His next big success was with another operetta entitled No Song, no supper, which again, starred the Irish tenor, Michael Kelly, along with his sister, Nancy. No song became even more successful than The Haunted Tower, outselling it by almost double, and was the opera that closed both the careers of Michael Kelly and Nancy Storace on the same night in 1808.
1792 saw Storace produce the boldest of his operatic projects, Dido, Queen Of Carthage, with a libretto by Prince Hoare after Metastasio's Didone abbandonata. This was the only all-sung opera Storace produced in English - all his other works had spoken dialogue between the musical numbers. His sister regarded it as Stephen's finest work. However, for whatever reason, the piece proved unpopular with the public, and was withdrawn after a short run. The music was not thought worth printing commercially, with the result that not a note of this opera now survives, nor were any solo numbers from it printed separately.
Storace's final work was Mahmoud, Prince of Persia, but he never saw the premiere. He caught cold at rehearsals for "The Iron Chest", and died on the 15th or 16th of March 1796. Nancy Storace organised that the unfinished work was completed (Kelly claims to have had a hand in doing so, but it is more likely that he paid other hands to do it, since he freely admitted he couldn't read the bass clef. Most likely the work was finished and orchestrated by the Orchestra Leader, John Shaw, who was Kelly's collaborator on all his later projects). The work was given as a Benefit Performance for Storace's widow. "Mahmoud" survives, but it is clear that the completed version was very makeshift.
The character of Storace's music is preeminently English; but his early intercourse with Mozart gave him an immense advantage over his contemporaries in his management of the orchestra, while for the excellence of his writing for the voice he was no doubt indebted to the vocalization of his sister Ann (Nancy) Storace.
It is because of the works of Stephen Storace that we have what is known today as the Broadway Musical, for as the German Singspieler, made popular by Storace in England, gave way to the English operetta, greatly popularized by the late 19th century team of Gilbert & Sullivan, it made it's way to the United States, primarily to the New York Theater district where it evolved into the Broadway musical style.
The following is a soprano/tenor duet composed by Stephen Storace, most likely sung by his sister Nancy, and the Irish tenor Michael Kelly.