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Médée

(Charpentier)

(Créuse)

Les Arts Florissants

William Christie

Opéra de Paris - Garnier

April/May  2024

 

Il se pame pour la Créuse d'Ana Vieira Leite, idéale de charme et de grâce, dont la ligne pure se fera aussi sensuelle dans l'amour que touchante dans une mort suspendue jusque dans l'atrocité.

Le Monde

 

"Ana Vieira Leite had the most splendid Paris Opera debut I have seen this season. Comfortable in her element, her voice has perhaps gained some edges compared to what it was a few years ago—but was extremely suited to her character. While her Creuse is sympathetic, Leite’s biggest achievement was an immense capacity to sing along with the orchestra with such a quality of phrasing that reminded us that, in baroque music, the voice is a wind instrument. Her attentiveness to the orchestral sounds was such that even in moments when Christie delayed the tempi more than perhaps is usual, she still stood tall—until her death."

Opera Wire

"En Créuse, princesse tant convoitée, Ana Vieira Leite séduit immédiatement par la grâce de son maintien aussi bien que par les couleurs de son timbre. La voix est claire et s'épanouit vite pour offrir une froide rondeur qui ne la quitte qu'à la mort du personnage, dans une scène bercée par la musicalité de l'interprète. Outre l'agrément du chant, l'actrice campe un personnage qui jongle habilement entre les minauderies de la jeunesse et la brutalité de la rivale menacée, rendant le texte dans toute sa clarté et l'éloquence de son implication corporelle." 

Olyrix

"Ana Vieira Leite est une Créuse idéale : sa voix d’une pureté cristalline lui permet d’incarner l’innocente victime de l’héroïne éponyme avec brio. Sa dernière scène est particulièrement bien menée, la soprano sachant doser volume et vibrato en fonction de la torture imposée par la robe empoisonnée et de l’état de ses forces qui la quittent."

Forum Opera

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Amorosi Accenti

(Scarlatti)

Solo Album 

Concerto 1700

Concerts & Album reviews

 

"As it can no longer surprise anyone, the immeasurable virtues of soprano Ana Vieira Leite are difficult to relate accurately if one does not have the pleasure and fortune of admiring her live. Simply because, in addition to singing virtues coming from heaven itself, her stage presence and naturalness leave a deep impression on the lucky viewer. Everything about her is absolutely exquisite; to begin with, the absolute confidence with which she approaches each piece, whether dizzying or delicate, her natural, almost aristocratic elegance, at the same time seductive, which is frank and direct, without any artificiality. And as for her singing, there is nothing that does not amaze, her delicate and velvety voice but capable of absolutely admirable projection and volume, her diction and prosody that highlight expressiveness, her attention to the text, which she reinforces with her gestures, her fiato, her coloraturas or when her crystalline voice ascends to the heavens with powerful high notes, and a direct song that reaches the soul. If this music by Scarlatti was performed by Farinelli, there is nothing to envy of this Portuguese singer whose gifts life gives us.​ (...)

Vieira Leite showed us the power of her vocal technique, both in the delicacy of the first aria, the expression of affection, and in the volume, the ability to reach the highest notes with astonishing naturalness and the dizzying coloraturas of the last one.​ (...)

Her body gestures are also worthy of mention, almost only with her presence does the text transmit, which indicates that there is also great work by the group to express the full potential of this excellent music.​ (...)

​As for Ana Vieira Leite, everything was perfect and sublime, it is difficult to listen to a soprano who sings with such expressiveness, technical mastery, taste and beauty; Her exquisite vocality, her stage presence, her wonderful intonation and diction, along with the naturalness that she gives to everything about her with her privileged singing, are profoundly beautiful. 

Scherzo

"The young soprano Ana Vieira Leite is the unbeatable choice as the vocal soloist on the CD. Her pure and crystalline timbre is accompanied by exemplary singing technique and exquisite taste in the interpretation of the melodies that Scarlatti composed. "

Ritmo

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Ariodante

(Händel)

(Eurydice)

Les Arts Florissants

William Christie

Philharmonie de Paris (France)

Opéra Royal de Versailles

Opéra de Dijon

(France)

Octobre 2023

 

"Ana Vieira Leite finds the right positioning of the character of Dalinda, torn between love and reason, between Polinesso and Ginevra, so that the final turnaround by which she admits the entire machination of the antagonist appears credible. The role suits her very well vocally: the voice is crystal clear, percussive and Handel's ranges seem natural to her."

Forum Opera

"Soprano Ana Vieira Leite plays Dalinda in an exemplary vocal placement allowing her to evoke the voluptuousness of her love for Polinesso in extreme delicacy and to fulminate when she realizes the latter's betrayal, her vocals and valiantly projected high notes."

Olyrix

"Ana Vieira Leite accomplished a remarkable performance: impeccable intonation, ductility of a supple voice capable of triumphing over all the difficulties of the score and in particular the formidable coloratura."

Baroquiades

 

"Ana Vieira Leite and Hugh Cutting were also spotted by William Christie in 2021 during the 10th edition of the Jardin des Voix to participate in a production of Partenope. Invested with the Master's confidence to once again embody Handelian heroes, they are respectively Dalinda and Polinesso on the Dijon stage and receive applause at the end of the show which marks them as the darlings of the Burgundian public. Soprano of Portuguese origin, Ana Vieira Leite is a Dalinda capable of moving from one emotion to another while always remaining dramatically credible. At first discreet, almost self-effacing in the way she approaches her first aria “Apri le luci, e mira”, the artist gradually deploys the breadth of her voice until she plays with the difficulties of “Il primo ardor” and its infernal tempi then to be given a standing ovation at the end of the pyrotechnics of “Neghitossi, or voi che fate”."

Première Loge

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Orphée et Eurydice

(Gluck)

(Eurydice)

Les Arts Florissants

Paul Agnew

Philharmonie de Paris (France)

February 2023

 

(...) 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."
Olyrix


"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."
Opera Wire 

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Dido and Aeneas

(Purcell)

(Belinda)

Les Arts Florissants

William Christie

 

Teatros del Canal (Madrid)/ Theátre de Compiegne (France)/ Opéra Royal de Versailles (France)

2023

"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."
Scherzo

"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."
Opera World

"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" 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."
Coladario

"Opposite her, Belinda by Ana Vieira Leite (...) her brilliant soprano knowing how to tint herself with delicate shadows for "Thanks to these lovesome vales"."
Diapason

"Ana Vieira Leite, very involved in the role of Belinda which she makes particularly interesting."
Forum Opera 

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Partenope

(Händel)

Partenope - Les Arts Florissants

William Christie/Paul Agnew  

 

2021/2022/2023

“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 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."
Vivace Cantabile

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


"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 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."
Scherzo

"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 Leite stood out for her vocal range, color, volume and mastery. and interval jumps. Possibly her best moment was the delicious aria Qual farfalletta."
Llegir

"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."
Nuvol

"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 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 )."
Olyrix

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