A season in review: As Jacquelyn Stucker star continues to rise, we take a look back at her 2025/26 season.

In Robert Carsen’s captivating staging of Ariodante at Opéra national de Paris, Jacquelyn portrayed ​“a deeply touching Ginevra”, and in the same role in the Jetske Mijnssen production on the stage of the Royal Ballet & Opera, she displayed world-class singing with her ​“luminous soprano”. Making her role debut as Fiordiligi in the Michael Cavanagh setting of Così fan tutte for the Lyric Opera of Chicago, she showcased her nuanced artistry and effortless colouratura, and at the Metropolitan Opera, she was praised for bringing a ​“poised, luminous lyricism” into the intense drama of Saariaho’s Innocence. Jacquelyn’s season drew to a triumphant close with a ​“beautifully sustained voice” in the Austrian premiere of Venables’ ensemble piece We are the lucky ones at Tiroler Festspiele Erl, where performances were met with standing ovations.

“Jacquelyn Stucker embodies a deeply touching Ginevra, served by refined phrasing, with exemplary clarity and poise. In ​“Mi palpita il cor,” she reveals a fragile sensitivity, moving in its simplicity. Between incisive drama, piercing high notes, and delicate pianissimos , the soprano finds a precision of expression that lends Ginevra superb moments of truth.” — Forum Opera, September 2025
 

“Jacquelyn Stucker is Ginevra, with a beautiful, luminous soprano timbre and fine texture. She appears almost trance-like as she sings one of Handel’s most beautiful arias, ​“Il mio crudel martoro” — Connssi all’Opera, December 2025
 

“Stucker has a gleaming voice with considerable power and pinpoint control. She dazzles in her first-act aria, ​“Come scoglio,” handling its tricky coloratura or ornamented singing and jumping across its two-plus octaves with agility and ease, showing off her beautiful upper and strong bottom registers”. — Chicago Sun Times, February 2026
 

“Jacquelyn Stucker’s Bride projected a poised, luminous lyricism, her tone cleanly focused and evenly sustained, reinforcing the character’s emotional isolation within the unfolding revelations.” — Seen and Heard International, April 2026