Described by Theater Mania as a performer who is "worth the price of admission alone" (Nutcracker Rouge-Company XIV) and by Opera News as giving the “best all-around performance” (Handel's Ariodante - The Princeton Festival) classical soprano Marcy Richardson is an eclectic artist known for her expertise in baroque and contemporary music, pole and aerial dance, and burlesque. She recently won the 2018 Dora Mavor Moore Award for best female performance in an Opera for her vocal and aerial portrayal of Amour in Gluck's Orphée et Eurydice with Opera Columbus and Toronto's Against the Grain Theater.

She is currently performing the role of "El Matador" Thursdays-Sundays with Company XIV in Boylesque Bullfight-Ferdinand the Bull, at Theatre XIV in Brooklyn. Upcoming performances also include multiple appearances as a vocalist and aerialist at Duane Park, NYC’s most upscale Burlesque & Live Music Supper Club (See calendar for details), the Bartschland Follies at the McKittrick Hotel, hosted and produced by the legendary Susanne Bartsch, and her fourth production of Nutcracker Rouge with Company XIV, running November through mid January. Between productions, she is also an active volunteer with Sing For Hope.  

Originally from Grosse Pointe, MI and a graduate of the Indiana University Jacobs School of Music, Ms. Richardson's performance highlights include her work as a singing aerialist, pole dancer, and classical vocalist with Company XIV for the past three years in Nutcracker Rouge, Paris!, Snow White, and Cinderella, Marta in Caldara's Maddalena and Emilie in Rameau's Les Indes Galantes with American Classical Orchestra, Poppea in Handel’s Agrippina with Operamission, Diana and Giove as Diana (La Calisto) with Vertical Player Repertory, Dalinda (Ariodante) with the Princeton Festival, Monica (The Medium) with St. Petersburg Opera, Kurt Weill’s Berlin to Broadway with Opera Columbus, Mabel (The Pirates of Penzance) and Susanna (Le Nozze di Figaro), with Orlando Opera, Barbarina (Le Nozze di Figaro) and Adina (L’Elisir d’Amore) with Baltimore Opera, Handel's Messiah and Mozart's C Minor Mass, at Galway Cathedral in Ireland, Exsultate, Jubilate with both the Princeton Symphony and Lyrique-en-Mer in Belle-Isle, France, Emmaline (Purcell’s King Arthur) with the Bloomington Early Music Festival, and Papagena (Die Zauberflöte) with Opera Vivente.  She has also performed as a soprano soloist in many of New York's largest concert halls, including Carnegie Hall's Zankel Hall in a Best Buddies NYC benefit concert, and Lincoln Center's Alice Tully Hall as a soloist in Handel's Samson under Nicholas McGegan with American Classical Orchestra. As an apprentice artist, Ms. Richardson has trained and performed with Central City Opera, Baltimore Opera, Orlando Opera, and Brevard Music Center. 

A champion of new music, she recently performed in the 8 woman ensemble of Ray Lustig's Semmelweis at the National Arts Club. She has premiered many roles in contemporary opera, including Fiordiligi in the premiere of Jonathan Dawe's Cosi Faran Tutti at Columbia University’s Italian Academy, Ani King George in the premiere of The Enchanted Organ, a burlesque opera by Gordon Beeferman and Charlotte Jackson, So Yeon in John Eaton's microtonal opera, Re-Routed, with the Pocket Opera Players at Symphony Space, the title role in a staged reading of Louis Karchin's Jane Eyre with Center for Contemporary Opera, and Maria in The Bonfire of the Vanities by Stefania de Kenessey and Michael Bergmann. Ms. Richardson has also been a featured performer with the Curiosity Cabinet,  New York Festival of Song (NYFOS Next,) American Composer’s Alliance Summer Festival, The Jessold Consort, OPERAtion Brooklyn with Opera on Tap and American Opera Projects, VocalEssence under Philip Brunelle, Mimesis Ensemble, Aguava New Music Ensemble, and the Lucerne Festival in Switzerland as a member of the Contemporary Music Festival Academy under Pierre Boulez.

Ms. Richardson has won various awards and grants from the Kurt Weill Foundation, Gerda Lissner Foundation, Heinz Rehfuss Singing Actor Awards, Metropolitan Opera National Council, Fritz and Lavinia Jensen Foundation, Heida Hermanns International Voice Competition, and Opera Birmingham’s Cassell Stewart Vocal Competition.

No stranger to musical theater, Ms. Richardson got her start in dance and theater at an early age and is comfortable with crossover and belting. She originated the role of the "Ghost of Christmas Past" in the new musical Scrooge No More at the Globe Theater at Busch Gardens Williamsburg under choreographer and director Lisa Shriver. Other recent theater endeavors include the 1940's burlesque musical comedy revue Knockers: A Burlesque Musical off Broadway at the Elektra Theater with the Hot Box Girls, Hot jazz Burlesque Shows in Vienna with the Hot Box Girls, ensemble in Sweeney Todd in the Piper Theater's Summer Festival at the Old Stone Playhouse in Brooklyn, and two one-woman cabarets at West Michigan Symphony’s “The Block.” She has also appeared as Rosie (Cabaret), Lili Vanessi (Kiss Me Kate), Cinderella (Into the Woods), Dream Laurey (Oklahoma!), Tribe Member (Hair), Leonide (Triumph of Love), Angel City 4 (City of Angels), and featured dancer/ensemble in On the Town, Will Rogers Follies, and Once on this Island, to name a few.