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


Trois Gilda également : on salue la performance ahurissante de Stacey Alleaume, stratosphérique à tous niveaux.
— ResMusica, Jean-Luc Clairet. 29 July, 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
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
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
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


...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
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


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

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
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