Some New York opera lovers may remember Ms. Crocetto as one of the standout winners at the 2010 Metropolitan Opera Council Auditions concert at the Met.

Anthony Tommasini – New York Times

About

Recognized as a rising star in the next generation of singers, Leah Crocetto represented the United States at the 2011 Cardiff BBC Singer of the World Competition where she was a finalist in the Song Competition. She is a 2010 Grand Finals Winner of the Metropolitan Opera National Council Auditions and was the First Place Winner, People’s Choice and the Spanish Prize Winner of the 2009 José Iturbi International Music Competition, and winner of the Bel Canto Foundation competition. A former Adler fellow at San Francisco Opera, Ms. Crocetto has appeared frequently with the company, most recently at the start of the current season in the title role of Luisa Miller.

Ms. Crocetto continues to make spectacular debuts in 2016-2017, opening the season in the title role of Aida with the San Francisco Opera, and making her role debut as Eleonora in the U.S. debut of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she will perform Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sing a solo recital in her hometown of Adrian, Michigan.

Last season, Ms. Crocetto made her Metropolitan Opera debut as Liù in Turandot. She also made her role debut as the titular character in Rossini’s seldom-performed Semiramide with Opera National de Bordeaux. Additional highlights of the season included Anna in Maometto II with the Canadian Opera Company, Luisa Miller in San Francisco, and Donna Anna in Don Giovanni with Santa Fe Opera. She made her New York City recital debut at Pace University with pianist Martin Katz, and performed a solo recital under the auspices of Washington National Opera with pianist Mark Markham at the John F. Kennedy Center.

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Concert

Chamber Music Society of Lincoln Center - Alice Tully Hall

New York City, NY

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Recital

Dawson Auditorium, Adrian College

Adrian, MI

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Beethoven Symphony No. 9

National Symphony Orchestra at the Kennedy Center

Washington, D.C.

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Donizetti: The Siege of Calais

Glimmerglass Festival

Cooperstown, NY

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Photos

Videos

Audio

Press

... the singing, and the emotion conveyed by the principals, is splendid. The real excitement in this production comes from ... Leah Crocetto, in her debut as Aida ... Crocetto moves beautifully from powerful self-loathing (“And from my own lips came that impious word!”) to the subdued anguish of a bitter dilemma (“Gods have pity on my suffering”) ... And her singing! It seems to become ever stronger, purer, and more assured, whether whispery soft or soaring over the orchestra. It helped that she had such chemistry with Jagde ... In the final scene, Radames and his Aida are walled up in a tomb under the temple, there to die together. The walls are completely bare. The singing and emotion are gripping. Afterward, I turned to my friend and said, “That’s why we come to the opera.”

Pamela Feinsilber - Huffington Post

And what voices we have in this “Aida.” American Soprano Leah Crocetto (Aida) has matured from promising Adler Fellow in 2009 to full fledged diva in 2016. As Radames, Brian Jagde, also American, also a former Adler Fellow, is her perfect match. One of the highlights of this production is the convincing rapport between these two stars whose personal chemistry is as beautifully blended as their voices.

Charles Kruger - TheatreStorm

As Aida, Crocetto articulates with clarity and emotion. Her voice is striking and resilient, moving us with her soaring arias rather than with physical movement. Crocetto’s Aida evokes our compassion by remaining reserved amidst a visually elaborate and adventurous production.

Alice Cheng - Theatrius

Leah Crocetto’s voice is a sumptuous soprano, redolent with rich color. Her high notes were spectacular, delivered with conviction, and her lower register was full of dark tones that suggested her character’s inner turmoil as a prisoner of the Egyptians but a woman in love with Radames, who leads the Egyptians in battle against Aida’s own father, Amonasro, king of the Ethiopians. Leah Crocetto’s “O terra addio” as Aida joined Radames in death by entombment in Act IV was a thing of beauty.

James Roy MacBean - Berkeley Daily Planet

If there is a star for this current production it is SFO protégé Leah Crocetto who offered a very sweetly sung Aida, and succeeded in projecting the beauties of the Italian language in an intimate “Ritorna vincitor” ...

Michael Milenski - Opera Today

In her role debut as Aida, Leah Crocetto was the most commanding vocally ... Her tone, consistently full and round, had great carrying power even in its softest moments. And there were plenty of those; Crocetto employed wide dynamic range in her arias, with her voice alternately booming and shimmering.

Ilana Walder-Biesanz - Bachtrack

Yet on Saturday’s opening night at the War Memorial, the strong principals, notably soprano Leah Crocetto in the title role, firmly grounded the production. Crocetto’s plush, assured voice lent vocal warmth to solos, including the richly expressive Act 3 aria “Oh, patria mia, mai piu ti rivedro,” in which the Ethiopian princess who is held a captive slave in Egypt pines for her native land, one of multiple major issues that trouble Aida.

James Ambroff-Tahan - San Francisco Examiner

Leah Crocetto, taking on the title role for the first time, continues to amaze with the full-bodied presence and agility of her soprano. Her singing emerged with ease and purity above even the most uproarious orchestral din, and she could deliver the most crystalline thread of sound with equal mastery. Whether alone, as in the Act 1 solo “Ritorna vincitor,” or in the various duets that define her character, Crocetto brought both sonic splendor and elegant phrasing to the assignment.

Joshua Kosman - San Francisco Chronicle

... the shimmering, clear-as-crystal high notes of soprano Leah Crocetto in the title role (her “O Patria mio” aria was a winner) ...

Richard Bammer - The Reporter

Soprano Leah Crocetto, singing her first Aida, signaled her readiness in the Act I aria “Ritorna vincitor,” delivered with rich tone and supple phrasing. Crocetto gave a moving account of the aria “Oh, patria mia,” and she deployed her resonant, beautifully colored instrument in the opera’s duets and ensembles.

Georgia Rowe - The Mercury News

Leah Crocetto (Merola Opera Program 2008, Adler Fellow 2009-11) as Aida and Brian Jagde (Merola 2009, Adler 2010-12) as Radames with big, well-projected voices, convincingly dealing with the challenge of a 3,200-seat hall.

Janos Gereben - Classical Voice North America

In the title role, Leah Crocetto was convincing both vocally and dramatically. She possesses the ability that an artist needs for the role to portray emotion through vocal expressiveness and affecting pianissimi. In Zambello’s fast-paced staging, Crocetto’s Aida at one moment is expressing internal anguish, alone onstage, and in the next instant she is engulfed in a big scene with dozens of characters.

Opera Warhorses

... this cast is vocally powerful. It was gratifying to hear former Adlers Leah Crocetto and Brian Jadge in the two lead roles of Aida and Radames, they've come so far in the last few years and watching them develop over time has been great. Crocetto has a gorgeous legato and her voice commands attention ... The duet at the end, with the two of them sitting in front of a grey yet iridescent wall was the high point of the evening, both singers sounding beautifully sweet.

The Opera Tattler

Soprano Leah Crocetto, making her role debut as Aida, turned in a tender, youthful, and beautifully sung performance. Superb and moving in “Ritorna vincitor!” (Return victorious), seductive in the Nile scene’s “Là tra foreste vergini” (There where the virgin forests rise), her sweet lyric soprano made her a vulnerable Aida. She has more than enough vocal power for the big moments ...

Lisa Hirsch - San Francisco Classical Voice

Leah Crocetto makes her role debut as the tortured princess, but she has proven herself a major Verdian soprano before with a big assignment in the title role of Luisa Miller. Her mixture of clarity and warmth perfectly suits the repertoire ... She still finished able to float an exquisite pianissimo, evoking a memory of the legendary Montserrat Caballe.

Philip Campbell - Bay Area Reporter

Since Crocetto had a major success as Anna in Rossini’s Maometto II in 2012, she opened the recital with an aria from that composer's Semiramide, a tour de force for both singer and pianist ...“Bel raggio lusinghier” is the opera’s major aria and in Santa Fe both artists performed it with exquisite articulation ... the Rachmaninov segment ... brought many art song lovers to the recital ... Listening to her vocal colors, one could think of being in a majestic natural setting with with a lover ...

Toward the end of I vidi in terra (On earth revealed), Petrarch wrote a line that describes much of this recital: “So sweet a concert made as ne’er was given mortal ear.” Crocetto’s high notes are extraordinary; her middle range is warm, and her chest tones remind the listener of singers we can now only hear on records.

Maria Nockin - Opera Today

Leah Crocetto’s Donna Anna grew ever more incensed at the male world, polishing off the end of “Non mi dir” with some magnificent coloratura.

Simon Williams - Opera News

Leah Crocetto’s bright, clear soprano is ideal for Donna Anna, and she handles all the brilliant figuration of her opera seria part with aplomb.

Peter Alexander - Sharps and Flatirons

Leah Crocetto was an excellent Donna Anna whose huge voice offered richly colored tones. She decorated both her arias tastefully and they swirled out over the audience in waves of vocal beauty.

Maria Nockin - Bachtrack

The prodigiously talented soprano Leah Crocetto offered her best work yet as Donna Anna. Ms. Crocetto has a ravishing spinto sound, to be sure, effortlessly produced ... Her impassioned delivery was compelling, and she could modulate her delivery to encompass both plangent lamentation and resolved conspiracy, with excellent specificity.

James Sohre - Opera Today

The Santa Fe production boasts a spectacular cast: vocally impressive and believable as the characters they portray. Like all Mozart operas, this is an ensemble piece, so the singers need to be matched to each other as well as to their roles. Santa Fe has assembled just such a cast ... Big voices must run in the family because Soprano Leah Crocetto, as his daughter Donna Anna, also has an enormous voice, but more like a French horn than a trumpet. She certainly has the vocal chops to get through this taxing role in which she is upset most of the time.

Gregory Sullivan Isaacs - TheaterJones

The women were generally stronger, led by the powerhouse Donna Anna of Leah Crocetto, whose spitefulness made one suspect the character’s innocence.

Charles T. Downey - Washington Post

Leah Crocetto is no stranger to SFO or the COC, having sung Anna in Maometto here and in Toronto. She’s a terrific Donna Anna, with extra, interpolated high notes (!) thrown in for good measure in “Or sai chi l’onore.” Her “Non mir dir” was also lovely.

Joseph So - Musical Toronto

SFO’s youthful cast, radiating energy and aplomb, sails through the score ... First among equals, Leah Crocetto sings Donna Anna, Giovanni’s vengeful pursuer. We recall her smashing debut in 2010’s Maometto II; Crocetto’s generous, fearless soprano makes an even greater impression here. Her ferocious attacks in “Or sai chi l’onore,” the confidant, swift coloratura and precise acuti of “Non mi dir” provide a searing characterization.

John Stege - Santa Fe Reporter

In the course of his escapades, Don Giovanni jilts three sopranos, beginning with the fierce and vengeful Donna Anna (Leah Crocetto).

Carol A. Clark - Los Alamos Daily Post

As the full-bodied figure of aristocratic outrage, Leah Crocetto gives an impassioned portrayal of Donna Anna, seduced as the opera opens. Crocetto was heard here previously in the 2012 production of “Maometto II” by Rossini.

D.S. Crafts - Albuquerque Journal

Michigan soprano Leah Crocetto sang the role of Donna Anna with power and grace. In her final aria, Non mir dir, Crocetto displayed the mastery of coloratura that Santa Fe Opera audiences will recall from her 2012 appearance in a Rossini opera seria ...

Opera Warhorses

Soprano Leah Crocetto, as Donna Anna, boasts an ample voice with rich, ringing tone. The highpoint of her performance was her recounting to Don Ottavio how Giovanni crept into her bedroom to force himself on her — which, in this production, we know to be a lie, since we saw at the outset that she was reluctant to stop embracing her presumed attacker. Her intensity continued unabated through her nuanced, expressive singing in the grandiloquent aria “Or sai chi l’onore.”

James M. Keller - Santa Fe New Mexican

Tenor Bruce Sledge and soprano Leah Crocetto, veterans of Santa Fe, were well suited to the roles of Erisso, the head of the Venetian forces, and his daughter Anna, who is inconveniently smitten by the Ottoman conqueror threatening to lay waste to their outpost . . . Crocetto came on strong in the second, giving full value to Rossini’s alternating lyrical and dramatic impulses and unleashing some memorable high notes.

Arthur Kaptainis - Musical Toronto

Crocetto was a Grand Finals winner of the 2010 Metropolitan Opera National Council Auditions, and for good reason. She has a rich, clear, soaring voice that thrills the ear. She also radiates emotion in every note. What a career she has in front of her, given she can range from Donna Anna to Aida.

PaulaCitron.ca

Soprano Leah Crocetto, another Santa Fe veteran, was cast as Anna. She embraced her role as a star-vehicle, which it certainly is. Crocetto possesses a fluid coloratura, with a pleasing little flutter – and thrilling high notes that only got stronger as the opera progressed.

Colin Eatock (blog)

... soprano Leah Crocetto’s performance was spectacular in its precision, control and beauty of tone even in Rossini’s most elaborately ornamented passages. Her voice maintained its purity from her crystalline top notes down to her sumptuous low notes.

Christopher Hoile - Opera News

Soprano Leah Crocetto, singing Anna, should have a spectacular career in Verdian dramatic roles (she will soon sing Aida). Hers is a lovely voice over which she exerts excellent control through the runs and vocal embroidery.

Composer's Notebook

The American soprano Leah Crocetto spellbinds the listeners’ ears with her wonderful voice. She is gifted with a unique virtue not only for high notes, but also to dive into the warm nuances of her character’s tormented feelings.

Sebastiano Bazzichetto - Corriere Canadese

All four principals had great moments ... Crocetto and DeShong both had several opportunities to shine in the second act ...

barczablog

Leah Crocetto (Anna) has the biggest sing among the principals, and she has the stamina and beauty of tone to do it justice ... her big scena was wonderful.

Joseph So - Musical Toronto

Rossini succeeds in darker works, too, as the Canadian Opera Company proves with the rarely staged Maometto II. It's one of the year's best productions, both in terms of music and staging ... There are a number of outstanding moments, including Anna's aria Giusto cielo, with harp accompaniment, in the first act, and, in the second, the confrontation between Anna and Maometto; the trio with Anna, Erisso and Calbo; and Calbo's bravura aria, Non temer.

Jon Kaplan - NOW Toronto

I just can't get over the voices I heard last night ... As Anna, Leah Crocetto had me. I fell in love. The divine Ms. Crocetto is the perfect response to the recent spate of 'fat-shaming' (Brit)-crits. She was tender, and beautiful, and graceful, and sexy, and desirable, and above all, talented. This girl can wail. There wasn't a moment when she was onstage when I wasn't transfixed by something she was doing. As I mentioned above, I found all the roles kind of 'mid-voicey', but there's a shift in the writing for Anna in Act II and it starts sitting closer to full Verdi soprano territory. The effect when she reaches her apogees is thrilling. I can't wait to hear more of her beautiful voice.

Greg Finney - Schmopera

This confidence translates to the singing, which is nothing short of spectacular. Soprano Leah Crocetto gives a stellar performance as Anna . . .

Catherine Kustanczy - The Star

As Anna, soprano Leah Crocetto was superb, with a clear, plush voice that could and did express every emotion Rossini lavished on her character, and he lavished many. Crocetto was eminently believable as the woman torn between her duty to her country and father, and the stirrings of her own heart. Every time Crocetto sang, she advanced our understanding of her character, with lines and phrases that were incredibly difficult technically. Like all the principal performers, the technical demands never got into the way of the music and the drama – a minor miracle.

Robert Harris - The Globe and Mail

Anna is played by fast rising soprano Leah Crocetto and she is superb. The final scene is heartbreaking and it’s a huge credit to Crocetto that right at the end of a very big sing she’s still got the gas to sing a breathtakingly beautiful and very long final aria. Actually it may be one of the longest “dying breaths” in opera.

Opera Ramblings

It [Semiramide] remains pure pleasure for the glottophile. Fierce
when it is performed by Leah
Crocetto . . . The Royal One is Semiramide:
A voice that combines power and pleasure,
and does not fear rapid vocalizations - "Bel raggio lusinghier" soars.

{Reste le pur plaisir glottophile. Intense
quand il est distillé par Leah
Crocetto . . . La
première est royale en Semiramide :
la voix conjugue puissance et volupté,
la rapidité des vocalises ne lui fait
pas peur et son « Bel raggio lunsighier
» s'envole haut.}

Catherine Darfay - Sud Ouest

Semiramide was performed by American soprano Leah Crocetto, one of those discoveries that we have attributed to Thierry Fouquet, director of the Opera of Bordeaux, who we will miss starting next year. Leah Crocetto offered us a bright and very suitable Semiramide, with a lyric spinto soprano voice, with a powerful, easy and brave upper register, with solid agility and an attractive timbre . . . Few sopranos can now be compared to Crocetto in the role of Semiramide.

{Semirámide fue interpretada por la soprano americana Leah Crocetto, uno de esos descubrimientos a los que nos tiene acostumbrado Thierry Fouquet, el director de la Ópera de Burdeos, a quien echaremos en falta a partir del año próximo. Leah Crocetto nos ofreció una brillante y muy adecuada Semirámide, con una voz de soprano lírico- spinto, con un centro poderoso, fácil y valiente por arriba, con buenas agilidades y un timbre atractivo . . . Pocas sopranos pueden hoy compararse a la Crocetto en el personaje de Semiramide.}

José M. Irurzun - Opera World

Fortunately, Leah Crocetto is arguably unstoppable, starting with her vocal opulence, which composes a sensual and compelling Semiramide . . . brandishing a long and ample soprano whose intense and focused brilliance displays in her characterization.

{Heureusement, Leah Crocetto dispose d'arguments imparables, à commencer par l'opulence vocale, pour composer une Semiramide sensuelle et impérieuse . . . brandissant un soprano ample et long dont l'éclat violent du suraigu participe à la caractérisation.}

Christophe Rizoud - Forum Opéra

The top of Crocetto's voice is exceptionally strong, able to level the room with the ff high A in Zueignung (op. 10/1) but also able to float angelically on the pp high G in Die Nacht (op. 10/3) with a transparent, sighing clarity ... Crocetto's silken high notes and purring legato gave an apt languor to songs like Extase and Soupir in the French set ...

Crocetto also performed Eternal Recurrence, a new song cycle composed for her by Gregory Peebles ... Peebles is obviously a big fan of Crocetto's voice, judging from the whooping and hollering he made for her in the audience, and the writing put her in the best light. There were jazzy overtones and pop gestures, a nod perhaps to Crocetto's earlier work singing in cabarets and bars, but there were dissonant colors as well, and a mesmerizing overtone effect, as Crocetto's high note made the sympathetic strings of the piano resonate in echo.

Charles T. Downey - ionarts

We were thrilled to have the opportunity to experience the auspicious New York recital debut of soprano Leah Crocetto-- up close and personal . . . Ms. Crocetto's voice, both powerful and soothing, envelops one like a warm embrace. The sound is ample but especially so at the upper register when it opens up like a parasol . . . We will think of this recital as a yardstick against which all future recitals will be measured.

Meche Kroop - Voce di meche

In the role of Liu, Leah Crocetto dominated with her vocal powers . . . her voice truly shined. In her first aria “Signore Ascolta,” where Liu begs Calaf not to take on Turandot’s three riddles, Crocetto sang with a beautiful mezza voce caressing the lines. There was a tenderness to her singing but during the final “Pieta,” Crocetto crescendoed to a mezzo forte and this was the moment that Liu’s desperate cry was heard. In the second act when Liu is being tortured, Crocetto used all of her vocal power as she refused to say Calaf’s name. Here her voice gave a weight that showed Liu’s suffering and it rang with so much despair and fear.

Francisco Salazar - Latin Post

Leah Crocetto's characterization of the slave girl was determined and strong-willed. "Signore, ascolta!" brought great warmth, high polish, control and strength from a lush, healthy instrument with excellent phrasing and inflection climaxing at "Ah, pietà!"

Courtney Smith - Bachtrack.com

A major star . . . There was a time, not all that long ago, when soprano Leah Crocetto was best described as "gifted" or "up-and-coming" or even "on the verge." Those days are over now . . . the former Adler Fellow filled the grove with an extraordinary display of sumptuous vocal tone, regal phrasing and technical agility.

Joshua Kosman - SFGate

The most appealing character in the opera is the slave girl Liù, and soprano Leah Crocetto (from Adrian, Michigan) is making a terrific debut in the part. Her aria in Act I, “Signore, ascolta,” was truly beautiful and moving.

Barry Bassis - The Epoch Times

Also debuting, Leah Crocetto made a strong showing as Madame Lidoine, the New Prioress, a character who in some productions is unsympathetic but whom Crocetto made generally endearing.

Anne Midgette - The Washington Post

Friday's opening, conducted by music director Nicola Luisotti to launch the company's 93rd season, also benefited from a beautifully sung performance by soprano Leah Crocetto in the title role. Crocetto, a former S.F. Opera Adler Fellow and Merola Opera program alumna, boasts a large, agile voice, and she sang with power and grace as the Tyrolean girl who loves Rodolfo and is forced to turn against him. Crocetto sounded particularly touching in her Act II aria, "Tu puniscimi, o Signore," and she and Fabiano were well-matched, bringing youthful ardor to their scenes together.

Georgia Rowe – The Times-Herald

Performances, particularly vocal ones, excelled when San Francisco Opera opened its 93rd season with Verdi’s “Luisa Miller” . . . Soprano Leah Crocetto . . . soared in the vocal department. Crocetto delivered the goods with a big, powerful, yet graceful voice that repeatedly rose to the occasion, most memorably in her Act 2 aria, “Tu puniscimi, O Signore.”

James Ambroff-Tahan – San Francisco Examiner

The vocal writing calls for everything a singer can do, and soprano Leah Crocetto, as Luisa, an innocent young village girl, and tenor Michael Fabiano, as Rodolfo, the son of the ruling count, with whom she falls in love when she thinks he is simply "Carlo," are completely up to the task. At the start of what will surely be a long career, Crocetto has a strong, agile, magnificent voice . . .

Pamela Feinsilber - Huffington Post

Leah Crocetto’s Desdemona is thrillingly assertive, both dramatically and vocally. This is a woman who won’t be silenced, who returns to plead her case no matter how many times her husband denies her. Crocetto’s vocal force re-negotiates the opera’s power dynamics. For once we’re not reading against the text, but setting Otello against his musical equal. Crocetto’s Willow Song is the mature, dramatic allegory of a woman who goes knowingly to her death, not the artful musings of a woman-child, while the Ave Maria (sung, in a final twist of the knife, to a Virgin used as a dartboard in the previous scene) is a model of simplicity and elegance.

Alexandra Coghlan - The Arts Desk

An American soprano Leah Crocetto made her debut as Desdemona, demonstrating an ample lyric soprano that shaped the arching phrases grandly . . .

Rupert Christiansen - The Telegraph

As Madame Lidoine, Leah Crocetto, singing with a poised, lush tone, offers a pleasing interpretation of the new Prioress who must take the helm under dire circumstances.

Kate Wingfield - Metro Weekly

A winner of the 2010 Metropolitan Opera National Council Auditions, Leah Crocetto possesses a full, luscious soprano voice and a disciplined technique.

James Roy MacBean – The Berkeley Daily Planet

Former SFO Adler Fellow and Merola Opera Program alumna soprano Leah Crocetto has been caught at just the right moment in her growing career to essay the title role of the innocent middle-class girl done to dirt by the lords and ladies of a provincial court. Crocetto's seemingly limitless vocal strength has enough power to maintain a creamy tone at both ends of her vocal register. Her top notes and coloratura are beautifully achieved – a perfect voice for Verdi, as she proved most memorably in her performance in the Requiem in 2013 . . . She earned her spot center stage and triumphed with an old-style "golden age of singing" performance.

Philip Campbell – The Bay Area Reporter

Leah Crocetto is a feisty Desdemona with a substantial but attractive voice.

Barry Millington - Evening Standard

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