Leah Crocetto News
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2024-04-21
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2021-06-17 18:30:00
San Francisco Opera: July Streaming
[…] Chong Wang, Christian Van Horn. Loved the production (mostly); on my list of "greatest things I have ever seen," owing to the tremendous cast and conducting. From 2015. July 24: Elektra; Henrik Nanasi; Christine Goerke, Adrianne Pieczonka, Michaela Martens, Alfred Walker, Robert Brubaker. Loved the production; on my list of "greatest things I have ever seen," owing to the tremendous cast and conducting. Sorry to be repeating myself, but....! From 2017. July 31: Luisa Miller; Nicola Luisotti; Leah Crocetto, Michael Fabiano, Vitaliy Bilyy, Andrea Silvestrelli, Ekaterina Semenchuk. Very well sung and conducted, weakish early Verdi. From 2015. As before, these programs go live on a Saturday and are available until late the next day. If you have a San Francisco Opera web site login, there's an extended period during which you can see these.
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Faces of classical music
2020-02-22 01:31:00
An Analysis of the 2020-2021 Metropolitan Opera Season
[…] the quality of any company's offerings rises and falls on who is singing. In this regard, the upcoming season is very promising. Most operas are well-cast even in small roles, and I will detail some of the most interesting below. Of course, there are singers one would want to see at the Met who have major careers or have something special to offer artistically. Among those missing next season are Roberto Alagna, Daniela Barcellona, Leah Crocetto, Juan Diego Flórez, Ferruccio Furlanetto, Elīna Garanča, Jonas Kaufmann, Gregory Kunde, Ambrogio Maestri, Karita Mattila, Michael Mayes, René Pape, Marianna Pizzolato, Sondra Radvanovsky, Marina Rebeka, and Michael Spyres.I really wish the Met would find a way to cast the versatile and brilliant Anna Caterina Antonacci, who will make her debut at the Washington National Opera next season as Despina in Così fan tutte. Bryn Terfel, who has not sung at the Met since 2012, […]
2019-10-29 03:51:00
[…] to that cast. Appearing for the first time with WNO, regular Met fixture George Gagnidze’s assertive, formidably level baritone soared through Iago’s music. His “Credo” offered plenty of throwback vocal grandeur, filling the house with charismatic sound and tossing off those big forte flourishes with ease. Indeed the vocal package is so appealing one might be forgiven for not noticing that his characterization for Iago is ultimately a bit generic. American Leah Crocetto matched Gagnidze in vocal glamour and then some, turning in a Desdemona of special beauty. The voice is gorgeous to be sure, but she also really understands how to create a sense of vocal drama over time as Desdemona wanders in and out of the story. Her voice rarely more than a silvery thread in happy wife mode well into Act II, her first real emotional outburst was overwhelming in its directness and intensity--more […]