stapp (Ashby),…such a group of beautiful voices and excellent actors… Florence La Nazione

Gregory Stapp • Curriculum Vitae • Reviews: Colline •

COLLINE, Puccini’s La Bohème

! Stapp, as the comparatively aloof philosopher Colline, tended to steal the first scene not only by his size and vocal presence, but because he seemed to know and react to the others. Reno Gazette-Journal

! Stapp does admirable work…sings so well he makes one wish his role was bigger. Sacramento Bee

! Stapp, as philosopher Colline, acted well and the bass’ vocals were smooth. Jackson Clarion Ledger

! Colline was portrayed by Gregory Stapp with high spirits…has a promising voice of richness and depth, and he sang Colline’s Overcoat monologue in the final act with genuine expression. Bloomington Herald-Times

! Stapp’s characterization was playfully entertaining, but his rich bass was still moving in his poignant fourth-act aria. Bloomington IDS

! …exceptionally well-sung, well-acted…thoroughly impressive performances by bass Gregory Stapp as Colline the philosopher,… Sacramento Union

! …there was a fine rapport between the four Bohemians…Gregory Stapp as Colline,…they all felt their roles convincingly and managed to tellingly suggest the paradoxical mood of levity masking utter desperation.

Keynote Magazine

! Stapp, portraying the philosopher, proved a vocal asset. Greenwich News

! From the most important to the brief secondary roles, the cast was superb, both in singing and characterization…Gregory Stapp was stalwart vocally and physically as the philosopher, Colline. His rendition of the Overcoat aria was commendable for its subtleness. Bridgeport Post

Gregory Stapp • Curriculum Vitae • Reviews: Miscellaneous •

Miscellaneous Reviews

! As the talented and amiable guest artist, the symphony was fortunate to have Gregory Stapp…Tall, ruggedly handsome and ingratiatingly unassuming, he might have been a hit for his presence alone. But coupled with it is his fresh and deeply melodious bass voice. Stapp presented a wide representation of his talents, opening with Il lacerato spirito and immediately switching to a lighter comic mood for La calunnia…he returned to intone an impressive Ave Signor from Mefistofele, doubtless the type of role he is destined for…Also showcasing his superior bass was the gentler In diesen heil’gen Hallen and a warmly intense Some Enchanted Evening. Ventura Star-Free Press

! Gregory Stapp, bass, was excellent as the old seer Tiresias [Oedipus Rex]. San Francisco Chronicle

! Bass Gregory Stapp had to make his first entrance, in the tuba mirum, over the rich, sonorous accompaniment of the trombone. It proved to be more duet than competition, however, for Stapp’s voice is amply endowed with a power and resonance that rivals the regal trombone’s. Sacramento Union

! Gregory Stapp as the Second armored man had much more presence, both vocal and physical, than Burchuladze [as Sarastro]. ConcertoNet.com

! Bass Gregory Stapp added perhaps the most sepulchral timbre to the ensemble as the mysterious Monk [Don Carlos]. San Francisco Classical Voice

! The solo voices were spectacular…and Stapp’s Confutatis were gorgeous,… The many ensembles — trios, duets, and the full quartet — demonstrated a beautiful blend. Springfield State Journal-Register

! The bass Gregory Stapp also brought a strong voice to the quartet and had two notable solos in the Dies irae…The talent of the four together was a treat to see. Bloomington Pantagraph

! Gregory Stapp is tall, strikingly handsome, with a rich and resonant bass voice and a good command of the stage. Opera Guide

! Stapp riveted me with his singing of Il lacerato spirito. The aria ends on a low F

# and Stapp boomed it out, big and round and satisfying. Denver Westword

Gregory Stapp • Curriculum Vitae • Reviews: Miscellaneous •

! The solo quartet sang well…Gregory Stapp, impressive in the grand bass solo. [Cantata #4: Christ lag in Todesbanden] San Francisco Chronicle

! Stapp’s booming bass rounded out the satisfying presentation. [Messiah] Ventura Star-Free Press

! Gregory Stapp sang exceedingly well. [Messiah] Oxnard Press-Courier

! Bass Gregory Stapp sang the title role [Duke Bluebeard’s Castle] of the mystical and probably psychopathic recluse with an appropriate detachment..

San Jose Mercury News

! Bass Gregory Stapp conveyed much of Bluebeard’s melancholy menace… San Francisco Chronicle

! A thorough command of all the demanding elements of being upon the operatic stage was shown to a capacity audience by Gregory Stapp, bass,…attractive and talented…splendid encores… Vallejo Independent Press

! Gregory Stapp was a decided asset as the High Priest. Sacramento Union

! Stapp’s pointed dark-hued basso was heard to best advantage in the invocations of Verdi’s Padre Guardiano. Los Angeles Times

! Stapp’s deep bass was authoritative. Palo Alto Peninsula Times Tribune

! Kevin Langan and Gregory Stapp provided lots of sonority as the matched basso conspirators. Los Angeles Times

! Stapp chose several real tests for the bass voice and passed all of them. He sustained the long lines of In diesen heil’gen Hallen and negotiated the wide range of Si la rigueur with no apparent difficulty. Ave Signor from Mefistofele gave the audience a good indication of what a commanding figure he would cut in the title role of that opera. Hagerstown Morning Herald

! Gregory Stapp is a singer you really have to look up to. Literally. And when he sings, everyone seems smaller. The voice rolls out like thunder.

San Francisco Opera Companion

! The concert concluded with the beautiful voice of bass Gregory Stapp, who sang Schubert’s Lieder impeccably. Rome Psicoanalisi Contro

Gregory Stapp • Curriculum Vitae • Repertoire •

t Operatic Repertoire VIII

d’Albert Tiefland Tommaso

Bartok Bluebeard’s Castle Bluebeard

Beethoven Fidelio Don Fernando

Berlioz La Damnation de Faust Brander

Bizet Les Pêcheurs de Perles Nourabad

Britten Albert Herring Superintendent Budd Billy Budd Dansker Peter Grimes Hobson

Busoni Turandot Emperor Altoum

Delibes Lakmé Nilakantha

Donizetti Lucia di Lammermoor Raimondo

Gounod Philémon et Baucis Jupiter, Vulcan Roméo et Juliette Friar Lawrence

Händel Julius Caesar Achillas

Herbolsheimer Mark Me Twain John Mackay

Janacek The Cunning Little Vixen Parson

Leigh Man of La Mancha Cervantes/Quixote

Menotti Amahl and the Night Visitors Melchior, Balthazar The Consul Mr. Kofner

Monteverdi Il ballo dell’ingrate Pluto L’Incoronazione di Poppea Seneca

Mozart The Abduction From the Seraglio Osmin Don Giovanni Commendatore The Magic Flute Sarastro, Speaker The Marriage of Figaro Figaro, Bartolo

Gregory Stapp • Curriculum Vitae • Repertoire •

Nicolai The Merry Wives of Windsor Falstaff

Puccini Gianni Schicchi Simone La Bohème Colline La Fanciulla del West Ashby Il Tabarro Talpa Turandot Timur

Rodgers South Pacific Emile de Becque

Rossini The Barber of Seville Don Basilio

Saint-Saëns Samson et Dalila Old Hebrew

Schubert Fierrabras Charlemagne

Shostakovitch Lady Macbeth of Mtsensk Priest, Old Convict

Smetana The Bartered Bride Kecal

Strauss Arabella Waldner

Tchaikovsky The Maid of Orleans Archbishop

Thompson The Mother of Us All Daniel Webster

Verdi Aïda Ramfis, King Don Carlo Grand Inquisitor, Monk Il Trovatore Ferrando Macbeth Banco Nabucco High Priest of Babylon Otello Lodovico Rigoletto Sparafucile Simon Boccanegra Fiesco

Wagner Die Meistersinger Foltz Das Rheingold Fasolt, Fafner Siegfried Fafner Die Walküre Hunding

Ward The Crucible Reverend Hale

Weber Der Freischütz Old Hermit

Gregory Stapp • Curriculum Vitae • Performance Experience •

t Performance Experience IX

Osmin Die Entführung aus dem Serail Lyric Opera Cleveland 2006 Lake George Opera Festival 2002 Opera Memphis 1999 Indianapolis Opera 1994 Music From Bear Valley Festival 1993 Austin Lyric Opera 1993 Festival Opera of Walnut Creek 1991 June Opera Festival of New Jersey 1991 Pacific Repertory Opera 1991 Birmingham Opera Theatre 1991 Mendocino Music Festival 1988

Sarastro Die Zauberflöte San Francisco Opera (Cover) 2003 Nevada Opera 1997 Monterey Opera 1997 Sakai City Opera, Osaka, Japan 1995 Music From Bear Valley Festival 1990 Indianapolis Opera 1989 Opera Memphis 1989 Great Performances: LIVE FROM LINCOLN CENTER 1987 New York City Opera 1987 Carmel Bach Festival 1987 Oakland Opera 1986 Eugene Opera 1983 AVA Opera Theatre (Cover) 1978

Figaro Le Nozze di Figaro Music From Bear Valley Festival 1995 Nevada Opera 1992

Don Quixote Man of la Mancha Knoxville Opera 1992

Falstaff The Merry Wives of Windsor Oakland Opera 1984

Pluto Il ballo dell’ingrate [Monteverdi] San Francisco Opera’s Spring Opera Theater 1981

Emperor Altoum Turandot [Busoni] Connecticut Grand Opera (USA stage premiere) 1986

Bluebeard Duke Bluebeard’s Castle [Bartok] UC Davis Symphony (staged at Mondavi Center) 2011 (available on UCTV and YouTube) Berkeley Symphony 1995

Kecal The Bartered Bride Hawaii Opera Theatre 1990

Nilakantha Lakmé New Orleans Opera 1997

Raimondo Lucia di Lammermoor Michigan Opera Theatre 1992 Greater Miami Opera 1992 Sacramento Opera 1986 Mississippi Opera 1985 Arizona Opera 1984 San Francisco Opera 1981


Daniel Webster The Mother of Us All San Francisco Opera (cover) 2003

Jupiter Philémon et Baucis San Francisco Opera’s Brown Bag Opera 1981

Reverend Hale The Crucible Tulsa Opera 1995

Seneca L’Incoronazione di Poppea San Francisco Opera (cover) 1981

Don Basilio Il Barbiere di Siviglia Tulsa Opera 2004 San Francisco Opera (cover) 2003, 2004 Bear Valley Music Festival 1999 Toledo Opera 1984 Nevada Opera 1984

Friar Lawrence Roméo et Juliette Townsend Opera 2011 Cincinnati Opera 1989 Mississippi Opera 1989 San Francisco Opera’s Spring Opera Theater 1981

Fasolt Der Ring des Nibelungen Arizona Opera, Flagstaff 1996 Das Rheingold Arizona Opera, Tucson, Phoenix 1996 Der Ring des Nibelungen Seattle Opera 1986, 1987

Achillas Julius Caesar San Francisco Opera (Summer Festival Opening) 1982

Ramfis Aïda Colorado Opera Festival 1993 National Grand Opera 1991 Centro Internacional de Opera, Guadalajara, Mexico 1991 Knoxville Opera 1990

Dansker Billy Budd San Francisco Opera 2004

Sparafucile Rigoletto Cleveland Opera 2002 Bear Valley Music Festival 1998 Sakai City Opera 1994 Baltimore Opera 1994 Westfield Symphony 1993 Opera/Columbus 1990 Fort Worth Opera 1987 New York City Opera National Company 1985 Sacramento Opera 1984 San Francisco Opera (cover) 1981 San Francisco Opera’s Brown Bag Opera 1981

Grand Inquisitor Don Carlo San Francisco Opera (cover) 2003 Portland Opera 1994 New Orleans Opera 1992 Nevada Opera 1991

Ferrando Il Trovatore Greensboro Opera 1991 Opera/Columbus 1990

The Mikado The Mikado Townsend Opera 2012

Parson The Cunning Little Vixen San Francisco Opera 2004


Zechariah The Message of Gabriel [Allen] Santa Rosa (world premiere) 2010

Archbishop The Maid of Orleans [Tchaikovsky] Nevada Opera 1988

Old Hebrew Samson et Dalila Baltimore Opera 1995 Michigan Opera Theatre 1992 Opera Pacific 1992 San Francisco Opera (cover) 1980

Priest Lady Macbeth of Mtsensk San Francisco Opera 1981

Timur Turandot San Francisco Opera (cover) 2002 Hawaii Opera Theatre 1996 Colorado Opera Festival 1994 Syracuse Opera 1990 Greater Buffalo Opera 1990

Nourabad Les Pêcheurs de Perles Portland Opera 1988 New York City Opera 1983

Sergeant of Police The Pirates of Penzance Nevada Opera 1995

King Aïda Sacramento Opera 2006

Lodovico Otello San Francisco Opera 2002

John Mackay Mark me Twain Nevada Opera (World premiere) 1993

Hunding Die Walküre Colorado Springs Symphony 1997 Seattle Opera (cover) 1986 San Francisco Opera (cover) 1981

Commendatore Don Giovanni Yountville Lincoln Theater/S.F. Opera Center 2006 Connecticut Opera 2000 San Francisco Conservatory of Music (Guest Artist) 1992 Sakai City Opera, Japan 1991 Portland Opera 1989 Pittsburgh Opera 1988 Glimmerglass Opera 1988 Music From Bear Valley Festival 1984 Opera Theatre of St. Louis 1983 Pennsylvania Opera Theatre 1979

Brander La Damnation de Faust San Francisco Opera 2003

Mr. Kofner The Consul Mississippi Opera 1988 Connecticut Grand Opera 1985 Edinburgh International Festival, Scotland 1985

Ashby La Fanciulla del West RAI Italian Telecast 1985 Festival dei due mondi, Spoleto, Italy 1985 Spoleto Festival U.S.A. 1985


Colline La Bohème Bear Valley Music Festival 1996 Sakai City Opera — Sakai, Japan 1992 Connecticut Grand Opera 1987 Sacramento Opera 1985 Mississippi Opera 1984 Nevada Opera 1983 Indiana University Opera Theater 1979 Philadelphia Music Theatre 1979

Sprecher The Magic Flute Sakai City Opera, Japan (cover) 1995 Music From Bear Valley 1990

Tiresias Oedipus Rex Berkeley Symphony 1994

Captain Vasquez Children of the Sun [Mollicone] NDNU Workshop premiere 2010

Sheriff Norm Cadillac [Self] NDNU Workshop premiere 2011Don Fernando Fidelio San Francisco Opera (cover) 2005 Baltimore Opera 1996 New Orleans Opera 1992

Biterolf Tannhäuser New Orleans Opera 1994

Monk (Charles V) Don Carlos San Francisco Opera (French) 2003

Monterone Rigoletto Sakai City Opera 1994

Tommaso Un Ballo in maschera San Francisco Opera (Gala Season Opening) 1982

Border Captain, Boris Godunov Opera Columbus 1990 Sergeant

Hobson Peter Grimes Opera Theatre of St. Louis 1990

High Priest Nabucco San Francisco Opera 1982

Angelotti Tosca San Francisco Opera (cover) 2004 Pittsburgh Opera 1989

2nd Soldier Salome San Francisco Opera 1982

Antonio Le Nozze di Figaro San Francisco Opera 1982

Tío Sarvaor La Vida Breve Philadelphia Orchestra 1978

Frosch Die Fledermaus Bear Valley Music Festival 1997

Foltz Die Meistersinger San Francisco Opera 1981

Totor Margot la Rouge [Delius] Opera Theatre of Saint Louis 1983

Mandarin Turandot San Francisco Opera 1982

Ghost of Nino Semiramide San Francisco Opera (Gala Season Opening) 1981


St. Jacques Le Cid San Francisco Opera 1981

Ajax The Cry of Clytaemnestra [Eaton] San Francisco Opera’s Spring Opera Theater 1981

2nd Armored Man Die Zauberflöte San Francisco Opera 1980, 2003

Charlemagne Fierrabras [Schubert] AVA Opera Theatre (American premiere) 1980

Buckingham Richard III [Turok] Opera Co. of Phila./AVA (premiere reading) 1980

Supt. Budd Albert Herring AVA Opera Theatre 1979

Vladeck Shadows Among Us [Laderman] Opera Co. of Phila./AVA (premiere reading) 1979

Waldner Arabella AVA Opera Theatre 1979

Don Alfonso Così fan tutte AVA Opera Theatre 1979

Tommaso Tiefland AVA Opera Theatre 1978

Count Ceprano Rigoletto Opera Company of Philadelphia 1978

Talpa, Simone Il Tabarro, Gianni Schicchi Academy of Vocal Arts 1977

Melchior, Amahl & the Night Visitors PCPA Shubert Theatre 1977, 1978 Balthazar First Plymouth Congregational Church 1973 Loretto Heights College 1972

Homeless Man Jackson J.F. Lawton Film (SAG/AFTRA) 2002, 2003

Bass Soloist Requiem [Verdi] Stanford University Summer Chorus and Freiburg’s Junge Kammerphilharmonie 2010 Osaka Symphoniker, Japan 1998 Illinois Symphony 1997 Walla Walla Symphony 1993

Harmoniemesse [Haydn] Berkeley Community Chorus & Orchestra 2010

Requiem [Garcia] Brasilia Chorus, Carnegie Hall (USA premiere) 1994

Requiem [Mozart] Sacramento Symphony 1991 Sacramento Symphony Chamber Orchestra 1983 Chestnut Hill Basically Bach Festival 1979 Philadelphia Singers 1979 Cathedral of the Immaculate Conception (Denver) 1973

Messiah Fresno Philharmonic 1991 Ventura County Symphony 1980 Colorado Community Arts Symphony 1974 Colorado Women’s College 1975 Loretto Heights College 1973, 1983 United States Air Force Academy Chapel 1974, 1975 1st Plymouth Congregational Church (Denver) 1971

Christ lag in Todesbanden San Francisco Chamber Orchestra 1987


Bass Soloist Missa Solemnis UC Davis Symphony & Chorus (Gloria) 2008 Sacramento Symphony 1985

St. Matthew Passion San Francisco Symphony 1982

St. John Passion First Plymouth Congregational Church (Denver) 1974

Fantasia in C [Beethoven] Colorado’s Jefferson Symphony 1972 Colorado’s Community Arts Symphony 1972

Services & Concerts 1st United Methodist Church of Germantown 1978–79 St. Luke & the Epiphany Church (Philadelphia) 1977–78 1st Plymouth Congregational Church (Denver) 1970–76

Narrator The Planets Music From Bear Valley Festival 1996

Young Person’s Guide to Orchestra Music From Bear Valley Festival 1993

Featured Artist Broadway & Opera Pops Concerts Kunming Symphony, China 2009 Shandong Symphony, China 2009 Bear Valley Music Festival 1993, 1995, 1998 & 1999 North Bay Philharmonic 1997 Greenhorn Creek Resort in Angel’s Camp 1996 Palm Springs Desert Museum Annenberg Theater 1982 San Francisco Opera’s Brown Bag Opera 1980–1982 Los Angeles Master Chorale 1981 Ventura County Symphony 1980 Potomac Symphony 1979

Opera in the Parks Silicon Valley Friends of Opera, San José 1994

Cabaret Show Sakai City Opera, Japan 1992

Recitals & Informances Sakai City Opera, Japan 1991 College of New Jersey (Trenton State College) 1986 Loretto Heights College 1974, 1975, 1982, 1986 Mississippi Opera 1985 Festival dei due mondi, Spoleto, Italy 1985 Vallejo Naval & Historical Museum 1984 Affiliate Artists, Inc. 1980–1984 San Francisco Opera Center 1982 San Francisco Affiliate Artists–Opera Program 1982 Ventura County Symphony 1980 San Francisco Affiliate Artists–Opera Program 1981 York College 1980 Ursinus College 1980 AVA Concert Bureau 1977–1980 1st Plymouth Church Outreach Program 1971–76

Opera for Kids! AVA Concert Bureau 1979, 1980

Opera: Myth & Reality AVA Concert Bureau 1979

Concerts & Staged Opera Scenes SFO’s Brown Bag Opera 1980–1982

Music in the Parks Opera Company of Philadelphia 1978

Gregory Stapp • Curriculum Vitae • Additional Materials •

t Additional Materials X

Materials Provided upon Request

Academic Transcripts

! Academy of Vocal Arts Artist’s Diploma, 1980

! Loretto Heights College Bachelor of Arts, Cum Laude, Degree with Distinction, 1976

! Cherry Creek High School Diploma, Cum Laude, 1972

Published Materials — Copies or Manuscripts

! Myths and Realities of Professional Singing Teddy’s Music Press

! A Collection of Opening Nights Teddy’s Music Press

! Articles AGMAzine

! Articles & Reviews BMUG Newsletters

Recordings

! Audition CD ! Performance Excerpts

Selected Fragments PLEASE NOTE:

Stapp’s operatic and concert performances are usually governed by union, contractual and copyright agreements. Therefore, recordings are customarily forbidden or unavailable.

Photographs ! Publicity Headshot ! Production Photos

Biographies ! Comprehensive Career Biography ! Detailed Educational and Personal History

gregory stappgregorystapp.com/gregorystappbass.pdf · in spoleto, festival founder gian carlo...

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