(The Transformation of Jane Doe, Chicago Opera Theater)
"Mezzo-soprano Leah Dexter [was] fiercely expressive as the Night Maid..."
Chicago Classical Review
(A Child of Our Time, University of Chicago Symphony Orchestra and Chorus)
"Mezzo-soprano Leah Dexter...similarly embodied her lines with fervent expression, especially in her final solos."
Hyde Park Herald
(Seven Deadly Sins, South Shore Opera Company of Chicago)
"Dexter was glorious throughout, putting on display both gorgeous singing and engaging acting. From sultry and smokey to angry and anguished to warm and smiling, her versatile singing was always spot on. All her fluid, subtle movements accentuated her portrayal, and she has a wonderful ability to use her entire body to make a point or create a dramatic moment. She had different costumes for the different cities and was able to effect these changes incredibly rapidly. She looked fabulous in all of them, including the clover-green frock for the envy portion of the opera."
(Second Nature, Lyric Unlimited/Lyric Opera of Chicago)
“Mezzo Leah Dexter, also quite good, completed the ensemble as the stern Elder Constance, the dictatorial leader of the Habitat.”
-John von Rhein
(Frida, Michigan Opera Theatre)
“Leah Dexter was stunning as Diego’s first wife Lupe, with an opulent tone and characterization to match.”
Hyde Park Herald
(La Traviata, South Shore Opera Company of Chicago)
“Leah Dexter made the most of the small role of servant Annina. Her voice was richly colored and she sang with wonderful diction and attention to text, as well as splendid projection. She is a talented actor, infusing every gesture and movement with purpose.”
(Carmen, Arbor Opera Theater)
“The part of Carmen was sung by mezzo-soprano, Leah Dexter, who has all it takes to make the role of the vixen convincing: a beautiful voice, great acting gifts, outstanding musicianship, and the willingness to study every nuance of her role to make it vibrant and believable.”
-Dina Sorresi Winter