"Mezzo-soprano Leah [Heater] displayed a voice of enormous beauty and power that easily conveyed high drama and passion naturally expressed by [Heater], who seemed equally at home with her choice of aria and with the judges’ choice."   - Annapolis Opera's 30th Vocal Competition

Mary Johnson

Baltimore Sun

"Mezzo-soprano Leah Heater, in a lush flame-red gown, embodies all Gertrude’s carnality; her splendid voice, presence, and passion completely communicate the transgressions of sovereigns." - Hamlet (Opera Ithaca)

Barbara Adams


 "Mezzo-soprano Leah [Heater]’s sonorous, yet vigorous, phrasing stood out." - Verdi's Requiem (Chautauqua Symphony Orchestra)

Andrew Druckenbrod

The Chautauquan Daily

"The most impressive performance came from Leah [Heater], who portrayed Brian's wife, Jessie. The mezzo's expressive timbre, especially rich in the upper register, illuminated Jessie's complicated hope that she could establish a routine in her own life, even if she could not save her husband." - The Long Walk (Pittsburgh Opera)

Elizabeth Bloom

American Record Guide

"Leah [Heater], as Marcellina (Figaro’s “long-lost” mother), was quite engaging, vocally and in action, and she could give lessons to stage actors wanting to fall realistically into dead faints."-  Le nozze di Figaro (Pittsburgh Opera)

George B. Parous

Pittsburgh In The Round

"Leah [Heater]  was so compelling as the harridan Marcellina (who turns out to be Figaro's mother) that she managed to wring applause from a brief passage of recitative in Act 4, even though her aria that follows in the score was omitted." - 

Le nozze di Figaro (Pittsburgh Opera)

Robert Croan

Pittsburgh Post-Gazette

"The versatile Leah Marie [Heater} was hilarious as Zita. Ms. [Heater]’s amber dark mezzo has all the colors of the rainbow replete with a pot of gold!" - Gianni Schicchi (Martina Arroyo's Prelude to Performance)

Nino Pantano...

Brooklyn Discovery

 "La Zia Principessa was stunningly sung by Leah Marie [Heater] whose dark penetrating mezzo and stone cold persona left a chill in the room. "- Suor Angelica (Martina Arroyo's Prelude to Performance)

Nino Pantano

Brooklyn Discovery

"As her chilly aunt La Principessa, Leah [Heater] served fine acting and a commendable, nicely tuned mezzo, even from top to bottom. " - Suor Angelica (Martina Arroyo's Prelude to Performance)

Joel Rozen

Parterre Box

"In the title role, mezzo-soprano Leah [Heater] exhibited agility and separation through complicated vocal lines and delivered a fine, trill-filled love duet..." - Riccardo Primo (PIttsburgh Opera)

Elizabeth Bloom

Pittsburgh Post-Gazette

“[Leah Marie Heater] impressed with her solid low register.”-Salome (Pittsburgh Opera) 

Robert Croan

Pittsburgh Post-Gazette

Leah Marie Heater, as the girls’ wealthy Aunt Cecelia, made the most of her role, especially in the second act, and...displayed singing and acting abilities that lifted a secondary character into considerable prominence. -Little Women (Pittsburgh Opera)

George Parous

Pittsburgh In the Round

Mezzo soloist Leah Marie Heater captured the beauty of the Pie Jesu with her exquisite voice. -Duruflé Requiem (DCINY at Carnegie Hall).

Jeffrey Williams

New York Concert Review

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The full-voiced [Heater] (Mother Marie) served as the moral magnet, whose example helped prevail on Blanche to sacrifice herself with the other sisters.-Dialogues of the Carmelites (CCM Opera)

Mary Ellen Hutton

Music in Cincinnati

Mezzo-soprano Leah [Heater]'s contributions were sumptuous and expressive, starting with "La anunciación," an evocative setting of the Annunciation. Her beauty of line was memorable in "Pues mi Dios" (Because My Lord was Born to Suffer), a moment tinged with sadness against a choral backdrop. -El Niño  (CCM Choirs and Orchestras)

Janelle Gelfand


Leah [Heater] is a very fine young Eboli, singing “Au palais des fees” with easily executed fioriture and Iberian charm.-Don Carlos (CCM Orchestras)

Rafael de Acha

Seen and Heard International

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