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Elijah, Champaign-Urbana Symphony Orchestra

"Alto Leah Dexter supplied dramatic energy in her singing of the part of Queen Jezebel, and Dexter also provided emotional relief in the sweet aria, "O rest in the Lord."

-John Frayne, The News-Gazette

Albert Herring, Chicago Opera Theater

"Leah Dexter was a lot of fun as Mrs. Herring..."

-Mark Thomas Ketterson, Opera News


Albert Herring, Chicago Opera Theater

"Leah Dexter was fantastic in her crucial role of Mrs. Herring, mother of Albert."

-M.L.Rantala, Hyde Park Herald

The Valkyries, Detroit Opera

"No review is complete without mentioning the all-star Valkyries of the evening:...Leah Dexter (Siegrune)...Each one of these artists was absolutely brilliant in their roles. A ringing, vibrato-laden torrent of golden sound emanated from each during the opening scene. Hearty and jovial hojotoho's soared through the air, while solid diction and resonant lyricism complimented the tension that followed."


Quamino's Map, Chicago Opera Theater

"Dexter has a gift for comedy and a beautiful voice as she slinks around the stage offering a taste of her paddling stick."

-Kathy D. Hey, Third Coast Review

Quamino's Map, Chicago Opera Theater

"Among the large ensemble, pungent-voiced mezzo Leah Dexter was an absolute blast as Mistress Paddington, a raunchy dominatrix-for-hire who clearly relished her work." 

-Mark Thomas Ketterson, Opera News


Quamino's Map, Chicago Opera Theater

"Leah Dexter is impeccable comic relief as the sexy and silly fellow Carolinian slave turned 1780's London dominatrix Mistress Paddington." 

-Sydney Paige Milligan, Paige Eight

Quamino's Map, Chicago Opera Theater

"Other standouts include mezzo-soprano Leah Dexter, who makes the most of her showy role as the whimsical dominatrix Mistress Paddington." 

-Kyle MacMillan, Chicago Sun-Times

Quamino's Map, Chicago Opera Theater

"Leah Dexter as a dominatrix and Tyrone Chambers II as a crazed seer nearly steal the show."

-Deanna Isaacs, Chicago Reader

Becoming Santa Claus, Chicago Opera Theater

"The true pillars of the opera, however, were the four elves......., all of whom were on stage throughout the entire 90-minute opera. Their crystalline diction, precise comedic timing, and vocal assuredness in the face of unusual harmonies and rapid-fire syllabic text propelled this production to success. Dexter was a commanding force both vocally and dramatically....."

-Katherine Buzard, Chicago Classical Review

Carmen, Chicago Opera Theater

"As Carmen's pals Frasquita and Mercedes, Rachel Blaustein and Leah Dexter combined bright voices with comic flair."

-Lawrence A. Johnson, Chicago on the Aisle

Taking Up Serpents, Chicago Opera Theater

"Dexter's glossolalia is an uninhibited display of ululation and improvised blues melismas, executed with an intensity that'll put the fear of God in you."

-Joe Cadagin, Opera News

Taking Up Serpents, Chicago Opera Theater

"As Nelda, Leah Dexter provided dramatic dedication and a fine mezzo-soprano voice in the role of Kayla's mother."

-Lawrence A. Johnson, Chicago Classical Review

Taking Up Serpents, Chicago Opera Theater

"Mezzo-soprano Leah Dexter is the mother Nelda, a pivotal character who has a certain understanding of both her husband and daughter, but who is also tied to her own religious views. Her singing is fluid, natural and bright, and her acting flawless. Near the very end of the opera Nelda takes action, unexpectedly, and when she sees the result her face is an eloquent silent essay in grief, revulsion, and horror. I will not soon forget the power of that moment."

-M.L. Rantala, Hyde Park Herald

Symphony No. 2, "Resurrection"Chicago Sinfonietta, MLK Tribute Concert

"[Mei-Ann] Chen closed the evening with the finale of Mahler's Symphony No. 2, "Resurrection", which featured sumptuous work from soprano Summer Hassan [and] mezzo-soprano Leah Dexter..."

-Howard Reich, Chicago Tribune

The Transformation of Jane Doe, Chicago Opera Theater

"Leah Dexter, a marvelous singer-actor, was tremendous as the Night Maid at the Drake, an eye-witness to Jane Doe's suicide."

-M.L. Rantala, Hyde Park Herald

The Transformation of Jane Doe, Chicago Opera Theater

"Mezzo-soprano Leah Dexter [was] fiercely expressive as the Night Maid..."

-Howard Reich, Chicago Tribune

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."

-Hannah Edgar, Chicago Classical Review

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."

-M.L. Rantala, Hyde Park Herald

Second NatureLyric 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, Chicago Tribune



Frida, Michigan Opera Theatre

“Leah Dexter was stunning as Diego’s first wife Lupe, with an opulent tone and characterization to match.” 

-Jennifer Goltz, Opera News



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.” 

-M.L. Rantala, Hyde Park Herald



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, Italian Tribune


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