Critical Acclaim

Opera New Jersey - La Cenerentola

"Leah Wool seems among the more distinctive and accomplished artists of her generation, worth traveling to hear: her mezzo has a distinguished, lovely timbre, and she has achieved admirable equalization in scale passages. She handles text, in both cantilena and recit, with aplomb and point. By the end of the performance, Wool gave the audience much to enjoy."

                                                                    Opera News (David Shengold)

"You're tempted to think Rossini's ultra-intricate coloratura writing is the near-exclusive property of Cecilia Bartoli. But Wool has a comparable accuracy rate and a more pleasing technical approach. Like many big-house singers, Bartoli tends to aspirate on individual notes, giving them a machine-gun-like penetration. With her more demure, smoky timbre, Wool phrases more smoothly - better to achieve moments of specific dramatic relevance. Born on Long Island and educated at Yale, she's also an able actress: Her Cinderella was free of self-pity and full of mischief. She's also a captivating presence. Can you ask for anything more?"

Philadelphia Inquirer (David Patrick Stearns)

"To the title role, Leah Wool brings a soft-grained mezzo-soprano and dark-haired physical charm. An affecting Cinderella, Wool convinces as both the scorned stepdaughter and the radiant woman who wins the prince's heart. Looking like a dream in her gorgeous gown, she sings the joyous final rondo fluently..."

                                                               Concertonet.com (Robert Baxter)

"The soul of "La Cenerentola," of course, is in its Cinderella, and this production has a heartbreaker in Long Island native Leah Wool. With her doe eyes, wide smile and raven hair, the mezzo resembles the young Cecilia Bartoli (who made her name in this role)...Wool's voice is perfectly formed, though, her phrasing of Cinderella's slower, sad-eyed music beautiful, the top notes of her benevolent final aria and cabaletta sparkling."

                                                 Princeton Star-Ledger (Bradley Bambarger)

• Central City Opera - Cendrillon

  “Leah Wool, a wonderful Erika in Vanessa two summers back, returned in triumph to headline Cendrillon. Appealing and musical, with a lovely timbre, Wool appears to be at the brink of an important career.”

  -David Shengold, Opera News, October 2007

• “In what has to be seen as something of a breakout role for her, mezzo-soprano Leah Wool could hardly be better as Cinderella. Indeed, Central City officials probably greenlighted this production only after they were sure she would be available. The attractive, up-and-coming singer completely looks the part, with a fresh-faced youthfulness that bespeaks authenticity and goodness. The fine actress both ably conveys Cinderella's humble servitude and deftly conjures the regal bearing and radiance necessary to turn every head as she enters the ball. Along with all that, Wool possesses a striking mezzo-soprano voice with fullness, depth and subtle tinges of amber at times. With well-shaped phrases and sure technique, she made Cinderella's extended aria at the beginning of Act 3 the tour de force it should be.”

  -Kyle MacMillan, The Denver Post, July 31, 2007

• “Leah Wool (so impressive in Central City's Vanessa, two summers ago) is captivating in the title role - endearing, fragile, completely real in this ultimate story of make-believe. The voice never faltered, even through Massenet's lovely but demanding arias, so pivotal to the story line.”

  -Marc Shulgold, The Rocky Mountain News, July 16, 2007

• “It is, of course the singer cast in the title role — Massenet called her Cendrillon — on whom everything depends in this opera, and the CCO could hardly have found a more ideal incarnation of the abused young girl than Leah Wool, the youthful Erika in Barber's "Vanessa" here two summers ago. Wool, trite as it might sound, is Cinderella and she makes her a noble being who bears abuse with dignity. It's a demanding role, and on Saturday, Wool was superb in every one of her great scenes — above all in hatching escape plans with her father and in the soaring dream duet of Act Three.”

  -Wes Blomster, The Daily Camera, July 16, 2007

• “Leah Wool makes Cendrillon a far warmer-blooded creature than Disney's blank-faced, artificially feisty Cinderella, and she counters the nineteenth-century sentimentality of the script (in which she's constantly called "poor Cendrillon" and refers to herself as "little cricket") with an earthy and profound capacity for joy. Her rich, full singing voice sounds equally beautiful solo, paired with the fine tenor of Vale Rideout, who plays Prince Charming, or blending with [Heather] Buck's ethereal notes.”

  -Juliet Wittman, Denver Westword, August 2, 2007

• “Leah Wool, as Cinderella, is the coup de grâce in this thoughtful staging. Her warm and expressive mezzo soprano takes hold from her first act aria, in which she describes her woeful life as a servant in her father's house, and transports us with each succeeding aria—meeting her Fairy Godmother; dancing with her Prince Charming; commiserating with her father; contemplating exile and death; and reuniting with the Prince in spirit—until, finally, coming together in the flesh.”

  -Bob Bows, ColoradoDrama.com, August 2007

• Toledo Opera - Roméo Et Juliette

  “Leah Wool as Stéphano, quite believably a boy, delivered a delightful rendition of her famous couplet.”

  -Alan Montgomery, Opera News, December 2006

• “...mezzo Leah Wool (Stéphano), whose verve was a great match for her colorful and flexible voice”

  -Sally Vallongo, The Toledo Blade, October 8, 2006

• Illinois Symphony - Der Rosenkavalier (excerpts)

  “Wool's declarative aria...seared with headstrong passion.”

  -Nick Rogers, The State-Journal Register, October 22, 2006

• Opera Theatre Of St. Louis - Hansel And Gretel

  “Saundra DeAthos' bright-voiced Gretel and Leah Wool's warm, effervescent Hansel were an adorable pair.”

  -Judith Malafronte, Opera News, September 2006

• “Leah Wool and Saundra DeAthos, the well-matched Hansel and Gretel, sounded like Valkyries in waiting.”

  -Erica Jeal, Opera, October 2006

• “Leah Wool and Saundra DeAthos play Hansel and Gretel...Wool's voice [is] perfect for Hansel. Costumed in Raggedy Ann and Andy gingham, they bring the poverty-stricken children sparklingly to life”

  -Erica Jeal, Opera, October 2006

• “Hansel & Gretel is so delightful because of its two leads. Mezzo-soprano Leah Wool plays Hansel with great relish bringing a genuine childlike innocence to the role… Leah Wool and Saundra DeAthos, as Hansel and Gretel, respectively, sang excellently.”

  -Rob Levy, St. Louis Gateway Arts, May 29, 2006

• “...and mezzo Leah Wool is a convincingly coltish Hansel...in fine vocal form”

  -Chuck Lavazzi, KDHX St. Louis, May 2006

• Opera Roanoke - The Marriage Of Figaro

  “Especially funny was mezzo Leah Wool as the testosterone-poisoned teenage boy Cherubino...she is convincing as the kid with only one thing on his mind...and even better later on as a woman pretending to be a man who's pretending to be a woman.”

  -Seth Williamson, The Roanoke Times, April 2, 2006

• Gotham Chamber Opera – Albert Herring

  “When New York audiences have had a chance to hear tenors John Easterlin and Matt Morgan and mezzo-soprano Leah Wool, it's been mostly in sharply portrayed cameos. Here, they all sing roles ample enough to show how deep the talent pool is among young American singers.”

  -Justin Davidson, Newsday, February 13, 2006

• “With...Timothy Kuhn and Leah Wool as a sweetly affecting Sid and Nancy”

  -Charles Michener, New York Observer, February 20, 2006

• “Albert's friends Sid and Nancy (strongly sung by Timothy Kuhn and Leah Wool)”

  -Bruce Hodges, MusicWeb International, March 1, 2006

• Licia Albanese Puccini Foundation 2005 Gala Concert

  “The afternoon's most arresting voice belonged to mezzo Leah Wool, who partnered Mari Moriya in Lakmé's ‘Dôme épais de jasmin.’ (Wool also clearly knows how to act.)”

  -Brian Kellow, Opera News, January 2006

• Central City Opera – Vanessa

  “Equally impressive is Leah Wool, with her expressive, wonderfully flexible mezzo-soprano voice. She seems attuned in appearance and every other waytothe complicated character of Erika, poignantly capturing the niece's vulnerability, confusion and despair.”

  -Denver Post, July 2005

• “Erika is the opera's co-star, and Leah Wool lived up to the billing, subtly shading her vocal lines, roaring and purring with ideal focus.”

  -Rocky Mountain News, July 4, 2005

• “Young Leah Wool displayed dramatic sensitivity and a lovely plush lyric mezzo as Erika”

  -Opera News, October 2005

• “Leah Wool is a touchingly vulnerable Erika”

  -The Daily Camera, July 4, 2005

• “Up and coming mezzo, Leah Wool, is nothing but dulcet tones as the demanding romantic, Erika”

  -ColoradoDrama.com, July 2005

• Utah Opera – A Midsummer Night’s Dream

  “Mezzo-soprano and former Santa Fe apprentice Leah Wool was a fresh voiced Hermia”

  -Opera Japonica, April 10, 2005

• “Leah Wool as Hermia…[was] youthful and appealing, dramatically as well as musically.”

  -Salt Lake City Tribune, March 13, 2005

• Utah Opera – Jenufa

  “Doris Brunatti (the Shepherdess), Paula Murrihy (the Mayor's Wife) and Leah Wool (Steva's new fiancée, Karolka) were particularly adept Saturday at conveying a lot with just a few lines.”

  -Salt Lake City Tribune, January 24, 2005

• Utah Symphony – Messiah

  “Among the soloists, Wool's singing was especially impressive. She possesses rich voice with plenty of oomph in the low range.”

  -Salt Lake City Tribune, December 2003

• Santa Fe Opera – La Belle Hélène

  “Léoena and Parthenoenis, played in revealing outfitsby apprentices Leah Wool and Meredith Barber, were appropriately enticing and sang splendidly.”

  -Opera Japonica, August 2003