Culture Map raves, "In the title role [of Princess Ida] is soprano Megan Stapleton, an artist of clarity, power, and much expressivity. She is also a gifted actor, playing the role with a studied intensity. She is, after all, playing the head of a women's university where no men are permitted. She has to be imposing for the 100 young women who follow her lead. I found her glamorous presence on stage mesmerizing, her voice melodious when it had to blend with others in an ensemble, but always extraordinary in solo passages. She has star quality, and I look forward to hearing her again in Houston or elsewhere."
BroadwayWorld.com states, "Megan Stapleton... has a crystalline, ethereal voice. She sings purely and seemingly effortlessly, even when delivering high notes that seem pulled from another realm. Her voice is never shrill, always confident and pure. And she's funny, too. Stapleton has a lyrical physicality; she is adept at using posturing and body language to make the most of the comedic moments."
@meaganingersoll praises, “@meganstapletonsoprano is such an inspiration on and off stage. Her voice is a powerhouse and she so gracefully embodied Belle. I’ve never heard such applause for anyone at a show. Anywhere.”
Boston Musical Intelligencer claims, “Megan Stapleton as Nanetta Ford was not only a stunning… petite blonde who moved with agile grace, but possessed a coloratura soprano voice with an arching lyricism that shimmered like the moon.”
MEGAN STAPLETON is regarded as “an artist of clarity, power, and much expressivity...” (Culture Map). Possessing a warm and agile voice that "shimmers like the moon" (The Boston Musical Intelligencer), Megan's versatility stretches from early music to Mozart, bel canto opera, American opera, operetta, and musical theater. As an early music singer, she has been a featured soloist with Ars Lyrica, Mercury Orchestra, Houston Bach Society, Lumedia MusicWorks, Austin Troubadours, and various self-arranged one-off chamber ensembles. She is the vocalist of Houston Baroque, which ran three full seasons from 2014-2017, and with whom she released the album “My Soul Sees and Hears” in 2016. With a heart for children, Megan has performed extensively in various children’s programs with Houston Grand Opera, including Opera To Go!, Storybook Opera, and First Songs. Regarded for her comedic timing and “lyrical physicality” (BroadwayWorld.com), Megan has performed three leading roles with Houston’s G&S Society, and the Galveston Symphony Orchestra has welcomed Megan as their soloist on multiple occasions. With BJU Artist Series, she recently performed ‘Belle’ in the production of Disney’s Beauty and the Beast. She is slated to perform ‘Mary Catlett’ in the musical Amazing Grace next year.
Currently based in Greenville, South Carolina, Megan's professional career began in New England, where she sang with The Boston Early Music Festival, Boston Opera Collaborative, SoHIP, and Boston Metro Opera. She has recorded three new song cycles by Thomas Oboe Lee at WGBH, and has also premiered works by M.C. Warwick and Gregory Spears at Houston Grand Opera. Other credits include performances with Charlottesville Opera, GLOW Lyric Theatre, and BJU Symphony Orchestra. Her Czech Republic debut with the Olomouc Baroque Festival was cancelled by Covid in 2020. Megan’s versatility extends to contemporary commercial music (i.e. musical theater/pop/jazz), as well, crediting her with regular performances as the featured vocalist with jazz pianist Paul English.
Dr. Stapleton holds degrees with honors from The University of North Texas (DMA), New England Conservatory (MM) and Sam Houston State University (BM). While working on her DMA, she taught applied voice lessons and voice methods classes to undergrads at UNT, and was a protege of Dr. Stephen F. Austin. Dr. Stapleton held a Teaching Artist Residency at McNeese State University in Spring 2021. She currently serves as Assistant Professor of Voice Studies at Bob Jones University, where she teaches applied voice, opera workshop, musical theater workshop, voice literature, and voice pedagogy.