The quartet of conniving women was excellent, led by the soprano Mary Feminear as a seductive, occasionally powerful Alice Ford, seconded by the shape-shifting mezzo-soprano Allegra De Vita as a ravishing Meg Page. - Washington Classical Review
L'italiana in Algeri - Tulsa Opera
De Vita, who impressed Tulsa audiences with her performance as Maddalena in “Rigoletto” in 2020, is marvelous in a very different role as the canny Isabella. - Tulsa World
Le nozze di Figaro - Maryland Lyric Opera
Among the supporting cast, top praise goes to the astonishing mezzo-soprano Allegra De Vita, who has shown incredible range in her acting abilities over the years at Washington National Opera and other local stages. Her masculine way of standing and walking convinced visually as Cherubino, and her unparalleled vocal command of the character’s two arias sealed an interpretation of the hormonal teenager that was appropriately more awkward than antic. - Washington Classical Review
Rigoletto - Tulsa Opera
Allegra De Vita is ideally cast as his sister Maddalena, a torrid presence with an opulent, cleanly delivered mezzo. - Opera News
Faust - The Washington National Opera
Also wonderful is Allegra De Vita in the trouser role of Siebel, the young man who longs in vain for Marguerite’s love. De Vita’s mezzo-soprano is as deliciously rich and sweet as dark chocolate and she, thankfully, refuses to overplay her adolescent male. - Metro Weekly
It was a pleasure to see Allegra De Vita in the role of Siébel, the young juvenile smitten for Marguerite. She continues to delight audiences with her vocal choices and coloration as well as her physical ease and nimble use of the stage. - DC Theater Scene
Proving Up - The Washington National Opera
De Vita and Leonard handle the vocal demands of their roles with ease, and seem to have fun with the characters’ dark playfulness. - Schmopera
Xerxes - The Glimmerglass Festival
As Arsemenes, the king’s brother and romantic rival, Allegra De Vita offered an impeccable performance. Her complex mezzo, with its fine-spun vibrato, was lovely in itself, but it also consistently conveyed human utterance: when De Vita sang, you could hear Arsemenes speak. She was especially adept in her precisely etched trills and ornaments, each conveying expressive intent while giving shape to the musical line as a whole. - Opera News
