©2019 by Leila Zanette.

Leila Zanette



Leila is a mezzo-soprano of English and Italian origin. She has recently completed her training on the Royal Academy Opera Programme as well as completing her Master’s degree at the Royal Academy of Music under the tutelage of Sarah Walker, Nuccia Focile and Joseph Middleton Leila was kindly supported by the Charles Mackerras Opera Scholarship, PF Charitable Trust Award, the Patricia Kris Wolfe Prize and is currently supported by the Josephine Baker Trust and Opera Prelude, with whom she is a Young Artist.

Leila recently performed the roles of Marta in Tchaikovsky's Iolanta, Juno in Handel's Semele, Véronique in Bizet’s Le Docteur Miracle and Older Woman in Jonathan Dove’s Flight for the Royal Academy Opera, and Medea in Handel’s Teseo at the London Handel Festival. In Academy Opera Scenes she has played Dorabella in Così fan tutte and Idamante in Idomeneo.


Leila first appeared at the Grange Festival in the summer of 2017, both as the cover of the title role and in the chorus of Bizet’s Carmen, and of Granados’s Goyescas. She has recently completed another season with the Grange Festival chorus in Verdi's Falstaff and Mozart's Le nozze di Figaro where she appeared also as one of the Bridesmaids.

Other roles in scenes include Tisbe (La Cenerentola), Dorabella (Cosi fan tutte), Sorceress (Dido and Aeneas), Judith (Bluebeard’s Castle), Lucretia (The Rape of Lucretia), Mistress Quickly (Sir John in Love) and Minskwoman (Flight).

Leila will be performing the role of La Ciesca in Lunchbreak Opera's prodcuction of Puccini's Gianni Schicchi in the Autumn and next spring she will sing the role of Irene in Handel's Tamerlano with Cambridge Handel Opera Company.


Upcoming Events

16th2-20th, 27th, 29th September & 5th October 2019

La Ciesca- Puccini, Gianni Schicchi- Lunchbreak Opera- St. Botoph's Hall, Bishopsgate. 27th- Bridewell Theatre, Blackfriars. 29th- King's Head Theatre. 5th St. Michael's Arts Festival. 

14th November 2019

Cambridge Handel Opera Company- London fundraising and reception Recital at Stone House, London with Julian Perkins.

7th December 2019

Soloist- Amersham & Chesham Bois Choral Society- St. Mary's Church, Old Amersham.

Haydn, Nelson Mass

14th December 2019

Soloist- Great Missenden Choral Society:
J.S Bach, Christmas Oratorio

Irene- Handel, Tamerlano- Cambridge Handel Opera Company- Great Hall at the Leys, Cambridge 

14th, 15th, 17th, 18th April  2020




Past Events

15th, 17th Novemeber 2018

May/ June 2019

The Grange Festival Opera:

Bridesmaid & chorus- Mozart, Le Nozze di Figaro

Chorus- Verdi, Falstaff

Juno- Handel, Semele- Royal Academy Opera

22nd June 2019

Operatic recital with Hazel Neighbour- Soprano & Maya Soltan- Piano- Mobberley, U.K

18th, 21st March 2019

Marta- Tchaikovsky, Iolanta- Royal Academy Opera

15th December 2018

Soloist for Rossini: Petite messe solennelle- Great Missenden Choral Society

17th, 19th May 2018

Véronique- Bizet, Le Docteure Miracle- Royal Academy Opera

12th April 2018

Medea- Handel, Teseo- London Handel Festival

15th, 17th March 2018

Older Woman- Dove, Flight- Royal Academy Opera

"Leila Zanette is strongly cast as Marta, Iolanta's companion, all down to her lovely mezzo and impressive stage persona.
- Peter Reed: Classical Source

Leila Zanette... singing with vibrant tones and a bravura sense of dramatic emotions created a stormy character who really did seem to breath fire... stupendously all of character and really brought Medea's uncertain and contradictory nature alive. 
Zanette's account of Medea's final aria 'Moriro' with its cascades of notes... was both moving and thrilling, and he final accompagnato was a tour de force. 
- Robert Hugill: Planet Hugill

...Leila Zanette gave a dramatically commanding performance, ending with her storming down the nave of St George’s to confront the other characters in her last-ditch attempt to thwart Teseo and Agilea’s partnership.
- Curtis Rogers: Classical Source

... an extremely sumptuous mezzo-soprano, as did Leila Zanette as Medea who also produced a glistening sound in the upper register that nonetheless still hinted at the character's malevolence. 

-Sam Smith: MusicOMH