...If we are listing them from best qualities, first is the beautiful and generous vocalism of Leah Crowne's Salome ...
ForumBlog, Beziers, France
American dramatic soprano Leah Crowne enjoys a versatile career in the genres of opera, sacred music and recital. Leah has sung the roles of Kundry in Wagner's Parsifal (Metropolitan Opera, Guild Preview Concerts), The Witch in Humperdinck's Hansel und Gretel (Hub Opera), Maddalena in Verdi’s Rigoletto (Meta Orchestra, Washington DC), Wellgunde in Wagner’s Das Rheingold (New York Opera Forum), Marta in Tchaikovsky’s Iolanta (Bel Cantanti), Donna Elvira in Mozart's Don Giovanni (Hub Opera, Bay Area Opera Theater), and Lepido in Handel’s Silla. As a soprano she has sung the title roles in Puccini’s Tosca (Sarasota Opera) and Turandot (Middlebury Opera, Opera Fort Collins, Mediterranean Opera, Opera Susquehanna), Strauss' Salome (Opera Fort Collins, Potomac Voice), Ariadne auf Naxos (Bay Area Opera Theater, Hub Opera), and Chrysothemis in Elektra (New York Opera Forum, Music! Gettysburg). She sang Seglinde in act one of Wagner's Die Walkuere (Mediterranean Opera Studio, Resonanz Opera). She has also sung the heroines of Mozart's Opera including Fiordiligi in Cosi fan tutte, Contessa in Le nozze di Figaro, and Elettra in Idomeneo.
Leah has sung as a soloist in concerts at the Lyric Opera of Chicago (Ryan Center Young Artist “Stars of Tomorrow” winners concert), Stern Auditorium at Carnegie Hall (National Choir Association), Lincoln Center (The Metropolitan Opera Guild Showcase Winners Concert), The Kennedy Center in Washington DC (Thomas Stewart and Evelyn Lear Young Artist Winner Concert) and St. Peters Basilica at The Vatican (mass cantor and soloist).
In sacred works, she has performed as both the mezzo-soprano and soprano soloist in Bach’s Magnificat (The Baltimore Center for the Performing Arts, St. Rochs Cathedral, New York), Rossini’s Petite messe solenelle (Schlesinger Concert Hall in Washington DC, and The Gettysburg Seminary), Handel’s Messiah (many venues including St. Francis Church in Gaithersburg, MD, Douglas Memorial Church in Baltimore, and St. Elizabeth Ann Seton Church in Pennsylvania), Beethoven Symphony no. 9 and Verdi’s Requiem (Potomac Institute, Washington DC), and Brahms Ein deutsches requiem (New Dominion Chorale, Washington DC).
Leah received her Bachelor and Master of Music through the University of Maryland system, and went on to participate as an apprentice at the Sarasota Opera in Florida, Opera New Jersey in Princeton, NJ, The Wagner Society of New York, The Metropolitan Opera Guild, The Dolora Zajick Institute for Young Dramatic Voices, The Mediterranean Opera Studio and The Bay Area Opera Theater in San Francisco. She was a finalist in the 2015 auditions for The Lyric Opera of Chicago’s Ryan Center Young Artist Program.
Ms. Crowne has won prizes and accolades at esteemed competitions such as The Wagner Society of Washington Young Artist Showcase series, The Metropolitan Opera’s Guild showcase series, The Wagner Society of New York’s Singing Competition, The Max Kade Scholarship among others.
American Soprano Leah Schenck-Crowne is known for her powerful voice with a “metallic edge and rich color” (Forum Opèra[Blog], Beziers, France), “house-shaking power,” (The Rutland Herald, Middlebury, Vermont), and “impressive stage presence” (The Coloradan, Ft. Collins, Colorado). She delivers “fine artistry with legato, Italianate vocalism and musical precision” (Maestro Emmanuel Plasson), as well as a “good mix of strength and vulnerability in her characterizations” (Director Doug Anderson).
A budding dramatic voice headed toward the Helden repertoire, Ms. Schenck-Crowne will perform her first Isolde in Wagner’s Tristan und Isolde and Elsa in Lohengrinin the summer of 2020 with RAM Opera in New York City. Past operatic engagements span across the United States as well as Europe and include Puccini’s Turandot (Opera Bergen, Norway; Opera Company of Middlebury, Vermont; Opera Ft. Collins, Colorado; Opera Susquehanna, Pennsylvania, The Mediterranean Opera Studio; Caltagirone, Italy), Fidelio (Susquehanna Symphony, Maryland; New York Opera Forum, NYC), Kundry in Wagner’s Parsifal (The Metropolitan Opera Guild), Salome (Opera Fort Collins, Colorado); Tosca (Sarasota Opera, Florida); Elisabetta in Verdi’s Don Carlos (Sarasota Opera, Florida); Ariadne in Strauss’ Ariadne auf Naxos (Hub Opera Ensemble, Maryland; Bay Area Opera Theater, San Francisco), Chrysothemis in Strauss' Elektra (New York Opera Forum), Donna Anna in Mozart’s Don Giovanni and Contessa inLe nozze di Figaro (Hub Opera Ensemble, Maryland; Towson University, Maryland).
Her concert and oratorio work has included Requiem (Brahms, Duruflé, Mozart, Verdi); Messiah (Handel); Symphony no.9 and Choral Fantasy (Beethoven); Petite Messe Solennelle and Stabat Mater (Rossini), and Coronation Mass (Mozart). Her recital work has included cycles and individual songs by Samuel Barber, Alban Berg, Richard Strauss, and Richard Wagner, among others. She has performed as a soloist with The New Dominion Chorale in Washington DC, Choirs of America at Carnegie Hall, NYC, The Baltimore Basilica, and The National Basilica in Washington DC.
Ms. Schenck-Crowne is the recipient of The Max Kade Fellowship in Middlebury, Vermont; The Wagner Society of New York Scholarship Prize; The Evelyn Lear and Thomas Stewart Emerging Artist Scholarship; The Dolora Zajick Institute for Young Dramatic Voices Professional Scholarship; The Ryan Center at The Lyric Opera of Chicago Stars of Tomorrow Finalists concert, Opera New Jersey Fellowship, and Sarasota Opera Young Artist Fellowship.
A lover of vocal technique and teaching, Leah Schenck-Crowne maintains an active studio of young professional singers from the Washington DC, Philadelphia and New York regions. She is based in Gettysburg, Pennsylvania where she lives with her husband pianist and Conductor Scott Crowne, and their two children.