By performance
Photo © Don Arnold, Getty Entertainment
OPERA AUSTRALIA
The Magic Flute [Sydney]
"The standout, vocally, was Stacey Alleaume as Pamina, singing with warm richly varied sound and opening out the melodic lines with tapered comeliness. She created a pantomime princess of poise and simple expressiveness."
Sydney Morning Herald, Peter McCallum. February 2, 2024
"Heading the cast was the delightful Pamina of Stacey Alleaume who is carving out an impressive career in a wide variety of roles in Australia and abroad. She has an alluring stage presence with a beautiful, limpid voice of impressive projection and substance."
Australian Book Review, Michael Halliwell. February 2, 2024
"The chorus is one of OA’s treasures and their singing was glorious, along with Alleaume’s by far the best of the night. Pamina’s lament Ach, ich fühl’s, rendered in this translation as “Now I know that love can vanish”, was an oasis of ravishing beauty"
Limelight Magazine, Deborah Jones. February 2, 2024
"Stacey Alleaume is exquisite as Pamina. She has a rich and focussed tone and gives a breathtaking performance of her lamenting aria "Ach Ich Fühl's", translated in this production to “Now I know that love can vanish”.
Theatre Thoughts Australia, Claira Prider. February 5, 2024
"Soprano Stacey Alleaume’s Pamina is richly expressive and assured as the heroine."
City Hub, Irina Dunn. February 4, 2024
"... the standout voice belongs to Alleaume, who brings a burnished legato to Pamina’s arias, but also playfulness in the ensembles."
The Conversation, David Larkin. February 5, 2024
“It is Stacey Alleaume as Pamina, however, who truly shines with her artistically impressive vocals.”
BNN Correspondents. February 5, 2024
"Stacey Alleaume as Pamina is the undoubted star, singing with beautifully shaped heartfelt phrases in a shimmering golden tone."
The Saturday Paper, Chantal Nguyen. February 10, 2024
"The vocal finesse in this production is delivered by Stacey Alleaume as Pamina. Always an artistic singer, Alleaume’s every aria is sheer joy. Even so, her artistry is most effectively displayed in the tender quartet she shares with the three spirit children, Zev Mann, Abbey Hammond and James Valanidas, who persuade Pamina not to kill herself for love."
Canberra City News, Bill Stephens. February 6, 2024
"Australian-Mauritian soprano Stacey Alleaume, a vibrant performer with an excellent grasp of the score’s subtleties, played Pamina, the Queen of the Night’s daughter.
Stacey… is now one of the company’s principal sopranos, due in no small part to her luscious voice, as evidenced on opening night with her Act 2 rendering of Now I know that love can vanish (yes, the opera is sung in English)."
The Daily Telegraph, Tom Pillans. February 3, 2024
Photo by Julian Guidera
WELSH NATIONAL OPERA
La Traviata [United Kingdom]
Cardiff, Llandudno, Bristol, Plymouth, Birmingham, Milton Keynes and Southampton
“Stacey Alleaume has an astonishing feeling for the stage, her Violetta one in a thousand.
I’ve seen and heard some fine Violettas in my time, and some rather less than fine; but Stacey Alleaume’s performance here, her UK début, is by a distance the most inspiring I can remember. A young soprano from Australia (but half Mauritian, it seems), she has sung the role in her home country and elsewhere, and she is already completely on top of its vocal difficulties and its psychological and dramatic intricacies. Above all she displays from the start an astonishing feeling for the stage, an ability to move and respond, to exist, so to speak, as the person in the music and the story. She generates electricity, but not too much; she doesn’t say, watch me, listen to me, though of course one does. She is a natural.
Presence is one thing, but a great voice helps. Verdi makes stupendous demands on this singer, who must be a dazzling coloratura soprano for much of the first act, but alternating with a more inward, intense, lyrical mode which then takes over as Violetta changes in the second act from a demi-mondaine to a tragic, passionate, profoundly human, loving young woman. In the first act Alleaume is both vibrant and frail, but in the second act she acquires the dignity to confront Germont and, by yielding, win. These are subtle matters, Verdi’s treatment of which elevates Traviata into one of the greatest and most moving operatic masterpieces. I can give Stacey Alleaume no higher praise than to say that, from here to her extraordinary death scene, she is equal, vocally and dramatically, to everything the composer throws at her.”
The Arts Desk, Stephen Walsh. September 23, 2023
“All in all, a wonderful backdrop, against which Australian Mauritian Soprano Stacey Alleaume makes her debut with WNO. As principal soloist with Australian Opera, Alleaume brings an expertise to the central and demanding role of Violetta that earned her a standing ovation from many of the audience on the opening night in Cardiff. Her soaring soprano copes well with the skill required in performing some of Verdi’s most demanding arias, plus an ability to act which makes her an ideal choice for the role.”
The Reviews Hub, Barbara Michaels. September 22, 2023
“Vocally, Stacey Alleaume proves to be an exceptional exponent of the role, able to encompass every challenge Verdi throws at her with a tonal beauty aptly matched to the dramatic moment.”
The Stage, George Hall. September 25, 2023
“Stacey Alleaume as Violetta has a splendid coloratura. She’s at ease on high notes and bel canto."
Get The Chance, Eva Marloes. September 22, 2023
“As Violetta, Stacey brought great warmth and her vocal range is truly impressive. Her farewell aria will leave you breathless. Violetta has a lot of emotions to go through, particularly those around her illness. Stacey delivered not only a brilliant vocal, but also lived, breathed and took us through all of her characters suffering and pain.”
South Wales Life. September 22, 2023
“Soprano Stacey Alleaume, a newcomer to WNO, performs gracefully and movingly as Violetta. The passion and pain experienced by her character comes across so strongly. Her suffering, the centrepiece of the opera, successfully acts as an emotional bulwark to support the impressive cast and chorus.”
South Wales Argus, Leo Greenway. September 24, 2023
“It’s fair to say that the show is completely stolen by Australian-Mauritian soprano Stacey Alleaume, who is outstanding as Violetta, knowing when to unleash the full power of her voice and when to draw on the softness which lies beneath Violetta’s confident exterior. That balance is particularly notable in the opening act, which sees Violetta switching between the extravagant gaiety of the party she is hosting and the sombre realisation that her illness is progressing. Alleaume centres her performance on the emotion of Violetta’s first encounter with Alfredo, and her efforts to rebuff his affection, a choice which works in part because of Alleaume’s own visibly impassioned commitment to the role.”
Wales Arts Review, Emma Schofield. September 23, 2023
“No one can change our mind about Stacey Alleaume. She was, hands down, the most talented performer we have seen so far gracing the stage of WNO in Cardiff. It wasn’t just about her talent (and she is extraordinarily talented). She was also extremely beautiful and graceful in her performance. When it concerns the opera world, one might find themselves easily blinded, confused or even overwhelmed by the music, the impeccable voices and the elaborate settings. However, when a performer like Stacey Alleaume succeeds in telling the character’s story, perhaps even in spite of their talent and the beauty of the opera itself, that’s when you are in for a real treat. And we really, really were.”
Miss Squiggles, Rose Sgueglia. October 1, 2023.
"Australian-Mauritian Soprano Stacey Alleaume as a ravishingly sung Violetta and Korean tenor David Junghoon Kim as a heartfelt Alfredo deliver crowd-pleasing powerhouse performances, and bring the romance and suffering alive. These are two thrilling younger singers who are carving out bright careers."
Art Scene in Wales, Shaun Tougher. September 22, 2023
“The role of Violetta is one of the pinnacles of the soprano repertoire. In this production, Australian-Mauritian soprano Stacey Alleaume gives a sparkling performance that is both warm and lively, impassioned and beautifully judged.
She uses the space given to her by the stylish staging to sing with unabashed freedom. We fully appreciate that for her there can be no absolution without penance.
Alleaume is impressive throughout...”
Nation Cymru, Peter Collins. September 23, 2023
“Soprano Stacey Alleaume was magnificent as Violetta. She showed the beautiful and breath-taking side to the character of Violetta which then made the demise in health of the character all the more poignant. A magnificent voice, particularly on Sempre Libera (Always Free) made for a truly memorable performance.
Her heart-wrenching performance as the fallen woman whose longing to be loved proved the beating heart of this opera.
Her delivery particularly in her deathbed scene in which she is reunited with her estranged was tear-jerking.”
North Wales Pioneer, Terry Canty. October 13, 2023
“The opera relies heavily on a strong performance from Violetta, and Alleaume doesn't disappoint. She handles the different vocal styles beautifully while drawing out the range of emotions of her character.”
Theatre Reviews North, Richard Evans. October 13, 2023
“Conducted by Alexander Joel, the production features Australian-Mauritian soprano Stacey Alleaume making her Welsh National Opera (WNO) debut as the elegant courtesan Violetta Valéry. Stacey stole the show – her performance was effortless, lithe and elegant – her voice incredible.
The final scenes in the third act show Stacey performing with exquisite frailty and vulnerability – her flawless performance and vocal range throughout were sensational, bringing the character to life with credibility and beauty. Her incredible ‘last moments’ were deeply moving.”
South Bristol Voice, October 20, 2023
“…this production raises the story to something far more dramatic thanks to the pure quality of the performances. Stacey Alleaume is just magnificent… Her voice is a thing of wonder, so powerful and clear and yet offering real emotion and tenderness.”
Bristol Parent, Eric Bell. October 20, 2023
"With pure, clear tones she handled the vocal challenges admirably, matching this with her acting ability. The scene with her lover Alfredo's father... was heartrending, and her change from boisterous hostess to painfully dying as the strength ebbed from her frail body was completely convincing."
Bristol Post, Gerry Parker. October 24, 2023
"...this production of La Traviata brings a new gravitas and beauty to that well-trodden narrative, with a transcendent performance of Violetta from revered Soprano Stacey Alleaume — one of Australia’s most accomplished performers."
365 Bristol, Alys Marshall. October 20, 2023
"Soprano Stacey Alleaume was outstanding as she triumphantly portrayed each and every nuance of Violetta with utter precision. She drew the audience into the soul of the character and you could almost feel her heartbeat. I was completely transfixed by her truly sensational performance and she seemed to sing with effortless ease. She has impeccable believability throughout and she delivered one of my favourite performances of the year - across all genres of theatre. As she closed the first act you could have heard a pin drop in the auditorium as the entire audience was transfixed by her vocal beauty.”
Pink Prince Theatre, Neill Kovacic-Clarke. November 2, 2023
"Stacey Alleaume as Violetta was intensely moving, and Alleaume knew perfectly how to play to Violetta’s shades; her beautiful confidence floating about the opening act’s celebrations, contrasting with her manic fear at life-changing events as well as her quiet despair at her progressing illness and Alfredo’s father’s request for her to leave Alfredo for sake of honour. Alleaume clearly dedicates total commitment to the character of Violetta."
One Plymouth, Jonah Zalick. November 6, 2023
"Stacey Alleaume, a young Australian soprano, is making her UK debut as Violetta. She is an accomplished performer with a phenomenal vocal range and an equally impressive stage presence. Her rendition of Amami Alfredo... and of Addio del Passato... were simultaneously breathtaking and heart-breaking, bringing tears to my eyes."
Birmingham What's On, Sue Hull. November 9, 2023
"Australian-Mauritian soprano Stacey Alleaume gives a truly spine-tingling performance... Her performance of the tragic aria Addio, del passato is so finely tuned, every word and expression captivates."
Birmingham What's On, Diane Parkes. November 10, 2023
"In the title role, Stacey Alleaume is simply breathtaking. Her Violetta is a feisty, tough survivor with whom you would not want to mess. Hers is a rich, glossy tone throughout the range, with dazzling coloratura and crystalline top notes. In the final scene she finds a wonderful solution to the ironic dissonance between a dazzling operatic diva playing a woman dying of consumption; she makes every precious breath count, as though it were her last. An astonishingly complete realisation. Alleaume really is someone to watch as her career develops."
Reviews Gate, David Gray & Paul Gray. November 11, 2023
“The casting of Stacey Alleaume as Violetta Valéry is a stroke of brilliance. Making her WNO debut, Alleaume embodies the elegance and complexity of the courtesan torn between love and duty. Her portrayal of Violetta's emotional journey, from the dizzying heights of Parisian society to the depths of personal sacrifice, is both poignant and captivating. Her vocal performance is not only technically impressive but also rich in emotional depth, perfectly capturing the character's turmoil and strength.”
Revolution Radio, Chris Gregg. November, 2023
Photo by Jeff Busby
OPERA AUSTRALIA
Rigoletto [Sydney]
“...Australian-Mauritian soprano Stacey Alleaume as Gilda, a role she has made her own. Her thrilling high E flat at the end of Si vendetta, and her dying Lassù in cielo are worth the price of a ticket alone.
Alleaume’s pièce de resistance is her Caro nome che il mio cor, in which she sings about the first stirrings in her lovesick heart. Alleaume’s mastery of the aria should come as no surprise. During the 2019 Bregenz Festival, she made her European debut singing it from a balloon, some 15 metres above Lake Constance.
Alleaume now trades aerial daredevilry for the bobby-soxer set, picking daisy petals from the upstairs window of her dollhouse home. Her superb control and crystal-clear voice make easy work of the aria’s coloratura section, highlighting her character’s growing excitement and implied sexual awakening. It is hard to imagine a better Gilda anywhere in the world.”
Limelight Magazine, Jansson J. Antmann. June 14, 2023
“But it is Stacey Alleaume as Gilda who illuminates the stage with her soaring soprano notes, not only in her solos, but when her voice is floating like heaven above the duets and quartets.”
ArtsHub, Dennis Clements. June 14, 2023
“As Gilda, Alleaume had a bright polished voice, singing Care nome in act one with coy lyricism. The tone was slightly exposed at the top but true in pitch, with attractively glowing rounded sound in soft notes and piercing strength in ensembles.”
Sydney Morning Herald, Peter McCallum. June 14, 2023
“The ever-reliable Stacey Alleaume, as Rigoletto’s daughter Gilda, once again displayed that awesome mixture of stellar top notes, clear expression and natural warmth that has made her one of OA’s favourite sopranos.
This Australian-Mauritian performer, who made such a big impact as Violetta in La Traviata last year, was in top form on opening night.
The Daily Telegraph, Tom Pillans. June 15, 2023
“Stacey Alleaume adds lustre to her growing reputation as the youthful Gilda, dazzling with a beautifully shaped Caro Nome and tearing at the heartstrings in the famous quartet Bella figlia dell’amore.”
Australian Arts Review, Bill Stephens OAM. June, 2023
“Stacey Alleaume’s Gilda was sublime, the soprano capturing the innocence and passion of first love, and Gilda’s devotion to her father. Alleaume’s command of the upper register in “Caro nome che il mio cor” was truly breath- taking.”
City Hub Sydney, Irina Dunn. June 16, 2023
Photo by Jeff Busby
OPERA AUSTRALIA
La Traviata [Sydney]
“New opera star Stacey Alleaume lights up stage in La Traviata.”
“Stacey Alleaume dominated the stage from curtain up to tragic conclusion, her vibrant soprano ranging up and down effortlessly as the doomed heroine, Violetta, transforms from vivacious Parisian courtesan to consumptive ruin.”
The Daily Telegraph, Tom Pillans. July 9, 2022
“Stacey Alleaume wows us with the reality of her depiction of illness, and with a stunning version of the well-known ‘Addio del passato’ aria. Her multidirectional, multicoloured singing whilst slumped and dying is a tour de force of interpretation and convincing acting. Her virtuosically changeable vocal tone in urgent solo and ensemble moments is exemplary.”
Sydney Arts Guide, Paul Nolan. July 8, 2022
“As Violetta, Australian-Mauritian soprano Stacey Alleaume stole the show.”
This was a marvelously detailed portrait of the consumptive courtesan close to death…. there was marvelous sense of gesture complementing her vocal characterizations as well, and overall a great arc in her interpretation.”
Operawire, Gordon Williams. July 2022
“Alleaume already stands out, tantalising us with the hints of the glorious singing to come. The role of Violetta is one of the most demanding for a soprano but Alleaume is up to the challenge. Her voice has a bell-like clarity that is captivating and wrought with emotion.”
City Hub, Rita Bratovich. July 7, 2022
“As the effervescent hostess with the troubled smile, Stacey Alleaume as Violetta, the ‘‘fallen one’’, sings Act 1 of La Traviata with a voice of fluid precision that cuts through the hubbub like a ribbon of silky smoothness – a gorgeous orchid in a gaudy bouquet.
In Act 2 she cuts deeper, as her brief moment of paradise slips away, her voice ever warm and intense. When she reaches the climactic moment where Verdi lets us hear again just once – but this time in extremity not serenity – the theme planted in the overture, it is the voice of a soul revealed. Her last act is convulsive, raw and, like the walls of her once-opulent
apartment, stripped of ornament and pretence, yet achieving, in the end, the pale translucence of morning light.
When Sydney last heard her in this role, it was on the harbour with fireworks and the Opera House as backdrop. Now sheltered rather than exposed, she inhabits the evolving character triumphantly in every moment, both in voice and spirit, with ever more detailed nuance as the web of destiny tightens.”
Sydney Morning Herald, Peter McCallum. July 7, 2022
“As beautiful courtesan Violetta, Stacey Alleaume brings the perfect balance of playfulness and vulnerability to the role. Her soaring soprano voice ringing clearly and effortlessly throughout the Joan Sutherland Theatre, proving once again, that she has a bright future ahead of her...Alleaume has the capacity to command the stage with her dynamic range but it’s her connection to the lyric and her dramatic physicality that takes the audience with her.”
Stage Whispers, Debora Krizak. July 2022
Photo by Jeff Busby
OPERA AUSTRALIA
La Traviata [Melbourne]
“La Traviata can succeed or fail on the basis of its leading lady. On this occasion, the consumption-inflicted young courtesan who turns her back on demi-monde hedonism for a chance at love was magnificently and achingly rendered by soprano Stacey Alleaume in an intoxicating hometown role debut performance.
Alleaume has developed into an actor and singer of the highest order, having come through the ranks of the company and now triumphing in one of opera’s most identified and challenging roles.
Utilising her petite frame in an always-convincing manner and plunging deep into Violetta’s emotional core, Alleaume packed every complexity into her performance. Alleaume possesses a heftily supported and richly characterful voice that exhibits both creaminess and purity and is a judicious artist who knows how to sell the best of her vocal assets.
From the outside joie de vivre she portrayed in the opening scene to the physical frailty of a consumptive in the final act, Alleaume made Violetta’s journey a palpable, heart wrenching and meaningful encounter.”
To read more click here.
Australian Arts Review, Paul Selar. May 5, 2022
“Violetta goes on a rollercoaster ride of emotion, a journey Alleaume seems to make almost effortlessly. From the get-go she impresses as an actor, flitting about the busy Act I party scene with charming gestures, looks and laughs, but when the crowd moves on Alleaume shows us why she’s really here: her voice is spectacular and also reveals the inner Violetta. The searching, contemplative cantabile that begins the act’s two-part finale is a showcase of expressiveness underpinned by subtle, finely controlled dynamic shifts, then Alleaume stuns the audience with the defiantly joyful cabaletta’s coloratura force, agility and clear, ringing top notes. Through Acts II and III, as both actor and singer, she conveys the varying shades of Violetta’s grief with devastating impact.” ★★★★
Limelight Magazine, Patricia Maunder. May 5, 2022
“Stacey Alleaume is outstanding as Violetta. The power of her voice conveys enormous depth of emotion and gives a sincere level of substance to what can seem like a superficial romantic story. Alleaume is able to portray Violetta’s fiery yet extremely compassionate nature and this makes her character and her actions very comprehensible.”
Stage Whispers, Patricia Di Riso. May 2022
“Stacey Alleaume steals the evening hands down, and if she wasn’t the major reason for this revival before opening night, she certainly is now. After first assuming the role of Violetta Valéry in 2018, and then again in last year’s Opera on the Harbour production in Sydney, it appears to have become something of a signature role for her. It’s easy to see – and hear – why. Hers is a Violetta of global potential. Musically and dramatically, she inhabits every moment, and this puts us at tremendous ease, knowing that this most demanding of roles is in safe hands. It’s a rare gift, and at the curtain call on opening night, a vocal Melbourne audience rose to their feet in gratitude.”
Opera Gazet, David Meadows. May 7, 2022
[Sempre Libera] “It was in this aria that Stacey Alleaume clearly demonstrated why she has made the role of Violetta her own. Her beautiful, soaring soprano voice was mesmerising. She seemingly hit every note with ease and unerring accuracy.
The duet between Mario Cassi as Giorgio and Stacey Alleaume - Dite alla giovine - is one of the many highlights of this performance. It is pure, goosebump-inducing magic. There's perfect synchronicity between Mario Cassi's divine, rich baritone and the variously sweet, soaring and plaintive tones of Stacey Alleaume.
Stacey Alleaume as Violetta all but stole the show. Her performance was faultless. As well as singing like an angel, she's a convincing actor - critical to the successful performance of the role of Violetta. There was no question she was, rightly, the audience favourite.”
Weekend Notes, Fiona Anderson. May, 2022
“This is a relentlessly challenging task for any soprano who dares approach the role of Violetta Valéry. It is clear from her very first notes that Stacey Alleaume was born to play the role. Masterfully navigating every difficult passage with control, exquisite musicality and ease, Alleaume was able to deliver a beautifully acted, dynamic performance that was nothing short of faultless.
[Mario] Cassi proved his excellence in “Dite alla giovine”, the chilling Act II duet, which, coupled with Alleaume’s goosebump inducing high notes, inspired thunderous applause and calls of “Brava” throughout the audience.” ★★★★1/2
Theatre Thoughts, Saskia Johnson. May 2022
“A naturally endearing and engaging performer, Alleaume brings a warm humanity to the consumptive courtesan, underpinning the glamour with an aching vulnerability….
Alleaume displays the exceptional quality of her vocal technique in “Sempre libera,” pouring forth with ornamental phrases that are silkenly legato and yet in which each note can be heard in its own sweet right.”
Read full review here.
Man in Chair, Simon Parris. May 11, 2022
“Each act presents different and complex challenges for the soprano playing Violetta, and Alleaume excels, making a technically difficult role seem easy.” ★★★★★
The Age, Elizabeth Flux. May 6, 2022
Photo by Andrew Beveridge
ADELAIDE FESTIVAL
Prayer for the Living [Adelaide]
“The single work in the concert’s second half was Francis Poulenc’s (1899-1963) setting of the Gloria(1961) from the Latin mass, its joyously vibrant musicality inducing a complete reversal of the emotional register established before the interval. Stacey Alleaume’s voice is perfect for this role. The imagery shown is of the musicians and singers performing, suggesting that it is in the act of human connection that we might achieve a better future.
The musical performances throughout are excellent, and soloists Stacey Alleaume and Nicholas Jones are outstanding.” ★★★★★
Limelight, Chris Reid. March 20, 2022
“Central to the first half were two powerful works by Latvian composer Peteris Vasks. Prayer for a Mother featured the lovely voice of soprano Stacey Alleaume, who sang with heartfelt sentiment and exquisite control.”
“After interval came the neoclassical Gloria by Francis Poulenc. Stacey Alleaume shone in a work that made a striking contrast with the first half.”
The Advertiser, Stephen Whittington. March 21, 2022
Photo by Prudence Upton
OPERA AUSTRALIA
The Marriage of Figaro [Sydney]
“Stacey Alleaume is a gem as Susanna, creating a persona at once fresh and fierce, and singing with a bright, comely sound and lines that grow and taper with natural shape and curve. McVicar creates a crucial moment of candour by bringing her Act 4 aria, Deh vieni, non tardar, before the curtain as though to foreground its inner meaning (to Figaro) over its ostensible flirtatious role in the pretence. Alleaume made this moment the crux of the show.” ★★★★
Sydney Morning Herald, Peter McCallum. January 31, 2022
“Homegrown star Stacey Alleaume revived her Susanna. As always, she was a winningly vibrant stage presence, well cast as Mozart’s sassy heroine. She was genuinely funny and fierce in Act 3’s “Riconosci in questo amplesso”, while her “Deh vieni non tardar” was touchingly lyrical, sung with intriguingly intimate staging from behind a gauze curtain as we see the Countess gesturing from the other side.
Alleaume had a youthful, passionate chemistry with her Figaro, the up-and-coming Venetian bass-baritone Tommaso Barea, making his Opera Australia debut.” ★★★★
Backtrack, Chantal Nguyen. January 30, 2022
“Even audience experiencing Mozart’s work or opera as an enter- tainment choice for the first time will be instantly engaged by the stage chemistry of servant-class heroes Susanna and Figaro. Stacey Alleaume’s always seamless, versatile voice with a high register smoothness you could dance in is gallantly matched by Tommaso Barea’s Figaro.”
“Susanna’s aria ‘Deh vieni non tardar’ (Oh come, don’t delay) as she waits to entrap the cheating Count in the garden is a beautiful pause in the busier action. Alleaume’s soaring phrasing and smooth impa- tience here in front of the curtain during Act 4 brings this famous moment to old and new fans alike with fine intimacy and lets them marvel at a special soprano moment courtesy of the composer and this promising Australian star.”
Sydney Arts Guide, Paul Nolan. January 29, 2022
“In the end however, the evening belonged to Stacey Alleaume as Susanna and Tommaso Barea as Figaro. The titular hero may ostensibly be the intrigant of the piece, but Alleaume more than proves that Susanna has always been the brains of the outfit. McVicar’s direction ensures that we observe the goings-on through her eyes and, while the other characters seem to occupy their own world behind the footlights, Susanna is allowed to break the fourth wall with a quick aside to the audience every now and then.
Alleaume rises to the challenge of being both the dramatic and musical focal point. Her stunning Giunse alfin il momento...Deh vieni, non tardar in Act IV is arguably the highlight of the evening and is performed in front of a gauze curtain that separates her from the rest of the stage.” ★★★★ 1/2
Limelight, Jansson J. Antmann. January 28, 2022
Photo by Greg Desiatov
ALBUM: MOONLIGHT REFLECTIONS
Move Records
“... a charming collection of art song both beloved and less known. Eloquently partnered by Australian pianist Amir Farid, Moonlight Reflections is a showcase of Alleaume’s of lyric instrument and her developing artistry. Of particular interest is Alleaume’s inclusion of Amy Beach’s Three Browning Songs, which feature cellist Zoe Knighton and violinist Erica Kennedy. Beach’s settings are sensitive to the texts, fluent in their piano-writing, and brim-full of expressive melody. Alleaume is very impressive here, demonstrating an attention to the words that further elevates the material. Her bright, bell-like sound and easy vocal production make these go down particularly smoothly, and her evocation of spring, nature, and the changing landscape is powerful and often moving. A very fine debut album from a formidable talent.” ★★★★
Limelight, Justine Nguyen. May 24, 2021
“Moonlight Reflections is a charming and illuminating portrait album of a soprano on an upward trajectory. In the recording studio, the singer must perform without the energy of the audience and support of visual cues, props, costumes and without being able to act. With this repertoire Alleaume explores new ground. Indeed, she brings a sense of the operatic to some of the songs with flourishes and opulent endings. Alleaume tells her tale well and we look forward to more from this talented soprano.”
Sounds Like Sydney, Shamistha de Soysa. March 11, 2021
Stacey Alleaume, a multi-award - winning soprano and Opera Australia principal has released her debut album of art songs from the late Romantic period. The choices suit her superb voice perfectly and with such excellent support from the pianist Amir Farid, there are many delights to enjoy on this disc.
The opening song on the CD, L’été, by Chaminade, is a veritable showcase for sopranos. It immediately establishes that Stacey Alleaume has a wonderful instrument with a flexible, sparkling coloratura and a truly splendid top register – free and ringing. Then follows Henri Duparc’s atmospheric masterpiece,L’Invitation au Voyage, which requires great dynamic control, a flawless legato line and a very good pianist. The long rising phrases with their wonderful climaxes are here effortlessly achieved by Alleaume and Farid, whose nimble touch captures the exquisite effects of light on water that Duparc created in this extraordinary realisation of Baudelaire’s poem.
Loudmouth e-zine, Inge Southcott. June 29, 2021
“Beach is represented by Chanson d’amour and Three Browning Songs. The former, written when Beach was 21, includes a cello part here played by Zoe Knighton; it has been likened to a mini-aria, passionate and demanding of all performers. The second of the Three Browning Songs, featuring violinist Erica Kennedy, is also something of a tour-de-force, with many high notes and variations of dynamics and tempo creating a sense of drama. Beautiful music, gloriously performed.” ★★★★
Fine Music Sydney, Paul Cooke. July 5, 2021
Photo by Brett Broadman
PINCHGUT OPERA
The Loves of Apollo and Dafne [Sydney]
“Stacey Alleaume took all of her roles with bright vocal colour, presenting cupid with fiery vocal and dramatic pluck.”
Sydney Morning Herald, Peter McCallum. May 24, 2021
“Alleaume’s luxurious soprano is a treasure to hear, taking out Act 1’s finale before interval with a formidable and crushingly tragic lament when Procris continues to declare her love for Cefalo despite being cheated on.”
Australian Arts Review, Paul Selar. May 22, 2021
“Among the supporting cast, soprano Stacey Alleaume almost stole the show. Her bright, sparkling timbre created a hilarious, captivating turn as the bratty, punk rocker-styled Cupid. By contrast, her sinuously shaped, deeply felt aria as lovelorn Procris was the opera’s emotional centrepiece.”
The Australian, Murray Black. May 21, 2021
“Stacey Alleaume as a punk Cupid and the lamenting Procris glistened throughout through both character and vocal delight. ”
Bachtrack, Jeremy Eccles. May 21, 2021
“Stacey Alleaume, fresh from her triumph as Violetta in Handa’s open air production of Verdi’s La Traviata, has a less demanding night, although she does have the showstopper tragic aria before interval as young mum Procris, whose partner Cefalo (Riebl) is cheating on her. The Australian-Mauritian soprano brought that kind of strength and vulnerability to the stunning lines, “I am betrayed, I am erased”, that left La Traviata audiences in tears earlier in the year.
She also lent some mischievous sass to the skateboarding Cupid character Amore, dressed in T-shirt and distressed jeans.”
The Daily Telegraph, Steve Moffatt. May 21, 2021
Photo by Prudence Upton
HANDA OPERA ON SYDNEY HARBOUR
La Traviata [Sydney]
“As the glamorous courtesan, Violetta Valery, Stacey Alleaume gives the performance of her career. Every inch the glamorous courtesan, Alleaume occupies the vast stage with impressive authority. Her singing is confident, secure and thrilling throughout, as is her acting, particularly during her confrontation with Germont, and in her final deathbed scene with Alfredo.”
Australian Arts Review, Bill Stephens OAM. March 30, 2021
“The star of the show on opening night was unequivocally Stacey Alleaume (in the principal role of Violetta) who well negotiated its vocal challenges and theatrical demands, from frivolous and reckless ebullience at the start to heart-wrenching pathos by the work’s conclusion.”
ArtsHub, David Barmby. March 31, 2021
“OA favourite Stacey Alleaume gives a heartrendingly triumphant performance as Violetta. She has a beautiful, sweet-toned soprano with shimmering, deceptively effortless top notes and stunning vocal precision. More importantly, she is a compellingly sincere artist who fully inhabits Violetta’s humanity, and brings the audience along the journey. We feel Violetta’s love, struggle, heartbreak, humiliation and misplaced hope through Alleaume’s inspired storytelling, so that when Germont weeps over Violetta at the end of Act 2, so do we. It’s this rare kind of artistic sincerity, where incredible technical ability is put at the service of heartfelt emotion, that makes really memorable performances, and the production is worth attending for Alleaume alone.”
Bachtrack, Chantal Nguyen. March 29, 2021
“New star soprano Stacey Alleaume joins top ranks after a triumphant La Traviata.”
“For a soprano we barely knew five years ago, Stacey Alleaume has had a meteoric rise – and it’s not hard to see why. The bubbly Australian-Mauritian singer with the warm, expressive voice has cemented her place in the top ranks of Australian Opera’s performers.”
“Her performance as the tragic courtesan Violetta in Verdi’s La Traviata, staged on Sydney Harbour, was a standout and marks a high point in her career so far.”
“From the moment the lights go on, Alleaume dominates the production, vivid red dress aswirl, voice on full power … and so Verdi’s probably most satisfying opera plays out.
Her diction and phrasing, her vocal control and that mysterious hard-to-define quality that requires emotional connection are all deployed to great effect."
“Nowhere is this more obvious than when she is hoisted aloft to sing that equally towering E-flat at the conclusion of Sempre Libera in Act I.”
The Daily Telegraph, Tom Pillans. March 28, 2021
“A new star is born in Verdi’s operatic masterpiece”
“Opera Australia principal soprano Stacey Alleaume in the role of the beautiful but consumptive Violetta anchored the entire production with an extraordinary performance. Quite simply, Alleaume became a star on Friday night. Her voice was powerful, limber and expressive, scaling Verdi s romantic score with total assurance and clear conviction. She was luminous in every way.”
The Sunday Telegraph, Elizabeth Fortescue. March 28, 2021
“The obligatory fireworks explode after the Brindisi, while Act I ends with Violetta’s show-stopping aria, her ode to freedom Sempre libera – ravishingly sung by Alleaume as she ascends into the sky in a transparent capsule at the bottom of the chandelier.”
“Australian-Mauritian singer Stacey Alleaume gives a stunning performance as Violetta. Her luscious, silvery soprano is clear, gorgeous and expressive across her range, and her dazzling top notes are utterly spine-tingling. What’s more she manages to gasp and cough convincingly without it affecting her singing, while her acting is also heartfelt and believable. It’s a triumphant performance vocally and dramatically.”
Limelight Magazine, Jo Liston. March 27, 2021
“Triumphant performance by Stacey Alleaume as La Traviata graces the Harbour.”
“Alleaume’s performance was a triumph. Her voice negotiated the perils of amplification, the distractions of night noise and the burden of putting on a spectacle – whether singing from a giant chandelier before the fireworks in Act 1, or holding the vast stage alone, bedridden with gasping recitativo accompagnato in her dying moments – and emerged intact throughout with golden precision and unalloyed tonal finish.
Sydney Morning Herald, Peter McCallum. March 27, 2021
“Singing “Sempre libera,” Violetta’s overhead flight in the mighty chandelier gives a literal representation of Alleaume’s soaring performance. With the talents of a dozen sopranos, Alleaume flits seamlessly from fearful to courageous, from kittenish to passionately full-blooded, from dazzling to desperate and from hesitant to determinedly driven. Alleaume’s luscious, expressive vocals feature immaculate pitch and stunning high notes. Entertaining and affecting, this is a highly memorable performance sure to be savoured by all who are fortunate enough to attend.”
Man in Chair, Simon Parris. March 27, 2021
Photo by Brook Mitchell
OPERA AUSTRALIA
The Merry Widow [Sydney]
“Australian-Mauritian performer Stacey Alleaume brought an impressive soprano and playful warmth to the role of Valenciennes, wayward wife of Pontevedro’s ambassador.”
Daily Telegraph, Tom Pillans. January 6, 2021
“Unfaithful Valencienne, the terrific Stacey Alleaume stole the show”
J-Wire, Victor Grynberg. January 6, 2021
“Stacey Alleaume was a bright and bubbly Valencienne, pursued by Virgilio Marino’s Camille – his tenor is splendid. ”
Bachtrack, Chantal Nguyen. January 7, 2021
“As Valencienne, the ambassador’s wife, hovering on the brink of infidelity, Stacey Alleaume sings with a wonderfully rounded full sound and preserves compact vitality of spirit. ”
Sydney Morning Herald, Peter McCallum. January 7, 2021
“Stacey Alleaume was again a delightfully flirtatious Valencienne.”
Australian Arts Review, Bill Stephens OAM. January 9, 2021
Photo by Prudence Upton
OPERA AUSTRALIA
The Marriage of Figaro [Sydney]
“Stacey Alleaume creates a Susanna of charming warmth, edged with volcanic ferocity when her beloved Figaro’s loyalty is in doubt. Her voice in act one has quiet brightness of tone, opening out with happy musical affect throughout the evening to create phrases of engaging colour and shape in her fourth act aria Deh vieni, non tardar.”
Sydney Morning Herald, Peter McCallum. October 21, 2019
“Alleaume was sunshine as Susanna – her acting was a joy, as was her voice which began with a spirited gentleness in Act 1 …, growing in fullness as the opera progressed until it reached the emotionally soaring heights of Act 4’s “Deh vieni non tardar”.
Bachtrack, Chantal Nguyen. October 21, 2019
“Stacey Alleaume is a wonderful Susanna. Light and bright, she comes into her own with Susanna’s Act 4 aria, vocally blossoming with gorgeous warmth. She manages the comedic shifts and fiesty outbursts with style. Together, they make gorgeous happy couple.”
Sounds Like Sydney, Deen Hamaker. October 20, 2019
“Making her debut as Susanna, Stacey Alleaume paired fine comic instincts with a voice of bell-like purity. A magnetic stage presence, the soprano gave a dramatically nuanced portrayal of a character that’s often played as just perky or sassy. Conveying real emotional depth in a raptly sung Deh vieni non tardar, this was a formidable Susanna of stature and principle, every bit a match for Paolo Bordogna’s wily Figaro...
Entirely convincing as young lovers, the baritone had an easy natural rapport with Alleaume, their relationship central to the opera’s dramatic stakes.”
Limelight Magazine, Justine Nguyen. October 19, 2019
Photo by Khalid AlBusaidi
ROYAL OPERA HOUSE MUSCAT
Carmen [Muscat, Oman]
“The much loved, ’Les tringles des sistres tintaient’ was a tour de force. With Australian Soprano, Stacey Alleaume as a dazzling Frasquita and Italian mezzo-soprano, Laura Verrecchia as the darker Mercédès, they made a formidable trio.”
Oman Observer, Georgina Benison. September 14, 2019
“It is worth mentioning Christian Peregrino’s Zuñiga, Stacey Alleaume’s Frasquita, Laura Verrecchia’s Mercédès, Gustavo Feulien’s Dancaïre, and Sergio Spina’s Remendado for their involved portrayals.... Alleaume’s high notes were pristine every time she unleashed them.”
Operawire, David Salazar. September 14, 2019
Photo by Karl Forster
BREGENZER FESTSPIELE
Rigoletto [Bregenz, Austria]
“Trois Gilda également : on salue la performance ahurissante de Stacey Alleaume, stratosphérique à tous niveaux.”
ResMusica, Jean-Luc Clairet. 29 July, 2019
Photo by Jeff Busby
OPERA AUSTRALIA
Rigoletto [Melbourne]
“Young Australian soprano Stacey Alleaume, a stunning Michaela two years ago, soared above Amartuvshin in their many duets and sang a beautiful “Caro Nome”. Looking like Olivia Newton-John in Grease, she was a vulnerable and youthful Gilda, who captured the torment of this woman, wronged by the man she loves.”
Stage Whispers, Graham Ford. May 12, 2019
“Local girl Stacey Alleaume, in her third principal role for the company, is a winsomely alluring, vulnerable Gilda, secretly reading romantic magazines in her protective home prison. She was tear-jerkingly expressive, giving proper weight to every syllable in the love reverie “Caro nome”.”
British Theatre Guide, Colin Davison. May 12, 2019
“Making her role debut as Gilda, Stacey Alleaume delivered a performance of vocal splendour and dramatic charm.... this emerging Melbourne soprano’s expressiveness and dynamic control, especially during her duets with Enkhbat, mark her as one to watch.”
Bachtrack, Patricia Maunder. May 13, 2019
“In a meritorious role debut, Stacey Alleaume brought penetrating expression in gleaming silvery voice to Gilda’s fatal romance.”
The Herald Sun, Paul Selar. May 14, 2019
“Melbourne soprano Stacey Alleaume has “come up through the ranks” of OA: from chorus to principal artist has been a seven year journey but this role debut marks her out as a new star on the rise. Not only does she look the part of the teenage ingénue but she is able to project a vocal tone which suggests youth and naivety. Physically, she makes full use of the stage personifying a teenage restlessness, an urge to break away from the restrictions of her father’s house. Her voice is ravishing and radiant; the Caro nome delivered with crystalline precision, soaring to a dazzling upper range with ease and amplitude. Ms Alleaume gave a fine performance which the audience received with wild enthusiasm.”
ConcertoNet, Gregory Pritchard. May 12, 2019
“Amartuvshin Enkhbat as Rigoletto and Stacey Alleaume as Gilda succeed in drawing out the central themes and emotional oomph of the opera as their performances display a deep and familial care for one another...... Alleaume is an engrossing Gilda with fabulous characterisation and graceful movement. Her bright, bell like voice reflects Gilda’s love sick naivety. Her clear tone shines above, yet in perfect partnership with Enkhbat and the other voices on stage. ”
Theatre Travels, Jenna Schroder. May 14, 2019
Photo by Prudence Upton
OPERA AUSTRALIA
Werther [Sydney]
“Fresh-voiced soprano Stacey Alleaume (Sophie) was impressive with her agile, bright- toned singing and sparking characterisation...”
The Australian, Murray Black. February 25, 2019
“It falls to Charlotte’s sister Sophie to inject positivity and Stacey Alleaume sang this part with brightly centred poise and engaging lightness.”
The Sydney Morning Herald, Peter McCallum. February 24, 2019
“Also always finely costumed for house relaxing or party and always singing with incredibly pleas- ing tone and natural skill when working with ensemble or principals is Stacey Alleaume. Her standout work in the role of Charlotte’s younger sister Sophie is charming and engagingly fluid.”
Sydney Arts Guide, Paul Nolan. February 24, 2019
“Among the supporting cast, Stacey Alleaume’s sparkling soprano is a perfect fit for Sophie, making much of her two brief arias. Some of the character’s more hyperactive perkiness could be toned down, but Alleaume smartly shows us the backbone underneath it all as Sophie comes to realise the depth of her sister’s pain.”
Limelight Magazine, Justine Nguyen. February 22, 2019
“...Sophie (sung by Stacey Alleaume) in her aria Du gai soleil, plein de flamme, delighting in the splendour of the azure sky as she tries to cheer up the heartbroken title character.”
CutCommon Magazine, Mark Bosch. February 26, 2019
Photo by Keith Saunders
OPERA AUSTRALIA
The Turk in Italy [Sydney]
“As the coquettish, calculating Fiorilla, soprano Stacey Alleaume cleverly varied her timbre between unadorned purity and richly coloured sultriness to match the moods of her character.”
The Australian, Murray Black. August 14, 2018
“Stacey Alleaume triumphs in the role of Fiorilla with a tone of clarity, purity and warmth, navigating virtuosic coloratura passages with lively agility, and taking high notes with piercing fearlessness.””
The Sydney Morning Herald, Peter McCallum. August 13, 2018
“The opera is unusual in its dearth of conventional arias, although the passionate coloratura outburst in Act II, “Squallida veste e bruna”, from the faithless wife Fiorilla is a notable exception. Here soprano Stacey Alleaume, who also played a straying wife in OA’s “Merry Widow” last year, owns the centre stage, charmingly sexy and largely unrepentant. She was rewarded with enthusiastic applause for her brilliant rendition of this aria.”
Canberra City News, Helen Musa. August 13, 2018
“The music may not be Rossini’s most memorable but it is lively and sung with feeling, particularly towards the end when Fiorilla (Stacey Alleaume in sparkling form) sings Non si dà follia maggiore (There can be no greater folly of loving one object), an aria of uncommon difficulty, with stratospheric highs undulating between sweet middles and touching lows. Her rich soprano was well up to the task.”
The Daily Telegraph, Tom Pillans. August 13, 2018
“Fiorilla (Stacey Alleaume), the wife of Don Geronio conquers every note of her formidably difficult vocal part as well as – ultimately – Geronio’s heart. Her high notes get somewhat distorted in loud dynamics; nonetheless, her final aria brought the house down.”
Bachtrack, Zoltán Szabó. August 13, 2018
“....Fiorilla, delightfully portrayed by Stacey Alleaume. Not only does she look gorgeous and sing impressively, Alleaume also holds her own in the comedy department, before stopping the show with her glittering coloratura in Fiorilla’s final aria, “A Wretched Damsel Brought Down By Fate”.”
Arts Review, Bill Stephens OAM. August 13, 2018
“As the pleasure-seeking Fiorella, soprano Stacey Alleaume delivers shining, agile coloratura and vivacious energy, her Non si dà follia maggiore, in which Fiorella laments the tedium of monogamy, brims (sometimes overflowing) with pleasure. Her sound is particularly sweet in the middle register, and if there were a few moments when it became strident up high, she nailed the stratospheric notes with confidence and power on opening night.”
Limelight Magazine, Angus McPherson. August 11, 2018
“Rising Australian soprano Stacey Alleaume, who dazzled audiences in THE MERRY WIDOW earlier this year, is the only one of the central performers new to her role as Fiorilla. Her vocals are clean and powerful, with creative coloratura, secure even in the sections most difficult to perform. She seems to relish the chance to be the incorrigible coquette and is quite the actress, leaving every woman in the audience saying, “I’ll have what she’s having.””
Sydney Arts Guide, Alicia Tripp. August 11, 2018
“Stacey Alleaume obviously relishes the coloratura of Rossini’s crescendos, thrilling the audience as the whispered beginnings of her solos reach higher and higher.”
Stage Whispers, Carol Wimmer. August 11, 2018
Photo by Jeff Busby
OPERA AUSTRALIA
Carmen [Sydney]
“Ms Alleaume’s range and purity of tone shine in her aria, the best musical moment of the night.”
Financial Review, Michael Bailey, February 15, 2018
“Stacey Alleaume conveys a strong-mindedness, modesty, and compassion in the supporting role of Micaëla.”
CutCommon Magazine, Joseph Asquith.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
“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
“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
“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
“...Miceala, an innocent counter-Carmen beautifully sung by Stacey Alleaume.”
Stage Whispers, Martin Portus. February 12, 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
Photo by Keith Saunders
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
“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
“...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 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
Photo by Jeff Busby
OPERA AUSTRALIA
The Merry Widow [Melbourne]
“Stacey Alleaume was a sexy Valencienne.”
Stage Whispers, Graham Ford. November 15, 2017
“Valencienne, splendidly sung by soprano Stacey Alleaume.”
Classic Melbourne, Jon Jackson. November 19, 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, Stacey Alleaume provides soulful vocal contributions.”
The Australian, Eamonn Kelly. November 17, 2017
`Photo by Prudence Upton
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
“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
“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
“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
“Stacey Alleaume is a knockout as the rustic ingenue, Micaëla.”
Timeout Melbourne, Tim Byrne. May 9, 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
“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 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
Photo by Prudence Upton
OPERA AUSTRALIA
Sydney Opera House - The Opera (The Eighth Wonder) [Sydney]
“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
“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
“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
“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
“Stacey Alleaume succeeds superbly as the young soprano torn between her husband and her career ambitions.”
Australian Arts Review, Bill Stephens. 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
“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
Photo by Georges Antoni
OPERA AUSTRALIA
The Pearlfishers [Sydney]
“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 [Sydney]
“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]
“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
THE HERALD SUN ARIA FINALS [Melbourne]
“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
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
THE OPERA STUDIO MELBOURNE
Don Giovanni
“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
THE HERALD SUN ARIA FINALS 2010
“And the runner-up, Stacey Alleaume, 24, could have charmed birds from trees with an aria of sunny love by Donizetti.”