LEAH HAWKINS

soprano

Copyright 2019 Leah Hawkins, soprano.

All rights reserved.

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FEATURES

NATIONAL PUBLIC RADIO

'My Voice Should Be Heard': #MeToo And The Women Of Opera

 

The #MeToo movement has been a cultural reckoning across industries, from Hollywood to restaurants — but one of the oldest that's been affected is classical music.

WASHINGTONIAN.COM

Behind the Scenes at "Champion"

 

We got a look at how the Washington National Opera's presentation of the powerful story of a boxer came together.

THE WASHINGTON POST

The Faces of "Appomattox" 

 

From the Civil War to civil rights, the Washington National Opera’s new work by Philip Glass and Christopher Hampton puts American history on the Kennedy Center stage.

CHESTNUT HILL LOCAL

Mt. Airy singer living out her dream – to perform with the Metropolitan Opera

 

Every kid who wrote for a school newspaper probably dreamed of winning a Pulitzer Prize, and every young person who ever took operatic voice lessons probably dreamed of singing with the Metropolitan Opera, the Mount Everest of the opera world.

OPERAWIRE

Leah Hawkins, Joseph Lim, Mario Bahg Take Center Stage For Met’s Summer Recitals

 

Every summer, the Metropolitan Opera leaves Lincoln Center for two major projects. The first is a series of concerts at Carnegie Hall. But the latter is geared toward...

PARI PASSU

Above the Curve

 

Within a few minutes of meeting the first season Metropolitan Opera soprano it becomes clear that Leah Hawkins is the real deal: this is a woman who owns her power.

 

REVIEWS

VIER LETZTE LIEDER

(FOUR LAST SONGS)

THE APOLLO ORCHESTRA

Washington Classical Review

 

Soprano Leah Hawkins, a DCYA member, was the soloist. With a generous, rich voice, as strong on the bottom as it is on top, she soared easily over the orchestra in big moments...In “September,” where the soloist sings of the fading of summer, Hawkins had a chance to sing softly with a quiet string accompaniment and she floated through the passage beautifully.

DON CARLO

WASHINGTON NATIONAL OPERA

A SPACE ODYSSEY

THE PHILADELPHIA ORCHESTRA

The Philadelphia Inquirer

 

Nolan Williams Jr. had big forces at his disposal for Hold Fast to Dreams: the Mann Festival Choir drawn from local groups, two excellent soloists — soprano Leah Hawkins...

CHAMPION

WASHINGTON NATIONAL OPERA

THE THIEVING MAGPIE

THE GLIMMERGLASS FESTIVAL

Opera Warhorses

Giannetto’s parents, Fabrizio and Lucia Vingradito, who are divided in their opinions of Ninetta and her suitability as a daughter-in-law, were played respectively (and effectively) by...and Pennsylvania soprano Leah Hawkins.

Concertonet.com

 

Leah Hawkins is in fine vocal and dramatic form as the accusatory rich lady...

Washington Classical Review

 

Members of the Domingo-Cafritz Young Artist program had noteworthy comprimario performances, including Leah Hawkins as the radiant Celestial Voice.

PROVING UP

WASHINGTON NATIONAL OPERA

Opera News

Leah Hawkins brought dignity and pathos to the role of the worried, increasingly pessimistic mother. The soprano used her sumptuous voice vividly, nowhere more so than in the opera's bleakest line, "God, you are a rumor; God, you are smoke," rising to a long-held C-sharp of shattering impact.

The Washington Post 

Mazzoli’s vocal writing, too, is admirable, allowing the words to be clearly expressed and showing off singers such as Leah Hawkins, who has developed her rich voice admirably in her time at WNO.

Schmopera

Soprano Leah Hawkins has a commanding presence as the family's matriarch, tired and bent over from the back-breaking labor of homestead life, mourning her lost daughters, and desperate to protect her remaining children, all while constantly praying for rain. Hawkins voice is powerful and beautiful, and she infuses it with the overwhelming sadness of a mother who is losing faith that this life was the right choice for her family.

Washington Classical Review

The cast of singers from the Domingo-Cafritz Young Artist Program formed an excellent, cohesive ensemble...and powerhouse soprano Leah Hawkins, the best part of the National Symphony Orchestra’s revival of Leonard Bernstein’s Songfest last fall...Mazzoli gave the most searing vocal writing to Ma Zegner, and Hawkins responded with dramatic weight in her stark aria “I’ll never hate the weeds,” and maternal tenderness in other places. Her wailed high notes in the final scene, as her spirit was finally broken, were shattering, and she brought an unassailable air of dignity to this character trying to hold what was left of her family together.

The Washington Post

Vocally and dramatically impressive was the young soprano Leah Hawkins, a

member of WNO’s Domingo-Cafritz program, who pulled off two wildly

contrasting characters: the vindictive Cousin Blanche, raising and punishing

the child Emile, and Emile's wife, Sadie.

Washington Classical Review

Domingo-Cafritz Young Artist Leah Hawkins nearly stole the show with powerful appearances as the sadistic Cousin Blanche and Griffith’s neglected wife, Sadie.

DC Metro Theater Arts

...and his wife (the wonderful Soprano Leah Hawkins).

Communities Digital News 

In the brief but key role of Griffith’s wife (yes, he was bi- as well as gay), soprano Leah Hawkins turns in a memorable performance.

Bachtrack

...and his wedding with Sadie (well-sung by Leah Hawkins).

Parterre Box

Elsewhere in the cast, soprano Leah Hawkins (a WNO young artist) brought a

strong presence and gorgeous sound to both Griffith’s wife and his disciplinarian childhood mother figure.

Óperactual.com

…but the most brilliant interpretation fell to the young soprano Leah Hawkins, now a participant in the Domingo-Cafritz program for young singers, who gave life to Cousin Blanche and Sadie Griffith.

THE DICTATOR'S WIFE

WASHINGTON NATIONAL OPERA

SONGFEST

NATIONAL SYMPHONY ORCHESTRA

PORGY AND BESS

BALTIMORE SYMPHONY ORCHESTRA

The Baltimore Sun

 

Leah Hawkins, as Serena, impressed mightily with her plush tone and impeccable phrasing in the wrenching "My Man's Gone Now."

The Washington Post

...and Leah Hawkins (Serena), who combined pathos with a gleaming sound.

ALEXANDRA

WASHINGTON NATIONAL OPERA

Parterre Box

 

...and the particularly distinctive writing for the title character’s monologues was a fine showcase for Leah Hawkins' steely, robust sound.

Brightestyoungthings.com

 

It was very moving and Leah Hawkins, who played Alexandra, sang beautifully.

The Washington Post

Leah Hawkins showed her big, full, tactile voice to advantage as Alexandra.

Ionarts 

...Leah Hawkins offered an instrument of rich tone, especially at the bottom, in the title role.

APPOMATTOX

WASHINGTON NATIONAL OPERA

The Washington Post

 

Amelia Boynton, the Selma marcher sung in a strong cameo by Leah Hawkins.

The Washington Post

But there were some fine solo moments by singers who have, in their months and years with the program, been audibly finding their voices...Leah Hawkins sang well in the tough and perhaps overemotional section dealing with race, a juxtaposition of Langston Hughes's "I, Too, Sing America" and June Jordan's "Okay, 'Negroes.'"

Washington Classical Review

The high point of this work was the paired, seething anger of baritone and soprano Leah Hawkins in “I, Too, Sing America / Okay ‘Negroes’,” sung to poetry by Langston Hughes and June Jordan, respectively. Hawkins, in particular, was an elemental force of sneering derision. Her voice was just as rich and powerful on her own in “Music I Heard With You,” by Conrad Aiken, but with a tender side caressing the phrases of this softer piece.

DC Theater Scene

 

Leah Hawkins is a beautiful singer...

The Washington Post

 

...one of the protesters (the outstanding singer Leah Hawkins)...

Opera News

Leah Hawkins made a rich, stirring sound as a down-and-out mother prepared to sell her children.

SUOR ANGELICA

THE METROPOLITAN OPERA

Opera News

 

Best of the solo nuns were...and Leah Hawkins, in her company debut as one of the Alms sisters.

AIDA

THE METROPOLITAN OPERA

New York Classical Review

 

Leah Hawkins showed a soprano of immense weight and dark power, delivering the Priestess’s rapt prayer from off stage.

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