“Leah Crocetto, who sang Semiramide, is one of those discoveries that Thierry Fouquet, director of Bordeaux Opera, has made in recent years. She was brilliant and well-suited to the part: a lyric-spinto soprano, powerful, easy and valiant at the top, with good agilities and an attractive timbre. She is headed for an important career. Few sopranos can now be compared with her in the character of Semiramide.”
José M. Irurzun, Seen and Heard International
Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines.
In the current season, Ms. Crocetto sings the title role of Aïda in her debut with Opera Australia. She returns to Washington National Opera as Desdemona in Otello, followed by performances of Liu in Turandot with Palm Beach Opera and Verdi’s Requiem with the Philadelphia Orchestra. In the spring, she is Elisabetta in Don Carlo for Dallas Opera, and takes on the title role of Norma for Pittsburgh Opera.
Last season, Ms. Crocetto was Norma in concert with North Carolina Opera, followed by her solo recital debut at Carnegie Hall with pianist Mark Markham. With Seattle Opera, she performed the role of Leonora in Il trovatore, and debuted with the Melbourne Symphony as the soprano soloist in Verdi’s Requiem. On the concert stage, she performed the Soprano II role in Mahler’s Symphony No. 8 “Symphony of a Thousand,” first with the Los Angeles Philharmonic and Gustavo Dudamel, and subsequently with the Chicago Symphony Orchestra at the Ravinia Festival under Marin Alsop.
“The gifted young American soprano Leah Crocetto, making her company debut in this formidable bel canto role, took the turbulence in stride, throwing back her head as if defying the elements to ruin her extended scena. And she scored a triumph… This is a voice of size, beauty and agility, and her singing, including the heroine's touching prayer, accompanied by female chorus, honored the ornate splendor of Rossini's vocal writing.”
John von Rhein, Chicago Tribune
“Soprano Leah Crocetto proved the equal of her first-cast counterpart in the title role. She showed the dramatic potency that allowed her to soar over the large ensemble scenes, and her pianissimo singing was smooth and beautifully tuned. Her handling of the character was more dramatic as well, an Aida made of more volatile stuff.”
Charles T. Downey, Washington Classical Review