Isabel Leonard

Grammy Award winning mezzo-soprano Isabel Leonard is acclaimed for her “passionate intensity and remarkable vocal beauty” and has thrilled audiences both at home in the United States and internationally.

She is recipient of the prestigious 2013 Richard Tucker Award.

© Sergio Kurhajec


Recent highlights in Isabel’s calendar have included Charlotte Werther in her debut for the Royal Opera House, Covent Garden; the title role in La Cenerentola for the Bayerische Staatsoper and Wiener Staatsoper; Donna Elvira Don Giovanni for the Festival d’Aix-en-Provence and Mélisande Pelléas et Mélisande and Blanche de la Force Dialogues des Carmélites for the Metropolitan Opera.

She has also appeared at the Salzburg and Glyndebourne Festivals, the Opéra National de Paris, the Canadian Opera Company, Dutch National Opera and, in the United States, at the Lyric Opera of Chicago and the Washington National Opera.

Her concert appearances have included the New York Philharmonic with Maazel, the Boston Symphony and Los Angeles Philharmonic Orchestras with Dudamel, the Boston Symphony Orchestra with Nelsons at the Tanglewood Festival, the Chicago Symphony Orchestra with both Salonen and Gergiev, the Cleveland Orchestra with Welser-Möst and the Cincinnati Symphony Orchestra with Conlon.  A popular recitalist, she has appeared in Boston, San Francisco and Washington, in Atlanta’s Spivey Hall and in New York at both the Zankel and Alice Tully Halls.



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    RAVEL 'L'enfant et les sortilèges'

    Label: Decca

    Release Date: 04 Sep 15

    Best Opera Recording (2015 Grammy Awards)

    L’Enfant: Isabel Leonard
    Mother/Chinese Cup/Dragonfly: Yvonne Naef
    Teapot/Arithmetic/Frog: Jean-Paul Fouchécourt
    Grandfather Clock/Tomcat: Elliot Madore
    Armchair/Tree: Paul Gay
    Princess/Fire/Nightingale: Anna Christy
    Cat: Marie Lenormand
    Louis XV Chair/ Bat: Kanae Fujitani

    Saito Kinen Orchestra/Seiji Ozawa

    Recorded at the Saito Kinen and released in celebration of Seiji Ozawa’s 80th Birthday

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    Label: DELOS

    Release Date: 11 Aug 15

    Mezzo-soprano: Isabel Leonard
    Piano: Brian Zeger

    A programme exploring the riches of Spanish song, encompassing pure folksongs, folk-influenced art songs, dances and popular theater songs by some of Spain’s finest composers of the late-19th and 20th-centuries: Mompou, Falla, García Lorca, Sanjuán, Granados and Montsalvatge.

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    ADES 'The Tempest'

    Label: Deutsche Grammophon

    Release Date: 16 Aug 13

    Prospero: Simon Keenlyside
    Miranda: Isabel Leonard
    Caliban: Alan Oke
    King of Naples: William Burden
    Antonio: Toby Spence
    Trinculo: Iestyn Davies

    Orchestra of the Metropolitan Opera/Thomas Adès

    Robert Lepage’s production recorded live at the Metropolitan Opera in 2012

    Best Opera Recording (2014 Grammy Awards)

    Music DVD Recording of the Year (2014 Echo Klassik Awards)

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    HANDEL 'Giulio Cesare'

    Label: Virgin Classics

    Release Date: 01 Jun 15

    Giulio Cesare: Lawrence Zazzo
    Cleopatra: Nathalie Dessay
    Sesto: Isabel Leonard
    Cornelia: Varduhi Abrahamyan
    Tolomeo: Christophe Dumaux
    Achilla: Nathan Berg

    Le Concert d’Astrée/Emmanuelle Haïm

    Laurent Pelly’s production recorded live at the Opéra national de Paris in 2011

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    ROB KAPILOW 'Dr. Seuss's Gertrude McFuzz'

    Label: GPR Records

    Release Date: 18 Nov 14

    Mezzo-soprano: Isabel Leonard

    Metamorphosis Chamber Orchestra

    Isabel Leonard lends her voice to the popular Dr. Seuss character Gertrude McFuzz on a new recording featuring the story set to music by composer Rob Kapilow, accompanied by the Metamorphosis Chamber Orchestra and members of the Broadway Youth Ensemble.

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    MOZART 'Le nozze di Figaro'

    Label: Opus Arte

    Release Date: 29 Apr 13

    Countess Almaviva: Sally Matthews
    Figaro: Vito Priante
    Count Almaviva: Audun Iversen
    Susanna: Lydia Teuscher
    Cherubino: Isabel Leonard
    Bartolo: Andrew Shore
    Marcellina: Ann Murray
    Don Basilio: Alan Oke

    Orchestra of the Age of Enlightenment/Robin Ticciati

    Michael Grandage’s production recorded live at the 2012 Glyndebourne Festival

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    MOZART 'Cosi fan tutte'

    Label: Unitel Classics

    Release Date: 31 Aug 10

    Fiordiligi: Miah Persson
    Dorabella: Isabel Leonard
    Guglielmo: Florian Boesch
    Ferrando: Topi Lehtipuu
    Despina: Patricia Petibon
    Don Alfonso: Bo Skovhus

    Vienna Philharmonic Orchestra/Adam Fischer

    Claus Guth’s production recorded live at the 2009 Salzburg Festival

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    18 Sep 19 MASSENET Werther
    Royal Opera House, Covent Garden

    “American mezzo-soprano Isabel Leonard inhabits the role of Charlotte completely, rising to tremendous heights in her Letter Scene.”
    Tully Potter, Daily Mail, 27 September 2019

    “But there’s nothing quite like a letter scene to bring out the best in a singer-actress and Leonard was superlative. That middle-range mezzo…was used for all it was worth…[and] Leonard used everything at her disposal to dominate the stage.”
    Mark Bridle, Opera Today, 18 September 2019

    “The American mezzo-soprano Isabel Leonard makes a belated debut at Covent Garden as the conflicted Charlotte. Instantly warm, unaffected and sympathetic in personality, she too rose to the challenges of the opera’s latter half, wringing agony out of her reading of Werther’s letters and communicating a vivid sense of someone flailing out of her emotional depth… She looked enchanting.
    Rupert Christiansen, The Telegraph, 18 September 2019

    “Isabel Leonard made a confident Royal Opera debut as Charlotte…Leonard gave us plenty of passion and creamily smooth sound without going harsh at the top or fading at the bottom…
    David Karlin, Bachtrack, 18 September 2019

    “Leonard’s voice, however, has a lovely, veiled quality and poise distantly reminiscent of Janet Baker in the role. Leonard’s big Act Three solo, in which Charlotte fears the passions stirring in her as she reads Werther’s love-letters – a nod to the novel being cast as Werther’s letters to a close friend – is the other great moment of truth here.
    Peter Reed, Classic Source, 17 September 2019

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    10 Jul 17 MOZART Don Giovanni
    Festival d'Aix-en-Provence

    “Isabel Leonard’s is a world-beating Elvira, her cherry ripe mezzo and supple phrasing perfect for a moving “Mi tradì quell’alma ingrata”, sung as she uncovers a bedsheet to reveal the Don curled up with her maid. Her resigned look at yet another betrayal will haunt me for days.”
    Mark Pullinger, Bachtrack, 07 July 2017

    “Alors qu’on avait pu lui reprocher par le passé un chant parfois trop lisse, Isabel Leonard semble avoir atteint une maturité lumineuse qui lui permet de composer une Elvire émouvante et jamais ridicule : grâce à l’artiste et à la mise en scène, le personnage est pris au sérieux, et touche infiniment lorsqu’on la voit terminer « Mi tradì » blottie contre le corps endormi de Don Giovanni.”
    Laurent Bury, Forum Opera, 06 July 2017

    “La Donna Elvira d’Isabel Leonard est touchante sans excessivité, éloignant son air Ah chi mi dice mai du ridicule que sa sincérité pourrait engendrer, sentiment renforcé par la solennité de son deuxième air Ah fuggi il traditor.”
    Charlotte Saulneron-Saadou, Resmusica, 08 July 2017

    “Isabel Leonard convainc parfaitement en Donna Elvira, émouvante de vérité.”
    Elodie Martinez, Opera Online, 13 July 2017


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    31 Dec 17 MOZART Le nozze di Figaro
    Metropolitan Opera

    “Isabel Leonard is probably the best Cherubino in the business, hands down… Her Cherubino is far from an innocent however, exuding sex at every turn, even with a suggestive and sly smile when she states at the end of her aria “Non so piu cosa son, cosa faccio” that “parlo d’amor con me” and then finding moments to just flirt and misbehave with every single woman onstage… Leonard’s interpretation of the character in this production has remained consistent throughout the years, but the shape of her Cherubino is far clearer in its execution. She is an all-encompassing artist that doesn’t need to revert to massive gestures to be truly masterful and this Cherubino is perhaps the greatest example of said genius.”
    David Salazar, Operawire, Decemeber 30 2017

    The real strength of Friday’s performance was the tightness of the comedy—the actors played off each other delightfully, and every moment seemed to land perfectly. Chief in this department was Isabel Leonard, who is now a reliable old hand as Cherubino, stealing the show every time she takes on this role, and drawing constant roars of laughter with her antics as the randy, willful teenager.
    Eric C. Simpson, The New York Classical Review, December 30 2017

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    17 Feb 17 MASSENET Werther
    The Metropolitan Opera

    “The coolly elegant Ms. Leonard was a Charlotte more sophisticated than humble, but she was superbly polished, her voice smooth and supple.”
    Zachary Woolfe, The New York Times, 17 February 2017

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    20 Dec 16 MASSENET Werther
    Teatro Comunale, Bologna

    “The American Isabel Leonard is perfect in the role of Charlotte, both scenically and vocally. With her slightly dark tone, she delineates an intense character and, like Flórez, she exhibits excellent French pronunciation.”
    Renato Verga, Bachtrack, 17 December 2016

    “Accanto a Flórez, Isabel Leonard è splendida Charlotte. Anzi, per certi versi lo supera in scavo della parola, in tornitura del melodismo tortuoso di Massenet, nel far esplodere in  chiari proiettatissimi acuti il tormento del personaggio, sfoggiando nel contempo un medium pieno e sicuro e un registro grave non enorme ma che evita al personaggio cavernosità fuori luogo. È insomma una Lotte fragile e umanissima quella che si presenta davanti a noi al terzo atto, momento supremo della serata.”
    Lorenzo Baldini, GBOpera, 15 December 2016

    “Charlotte, ritratta con grazia, pur con una gestualità sempre più nervosa, da Isabel Leonard, interprete dal mezzo vocale ricco e generoso.”
    Valentina Anzani, Il Giornale della Musica, 15 December 2016 

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    03 Jun 16 BERNSTEIN On The Town
    San Francisco Symphony Orchestra cond. Michael Tilson Thomas

    “Three singers were corralled from opera, and they too amazed. Isabel Leonard (Clair, the racy anthropologist) demonstrated she can dance, act, wise-crack and sing Broadway with the best of them.”
    Mark Swed, Los Angeles Times, 30 May 2016 

    “New to the project was mezzo-soprano Isabel Leonard whose impeccably timed and gorgeously voiced anthropologist Claire de Loon suggested she might try Broadway” llan Ulrich, Financial Times, 30 May 2016 

    “Even better, at Wednesday’s opening-night performance, was the sighingly tender ‘Some Other Time,’ with Isabel Leonard’s quiet contemplation of life’s fleeting pleasures leading the way into this glowing ensemble.”
    Steven Winn, San Francisco Classical Voice, 27 May 2016 

    “Operatic mezzo Isabel Leonard (Claire) stands out for her vibrato and range. She has nice, beefy bottom notes and ringing top notes in ‘Carried Away’.”
    Ilana Walder-Biesanz, Bachtrack, 27 May 2016

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    12 Oct 15 ROSSINI La Cenerentola
    Lyric Opera of Chicago

    “With impressive vocal flexibility and depth, the mezzo-soprano ably captured the dark-hued, melancholic flavor of the opening aria and brilliantly lit up the coloratura that came later.”
    Kyle MacMillan, Chicago Sun Times, 05 October 2015

    “As Angelina, the radiant Isabel Leonard brought a believable human quality to the abused, put-upon girl amid the surrounding farce. She was affecting in her honest love for the prince Don Ramiro–who masquerades as his own valet—and Cinderella’s genuine willingness to forgive her insufferable stepsisters and mendacious father…[she] sang touchingly in Cinderella’s melancholy moments while throwing off Rossini’s high-flying roulades and coloratura runs with pinpoint accuracy and agility.”
    Lawrence A. Johnson, Chicago Classical Review, 05 October 2015

    “Yet as boldly colorful as the sets and costumes are, they pale next to Isabel Leonard who, in the title role, radiates beauty, warmth and talent. Yes, the Grammy-winning mezzo-soprano can act as well as sing.”
    The Examiner, 09 October 2015

    “The American mezzo-soprano Isabel Leonard, so appealing as Rosina in Il barbiere di Siviglia two seasons ago, was just as appealing as Angelina.  The singer had the vocal and physical beauty, the stage charisma, the sure dramatic instincts, to win all audience hearts.  She also commanded the tonal lustre, coloratura agility and precision to articulate Rossini’s technically demanding bel canto runs and roulades.”
    John von Rhein, Opera, January 2016

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    03 Aug 15 JENNIFER HIGDON Cold Mountain
    Santa Fe Opera

    “Isabel Leonard made a handsome Inman and Ada [with a] rich voice infused with luster that lends clarity. Leonard got the opera’s finest aria, perhaps the only expanse to really merit that term, a deeply affecting number in the second act (“I feel sorry for you”) where she is left alone with the unconscious Stobrod and sings about how she wishes he could appreciate Ruby as she does, covering two octaves and sculpting her lines with passionate sweep.”
    James M. Keller, New Mexican, 02 August 2015

    “Isabel Leonard sings ardently as she portrays Ada’s transformation from clueless city girl to a woman who knows her way around a rifle.”
    Scott Cantrell, Dallas News, 11 August 2015

    “Isabel Leonard (Ada) [was] vocally resplendent, seeming free to find the dramatic truth of any given scene.”
    Philadelphia Inquirier, David Patrick Stearns, 09 August 2015

    “Isabel Leonard was a beautiful, believable Ada, the richness of her mezzo evoking Ada’s reserve and desire.”
    Heidi Waleson, Wall Street Journal, 10 August 2015

    “The mezzo Isabel Leonard vividly projected the heartbreaking war-weariness of a shattered Confederacy.”
    T.R. Reid, Washington Post, 16 August 2015

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    15 May 15 ROSSINI La Cenerentola
    Washington National Opera

    “Grammy-award winning star Isabel Leonard makes her WNO debut in the role. She deserves all of her accolades. She is a nuanced actor who can walk the line between a sweetness that is almost too good to be true and amusement at all of the ridiculousness. Plus her voice is heaven. Rossini delights in the bel canto tradition of vocal acrobatics with runs of impossibly fast arpeggios and scales and soaring notes for every character. Leonard excels at this in her arias ‘Non piu mesta’ and the penultimate ‘Una volta c’era un re 2.'”
    DC Metro Theater Arts, Jessica Vaughan, 01 May 2015 

    “Leonard’s voice was made for Gioachino Rossini’s bel canto lines and the darker tones written for a mezzo soprano. Isabella is down to earth, kind, and forgiving – all qualities perfectly suited to a mezzo, especially with beauty, grace and a voice such as Leonard possesses. The young singer is making a name for herself and WNO is lucky to get her on her way up in the opera world.”
    Broadway World, Jeffrey Walker, 11 May 2015

    “What rising star mezzo soprano Isabel Leonard manages to make of the part of Angelina is to give the part and the music a great deal of warmth and grace, if not drama, which is just so, given the nature of the character.”
    Gary Tischler, The George Towner, 11 May 2015 

    “Isabel Leonard is the calm center of this production, and both physically and vocally she achieved this with grace…her mezzo sound is lovely and most effective in communicating the unworldly purity of the girl. Her singing was especially effective in the second act.”
    Susan Galbraith, CD Theatre Scene, 12 May 2015

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    20 Nov 14 ROSSINI Il barbiere di Siviglia
    Metropolitan Opera, New York

    “Few operas can provide an evening of such pure delight as Il barbiere di Siviglia, and few productions of Rossini’s comic gem are as much fun as the one now on the boards at the Metropolitan Opera, with a smashing Isabel Leonard as Rosina and a solid Christopher Maltman as Figaro, the titular barber of quality.  Leonard is simply a joy to watch and hear. From her huge success as Cherubino in the new production of Mozart’s Le nozze di Figaro, which opened the Met season, the hometown New York mezzo is a natural as Rosina. For one thing, she is a splendid actress, always engaged in a scene whether she is singing or listening to someone else sing, and full of small gestures or business that brings her character to life. Fetching and winsome, Leonard’s Rosina also can be mischievous and headstrong, a woman who will get her way no matter what and whom one would not want to cross. She has a lovely and lilting coloratura voice that is as clear as crystal in the upper register, as she demonstrates in her opening cavatina ‘Un voce poco fa.’ And her distinctive phrasing compliments the character she creates.  The part of Rosina was originally written for a mezzo, though some of the great sopranos, notably Callas, commandeered the role. Leonard’s performance is pitch-perfect, both musically and theatrically, and justly reclaims it for the mezzo voice. Maltman has a commanding baritone that fits the role of Figaro admirably. He has excellent breath control in the demanding opening act aria and has a confident and strong voice that conveys the cleverness of his character.”
    Wilborn Hampton, Huffinton Post, 12 November 2014

    “Isabel Leonard was an excellent Rosina, her lithe mezzo having both the agility and the solidity the role requires. Her characterization matched perfectly the heroine’s self-description in her beautifully ornamented ‘Una voce poco fa’ as a refined, clever young woman who knows what she wants and is determined to get it. She gave a convincing account of Rosina’s vindictiveness when she believes that Lindoro is deceiving her.”
    David M Rice, Classical Source, 18th November 2014

    “Isabel Leonard is a pitch-perfect Rosina, cute but sharp clawed, dispatching Rossini’s dizzying runs and ornaments with stenciled precision.”
    Corinna da Fonseca-Wollheim, New York Times. 20 November 2014

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    24 Sep 14 MOZART Le nozze di Figaro
    Metropolitan Opera, New York

    “The plush, animated mezzo-soprano Isabel Leonard is a beguiling Cherubino, the count’s page…that this Cherubino is 100 percent hormones was palpable in Ms. Leonard’s singing of the breathless aria ‘Non so più,’ in which the young man tells of being so swept up with longing for every woman he sees that he goes through each day trembling with elation and utter confusion.”
    Anthony Tommasini, New York Times, 23 September 2014

    “Isabel Leonard’s libidinous Cherubino made the adolescent a worthy rival of the Count.”
    George Loomis, Financial Times, 23 September 2014

    “Isabel Leonard is a marvelous Cherubino, squirming and lusting and leering and ducking as if she had been reborn as a teenage boy, but with the voice of a confident woman.”
    Justin Davinson, New York Magazine, 24 September 2014

    “Isabel Leonard is perfectly ardent and amusing as the love-struck young man Cherubino, who ends up dressing like a girl — and takes to it like a duck in heels.”
    Joe Dziemianowicz, New York Daily News, 23 September 2014

    “My new favorite Cherubino, mezzo-soprano Isabel Leonard, was all unrestrained boyishness that gave way to the stumbling awe of adolescent feelings in ‘Voi che sapete.’ It was a stunning moment, and you could tell that Levine was having a great time, too. He brought down the da capo volume to such a whisper that this Cherubino was able to savor, as if entranced in a prayer, the possibility that what he felt in his heart might be love.”
    Nancy Malitz, Classical Voice North America, 25 September 2014

    “A key asset was Isabel Leonard’s Cherubino: Vocally charming (aren’t most of them?), she was the most convincingly boyish singer I’ve seen in that role, different from Frederica von Stade’s more physically contained portrayal, instead striking out in all directions on the stage with intense emotional undercurrents. One example: When sent off to war with mocking military salutes from Figaro and Susanna, Leonard threw herself into Susanna’s arms in a touching show of adolescent anguish. All of Leonard’s stage time had the solid ring of truth, accentuating the sense of realism among those around her.”
    David Patrick Stearns, WQXR, 23 September 2014

    “American mezzo-soprano Isabel Leonard as Cherubino, the count’s page, was convincing as the hormone-driven teenage boy in love with every woman he sees. She dispatched his two arias with gorgeous tone and natural feeling, swinging between the extremes of a now passionate, now reflective youth.”
    Examiner, 24 September 2014

    “Leonard, a young mezzo destined for a stellar career, has to be the most engaging page since Frederica von Stade.”
    Manuela Hoelterhoff, Bloomberg, 26 September 2014

    “And the hometown mezzo Isabel Leonard is a joy in the trouser role of Cherubino, the pageboy who falls in love with every woman he sees. The scene in which Susanna and the Countess dress him as a woman — in fact, a woman playing a man playing a woman — is a highlight of the evening.”
    Wilborn Hampton, Huffington Post, 26 September 2014

    “Isabel Leonard looked delightful as Cherubino and sang beautifully…”
    John Rockwell, Opera, December 2014

    “Isabel Leonard’s Cherubino is a proven commodity in New York; looking especially toothsome and singing with an extra measure of grace, she stole every scene she was in.”
    F. Paul Driscoll, Opera News, December 2014

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    08 May 14 MOZART Così fan tutte
    Metropolitan Opera, New York

    “The mezzo-soprano Isabel Leonard is a plush-voiced and feisty Dorabella. In their many passages performed in sisterly duet, Ms. Phillips and Ms. Leonard sang with impressively true pitch and a beautifully blended sound.”
    Anthony Tommasini, New York Times, 25 September 2013

    “…mezzo Isabel Leonard captures the sassy nature of Dorabella and sings a lovely “smanie implacabili”…”
    Wilborn Hampton, Huffington Post, 25 September 2013

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    19 Feb 14 ROSSINI Il barbiere di Siviglia
    Lyric Opera of Chicago

    “Leonard’s darkly lustrous mezzo-soprano is ideal for the plum role of Rosina. The American singer commands the wide range, the coloratura agility and the striking physical beauty, charm and stage presence to make an audience take the heroine to its heart. Some singers overdo the character’s calculation, but Leonard balanced sweet and saucy nicely. You really believed this Rosina when she explained, in her touchstone aria, ‘Una voce poco fa,’ that while she appears to be gentle and obedient, she will turn into a viper if necessary to get her way.”
    John von Rhein, The Chicago Tribune, February 2014

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    14 Jul 14 STRAUSS Der Rosenkavalier
    Boston Symphony Orchestra/Nelsons at the Tanglewood Festival

    “[The] roles were taken, in the concluding trio, by established professionals: the sopranos Angela Denoke (the Marschallin) and Sophie Bevan (Sophie) and the mezzo-soprano Isabel Leonard (Octavian). Ms. Denoke sang with fine sensibility…in keeping with the plight of her character. Ms. Leonard was strong and alluring, Ms. Bevan pure and sweet.”
    James R. Oestreich, New York Times, 13 July 2014

    “Mezzo-soprano Isabel Leonard brought her smooth, amber-toned voice to the role of Octavian. In the love duet between the prince and Sophie, her phrases took on a soft, feathery quality without losing their body. Soprano Sophie Bevan, as Octavian’s love interest, sang beautiful arching lines to mesh with Leonard’s phrases. Angela Denoke brought a touch of heartbreak to the role of the Marschallin, singing with a smooth, milky soprano.”
    Aaron Keebaugh, Boston Classical Review, 13 July 2014

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    19 Feb 14 MOZART Le nozze di Figaro
    Glyndebourne Festival Opera

    “In a nicely balanced cast, my favourite is Isabel Leonard’s Cherubino – a stage animal with charisma written all over her.”
    Andrew Clark, Financial Times, June 2012

    “Standout performances come from Isabel Leonard’s Cherubino, sung with individual tone and musical freshness.”
    George Hall, Evening Standard

    “Isabel Leonard’s spirited Cherubino (a kind of cross-gender Sporty Spice) hits the spot.”
    Edward Seckerson, The Independent

    “Cherubino’s randiness (gloriously conveyed by Isabel Leonard).”
    Paul Levy, The Wall Street Journal

    “Isabel Leonard makes a sparkling debut as troubled adolescent Cherubino, unsure who he is in love with and a thorn in the Count’s side.”
    Clare Colvin, Sunday Express

    “The keynote is young love, that volatile pitch from euphoria to despair expressed in the surging hormones of the teenage Cherubino (an outstanding debut from Isabel Leonard).”
    Anna Picard, Independent on Sunday, July 2012

    “Isabel Leonard’s spunky Cherubino – this as fine a portrayal as I can recall since Teresa Berganza at Covent Garden 49 years ago. Leonard is making her Glyndebourne debut ….and this house has shown once more – as so often in the past – how deft it tends to be at finding the brightest and best of the stars of the future.”
    Antony Craig, Gramophone

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    19 Feb 14 MOZART Così fan tutte
    Metropolitan Opera, New York

    “The singers by and large did well, with Isabel Leonard as Dorabella, being the vocal standout. As a girl in love with love (much like the young page, Cherubino, a role she sang at the Met last season), she sang with melting mellow tone.
    Arlene Klotzko, Concertonet, December 2010

    “Blending vocal warmth and clarity, Ms. Leonard was a winning Dorabella.”
    Anthony Tommasini. The New York Times, November 2010

    “Isabel Leonard contributes a charismatic Dorabella that is eloquently sung in pure mezzo tones…”
    George Loomis. The Classical Review, November 2010

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    19 Feb 14 MOZART Così fan tutte
    Salzburg Festival

    “One would have to love Isabel Leonard, for the nuanced and soaring quality of her Mezzo voice.”
    Jürgen Otten, Frankfurter Rundschau, August 2009

    “…thoroughly appealing: Isabel Leonard…”
    Ljubisa Tosic, Der Standard, August 2009

    “Isabel Leonard demonstrates how the entire drama of an aria, phrase, and sometimes only in a shadowed sung word can flow together…. a grand Mozart stylist, who continues in the lines of Christa Ludwig, Brigitte Fassbänder, and Agnes Baltsa.”
    Merkur Online, August 2009


‘The Tempest’ (Miranda)

‘Les nuits d’été’
‘Roméo et Juliette’ (Stephano)

‘Pelléas et Mélisande’ (title role) *upcoming

‘Alcina’ (Ruggiero)
‘Giulio Cesare’ (Sesto)

‘Werther’ (Charlotte) *upcoming

‘La clemenza di Tito’ (Sesto)
‘Così fan tutte’ (Dorabella)
‘Don Giovanni’ (Donna Elvira)
‘Exsultate Jubilate’
‘Idomeneo’ (Idamante)
‘Mass in C Minor’
‘Le nozze di Figaro’ (Cherubino)

‘Marnie’ (title role) *upcoming

‘La Périchole’ (title role)

‘Dialogues des Carmélites’ (Blanche)

‘L’heure espagnole’ (Concepcion)
‘L’enfant et les sortilèges’ (L’enfant)

‘Il barbiere di Siviglia’ (Rosina)
‘La Cenerentola’ (Angelina)
‘Stabat Mater’

‘Der Rosenkavalier’ (Octavian)

‘Griselda’ (Costanza)