Stacey Alleaume / Ressenyes

"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."

"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."

“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.”

“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.”

“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."

"...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."

"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.."

“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.”

“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”.

“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.”

"It's centred on the secret heartache of party girl Violetta, as played with spectacular oomph by Australian-Mauritian soprano Stacey Alleaume. A magnificent performer able to dazzle from a distance with a heartfelt smile, her beaming glow seems to capture the neon trace of the Parisian skyline, as picked out in Brian Thomson’s set design and illuminated by John Rayment."

Australian-Mauritian soprano Stacey Alleaume’s detailed portrayal of Violetta, ranging from the ringing of her spectacular top-notes signifying disease-denying festiveness to the rasping bitterness of her “E tardi” (Too late) when she read of her abandoned lover Alfredo’s return half an hour before her imminent death.