Cuban soprano Laura León is quickly becoming a rising star on the operatic stages with a voice that “sparkles, seduces and languishes.” Laura made her dèbut as Queen of the Night in Die Zauberflöte with Orchestra Miami under the baton of Elaine Rinaldi, as well as a Florida Grand Opera dèbut as Frasquita in Carmen with subsequent performances as Mother of Peasant in Before Night Falls and Cristina Kahlo in Frida.
Last season, Leon joined the Lyric Opera of Chicago in the world premiere of The Factotum, performed the role of Ana Maria in Héctor Armienta’s Zorro with Opera Southwest, and joined Modus Operandi Orchestra as the soprano soloist in Mozart’s Exsultate Jubilate. This season’s engagements include the Moon in Before Night Falls with Opera Southwest and Catarina in El Último Sueño de Frida y Diego with Opera Omaha. [read more...]
“A brilliant guest soprano sparks Modus Operandi Orchestra..." – New York Classical Review
Exultate Jubilate – "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”
"... we will be hearing much more from this talented musician..." – New York Concert Review
Exultate Jubilate – "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..."
"the soprano giving a full-bodied account of the opera's most famous set-piece" – BroadwayWorld
Gianni Schicchi – "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.'"
“…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.”
“…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."