OPERA AUSTRALIA: Carmen [Sydney]

Stacey Alleaume conveys a strong-mindedness, modesty, and compassion in the supporting role of Micaëla.
— CutCommon Magazine, Joseph Asquith.February 15, 2018
Australian-Mauritian soprano Stacey Alleaume excelled as Micaela, the good country girl who tries to save Don Jose from himself.
— The Daily Telegraph, Tom Pillans. February 15, 2018
This is a crowd-pleasing production, well served by Shaham and Puentes, with a fully-rounded appearance by Stacey Alleaume as the innocent country girl by Micaëla, who acts as a reminder of the moral world from which Jose comes.
— Canberra City News, Helen Musa. February 14, 2018
Stacey Alleume as Micaela was the archetypal opposite, singing with engaging purity of line and tone and luminous serenity, and quiet certainty in stage presence in place of Carmen’s volcanic turbulence.
— Sydney Morning Herald, Peter McCallum. February 13, 2018
The village girl Micaela, in love with Don Jose, and seeking him out in Seville with a message from his mother was wonderfully performed by Stacey Alleaume, a soprano with a big future. She was warmly applauded after each of her numbers and especially during the curtain calls.
— J-Wire, Victor Grynberg. February 13, 2018
Local talent Stacey Alleaume delivered a stunning role as Micaëla, blending innocence and strength, duty and love – her wholesome devotion to Don José was matched in tone with her sweet vocal delivery.
— ArtsHub Australia, Gina Fairley. February 12, 2018
...Miceala, an innocent counter-Carmen beautifully sung by Stacey Alleaume.
— Stage Whispers, Martin Portus. February 12, 2018
Mention must be made of young Australian soprano Stacey Alleaume who sings Micaëla’s deceptively tricky aria beautifully, winning over the audience for more than just her Virgin Mary appearance.
— Sydney Arts Guide, Alicia Tripp. February 12, 2018

OPERA AUSTRALIA: The Merry Widow [Sydney]

Stacey Alleaume and John Longmuir make a handsome couple, vocally and dramatically, in the romantic subplot.
— The Sydney Morning Herald, Harriet Cunningham. January 7, 2018
...the straying Pontevedrian Baroness Valencienne, played with perfect comic timing by Stacey Alleaume and her well matched partner in crime Rossignon (an equally expressive and efferves-cent John Longmuir).
— Sydney Arts Guide, Paul Nolan. January 7, 2018
Soprano Stacey Alleaume made a warm and playful Baroness Valencienne, a wife sorely tempted to succumb to an affair with the besotted Camille...
— Daily Telegraph, Wentworth Courier, Tom Pillans. January 8, 2018
Stacey Alleaume plays a great Valencienne and her rapport with John Longmuir as Camille is believable.
— ArtsHub Australia, Gina Fairley. January 10, 2018
Stacey Alleaume and John Longmuir are also beautifully paired, singing superbly and playing the roles of “The Respectable Wife”, Valencienne, and her ardent paramour, Camille, with complete conviction.
— Canberra Critics Circle, Bill Stephens OAM. January 12, 2018

OPERA AUSTRALIA: The Merry Widow [Melbourne]

Stacey Alleaume was a sexy Valencienne.
— Stage Whispers, Graham Ford. November 15, 2017
Emerging soprano Stacey Alleaume gives another charming performance as Valencienne, singing with lovely sweetness.
— Simon Parris: Man In Chair. November 16, 2017
The critical support role of the coquettish Valencienne (Stacey Alleaume)... [was] impeccably played.
— Weekend Notes, Fiona Anderson. November 16, 2017
An earnest Valencienne, Stacy Alleaume provides soulful vocal contributions.
— The Australian, Eamonn Kelly. November 17, 2017
Valencienne, splendidly sung by soprano Stacey Alleaume.
— Classic Melbourne, Jon Jackson. November 19, 2017

OPERA AUSTRALIA: Carmen [Melbourne]

Soprano Stacey Alleaume wasn’t far away from a standing ovation after her innocent but brave-hearted Micaëla pulled at the heartstrings with her sweet, angelic beauty of voice.
— The Herald Sun, Paul Selar. May 5, 2017
Stepping up as the natural successor to Nicole Car, young soprano Stacey Alleaume makes a highly auspicious hometown debut. Dressed in innocent cornflower blue, Alleaume’s Micaëla projects an angelic innocence in contrast to the grasping city dwellers. Alleaume’s heavenly soprano is at its very best in act three aria “Je dis, que rien ne m’épouvante,” which Alleaume finishes with a gorgeous pianissimo as soft as breath itself.
— Simon Parris: Man In Chair. May 5, 2017
The loudest applause of the night was reserved for petite Stacey Alleaume, who was a vulnerable Micaëla. I’ve watched her develop from early eisteddfods and am delighted to report that her voice has increased in size and beauty. It was a touching performance.
— Stage Whispers, Graham Ford. May 5, 2017
Micaëla, the simple, religious, provincial girl who is in love with Don José, is played with incredible warmth and sensitivity by the young Australian vocalist Stacey Alleaume. In this brash and bold production, Alleaume’s crisp solo aria on an empty stage soars richly across the audience, full of longing, and proves to be the most emotional moment of the entire opera.
— The CEO Magazine, Lisa Smyth. May 8, 2017
Soprano Stacey Alleaume, playing the good and brave Micaëla, was something else altogether. Sweet, angelic and powerful, Alleaume was a breath of fresh air and indeed, her performance received the loudest applause.
— RMITV: In Review, Ana Vucic. May 8, 2017
Stacey Alleaume is a knockout as the rustic ingenue, Micaëla.
— Timeout Melbourne, Tim Byrne. May 9, 2017.
But the great surprise may be the exceptional performances by the more minor characters. Stacey Alleaume is magnificent as Micaëla, giving the role her all.
— The Plus Ones, Ara Sarafian. May 11, 2017
On opening night Shaham was almost matched for applause by the talented young Melbourne soprano Stacey Alleaume, a radiantly innocent Micaela.
— Opera Critic Barney Zwartz, May 2017
The audience also found Stacey Alleaume’s (as Micaëla) entreaty to Don José to find his faithful heart to be utterly heartbreaking.
— Classic Melbourne, Peter Hurley. May 22, 2017

OPERA AUSTRALIA: Sydney Opera House - The Opera (The Eighth Wonder) 2016

A superb performance from rapidly rising star Stacey Alleaume. Her warm, sympathetic Alex has an easy dramatic charm, her delicious lyric soprano showing no signs of strain, even when forced to stand bare-shouldered in a pesky opening night light drizzle.
— Limelight Magazine, Clive Paget. October 29, 2016
Stacey Alleaume is also superb as the promising Australian soprano, delivering a finely detailed and extraordinarily consistent vocal performance given the opening night wind and rain.
— Daily Review, Ben Neutze. October 29, 2016
It’s beautifully sung here by a large cast, with plenty of highlights.... But the lion’s share of the singing and praise goes to Stacey Alleaume, singing Alex, and Danish tenor Adam Frandsen, singing Utzon. They marry clear, rich tones with controlled vocals and expressive performances. Alleaume takes Alex from a young vocalist whose confidence doesn’t match her ambition, to an internationally acclaimed star, and gives you someone to root for.
— Timeout Sydney, Dee Jefferson. October 29, 2016
Soprano Stacey Alleaume leads the cast as the young singer Alexandra Mason. She sang the glowing phrases beautifully. She excelled in the central Recital aria and the final scene from The Feathered Serpent.
— Sounds Like Sydney, Deen Hamaker. October 30, 2016
As the fictional heroine Alexandra Mason, soprano Stacey Alleaume is breathtaking. She takes the character from a young innocent student at the conservatorium to young mother and wife who has shelved her ambition in favour of her husband’s desire to perform at Cahill’s Opera House, and finally the woman who sees her husband’s hand in Utzon’s dream not being carried out as his wishes. Mason has the requisite energy and emotional connection to Alexandra and conveys this in her physicality and her beautiful pure voice.
— Broadway World, Jade Kops. October 30, 2016
The performances were uniformly strong, dominated by Adam Frandsen as The Architect, and Stacey Alleaume as Alexandra, the young aspiring diva....Alleaume is a real find, a lyric soprano of warmth and substance with a radiant stage personality. One highlight – despite a rather heavy shower – was her singing of a sonnet celebrating Sydney, ‘When English ships first sailed between the Heads’, which revealed an expressive singer with much potential.
— Australian Book Review, Michaell Halliwell. October 31, 2016
In the lead female role of budding opera star Alexandra Mason, soprano Stacey Alleaume’s agile, bright-toned singing proved beguiling after she had shaken off her initial top-register shrillness.
— The Australian, Murray Black. October 31, 2016
Stacey Alleaume sings Alexandra Mason, the talented young singer also dogged by small-minded contemporaries, with an energised sound and vocal composure....The most memorable moment is Alleaume’s aria.
— Sydney Morning Herald, Peter McCallum. October 31, 2016
Providing the emotional soul of the play is young aspiring opera singer Alexandra (a wonderful Stacey Alleaume) who, with the opera house not yet open, is forced to travel to Europe to develop her career, returning triumphant to a celebrated homecoming once it is completed.
— The Guardian, Clarissa Sebag-Montefiore. October 31, 2016
Stacey Alleaume succeeds superbly as the young soprano torn between her husband and her career ambitions.
— Australian Arts Review, Bill Stephens. October 31, 2016

OPERA AUSTRALIA: The Pearlfishers 2016

Equally captivating as Leila, the female lead in The Pearlfishers, is Australian soprano Stacey Alleaume. Stacey is a doubly gifted opera superstar in the making who lights up the stage with talent and beauty backing up a silken voice, doing what great opera singers do best and making hard work seem effortless.
— Mr eTraveller (ETB Travel News Australia), Robert La Bua, March 8, 2016

SPECTRUM NOW FESTIVAL: Orfeo ed Euridice 2015

Stacey Alleaume as Amore piped up at the back with a bright brilliance of sound.
— Sydney Morning Herald, Peter McCallum. March 15, 2015
...the sudden appearance of Amore (Stacey Alleaume) is both sleight of hand and a lighting of the dark. Her twinkling fairy light crown and absurd Tinkerbell frock hint at optimism and her bright, true soprano tells Orfeo there is hope, her suffering will not last - “Gli sguardi trattieni”
— Stage Noise, Diana Simmonds, March 25, 2015

OPERA AUSTRALIA: The Magic Flute Regional Tour 2014

Anna Yun, Regina Daniel and Stacey Alleaume brought admirable vocal clarity and vivaciousness to the three ladies.
— Australian Arts Review, Bill Stephens. September 8, 2014
The Three Ladies, played by Anna Yun, Regina Daniel and Stacey Alleaume, were great fun bickering over Tamino and their trios were beautifully sung.
— Canberra Critics Circle, Len Power. September 7, 2014
Stacey Alleaume, who sang Pamina... possesses a beautiful, rich voice and has rock-solid musicianship and stagecraft.
— Australian Book Review, Robert Gibson. September 22, 2014
Stacey Alleaume (Pamina) is both bright and pearly-voiced, ... reaching her high mark with Act 2’s “Ah, I feel it, it has disappeared”
— The Opera Blog, Paul Selar. September 17, 2014


Alleaume - who sang arias by Bizet and Bellini - impressed judges with her poise and jewel-like tones.
— The Herald Sun. October 2, 2013

OPERA AUSTRALIA VIC SCHOOLS' Co. TOUR 2013: The Barber of Seville

Stacey Alleaume, a perky Rosina, was enjoyable in this cheeky role and sang delightfully.
— Stage Whispers, Graham Ford. July 26, 2013


Stacey Alleaume (Zerlina) and Nathan Lay (Masetto) were well matched in terms of acting as well as singing ability.
— Theatre People, Simon Parris. September 3, 2010
Stacey Alleaume (a real minx as Zerlina) had definite stage presence.
— The Age, Barney Zwartz. September 4, 2010
Stacey Alleaume was excellent as Zerlina.
— Stage Whispers, Graham Ford. September 4, 2010


And the runner-up, Stacey Alleaume, 24, could have charmed birds from trees with an aria of sunny love by Donizetti.
— The Herald Sun, Sybil Nolan. October 2010