Giulio Gari Foundation Gala Concert

Brian Kellow, Opera News, December 2007

"This year's discoveries included...the gifted Leah Wool, completely captivating with Cendrillon's "Enfin je suis ici"

Central City Opera - Cendrillon

Chris Shull, Opera, November 2007
"In Massenet's Cendrillon, Leah Wool was delightful in the title role. Her charming demeanour helped create the reverie of the fairy tale, while her sweet singing conveyed the gamut of emotions - from contentment to rapture, despondence to delight - that helped make her character human."

David Shengold, Opera News, October 2007
"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."

Kyle MacMillan, The Denver Post, July 31, 2007: Mezzo-soprano helps lift Cinderella
"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."

Marc Shulgold, The Rocky Mountain News, July 16, 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."

Wes Blomster, The Daily Camera, 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."

Juliet Wittman, Denver Westword, August 2, 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."

Bob Bows, ColoradoDrama.com, August 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."

Barbara Lawlor, Gilpin County News, August 9, 2007
"When the stage empties and Cinderella walks out, alone, with hope and eagerness all over her face, it is obvious the show has a real princess in its midst. Mezzo-soprano Leah Wool tears into one’s heart as she recounts the longing of the abandoned girl. She has a voice that flows into every corner of the opera house, leaving the audience wanting more. Her acting is commensurate with her singing and if there is a perfect Cinderella, it is Leah Wool.

Toledo Opera - Roméo et Juliette

Alan Montgomery, Opera News, December 2006
"Leah Wool as Stéphano, quite believably a boy, delivered a delightful rendition of her famous couplet."

Sally Vallongo, The Toledo Blade, October 8, 2006
"...mezzo Leah Wool (Stéphano), whose verve was a great match for her colorful and flexible voice"

Illinois Symphony - Der Rosenkavalier (Excerpts)

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

"Wool's declarative aria...seared with headstrong passion."

Opera Theatre of St. Louis - Hansel and Gretel

Judith Malafronte, Opera News, September 2006
"Saundra DeAthos' bright-voiced Gretel and Leah Wool's warm, effervescent Hansel were an adorable pair."

Erica Jeal, Opera, October 2006
"Leah Wool and Saundra DeAthos, the well-matched Hansel and Gretel, sounded like Valkyries in waiting."

Lawrence J. Dennis, Opera Canada, September 2006
"Leah Wool was an outstanding Hansel....Wool has a warm mezzo, even throughout its range."

Lew Prince, Riverfront Times, May 31, 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."

Rob Levy, St. Louis Gateway Arts, May 29, 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."

Joe Pollack, KWMU St. Louis, May 2006
"Leah Wool and Saundra DeAthos, as Hansel and Gretel, respectively, sang excellently."

Chuck Lavazzi, KDHX St. Louis, May 2006
"...and mezzo Leah Wool is a convincingly coltish Hansel...in fine vocal form"

Opera Roanoke - The Marriage of Figaro

Seth Williamson, The Roanoke Times, April 2, 2006

"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."

Gotham Chamber Opera - Albert Herring

David Shengold, Gay City News, March 2, 2006

"As Sid and Nancy, Timothy Kuhn and Leah Wool were lively onstage and vocally fresh and apt."

Bruce Hodges, MusicWeb International, March 1, 2006
"Albert's friends Sid and Nancy (strongly sung by Timothy Kuhn and Leah Wool)"

Charles Michener, New York Observer, February 20, 2006
"With...Timothy Kuhn and Leah Wool as a sweetly affecting Sid and Nancy"

Justin Davidson, Newsday, February 13, 2006
“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."

Alice Tully Hall - Licia Albanese-Puccini Foundation Gala Concert

Brian Kellow, Opera News, January 2006

“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.)”

Central City Opera – Vanessa

David Shengold, Opera News, October 2005
"Young Leah Wool displayed dramatic sensitivity and a lovely plush lyric mezzo as Erika"

Kyle MacMillan, Denver Post, July 2005
“Equally impressive is Leah Wool, with her expressive, wonderfully flexible mezzo-soprano voice. She seems attuned in appearance and every other way to the complicated character of Erika, poignantly capturing the niece's vulnerability, confusion and despair.”

Rocky Mountain News, July 4, 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.”

The Daily Camera, July 4, 2005
“Leah Wool is a touchingly vulnerable Erika”

ColoradoDrama.com, July 2005
"Up and coming mezzo, Leah Wool, is nothing but dulcet tones as the demanding romantic, Erika"

Utah Opera – A Midsummer Night’s Dream

Opera Japonica, April 10, 2005
"Mezzo-soprano and former Santa Fe apprentice Leah Wool was a fresh voiced Hermia"

Salt Lake City Tribune, March 13, 2005
"Leah Wool as Hermia [was] youthful and appealing, dramatically as well as musically."

Utah Symphony – Messiah

Salt Lake City Tribune, December 2003

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

Santa Fe Opera – La Belle Hélène

Opera Japonica, August 2003

“Léoena and Parthoenis, played in revealing outfits by apprentices Leah Wool and Meredith Barber, were appropriately enticing and sang splendidly.”