Andrew Stuckey

“Baritone William Andrew Stuckey… has a leonine voice of dark, smoky sonority

and a stage presence to go with it.”

—Chuck Klaus, Syracuse Post-Standard

 

 

 

William Andrew Stuckey’s baritone deserves praise not only for its full-throated, rich tone but for the grace with which he reaches his audience.

—Norman and Bette Seigerman, Sarasota Arts & Entertainment

 

 

A rich, buttery voice. A wide emotional scope and actor’s grace. A stage presence that captivates the hearts of audiences.

 

These accolades and more have followed baritone William Andrew Stuckey, whose opera and concert performances are widely acclaimed for their visceral power and rich beauty.  His exploration of the character’s complex persona, reviewers noted, was displayed winningly in arias whose vocal agility ranged from pensive whispers to despairing outbursts. His interpretation of Enrico in Lucia di Lammermoor with the Syracuse Opera and the Connecticut Grand Opera brought praise for his “unusual sensitivity.”

 

Mr. Stuckey is a baritone whose many and varied roles speak to his accomplished voice and broad appeal.  Mr. Stuckey sang the title role of Rigoletto with Opera on the James.  He had the honor of working with the late maestro Lorin Maazel as Michele in Il tabarro, Sonora in La fanciulla del West and Iago in Otello.  As the black-hearted Iago in Opera Roanoke’s stellar production, the Roanoke Times deemed his portrayal “not to be missed.” With the Festival Lyrique-en-mer in France he debuted, with great success, the title role in the comic opera Falstaff, following up with Germont in La Traviata, a role he has perfected with several opera companies, including Santa Fe Opera, Opera Delaware and Opera New Jersey.

 

Mr. Stuckey has put his unique stamp on many varied roles including Tonio in I Pagliacci, and Sharpless in Madama Butterfly, Don Pizarro in Fidelio, the title role in Gianni Schicchi, and the High Priest in Samson et Dalila. He has interpreted these and other leading roles for opera houses throughout the United States, including the Washington National Opera, San Francisco Opera, and the opera houses of Santa Fe, Baltimore, Palm Beach, Portland, Augusta, Tulsa, Kansas City, St. Louis and Sarasota.

No stranger to concert work, Mr. Stuckey has had the privilege of performing Beethoven’s Ninth Symphony, Dvorak’s Te Deum, Britten’s War Requiem, Handel’s Messiah, Verdi’s Requiem, Mendelssohn’s Elijah, and Mozart’s Requiem, among other beloved classics of the concert repertoire.

Mr. Stuckey’s talents were recognized early in his career. He was chosen by the Lyric Opera of Chicago for its two-year apprentice program, out of a field of more than 1,200 performers to audition. Prior to that, he was a resident artist for the Portland Opera and apprenticed twice with the Santa Fe Opera. Over the years, he has received many prestigious prizes, awards and grants, including the Sara Tucker study grant, the William Matheus Sullivan Foundation grant and The Union League grant. He won first prize in both the Florida Grand Opera’s Young Patronesses of the Opera competition and the Palm Beach Opera competition. He was also a National Semi-Finalist for the Metropolitan Opera National Council Auditions.

In the pursuit of excellence, Mr. Stuckey credits the enormous influence of renowned singers, teachers, directors, conductors, and coaches who have guided his career. He has had the pleasure of working professionally with many respected opera singers, including Bryn Terfel, Renee Fleming, Renata Scotto, Mirella Freni, Susan Graham, Frank Lopardo, Marcello Alvarez and Dmitri Hvorostovsky. He credits much of his success to his vocal coaches and voice teachers Daniel Beckwith, Eric Weimer, Craig Rutenberg, Richard Boldin, Donna Brunsma, Phil Morehead, Jerry Langenkamp, John Stephens and Marlena Malas.

 

 

“One hears a Rigoletto or a Macbeth in his voice.”

—Jerome Sehulster, Stamford Advocate