“Aude Extrémo offers a sensitive Marguerite with voice full of colours and harmonics (without giving the impression of an overflow of vibrato).”

… ​“starting with Aude Extrémo, who undoubtedly deserves her surname… her voice evolves from low to high with the same breadth and generosity. It is surprisingly in a monumental ​“Divinity of the Styx” that she triumphs. Sensitive souls abstain, the gods of the Underworld have undoubtedly taken fright in front of such immensity and enthusiasm (Maestro even loses his baton), and the text is launched with lightning precision. Her voice is that of Rita Gorr with the bad-ass side of Shirley Verrett, and the sensuality of Anna Caterina Antonacci.”

‘… with a vocal freshness throughout the range, like the radiant Aude Extrémo (Fricka). The French mezzo finds here a role that is perfectly suited to her means, emphasizing the beauty of her timbre with astounding ease, as much as her powerful and admirably projected voice’.

“Aude Extrémo confirms that she is the Carmen of her generation: between her sumptuous voice and the intelligence of her interpretation, we are conquered by this proud and distinguished Carmen. So natural and touching that we can only fall in love.”

“Extrémo, auburn mane and golden ankle boots, sets the scene on fire as soon as she appears. The voice is rich, full-bodied, and opulent in the lower register.”

“Beyond the intrinsic beauty of the timbre — its bass as opulent as its conquering highs, such phrasing and impeccable diction — she impresses by embodying the character with such naturalness, resolution and sensitivity that we can only love her; thus establishing herself as one of the best Carmen’s of the moment.”

“There remains Aude Extrémo, who made her stage debut in the role. Well here she is, this Carmen that we all expect: freed from the traditional image of a vulgar whore, she dances with distinction, and fascinates with her distinguished movements and costume. The lioness temperament is there, the infantile and spontaneous character on occasion too, but tempered by the suffering of the abused woman who, disturbed by the fits of violence from her lover, seems to hesitate before finally choosing her fate. Her voice is of course part of the seduction which emanates from her, the treble of a brilliant and controlled instrument is an object of fascination, like the opulent and black bass which she never abuses, proportioning its effects in a bewitching habanera, a séguedille contained until the explosion, and a bewitching Card Air.”

“In the title role, Aude Extrémo confirms her place as the most exhilarating French mezzo of her generation (alongside Clémentine Margaine) thanks to her racy voice of an unusual magnitude, attached to a biting and endearing tone…her stage presence, all of determination, glorifies a Carmen who — assuming the consequences of her actions, without hesitation and without nostalgia — dares to live and love to the full.”

“For her second excursion to Wagnerian lands (after Venus in the Parisian version of Tannhäuser in Monte Carlo), Aude Extrémo was a great success in Fricka. The voice is full, sonorous, skilfully projected even into the highest notes of the role and the character, skilfully portrayed, escapes the caricatural interpretations which sometimes reduce Fricka to a simple jealous and hysterical wife.”

“Her voice is deep, even guttural, her chest impressive, capable of captivating in the bass and blazing in the treble. In opera arias — Massenet and Saint-Saëns — she deploys her playing with intense dramatic expressiveness. ”

“Aude Extrémo (Venus, Tannhäuser), look-alike of Jean Harlow or Zsa Zsa Gabor, ineffable of vocal musical intelligence, deploys the most languid seductions and God, the influential melisms of the Paris version suit her well!”