Leah Crocetto | Meet the Artists

Soprano. Aida in Aida and Elisabeth of Valois in Don Carlo.


Leah was born in Adrian, Michigan and studied vocal performance at Moody Bible Institute in Chicago. She made her WNO debut as Madame Lidoine in 2015’s Dialogues of the Carmelites.

She returns to WNO in the 2017-2018 season to take on not one but TWO Verdi classics! She made her role debut as Aida in the fall of 2016 with San Francisco Opera opposite Brian Jagde, and her role debut as Elisabeth of Valois in Opera Philadelphia’s 2015 production of Don Carlo, where she sang alongside Eric Owens. Of her performance in Aida, the San Francisco Chronicle raved her singing “emerged with ease and purity…and she could deliver the most crystalline thread of sound with equal mastery.” Philly’s Broad Street Review said Leah “was impressive as Elisabeth with fine-spun Verdian phrasing, haunting pianissimi, and a perfectly-placed high C at the finale.”

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For Further Reading: Aida

Aida performs in the Kennedy Center Opera House September 9-23

Written in an engaging and accessible style, William Berger’s Verdi with a Vengeance: An Energetic Guide to the Life and Complete Works of the King of Opera provides an overview of the composer’s life and the cultural context in which he worked, along with plot descriptions, commentaries, and recommended listening for individual operas.

In the three-volume The Operas of Verdi, Julian Budden offers a comprehensive composition history and musical analysis of each of Verdi’s operas, complete with musical illustrations. Volume Three of this indispensable series covers Don Carlos, Aida, Otello, and Falstaff.

Peter Conrad’s Verdi and/or Wagner considers two cultural giants of the 19th century: “a native son attached to the soil versus a wandering exile; a tribune of the people versus a dictatorial aesthete; a man of progress versus an atavistic myth-maker; a spokesman for afflicted humanity versus a creator of gods, giants, dragons, dwarves, and fairies.”

For Verdi’s Aida: The History of an Opera in Letters and Documents, Hans Busch collects and translates materials related to the unusual genesis of Verdi’s Aida, which was commissioned by and first performed at Cairo’s Khedivial Opera House.

Crossover Artist: RETNA

Aida performs in the Kennedy Center Opera House September 9-23

Artists from many disciplines—painters, architects, sculptors—have been inspired to “cross over” to the world of opera. Last season, Washington National Opera presented Jun Kaneko’s vison for Madame Butterfly, which originally premiered in Omaha, where the Japanese sculptor and ceramicist now makes his home. The production, Kaneko’s first foray into theatrical design, was a natural fit; after its successful premiere, Kaneko went on to design scenarios for The Magic Flute and Fidelio. Other modern artists who have made their mark in opera include Marc Chagall, David Hockney, and William Kentridge, among many others.

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The Journey to Aida

Aida performs in the Kennedy Center Opera House September 9-23

With the opening of the Suez Canal in 1869, the world grew smaller. The journey from Europe to India was instantly reduced by 7,000 kilometers. To mark the opening of the waterway—and to even more closely align Egypt and Europe—the Khedive, the ruler of Egypt, hoped to have a new piece from Verdi, who initially declined. Instead, Cairo’s Khedivial Opera House welcomed its first patrons with a production of Verdi’s Rigoletto, written nearly two decades earlier.

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