"As Gilda, Madison Leonard commanded both delicate filigree and remarkable vocal heft, and her portrayal suggested a good deal more agency and emotional complication than victimhood. Hume staged her first scene with the Duke, disguised as Gualtier Maldè, as one of panic, face-to-face with a sexual predator, but this was contradicted by the warmth of her great solo that followed. The scene of her kidnapping, as the all-male chorus surrounded her with flashlights, was genuinely eerie. Gilda's final exchange with her father was both radiant and heartbreaking.”
"Madison Leonard captures the attention of the hall from the first moment, and expresses in detail the contrasts of Gilda's character: from naivety to forgiveness, from shame to deception. The intensity of her central sound combines sweetness and moving fragility in the acute texture; the
passages are agile and sustained. 'Caro nome' has in it all the elements of the sighs of love with nuanced dynamics exploited to the maximum for interpretative purposes and with well calibrated attacks and breath."
"Both Gildas make their big solo moment, the aria 'Caro nome,' the production’s vocal highlight, affecting and technically sure."
THE SEATTLE TIMES
"Madison Leonard was an endearingly naive and warmly sung Gilda. When she was onstage, Montanaro eased up on the pressure and let her spin out her arias with sweetness and grace. At these moments, Verdi's score was given its full elegance and power."