Les Arts Florissants


“The Revelation Ana Vieira Leite: In the title role, the Portuguese soprano Ana Vieira Leite. Aristocratic posture, rich soprano timbre, profound musicality and dramatic intelligence: An artist to discover.
Les Echos

"With her clear timbre in all ranges, soprano Ana Vieira Leite in Parthenope can soar in the treble with great naturalness. Her formidable vocal agility in no way prevents her voice from being posed with serenity, in an ample breath. Her her stage presence is more than evident, she also has all the confidence as an actress. She is undeniably an artist to follow closely."
Vivace Cantabile

"Ana Vieira Leite, as Partenope, showed a beautiful soprano, with dark overtones"

"The Portuguese soprano Ana Vieira Leite is sublime as Partenope, the queen of present-day Naples that gives this work its title. She has a prodigious voice, as subtle as it is voluminous. Pure velvet. Her ornaments on the da capi (I don't know if hers or someone from Les Arts Florissants) were blessed glory. It is impossible not to be impressed by the waste of powers displayed by Vieira Leite, called to be one of the great voices of early music (and of the not so old, since her repertoire also includes Rossini and fado) in the next years."

"The Portuguese Ana Vieira Leite played the leading role, offering a delicate Partenope on stage, with an adolescent-casual aspect and a voice that stood out for its clarity and freshness; she was especially lucid in the more lyrical numbers and only if she could reproach someone with the high pitch in the steps of greater bravery"
Ópera Actual

"Among the young cast that formed the vocal squad of the piece, the bright and colorful voice of the queen Partenope, embodied by Ana Vieira Leite, stands out. The Portuguese soprano played a magnificent role."
Platea Magazine

"The soprano Ana Vieira Leite embodied the queen of Naples Partenope, in search of a lover. She has brilliant emission and timbre, being virtuous in moments of coloratura. And in that placement, and with more intention in the nuances, she will enhance the expression and the emotion. Her voice, -not as fragile as it may seem due to the clarity in the emission-, is beautiful, balanced, compact, and solid, which allows her to go through the score to shine. How much line, color, and subtlety in her “Qual farfalletta”."
Cultur Plaza

"The main character, the queen Partenope, founder of Naples, was performed with complete mastery by the soprano Ana Vieira Leite, with a brilliant timbre and a powerful technique, 'fiato' control and perfect coloratura."
El Periodico

"The soprano Ana Vieira Leita stood out for her vocal range, color, volume and mastery. and interval jumps. Possibly her best moment was the delicious aria Qual farfalletta."

"Ana Vieira Leite's Partenope stood out among the young stars, adorable in a version of “Qual farfalletta giro a quel lume” that earned her a standing ovation"
Ópera Actual

"The most dazzling of all was the one in charge of the title role, the soprano Ana Vieira Leite, with a well-timed and uniform voice, precise treble, agile and well-defined coloration and easy and natural singing. With a terrific instrument and dramatic potential, she was confident, flirtatious, playful and seductive, with a lot of imagination for variations and a wide variety of resources. Her singing, however, is not artificial but direct and honest, as she demonstrated with the delicious reading of Qual farfalletta. A finding that can also boast of being a good actress and that will be worth following closely."

"Honor to the ladies, with the Partenope of Ana Vieira Leite, soprano full of royal grace and mischievous poetry in her butterfly aria."
Premiere loge

"But the majesty of Partenope, her sovereign allure embodied to perfection by the soprano Ana Vieira Leite, tracing the contours of a model of amorous constancy and demanding sincerity, guaranteeing a framework and setting limits – as a woman and as queen – allows us to better oppose to her the outbursts of passion, amorous or warrior – the metaphor here is constant."
Forum Opera

"Ana Vieira Leite is Partenope, a clear and supple voice, lively and delicate (“Qual farfalletta”) or a loving “double” (“Spera e godi”)."

"Ana Vieira Leite delivers a sensitive and highly nuanced performance in the role of Partenope. Her pretty supple if not extended soprano voice, with an airy and brilliant treble, is adorned with grace in the vocalizations. She demonstrates an innate musicality which finds its best in the aria of the first act "Io ti levo l'impero dell'armi" which she addresses to Arsace and in the ravishing one of the following act "Qual farfalletta" (Like a butterfly )."

Titon et L'Aurore
Les Arts Florissants
Opéra Royal de Versailles
July 2022

"Amorosi Accenti"
Cantando al desamor
Concerto 1700
March 2022

Il Paradiso Perduto
Le Concert de l'Hostel Dieu
Auditorium de Lyon
March 2022

Amore Siciliano
Cappella Mediterranea
May, June 2021


Concours de Chant Baroque de Froville
1st Prize

Sponte Sua w/ Ana Vieira Leite
Festival Bal y Gay



"The soprano Ana Vieira Leite in the role of Love, seeming to address the audience directly through her well-projected voice several times, demonstrates great lyricism, maintaining both a pleasant lightness of breath and a cheerful intention."



"the Portuguese soprano is a torrent that overwhelms everything in her path, wherever she goes. (...)
Taking into account her versatility (she ranges from Renaissance to contemporary music, passing, as a good Portuguese woman, through fado) and her youth, I am absolutely convinced that she will be one of the great voices of lyric in the coming decades.

As she could not be otherwise, Vieira Leite impressed those who gathered at the Pontifical Basilica of San Miguel. Everything amazes her: the silkiness of her voice, the way she projects it, her far from negligible volume, her coloratura, her fiato, her prosody (everything she says is understood, whether in Italian or French)... But what perhaps stands out above all else is her security. There is never the slightest hesitation in her. That dominance of her voice, of music, of the scene is overwhelming, that comfort with which she shows himself, her apparent lack of effort... And no, don't think that it's easy music to sing, because this music by Scarlatti was composed so that It will be interpreted by one of the greatest voices in history, that is, Farinelli.(...)They themselves must have realized that they were living a special moment and did not hesitate to put all her talent (which is a lot) at the service of this authentic Portuguese nightingale, whose voice may God keep for many years."



"Finally, the ethereal timbre of the Portuguese soprano Ana Vieira Leite is perfectly suited to the role of the Angel that falls to her."

Concerto Net


"The voice of Ana Vieira Leite fits perfectly with her role as an angel with a fresh emission and soft and nuanced variations."

ODB Ópera


"Finally, the Angel is embodied by the sparkling soprano Ana Vieira Leite, with a round and luminous timbre crossing the "black fog" of the aria "La nebbia scura"."



“(…) Then opens the first act, on an anonymous lullaby (Fermarono i cieli), of which the young Portuguese soprano Ana Vieira Leite, who plays Cecilia, sings the introduction. The voice unfolds, limpid and crystalline, to sing this simple air but bathed in tenderness. Throughout the recital, the singer embodies an ingenuous young girl, whose extent of upheaval and suffering she nevertheless knows how to show, especially when Cecilia finally gives in to the Capitan Maggiore's offers. The instruments then fall silent and only the voice remains, charged with pain and resignation. The emotion that the singer shows, however, does not yield to technique and precise diction. (…)”


“(…) Performing the role of Cecilia, the young Portuguese soprano Ana Vieira Leite authentically renders the touching character of an innocent victim. His introduction to the lullaby for the divine child, Fermarono i cieli, then his part in the lullaby itself reveal a deep sensitivity, a spirit of contemplation, far from any affectation. (…) Hesitations in the voice and indecision of the attitude give the exact measure of the inner conflict. At the end, the death of the fiancé arouses a heartbreaking and mortal despondency crossing with truth the broken voice of Ana Vieira Leite.(…)”


“(…) Less than a year ago, Ana Vieira Leite won first prize at the International Baroque Singing Competition here. Fully fulfilled, touching, the Cecilia she embodies this evening is fair, served by exceptional means that promise her a great career. (…) “ 

Forum Opera

"(...) Ana Vieira Leite, soprano dont les moyens vocaux, l’intelligence musicale firent forte impression (...) Le jury choisit de décerner le premier prix à la soprano portugaise Ana Vieira-Leite, dont l’accompagnato et l’air de Giulio Cesare (« Se pietà di me non senti »), entre autres, firent l’unanimité. "Yvan Beuvard - FORUM OPERA

"(...) Let us urgently add the name of this young soprano, Ana Vieira Leite, capable of singing anything thrown at her, from Renaissance polyphony to contemporary opera. And I am not in a position to discern whether what stands out in her is her beautiful voice or her prodigious technique. Since she opened her mouth, the public that filled the church (with the obvious gaps derived from the security measures dictated by the health authorities) was captivated by her. Her aria Doux repos de l'indifference , from the Clérambault cantata, was one of those that make your hair stand on end, even that of those who have horchata instead of blood in their veins. Simply memorable."Eduardo Torrico - SCHERZO