His four-line poem "Dawn" was given simple and direct treatment by Garrop, and it was sung with beautiful phrasing by soprano Josefien Stoppelenburg, with polished accompaniment by Stephen Alltop at the piano. Next came a setting of the famous poem "We real cool," by Pulitzer Prize winner Gwendolyn Brooks, the first black Laureate of the United States. The overlapping lines were delivered in staccato style, and the final line, spoken by Stoppelenburg, "We die young," came across like a slap in the face.

Champaign-Urbana News gazette


" an astonishing singer"

Chicago Tribune

"Josefien Stoppelenburg brought her crystalline soprano and keen expressive penetration of words and music to Merula's "Su la cetra amorosa"

Chicago Tribune

Soprano Josefien Stoppelenburg well conveyed the intense emotions of the more serious passages.

Poulenc Gloria with Champaign Urbana Symphony Orchestra

Champaign Urbana News Gazette

" superstar soloist"

Opus Colorado

"Stoppelenburg heroically soared above the thick instrumental background, providing one of the most thrilling moments of the evening."

Daily Camera, Boulder, Colorado


Stoppelenburg has a soprano voice of remarkable purity and clarity, and her singing in the “Confiteor” was exquisite.

Sharps& Flatirons, Boulder, Colorado


“Of the soloists, soprano Josefien Stoppelenburg stood out for her creamy tone, dead-on accuracy and dramatic interpretation. Everything she touched shone.”

Chicago Classical Review

" ..Stoppelenburg's clear, pure soprano soared.."

" a luminous stream of vocal color"

Chicago Sun Times

" ..Stoppelenburg is a well prepared soloist"

St Louis Today

"Soprano Josefien Stoppelenburg communicated persuasively both through word and gesture. In the three pieces that are children’s songs, she clearly appeared to enjoy herself, infecting the audience. But in the exception, chilly and ritualistic, she also achieved a lovely soft stillness over the trilling flute.
Chicago Tribune

" A beautiful operatic voice"

LA Splash


"Stoppelenburg commands an agile, rhythmically exact soprano"

John von Rhein, Chicago Tribune


"...soprano Josefien Stoppelenburg brought a creamy timbre, range and agility to Aci’s two sublime arias" 

John Von Rhein-Chicago Tribune  Aci, Galatea e Polifemo with the Haymarket Opera Company


" floating, full-toned expression"

Chicago Tribune

"soprano Josefien Stoppelenburg"..." crooned and soared and scat-sang with plenty of energy"

Stoppelenburg sounded unfazed by the cruelly high vocal tessitura of some of her music.”

John von Rhein Chicago Tribune

“Josefien Stoppelenburg was the clear standout in the three-woman cast. The statutuesque soprano was wholly convincing in the trousers role of the anguished, lovelorn Tirsi. Stoppelenburg sang with confidence and impressive agility, her bravura account of Tirsi’s Act 2 aria, sailing through the florid coloratura, eliciting the most enthusiastic ovation of the evening. The soprano was also the most engaged with the work’s comedy, her rangy physicality and mutable expressions consistently amusing.

Chicago Classical Music

"Superb solo turns by soprano Josefien Stoppelenburg"

Chicago Classical Review

winning soprano Josefien Stoppelenburg (the fine Aci in Haymarket’s first production, Handel’s “Aci, Galatea e Polifemo”) ..with Stoppelenburg especially convincing as a lovestruck and moralistic young man.”

Chicago Sun Times


"Josefien Stoppelenburg was primo as Mary Magdalene, her voice imbued with the soft twinkle of twilight. Her aria Jesus was not afraid weaved seamlessly around dueling flutes and her impassioned duo with countertenor Ian Howell (Cleophas) did justice to Sweet nails, beloved thorns.” 

Chicago Classical Music 

“Josefien Stoppelenburg, soprano, brings to life a humorously resourceful Aci, rightly infusing the character with an appropriately plucky presumption while engaged in a game of what is effectively“brains verses the beast” with the cyclops."

"Stoppelenburg’s transparent and crystalline tone is particularly captivating in her death scene where the timbre completely downshifts into shadows and you wonder if you are even listening to the same soprano – a wonderful effect.”

 Chicago Classical Music

“Stoppelenburg was particularly good, navigating both the pace Clarke set and the demands of the music with apparent ease. Topping it off, she ornamented with taste”.

Crosspalms Handel Messiah with Baroque Band

".It was clear that these sisters and brothers were in the same musical league: their music making was of a sublime harmony."

De Stentor Charlotte& Josefien Stoppelenburg with Martijn and Stefan Blaak

'Highly virtuosic and excellent musicians.'

Meppeler Courant Charlotte & Josefien with Martijn & Stefan Blaak​