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Cuban Coloratura Soprano


“A brilliant guest soprano sparks Modus Operandi Orchestra”

…Soprano León, who sounded very ready for prime time with her clear voice in all registers, pinpoint intonation, sensitive phrasing, rapid articulation in Mozart’s long melismas and, to literally top it all off,  sparkling and accurate coloratura technique.

In the solo cantata Exsultate, jubilate, León sang expressively, with minimal vibrato and attacks ranging from soft to crisp, but always right on pitch. The virtuosic closing “Alleluia” gave a taste of vocal glories to come in “No che non sei capace,”

León’s performance made it clear why. Saturday’s audience stood and applauded lustily, with no need for a repeat, as the singer’s blazing scales and sky-high staccato wouldn’t soon be forgotten.)…”- New York Classical Review. David Wright 2023

..."Her melismatic singing in the first section  – and the final Alleluja section –  was dazzling, but it was the sublime softness and expressivity at the end of the Tu virginem corona section that had me thinking we will be hearing much more from this talented musician. Following the Exsultate was the “insertion” aria  No, no, che non sei capace. It is an angry aria of disappointed love, with its anger made manifest in ridiculously difficult high notes – yet thanks to the uncanny gifts of Ms. Léon, one still heard in it the transcendent beauty of Mozart rather than mere shrieking. She sang with amazing ease and fluidity..." - New York Concert Review. -Rorianne Schrade. 2023

“…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".

" 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."


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