She returned to Wolf Trap Opera for two role debuts: Ilia in Idomeneo and Juliette in Roméo et Juliette following previous performances as Madeline in Glass’ The Fall of the House of Usher and the Daughter in Glass’ The Juniper Tree. She began her close relationship with Seattle Opera, having first joined the company as Chrisann Brennan in Bates’ The evolution of Steve Jobs for her debut and then as Frasquita in Carmen. Leonard recently made her role debut as Gilda in Rigoletto with Seattle Opera and returned to the role with with Austin Opera her performance later was named one of the Top Ten Joys in Dance and Classical Music by the Austin Chronicle. Her debut with Dallas Opera as Susanna in Le nozze di Figaro and her first performances of Marzelline in Fidelio with North Carolina Opera fell prey to the COVID-19 pandemic, as did her first Pamina in Die Zauberflöte with North Carolina Opera and the title role of Emmeline with Tulsa Opera in the season prior. Last season, in addition to her role and company debut as Sophie in Der Rosenkavalier at Garsington Opera, she returned to Seattle Opera as Adina in a filmed version of L’elisir d’amore. Coming seasons include a return to Gilda in Rigoletto with Dallas Opera, roles debuts as Leïla in Les pêcheurs de perles with Austin Opera, Marie in La fille du régiment with Utah Opera, and a return to Garsington Opera for another role debut. She also sings excerpts of the title role of Lucia di Lammermoor in concert with the Sacramento Philharmonic and joins Utah Opera as Mabel in The Pirates of Penzance. In the 2021-22 season, she returns to Austin Opera and makes her debut with the Lyric Opera of Kansas City as Chrisann Brennan in The evolution of Steve Jobs. Praised for her “silvery, ethereal-sounding Sophie” by Opera magazine and “lovely vocal delicacy” in The Telegraph, Madison Leonard earned across-the-board rave reviews for her international debut in the summer of 2021 in Der Rosenkavalier at Garsington Opera.
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