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


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 returns to Seattle Opera as Leonora in Il trovatore. She sings her first performance of Bellini’s Norma in concert with North Carolina Opera, and makes her debut at Carnegie Hall’s Weill Hall in recital with pianist Mark Markham. With the Melbourne Symphony she is soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she sings Soprano II in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.

Last season’s performances for Ms. Crocetto included the title role in Aïda with Seattle Opera and with Washington National Opera, where she also sang Elisabetta in Don Carlo. She was heard as Leonora in Il trovatore with Oper Frankfurt, returned to San Francisco Opera as Liù in Turandot, and performed the title role of Tosca with Pittsburgh Opera. In concert, she sang Verdi’s Requiem with the National Symphony Orchestra at the Kennedy Center, and with the NTR Symphony at the Concertgebouw.

In 2016-2017, Ms. Crocetto made role debuts as Aïda in a return to San Francisco Opera, and also as Eleonora in the first US performances of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she performed Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sang a solo recital in her hometown of Adrian, Michigan.

Ms. Crocetto made her Metropolitan Opera debut in the 2015-2016 season 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.

In the 2014-15 season, Ms. Crocetto performed Desdemona in Otello with English National Opera, followed by performances of Mimi in La bohème with San Francisco Opera, and Madame Lidoine in Poulenc’s devastating Dialogues of the Carmelites with Washington National Opera. Her season closed at Opera Philadelphia singing Elisabetta di Valois in a new production of Don Carlo.

Very much at home in the Italian operatic repertoire of Verdi and Puccini, Leah Crocetto made her European debut as Leonora in Il trovatore with Opéra National de Bordeaux, followed by debuts at the Arena di Verona and North Carolina Opera. She sang her first performances in Venice as Desdemona in Otello at Teatro la Fenice followed by performances with Opera National de Bordeaux. She reprised the role with the company in their tour of Japan, as well as with Frankfurt Opera in her company debut. Her first performances of Mimi in La bohème were made with Pittsburgh Opera, and she debuted the role of Alice Ford in Falstaff with Frankfurt Opera. She has debuted with the Israeli Opera as Luisa Miller, as Suor Angelica and Liù in Turandot for San Francisco Opera, and sang her first performances as Anna in Rossini’s Maometto II with The Santa Fe Opera, in a new production by David Alden.

On the concert stage, Ms. Crocetto has sung Verdi’s Requiem with Riccardo Muti and the Chicago Symphony Orchestra, with the Los Angeles Philharmonic under Gustavo Dudamel, and also with the Radio Orchestra of Saarbrücken, the San Francisco Opera, the Calgary Philharmonic, the Columbus Symphony and Albany Symphony. She sang Beethoven’s Symphony No. 9 with Rafael Frühbeck de Burgos and the Los Angeles Philharmonic at The Hollywood Bowl, Pergolesi’s Stabat Mater in concert with San Francisco Opera and Nicola Luisotti, and Mahler’s Symphony No. 2 “Resurrection” at the Grand Tetons Music Festival with Donald Runnicles. Additionally, she performed a concert of sacred pieces by Verdi with Orchestre National de France under the direction of Daniele Gatti. She returned to her hometown for a gala concert of opera and musical theatre with the Adrian Symphony Orchestra, and was featured in a gala opera concert with the Toronto Symphony. She has performed recitals at the Mondavi Center for the Performing Arts in Davis, California, the Green Music Center in Sonoma, California and the Speed Museum in Louisville, Kentucky.

Leah Crocetto represented the United States at the BBC Cardiff Singer of the World Competition, where she was a finalist in the Song Competition. She is a 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 José Iturbi International Music Competition, and winner of the Bel Canto Foundation competition. A former Adler fellow at San Francisco Opera, Ms. Crocetto appears frequently with the company.

Ms. Crocetto holds degrees from Siena Heights University in acting performance and Moody Bible Institute in vocal studies. She was a participant in the Sarasota Opera Apprentice Artists Program where she appeared in Le nozze di Figaro and in La Rondine. She was a member of San Francisco Opera’s Merola Opera Program, where she performed scenes from Manon, Don Pasquale and sang the roles of two Verdi heroines, Luisa Miller and Leonora in Il trovatore on the Grand Finale Concert. Of this performance, San Francisco Chronicle said Crocetto has a “powerful Verdi voice and formidable precision technique, and intensity that amplifies an already huge voice, and an innate, irresistible musicality.” San Francisco Classical voice said, “In thirty years of exciting discoveries, listening to each group of Merolini for the first time, I have never experienced a singer as complete and awesome as Crocetto.”

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Norma (Concert version)

North Carolina Opera

Raleigh, NC



Carnegie Hall

New York, NY


Verdi: Il Trovatore

Seattle Opera

Seattle, WA


Mahler’s Eighth (piece debut)

Walt Disney Concert Hall

Los Angeles, CA






En el Auditorio del Castellse reunió el equipo vocal formado por la soprano norteamericana Leah Crocetto; junto a ella la ya bien conocida y prestigiosa mezzosporano Ekaterina Gubanova, de importante trayectoria internacional. Las dos voces, impecables ambas intérpretes, se alternan y se juntan en distintos pasajes del Requiem combinándose a la perfección sus voces en todo momento.

Platea Magazine

...she soon made her mark, dispensing tonal sweetness or steel with equal control and making dramatic use of her plush low register. The soprano’s poetically phrased account of “Tu che le vanità” was a highlight of the performance.

Opera News

Most remarkable, however, was the superbly refined vocal beauty and emotionally compelling performance by luminous soprano Leah Crocetto in the title role as the captured Ethiopian princess, Aida. In love with Radamès, in Crocetto, a sweet sense of purity and courage bonded on a voice in which the high notes were taken to elegantly sustained length, vocal shading impeccably realised and register shifts as smooth as butter. Crocetto, who alternates in the role with Alexandra Lobianco, easily garnered her audience’s sympathy, poignantly encapsulating the aguish Aida sings in “Qui Radamès verra .. O patria mia” (“Oh, my dear country!") and never seemed to tire until her last breath when, entombed, she expires in the arms of Radamès.


On opening night last Saturday, soprano Leah Crocetto as Aida poured her emotions into her glorious legato, from Aida’s most fragile and quiet moment to her fiercest. Crocetto was particularly moving in the aria, “Oh, patria mia.”

Queen Anne and Magnolia News

The opening-night cast on Saturday presented American soprano Leah Crocetto in the title role. Her voice is beautiful, large and vibrant, and she is a passionate actress.

Seattle Times

Leah Crocetto (Elisabetta) and Jamie Barton (Eboli) gave searing accounts of their characters’ dramatic conflicts and intense emotions, expressed in explosions on passionate singing.

Opera Now

Soprano Leah Crocetto has the ideal voice for the piece, as she did in Don Carlo ... she hurled her voice magisterially over the chorus when necessary, but floated soft high notes with the same ease. In the concluding “Libera me,” her volcanic chest voice seared. She met all of Verdi’s demands in this cruel showpiece, from the high notes that were like a punch in the solar plexus to a shimmering pianissimo B-flat.

Charles T. Downey - Washington Classical Review

... for the sheer vocal beauty and power-on-demand, soprano Leah Crocetto’s Elisabeth makes the night. If you can’t see the tragedy, at least you can hear it in her majestic sound.

Kate Wingfield - Metro Weekly

As Queen Elisabeth, Leah Crocetto, a dominating soprano, is bright and clear ...

Mike Paarlberg - Washington City Paper

As Elisabeth of Valois, Soprano Leah Crocetto superbly portrays a woman torn between true love for someone she can never have and submission to her powerful royal husband. Ms. Crocetto’s gorgeous soprano is sweetly comforting in the aria she sings to her departing lady-in-waiting (Aria: “Oh ma chere compagne”/ “Non pianger, mia compagna”).

David Friscic - DC Metro Theater Arts

Crocetto explored her nuanced legato throughout and even expressed the pain and anguish of Elisabetta with a sublime crescendo up to the high A with ample breath support ... The final aria was singing of hypnotic nature, Crocetto luring the listener in with plush sound and exquisite connected lines. We felt a wide gamut of emotions, from her pleading and insecurity to a growing sense of resolve in the aria’s repetition of its first section.

David Salazar - Operawire

In the leading roles, Russell Thomas (Don Carlo) and Leah Crocetto (Elisabeth of Valois) are convincing in their dramatization as well as their vocal abilities. Thomas’ tenor is warm and nimble while Crocetto’s soprano shows restraint and measure in knowing when to unleash – making those moments quite effective.

Brett Dodson - MD Theatre Guide

Crocetto’s soprano, turning more towards the spinto category, had just the right combination of ethereal beauty and spine-tingling power; the former was manifest in both the sad first act aria and the gorgeous duet with Carlo in the last act,and the latter at the top of ensembles. Her reluctant queen was an ideal combination of saintly reserve and elegant authority.

Charles T. Downey - Washington Classical Review

Soprano Leah Crocetto’s Elisabeth was sung with style and technique, and she conveyed the queen’s youth and vulnerability.

Philip Kennicott - Washington Post

As self-sacrificing Liù, the vibrant soprano Leah Croccetto rendered with ease and expressiveness the character’s vulnerability and determination, the pathos in Puccini melodic line.

Edward Sava-Segal - Bachtrack

Leah Crocetto, a local favorite since her days as an Adler Fellow in the company’s development program, applied supple soprano tone to Liù’s lyric music ... floating some gorgeous high notes and making her the most appealing human among so many selfish characters.

Harvey Steiman - Seen and Heard International

An audience favorite from her years as a Merola singer and Adler Fellow, Leah Crocetto‘s performance as Liu brought her keenly focused voice to bear on the slave girl’s two arias.

George Heymont - HuffPost

Soprano Leah Crocetto’s Liu was both vocally and dramatically persuasive in the role of the self-sacrificing slave girl Liu. Crocetto’s warm, vibrant soprano evoked heartfelt emotion for both Liu’s great arias Signore, ascolta and Tu che di gel sei cinta.

Opera Warhorses

Of course, Crocetto, sparked the stage with her sonorous soprano and its deliberate vowel-arched conviction … her suicide came quickly and aptly too – in the midst of those ringing and plaintive tones, we almost doubted it would come, this time around – but alas.

Lois Silverstein - Operawire

... soprano Leah Crocetto in a full-voiced, expressive return to the role of the slave girl Liù.

Joshua Kosman - SFGate

She began with Liszt’s three Petrarch sonnets, sung with gorgeous Italianate style. In these invested readings Crocetto displayed a deep textual connection and flashed an astonishing, colorful, burning chest voice. There were pangs of anguished longing in “Benedetto sia’l giorno,” while “I vidi in terra angelici costumi” was a more straightforwardly lovely romance ...

A set of Rachmaninoff songs showed off all the best of Crocetto’s qualities as a singer. “How fair this spot” highlighted the rich, dark velvet of her middle voice, and she sang with breathless passion in the “Fragment from A. Musset.” Most impressive of all was her account of “Sing to me not, beautiful maiden,” which was poised, yet ravishing in the depth of its emotion ... Then Crocetto dropped every jaw in the house with her spectacular take on “Can’t help lovin’ dat man”—originally from Show Boat, but here given in a steamy, jazzy version, showing off a superb belt.

Eric C. Simpson - New York Classical Review

It is quite a challenge to take a scene out of an opera and perform it convincingly, but this pair of artists succeeded brilliantly. We believed every minute and felt every feeling.

Individual performances were also superlative. We have previously reviewed Ms. Crocetto's artistry in Liszt's Petrarch Sonnets and find they suit her well. The obsessionality of Petrarch comes through loud and clear. There are some lovely arpeggi in the piano between the verses of "I vidi in terra angelici costumi".

We also enjoyed the Rachmaninoff songs, especially our favorite Russian song "Ne poy, krasavitsa, pri mnye" with its exotic mournful melody. In "Vokaliz, Op 34, No. 14" we were able to appreciate the warmth and purity of tone and the plethora of overtones that tickled our ears and filled the hall, wall to wall.

Voce di Meche

From her opening offstage cries to her final pledge to justify herself before God, every vocal inflection and gesture was deeply considered to convey the passion, piety, fear, and rage Tosca experiences moment to moment in this rapidly paced drama. She was magnificent ... she spun out a lovely, heartbreaking pianissimo that would have made Montserrat Caballé proud. I would love to hear her at the Met, where she debuted last season as Liù; her voice has the kind of weight and force that should really make an impact in that vast hall, and the kind of beauty that should fill seats.

But all is merely prelude to the entrance of the star of the evening. I always listen closely to Tosca’s offstage opening cries: has the diva found the most beautiful way to sing her lover’s name and merely repeated it three times? Or has she found a way to bring a different meaning, a building urgency, an early glimpse into her turbulent emotions, to each one of the iterations? A great Tosca must sings beautifully, yes, but also passionately and dramatically, meaningfully. Crocetto successfully established her musicianship before even setting foot on stage ...

John S. Twinam - Operawire

Leah Crocetto, heard here as Mimi in a “Boheme” in 2014, fills all the vocal requirements along with many of the histrionic demands. She has a gorgeous, opulent sound, with a vocal technique that allows her to scale back into sweet pianissimi, and spin long phrases with evenness of tone and no glitches between the notes ... She came into her own in her Act 2 confrontation with the evil Baron Scarpia, articulating the words intelligibly, nailing the several sustained high Cs at the emotional climaxes with thrilling accuracy and stamina. Her “Vissi d’arte” aria, the central point of the act (and of the opera), was finely vocalized and psychologically right on. She showed the heroine’s nervousness by downing several glasses of wine at key moments (for which director Bruce deserves some credit as well). Her stabbing of Scarpia and realization of the implications of what she had done were extremely well achieved – again kudos to both actress and director in a scene that can look ridiculous if poorly acted out.

Robert Croan - Pittsburgh Post-Gazette

Soprano Leah Crocetto, who returns to Kennedy Center in March 2018 to sing Elisabetta in WNO’s production of Verdi’s Don Carlo, was an Aida whose experience in the rôle in the San Francisco première of Francesca Zambello’s production was apparent in every musical and dramatic detail of her performance ... Her refined singing in San Francisco Opera’s 2015 production of Verdi’s Luisa Miller affirmed Crocetto to be an artist worthy of Stolz’s legacy, and her Aida for Washington National Opera was a noteworthy personal and professional success.

Making her first entrance in Act One, Crocetto moved gracefully but deliberately, from the start establishing Aida as a woman of royal lineage subjected to the profound shame of servitude. Joining the trio with Amneris and Radamès, she sang ‘Ohimè! di guerra fremere l’atroce grido io sento’ urgently, her soaring top As and fortissimo top B rousing but unexaggerated extensions of the line. Aida’s aside of ‘Mio padre!’ when it is learned that Amonasro was the leader of the invading Ethiopians was delivered by Crocetto with special emphasis, her character daring to envision her freedom restored. She voiced ‘Per chi piango?’ with dignity, lofting her top C over the ensemble with technical finesse. The challenges of ‘Ritorna vincitor!’ were overcome with lavish assurance. The soprano’s slashing top B♭ crowned an incendiary account of ‘L’insana parola, o Numi, sperdete!’ Crocetto encapsulated the essence of Aida’s anguish with her wrenching ‘I sacri nomi di padre...d’amante.’ Impressive as her full-throttle singing was, it was her ravishingly hushed voicing of ‘Numi, pietà, del mio soffrir!’ that was most memorable.

The dramatic magnitude of Crocetto’s ‘Ritorna vincitor!’ was redoubled in Aida’s Act Two duet with Amneris. Voicing ‘Felice esser poss’io lungi dal suol natio’ mesmerizingly, the soprano projected Aida’s misery and trepidation across the footlights without distorting the musical line. Cresting first on a top B♭ and then on a brilliant fortissimo top C, she gave ‘Che mai dicesti! misera!’ and the agitated ‘Ah! pietà!...che più mi resta?’ wealths of expressivity. The voices of many Aidas are lost in the tumult of the Triumphal Scene, but Crocetto was always audible—and always heard with pleasure. Her exclamation of ‘Che veggo!... Egli?... Mio padre!’ was a poignantly private moment in one of opera’s most opulent public scenes. Verdi’s assault on the soprano’s upper register in the final minutes of Act Two is unrelenting, but the indefatigable consistency of Crocetto’s high notes prevailed.

Joseph Newsome - Voix des Arts

... Leah Crocetto’s highly communicative and more varied reading seen the following day ... the role gives opportunity to showcase her vocal thrust and dramatic urgency, especially in the two emotionally wrought arias ...

Harry Rose - Parterre

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

... Leah Crocetto, who kept a bloom and freshness to her singing even in the biggest passages.

Anne Midgette - Washington Post

... this production certainly featured a classically talented prima donna in Crocetto ... It is Crocetto’s powerful and pure soprano voice that ushers in the bel canto, the beautiful singing, the opera requires. Her performance was rich and nuanced. While evidencing genuine despair, frustration, loss, and other strong emotions, her technique never faltered. Cast as wife and husband, together she and Romano sang beautifully and believably all the music Donizetti created for two complementary women’s voices.


As Eleonora, Crocetto relished each moment as she sang with incredible agility and gleaming high notes. Though she is known for her work in the Verdi and the verismo repertoire, it is evident in this opera that Crocetto is right at home with Bel canto. Not only does she sing it beautifully and with incredible breath control, but she is very attuned to the text and adds an extra layer of drama ... But it was not all coloratura and virtuosic singing that made Crocetto’s portrayal so dynamic. It was the fact that she also got to use her full voice in the concertati. In these sections, her voice melted into the lines and delivered a masterclass in the lush Italianate sound. Each line grew in power, but without ever covering the rest of her colleagues.


Impressive singing we had in abundance from Leah Crocetto as Eleonora, wife of Aurelio. This is pure Donizetti soprano writing, and very beautifully sung by Ms. Crocetto...We'd love to hear her tackle other big Donizetti roles. Ms. Crocetto had a wonderful dramatic and vocal chemistry with mezzo Aleks Romano as Aurelio."


But how many young artists today can crossover to musical theater style singing. Case in point. Leah Crocetto, whom I last saw in Opera Philadelphia’s Don Carlo. She is a wonderfully gifted soprano, who belted out several terrifice musical theater numbers during this performance. Yes, this woman has a chest range, and she’s not afraid to use it. (Believe me, I appreciate that chest range isn’t the dirty word it used to be. I mean, no serious student of vocal performance was encouraged to sing in their chest range.)


As Eleonora, Aurelio’s wife, soprano Leah Crocetto is also excellent, an accurate and big voiced coloratura.

Joseph Dalton - The Times Union

Impressive singing we had in abundance from Leah Crocetto as Eleonora, wife of Aurelio. This is pure Donizetti soprano writing, and very beautifully sung by Ms. Crocetto ... We'd love to hear her tackle other big Donizetti roles. Ms. Crocetto had a wonderful dramatic and vocal chemistry with mezzo Aleks Romano as Aurelio. We saw Ms. Romano in May at Opera Delaware as Arsace in Semiramide, and praised her singing then. We liked it even more now. Donizetti's duet writing in this opera rivals the great duets from Norma and Semiramide, and the two women sang these duets with precision, skill, and great artistry.


Michigan soprano Leah Crocetto assumed the role of Aurelio’s wife Eleonora. Crocetto’s role was augmented in this production with a rondo-finale added by Donizetti after the opera’s premiere. The aria, Questio pianto che sul ciglio, E l’eccesso del contento with its dazzling cabaletta beautifully fit Crocetto’s large, expressive soprano voice and mastery of the coloratura embellishments expected of a bel canto artist.

Opera Warhorses

Soprano Leah Crocetto is Eleonora, wife of Aurelio. Her instrument is huge but not unwieldy, pliable, with ample agility to negotiate the intricate passagework of a romantic bel canto role.

Richard Carter - Blasting News

It was a sign of the quartet’s balanced strength that Leah Crocetto did not overpower the others on the soprano part but soared limpidly at the ecstatic climaxes.

Charles T. Downey - Washington Classical Review

Eschenbach had a fine quartet of soloists — Joseph Kaiser, J’nai Bridges and Leah Crocetto were the other three ... There isn’t always unity in music, but Thursday night there was, in the roar of applause that flooded into the tingling silence when the piece was over.

Anne Midgette - Washington Post

But try not to get choked up at Eschenbach’s majestic and even surprising take, delivered by the reliable Choral Arts Society and a superb cast of soloists (Leah Crocetto, J’nai Bridges, Joseph Kaiser, and Solomon Howard).

Mike Paarlberg - Washington City Paper

... Crocetto is a major young talent, with a supple, rich voice that more than holds its own all the way from the high notes to the lower register.

Arlene Bachanov -

Soprano Leah Crocetto, who has been cautiously moving into lirico-spinto territory in recent seasons, sang the first Aida of her career with a blend of seemingly effortless strength, musical intelligence and vocal allure, from the elegantly phrased introspection of “Ritorna vincitor” to the pathos of her extended Act II dialogue with Amneris. “O patria mia,” boasting Crocetto’s exquisitely floated high C, was her most affecting episode; the final scene ... yielded more achingly beautiful singing ... her vocalism was unimpeachable.

Georgia Rowe - Opera News

... 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.

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 ...


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 -

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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