it really depends on what you define as stereo sound.
A really tight definition, that works for me is the use of a single pair of stereo microphones that are used to recreate what is essentially a live musical performance.
Starting in the 1930s with Alan Blumlein and coming right up to date with the Calrec Soundfield microphone that can be set up to emulate a Blumlein setup or a 'ambisonic' surround sound experience. These techniques can reproduce the original soundfield with some degree of accuracy but as with the original event, a solid three dimensional 'soundstage' is not what is produce.
Modern studio recordings are an entirely artificial construct existing only in the finished master, given that recorded music is rarely capable of reproducing the visceral impact of a live performance, I feel that the 'soundstage' thing has evolved to distract us from the lack of realism in most recoded music.
In recent years I have given up on 'soundstage' as being largely irrelevant to the enjoyment of recorded music, prefering instead to concentrate in attempting, as much as possible, to generate the live feel, punch and presence of the performance.