
‘Il trovatore’ with Opera Australia
On July 15, 19, 23, 25, 28 and 30, Leah Crocetto reprises the role of Leonora in Il trovatore with Opera Australia at the Sydney Opera House. This will be the first time the popular Verdi opera has...
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Official biography
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 additional performances in Washington, D.C. and Easton, Pennsylvania. Ms. Crocetto makes her Australian debut with the Melbourne Symphony Orchestra as the soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she is a soprano soloist in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.
On July 15, 19, 23, 25, 28 and 30, Leah Crocetto reprises the role of Leonora in Il trovatore with Opera Australia at the Sydney Opera House. This will be the first time the popular Verdi opera has...
Leah Crocetto has been nominated for a Green Room Award in the “Outstanding Performer in a Leading Role” category for her performance in Aida at Opera Australia. The winners will be...
This May, Leah Crocetto will make an exciting role debut as Margherita in Arrigo Boito’s Mefistofele performed in concert with Opera Australia. With source material taken from Goethe’s tragic...
The Drawing Room
Il Trovatore is perhaps Verdi’s most complicated opera, with betrayals, abductions, revenge and hidden identities.
The character of Leonora is led by her heart and lacks...
Classic MelbourneAs Margherita, Leah Crocetto looked resplendent in glittering pale teal and sounded much the same. She did project a tone of youthful innocence at the beginning of the first encounter with Faust, but her upper notes were far from girlish in their expansive power. Margherita’s Act 2 aria is probably the most familiar number in the opera and was sung with passion and the kind of soaring dynamic that can only be fully appreciated in the theatre. For all the wonder of certain fabulous high notes, sometimes smoother and more focused quieter moments were just as impressive.