Other recent highlights for the soprano include Susanna in Le nozze di Figaro and Rosina in Il barbiere di Siviglia with Inland Northwest Opera, Adele in Die Fledermaus with Opera Idaho, and Susanna in Le nozze di Figaro with Amarillo Opera. She is a former Cafritz Young Artist of Washington National Opera, at which she sang Morgana in Alcina, the High Priestess in Aida, the Rose in Portman’s The Little Prince, and Little Zegner Sister in Mazzoli’s Proving Up. She recently returned to Wolf Trap Opera for two role debuts: Ilia in Idomeneo and Juliette in Roméo et Juliette following previous performances as Madeline in Glass’ The Fall of the House of Usher and the Daughter in Glass’ The Juniper Tree. Leonard has a close relationship with Seattle Opera, having first joined the company as Chrisann Brennan in Bates’ The evolution of Steve Jobs for her debut and then as Frasquita in Carmen. She also joined the Jacksonville Symphony for Handel’s Messiah and returned to the Florida Orchestra for Stravinsky’s Pulcinella and Mahler Symphony no.
In the earlier part of 2019-20, she debuted the role of Gilda in Rigoletto with Seattle Opera and returned to the role with Austin Opera her performance later was named one of the Top Ten Joys in Dance and Classical Music by the Austin Chronicle.
Her first Pamina in Die Zauberflöte with North Carolina Opera, debut with The Dallas Opera as Eurydice in Orfeo ed Euridice, and the title role of Emmeline with Tulsa Opera last season all fell prey to the pandemic.
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