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PRESS

PRESS

Soprano Stépahanie Lessard as Almirena was angelic. Her coloratura effortless and pure, and so well-suited to this style of music. Her rendition of Lascia ch'io pianga was done with such sensitivity - her ornaments were subtle and tasteful, and the whole piece was pure brilliance. Her duet in Act 1 with Nemzer was beautiful, the blend of voices so well done, with such a lovely balance that it was one of the highlights of the show.
Melissa Ratcliff, Schmopera

Lessard was captivating when she sang Rinaldo's best known aria, Lascia ch'io pianga (Let me weep), winning over the audience with her buttery delivery and big, rounded tones, the orchestra mirroring each of her sigh-like phrases.
Adrian Chamberlain, Times Colonist

As Almirena, soprano Stéphanie Lesserd had the fearsome task of delivering one of Handel's best known and loved arias, Lascia ch'io pianga, while dressed in bubble-gum pink tulle and tied up in Armida's giant spider web. She succeeded, with a pure but still colourful sound.
Opera Canada

Another highlight comes in the third act, with Faust's would-be love interest Marguerite alone in her room. She's trying on some jewelry he's secretly left, and it's a masterful piece of work. Soprano Stephanie Lessard embodies the role before she even stands up, with so much color and control as to paint a personality by her vocals alone.Her bedroom aria was the show's most impressive for any single performer, and with the more conversational "chest voice" portions of her singing, Lessard consistently hit it out of the park all evening.
Times Florida

...la prestation confinée devient un tour de force. Évoluant dans une scénographie dépouillée et dans un costume on ne peut plus contraignant (la « robe-carcan »), la soprano affronte crânement le défi, pliant sa voix – et son corps ! – aux exigences d’un rôle complexe et dramatique, et d’une partition implacable. Chant, geste et regard, tout s’accorde au service d’une interprétation juste et nuancée, qui ne recule pas devant les prises de risque, ou les raucités vocales.
Antoine Gervais, L'OPÉRA

''Au terme de ce spectacle de haut niveau qui a été longuement ovationné par le public, les commentaires ont été unanimes: la performance de Stéphanie Lessard a été rien de moins que magistrale. La brillante soprano a donné le ton au concert avec une étincelante prestation d’un extrait de Manon (Massenet). Ont suivi des versions abrégées d’opéras, Faust (Gounod), Les pêcheurs de perles (Bizet) et Carmen (Bizet).'' René-Pierre Beaudry, Point de vue Mont-Tremblant, 6 Août 2012, Matinée à l'Opéra, Huberdeau)

''Je retiens néanmoins quelques « numéros» comme celui de Ne blâmez jamais les Bédouins, d'Alain Thibault, le tout premier spectacle de Mme Vaillancourt, où lui succédait Stéphanie Lessard, brillante vocaliste qui a bien fait rire la salle."
(Claude Gingras, La Presse, 15 Mai 2011, Chants Libres : Arias)