Mezzo-soprano Stephanie McGuire has appeared with New York City Opera at Lincoln Center, with the Boston POPS Orchestra in Symphony Hall, and several times at Carnegie Hall. She performs repertoire across the centuries, but in recent seasons she has primarily performed music of the baroque and contemporary periods. Recent roles include Dinah in Bernstein’s Trouble in Tahiti with Underworld Opera at Symphony Space in New York City, Cirilla/Venere in Cavalli’s Gli Amori d’Apollo e di Dafne in Venice, and the trouser role of Erminio in the New York premiere of A. Scarlatti’s Il Trionfo dell’Onore. Also at home in standard repertoire, Stephanie made her Symphony Hall debut performing Bizet and Bernstein arias with the Boston POPS Orchestra under the baton of Keith Lockhart.


Stephanie particularly excels in Baroque repertoire. In addition to Erminio and Cirilla/Venere, Stephanie has performed Cornelia in Giulio Cesare for the Metropolitan Opera Guild with conductor-pianist Susan Morton. Other Händel roles include appearances with New York Lyric Opera as both Bradamante and Ruggiero in Alcina.


Sacred music is Stephanie’s first love. She has appeared as soloist in performances of Bernstein’s Jeremiah Symphony with the Key West Symphony Orchestra and, most recently, in Duruflé’s Requiem with the historic Fifth Avenue Presbyterian Chamber Choir and Orchestra. Also recently, Stephanie was featured as alto soloist in Beethoven’s Mass in C with the Hunter College Concert Choir and Orchestra. Other favorite oratorio roles include Bach’s St. John Passion, St. Matthew Passion, and B-minor mass, Mozart’s Requiem, and Rossini’s Stabat Mater.


At the start of the decade, Stephanie began to explore mixed-genre and multimedia performance. Her solo show Mezzo Laid Bare, which premiered in New York City, combines standard repertoire and monologue, and was described as a groundbreaking mashup of classical recital and downtown theater. She is currently developing a recital featuring Renaissance and Baroque music that explores connections between early music and hip-hop, both of which exploit polyrhythms and have a close connection to dance forms.




Stephanie recently moved to Berlin with the help of several generous sponsors. Sincere, heartfelt thanks to:


Dr. Roald Hoffmann

Drs. Stephen C. and Saundra Y. McGuire



Lois Baskin

Arlene Batz

Alan Craig

Carla Davis, M.D.

Thomas Enman

Martin Finkelman, M.D.

David and Janice Fitzpatrick

Helen Frank

Dr. Laurence Kaptain

Mark Lesseraux

James and Patricia McMillion

Rev. Sarah Richards and Michael Ryan

Roger and Patricia Tucker

Gary Wedow

Eric A. Yancy, M.D.

Megan Yancy