Anne Marie Stanley’s unique instrument has allowed her to embrace a broad repertoire of roles across bel canto, classical and contemporary styles, recently showcasing Adalgisa in Bellini’s Norma at Palm Beach Opera under Carlo Montanaro, Lucretia in Britten’s The Rape of Lucretia at the Linbury Theatre, Covent Garden under Corinna Niemeyer, both Léonor in Donizetti’s La favorite and Olga in Tchaikovsky’s Yevgeny Onegin at the Academy of Vocal Arts in Philadelphia, Kate Pinkerton in Puccini’s Madama Butterfly at Opera Philadelphia led by Corrado Rovaris and, under the mentorship of Marilyn Horne, Dinah in Bernstein’s Trouble in Tahiti at Music Academy of the West.

Recently on the concert stage, Stanley was part of the world premiere of Brent Michael Davids’ monumental composition Requiem for America with BBC Symphony Orchestra, conducted by Teddy Abrams, which she will reprise this season for the work’s American premiere at Jordan Hall in Boston. Elsewhere this season, she joins the Brussels Philharmonic for Britten’s Spring Symphony led by Music Director Kazushi Ono. Previously, Anne Marie made her Carnegie Hall debut in Mozart’s Mass in C minor with Newfoundland Symphony Orchestra, joined Princeton Symphony Orchestra for Beethoven’s Symphony No.9 and appeared as the Austrian Woman in John Adams’ The Death of Klinghoffer with Radio Filharmonisch Orkest at Het Concertgebouw, led by the composer himself.

Anne Marie Stanley trained in Voice Performance at Westminster Choir College in Princeton and Shepherd School of Music at Rice University in Houston, and has been the recipient of numerous awards and competition prizes. She made her operatic debut at Spoleto Festival USA in a production of Giordano’s Mese Mariano and, as a Santa Fe Opera Apprentice Artist, appeared there as Concepción in Ravel’s L’heure espagnole.