LAURA LEÓN
Cuban Coloratura Soprano
REVIEWS:
“…sizable, juicy sound…” – Palm Beach Arts Paper
Don Pasquale – “The most impressive singing – bel canto exemplified – came from the Norina, Laura León. A Florida Grand Opera resident artist from 2015-17, the Cuban-born soprano is now much more than that. A pert and lively figure on stage, she has a sizable, juicy sound, high notes to burn including sustained high Fs – think Queen of the Night and more – and is equally at home in legato singing and intricate coloratura. Her delivery of her opening aria, “Quel guardo il cavaliere,” would stand up to any I know, past or present.”
“…ingratiating feisty persistence…” – Opera News
¡Figaro 90210! – "Laura Leon (Susana), verbally keen in both languages, showed the sunny lyric-soprano flow and ingratiating feisty persistence. The unconventional use of Susana's final aria -- as a shared plea for mutual understanding -- proved thematically relevant and moving”
“…tremendous support…” – Concerto Net
Carmen – “The two other females, Laura León (Frasquita) and Courntey Miller (Mercédès), demonstrated tremendous support. The card trio followed by “Quant au douanier…” were exceptional.”
"...the clarity of tone and phrasing made this an unforgettable performance..." - Voce di Meche
Gianni Schicci - "As Lauretta we heard the charming soprano Laura León who interpreted her character as a sweet innocent girl who loves Rinuccio for who he is, wealth or no wealth. To her is granted the most famous aria of the opera "O mio babbino caro" which, in a master directorial stroke, she delivered standing on top of a trunk, allowing her not only a sense of importance but also permitted her to mime throwing herself into the Arno. The winsomeness of her presence and the clarity of tone and phrasing made this an unforgettable performance".
"...giving a full-bodied "O mio babbino caro..." - Broadway World
Gianni Schicchi - "As the young lovers, Lauretta and Rinuccio, Laura Leon and American John Riesen were a fine match, with the soprano giving a full-bodied account of the opera's most famous set-piece, the aria, "O mio babbino caro."