"Orphée et Eurydice"(Gluck)
Les Arts Florissants
Philharmonie de Paris
(...) His Eurydice is performed by soprano Ana Vieira Leite, recent winner of the Jardin des Voix (just like Reinoud Van Mechelen a few years earlier). She appears at the end of the second act among the Happy Shadows ("Cet asile amiable et calme") and delivers a suave song from her rounded voice with a quiet vibrato. Believing herself abandoned by Orpheus who refuses to look at her (and for good reason!), she expresses her dismay through a sensitive projection while nevertheless preserving a certain restraint which somewhat weakens her distress in the face of harsh destiny."
"Ana Vieira Leite has a tender instrument and brought us a Eurydice with a full lyric voice and much interaction with the score. Her interventions were extremely satisfying, and her confrontation with Orphée—much in accordance with all the staging—stressed how Gluck’s work is more allegorical than symbolic. Her singing, especially when singing along with the chorus, expressed a candor that made Eurydice an emblem of virtue."
"Dido and Aeneas"
Les Arts Florissants
Teatros del Canal (Madrid)/ Theátre de Compiegne (France)/ Opéra Royal de Versailles (France)
"Desandre, Dolcini and Vieira Leite embroider their roles, showing once again that they are three of the best singers specializing in baroque repertoire that have emerged in recent years."
"The voice of the Portuguese soprano Ana Vieira Leite is also easy and honest, who knows how to be Dido's confidante and is up to the task of the entire group. Her interventions have the weight and personality of a Belinda who knows how to become the owner of her space in the musical discourse of the work."
"In the vocal section, it is necessary to highlight the work of an enormous Ana Vieira Leite, both in her role as Belinda and in her role in the choirs and in the brief solo of the work Celestial Music did the Gods inspire, Z 322 (...).The Portuguese soprano was, without a doubt, the most brilliant of all the singers in the production, thanks to her canonical subtlety and exquisiteness, with a warm vocality, a very beautiful and personal timbre, an extraordinarily worked diction and a stage magnetism as powerful as natural. Already from her initial aria "Shake the cloud from off your brow" [Shake the clouds from your forehead] she was very connected with her role, but above all in an exceptional vocal state. It is not an easy role, because it must shine, but without overshadowing the protagonist, and her expressiveness presents a certain warmth that enhances the stark destiny that awaits Dido. Still, it must remain strong and evocative, though Purcell did not write for it a moment of as much loveliness as the Queen of Carthage's final lament, though the aria "Thanks to these lonesome vales" She is of an imposing beauty – of exceptional finesse in her voice, it must be noted."
"Opposite her, Belinda by Ana Vieira Leite (...) her brilliant soprano knowing how to tint herself with delicate shadows for "Thanks to these lovesome vales"."
"Ana Vieira Leite, very involved in the role of Belinda which she makes particularly interesting."
"Vendado es amor, no es ciego"
"Portuguese soprano Ana Vieira Leite, one of the most promising voices on the international scene, played Diana, a minor role, but one that served to glimpse that we are facing a voice that will achieve great milestones in the not too distant future: exquisite vocality, expressiveness, range, intonation, diction, color... Her strengths are many. She was only able to show off his abilities in the aria "Yo hare ese lamento", together with a duet of traversos of astonishing finesse. (...) Vieira Leite knew how to get the best of herself to complete an exquisite version, in one of the most beautiful moments of the night, just her ability to develop the long notes held, colored by the agile as well as subtle traversos, well deserved listening to this work."
“(...) other voices of great presence that are also earning their deserved space on the stage like that of Ana Vieira Leite. (...) a powerful voice that stood out in all the numbers of the set and whose aria "Yo haré ese lamento" left us wanting to listen to her in a more relevant role.”
“The soprano Ana Vieira Leite, in Diana, never shows her anger, always balanced, with accents of extraordinary beauty in her sweetness and lyricism."
“(...) it's hard to put together a vocal sextet as competent as this one. A formidable group of sopranos (Alicia Amo, Giulia Semenzato, Ana Vieira Leite and Aurora Peña), a superb mezzo-soprano (Natalie Perez) and a baritone (Yannick Debus) (...) All the women were outstanding singing and demonstrated, in the case of the three foreigners, an admirable diction of the language of Cervantes. Come on, they understood absolutely everything, something that is not very frequent when foreign singers tackle Spanish vocal music"
“Ana Vieira Leite lends her aristocratic demeanor, elegance to a very well sung Diana.”
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.”
"With her clear timbre in all ranges, soprano Ana Vieira Leite in Partenope 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."
"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 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"
"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."
"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”."
"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."
"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"
"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."
"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."
"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
"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."
Cantando al desamor
"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 herself, 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."
"Il Paradiso Perduto"
Le Concert de l'Hostel Dieu
Auditorium de Lyon
"Finally, the ethereal timbre of the Portuguese soprano Ana Vieira Leite is perfectly suited to the role of the Angel that falls to her."
"The voice of Ana Vieira Leite fits perfectly with her role as an angel with a fresh emission and soft and nuanced variations."
"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"."
May, June 2021
“(…) 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. (…) “
w/ Ana Vieira Leite
Festival Bal y Gay
"(...) 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."