“The four major roles in “Il Trovatore” are arduous and demanding, with familiar arias that provide a real proving ground for singers. On Saturday, the opening-night audience heard the resplendent soprano Leah Crocetto (last heard here in the title role of “Aida“) as Leonora, offering some thrilling high notes and a performance that combined power and easy facility.”

Seattle Times

“Leah Crocetto sang Leonora, the noblewoman over whom the two clash. Her soprano is uncommonly lovely at low volume—soft and warm, she sounds like cashmere feels—but she can also uncover it to loose easy, airborne high notes. Particularly memorable was her Act 4 aria “D’amor sull’ali rosee,” miraculously dreamy.”

Seattle Weekly

“From her first double aria, the serene Tacea la notte placida followed by the rapid-fire cabaletta Di tale amor, Crocetto’s vocal power and technique were evident. Her power and technique continued throughout the evening, where Crocetto enlisted her soaring range for Leonora’s last act showpieces D’amor sull’ali rosee and Vivra! Contende il giubilo.”

Opera War Horses

“By far, the star here is Leah Crocetto as Leonora, a character expected to convey a vast range of feelings. One moment she is head over heels in love, the next she is preparing to poison herself. Crocetto’s singing was expressive throughout, conveying true emotion and conflict.”

Seen and Heard International

“The second star of the evening – and really the main one – was Leah Crocetto in the role of Leonora. The night belonged to her. From the moment of her entrance she dominated the show. She has a voice of unique beauty, warmth, and fullness. It easily reached the back rows (where I was sitting) and in its quieter moments it takes on a gentleness and expressiveness which one doesn’t normally get from a singer with that kind of power.”

Andy Nicastro

“Leah Crocetto (who sang Aida last year in the cast I didn’t see) sings some of the most beautiful music ever written as beautifully as it’s ever been heard. She has a voice that sounds as delicate as crystalline wind chimes but the power of the hurricane that blows them. Verdi often sets his singers up in opposition to the orchestra. With Crocetto singing, the orchestra doesn’t have a chance.”

Gemma D. Alexander