Acclaim

Canio (Pagliacci)

Cavaradossi (Tosca)

As Cavaradossi, Robert Stahley convincingly goes from cocky painter to doomed political prisoner, with a voice so strong and clear it renders the supertitles unnecessary… In big moments, the power in the three leads’ voices feels like it could blow the roof off the Loretto-Hilton Center — and the applause on opening night was appropriately thunderous. - River Front Times, Tosca

Stahley has one of those clarion-clear Heldentenor voices that, when combined with Van Kooten’s in their big love duets, delivers an electrifying effect. -Stage Left, Tosca

Robert Stahley sings Cavaradossi, and his is the perfect voice for this role.  His impassioned, soaring tenor at times reminded me of Caruso- Broadway World, Tosca

Robert Stahley delivers his Mario as warm, strong and slightly rakish, especially in the first act. Stahley has tremendous chemistry with both Van Kooten and Enoch. His delivery of “The Stars Were Shining Brightly” is heart-wrenching and noteworthy for his nuanced blending of sorrow and pride.- KDHX, Tosca

Robert Stahley’s commanding arias highlight his stunning OTSL debut. A prodigiously talented performer, he gives Cavaradossi an emotional gravitas that sparks the production’s most intense moments. -ReviewSTL, Tosca

Erik (The Flying Dutchman)

“duets with Robert Stahley were fractious and earthbound. Making his Utah Opera debut, Stahley played Senta’s suitor, Erik, with the petulance and menace of a toxic boyfriend, and Harmer reacted with fear… Stahley’s clear, sharp tenor contrasted with [Michael] Chioldi’s bass-baritone- Utah Arts Review, The Flying Dutchma

Walter Von Der vogelwider (Tannhäuser)

“Tenor Robert Stahley was incredible. This is a singer to keep your eye on. We would not be surprised to see him in the role of Tannhäuser in the future. The tone and quality of his voice imply that great things are to come.”- opera Gazet, Tannhäuser

Sam (Susannah)

“With authoritative strength and sensitivity by tenor Robert Stahley…he sang [Sam] with touching emotion, especially the “Jaybird” duet in Act I. Puissant high notes underscored his indignation (“It must make the Good Lord sad”) and murderous anger.- The Classical Review, Susannah

Stahley seems born to play his character, with his svelte tenor voice and a richly embodied, charismatic performance of the flawed Sam.- Arts National, Susanna

Max (Der FREISCHÜTZ)

“In the role of Max, tenor Robert Stahley used his voice with fine aplomb to capture the complexity of his character. His clarion full tenor rang out in a lyric legato.” – Washington Classical Review, Der Freischutz

“Robert Stahley presents as earnest and childlike, but his firm, muscular Heldentenor is anything but…he tirelessly exudes gravitas and individuality throughout a production that has him rolling on the stage nearly from his first entrance.”- Parterre, Der Freischutz

idomeneo (idomeneo)

"As Idamante's father, Idomeneo, Robert Stahley performed with fervor and a robust voice, convincingly conveying his anguish at the idea of sacrificing his son.  His powerful Act II aria, 'Fuor del mar' (Saved from the sea) was a heroic display of vocal acrobatics that earned an extended ovation from the audience." -Jane Gelfand, Cincinnati.com