Hubbry Logo
Leona MitchellLeona MitchellMain
Open search
Leona Mitchell
Community hub
Leona Mitchell
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Leona Mitchell
Leona Mitchell
Leona Mitchell
View on Wikipedia
from Wikipedia

Leona Pearl Mitchell (born October 13, 1949, Enid, Oklahoma) is an American operatic soprano who sang for 18 seasons as a leading spinto soprano at the Metropolitan Opera in New York.

In her home state of Oklahoma, she received many honors. These include the Oklahoma Hall of Fame, the Oklahoma Music Hall of Fame, the Oklahoma Women's Hall of Fame and the Oklahoma Jazz Hall of Fame. She received honorary doctorates from Oklahoma City University and the University of Oklahoma.[1] In 1983, she was inducted into the Oklahoma Women's Hall of Fame.

Her home town of Enid has a street named after her called Leona Mitchell Boulevard, as well as the Leona Mitchell Southern Heights Heritage Center and Museum. Governor Brad Henry of Oklahoma made her Oklahoma's State Cultural Ambassador.

Early life and education

[edit]

Mitchell started singing at an early age in the choir of the Antioch Church of God in Christ in Enid, where her father, Reverend Dr. Hulon Mitchell, was the Minister along with her mother, Dr. Pearl Olive Mitchell (née Leatherman), who was the pianist. Leona was the tenth-born of Hulon and Pearl Mitchell's 15 children.[2]

One of her elder brothers, Hulon Mitchell Jr., was better known as Yahweh ben Yahweh, leader of the Nation of Yahweh.

Leona Mitchell received a BA in music from Oklahoma City University where she was a student of Inez Silberg.[3] She went on to graduate studies at the Juilliard School of Music in New York. She married Elmer Bush III, by whom she had one son, Elmer Bush IV.[4]

Professional career

[edit]
Leona Mitchell Blvd in Enid, Oklahoma

In 1973, she made her debut as Micaela in Georges Bizet's 1875 opera Carmen with the San Francisco Opera, subsequently she made her Metropolitan Opera debut in New York City on December 15, 1975 in the same role. She sang [when?] the role of Bess in the first complete recording of George Gershwin's Porgy and Bess from which she received a Grammy for "Best Opera Recording".

Mitchell has contributed to several recordings, had many television appearances, and served as honorary chair for Black Heritage Month to the Oklahoma legislature.

In 1987, Mitchell performed the role of Liù from Turandot, directed by Franco Zeffirelli, at the Metropolitan Opera. She collaborated with many great conductors, including Zubin Mehta, Lorin Maazel, James Levine, and Seiji Ozawa.

She was a leading soprano with the Metropolitan Opera of New York for 18 seasons. She sang at most of the world's best-known opera houses in such roles as Turandot, Aida, Micaela, Manon, Leonora, Amalia Delilah, Mimi, and Musetta, as well as Pamina, Madama Butterfly, Lauretta, and Madame Lidoine.

She performed for five U.S. Presidents: Ronald Reagan, Gerald Ford, Jimmy Carter, Bill Clinton and George H. W. Bush, along with many dignitaries which include Prince Charles, Princess Anne, The Honourable Sandra Day O'Connor, and Bishop Desmond Tutu.

On July 5, 1986, she performed in the New York Philharmonic tribute to the 100th Anniversary of the Statue of Liberty, which was televised live from Central Park on ABC Television.[5] She sang both the aria "Un bel dì vedremo" from Puccini's Madama Butterfly, and the American spiritual "He's Got the Whole World in His Hands". She appeared in a production with each one of the Three Tenors: Ernani with Luciano Pavarotti, Turandot with Plácido Domingo, and Carmen with José Carreras.

She appeared on such televised broadcasts as The Merv Griffin Show, The Dick Cavett Show, and The Jerry Lewis Telethon.

Videography

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Leona Mitchell

View on Grokipedia
from Grokipedia
Leona Pearl Mitchell (born October 13, 1949) is an American operatic recognized for her powerful voice and extensive performances at major international venues. Born in , to a Pentecostal minister and his as one of fifteen children, Mitchell began singing in her family's church choir, influenced by her mother's ability to play piano by ear. She studied music at , graduating in 1971, and later at the , where she honed her skills before launching a professional career that included winning the Kurt Herbert Adler Award from the and an Opera America grant. Mitchell achieved prominence through 18 seasons as a leading at the , performing hundreds of roles in dramatic and lyrical operas across , , and the , including appearances for four U.S. presidents. She received a Grammy Award for Best Opera Recording, honorary doctorates from the and , induction into the Oklahoma Hall of Fame in 2004 and the Oklahoma Music Hall of Fame in 2001, and designation as Oklahoma's Cultural Ambassador.

Early Life and Education

Childhood and Family Background

Leona Pearl Mitchell was born on October 13, 1949, in , to Reverend Hulon Mitchell, a Pentecostal minister, and Pearl Olive Leatherman Mitchell, a and nurse. She was the tenth of fifteen children in the family. The Mitchell family was actively involved in the Antioch Church of God in , where Hulon Mitchell served as minister and Pearl Mitchell as pianist, fostering an environment rich in music and faith. Leona began singing at an early age in the church , influenced by her mother's playing and the family's religious practices. This upbringing in a large, musical household laid the foundation for her vocal development.

Academic and Musical Training

Mitchell graduated from Enid High School in , where a local teacher encouraged her to pursue vocal studies professionally by auditioning for . She subsequently received a music to , from which she earned a degree in 1971. Following her undergraduate studies, Mitchell advanced to graduate-level vocal training at the in , refining her technique for operatic performance. She continued private coaching with voice teacher Ernest St. John Metz, who served as her mentor during this formative period and beyond. These experiences built on her early church choir singing at Antioch Church of God in Christ, emphasizing disciplined breath control and repertoire mastery essential for roles.

Professional Career

Debut and Early Breakthroughs

Mitchell made her professional debut as Micaëla in Georges Bizet's with the San Francisco Spring Opera Theater in 1972. This initial appearance, following her graduation from in 1971, showcased her voice and led to further opportunities with the , where she reprised the role in 1973 under the mentorship of conductor Kurt Adler. In 1974, Mitchell received a $10,000 grant from Opera America, which supported advanced vocal studies with coach Ernest St. John Metz in and facilitated her European debut in , . These developments marked early breakthroughs, enhancing her technique and visibility ahead of major house engagements. A pivotal milestone came on December 15, 1975, when she debuted at the as Micaëla in , earning critical praise for her lyrical phrasing and dramatic poise in the role that had propelled her initial rise. This performance solidified her trajectory, leading to her participation in the 1976 complete recording of George Gershwin's with the , where she portrayed Bess and contributed to a Grammy Award-winning release for Best Opera Recording.

Tenure at the Metropolitan Opera

Leona Mitchell made her debut at the on December 15, 1975, portraying Micaëla in Georges Bizet's . This appearance marked the start of her extensive engagement with the company, where she established herself as a leading . Mitchell's tenure spanned eighteen consecutive seasons, during which she performed principal roles in operas by composers such as and , reflecting her vocal versatility in lyric and parts. Her interpretations often highlighted the emotional depth and technical demands of these works, contributing to her reputation for sustained vocal power and expressiveness. Among her notable Met performances were Elvira in Verdi's Ernani on March 9, 1985, under conductor Thomas Fulton; the title role in Puccini's Manon Lescaut during the 1986–87 revival; Liù in Puccini's Turandot in a 1987 production featuring Plácido Domingo, later telecast; Amelia in Verdi's Un ballo in maschera; and Aida in a new production of Verdi's opera in December 1988, where critics praised her smooth, resonant soprano for its ease and richness. Her final season concluded around 1993, after which she departed the company abruptly.

International Performances and Roles

Mitchell's European debut occurred in , , in 1974. She appeared at the Edinburgh Festival in in 1977 and performed at the Sacria Umbria Festival in in 1978. Her engagements expanded to include , , , and , with additional performances in , , , , , , , , and . Among her prominent international venues were the , where she performed over 25 years in Australia; the ; the ; and the Rome Opera. In Rome, she sang at the , and in , she presented the Requiem at the royal palace. Mitchell also performed in , , , , , and , . Her signature role of in Verdi's opera received particular acclaim abroad, with nearly 200 performances across , , and ; notable outings included in the late 1990s to early 2000s and an outdoor production under the Egyptian pyramids, evoking the opera's historical premiere site. Internationally, she also essayed roles such as , , Donna Anna in Don Giovanni, Liù in Turandot, and Amelia in Un ballo in maschera, often alongside conductors like and Plácido Domingo. In , audiences responded enthusiastically to her interpretations, frequently approaching the stage during ovations.

Later Career and Contributions

Following her eighteen-season tenure at the Metropolitan Opera, which concluded around 1993, Mitchell continued to perform internationally in venues including , , , and . She maintained an active presence through concerts blending with and Broadway selections, such as a April 2024 performance at Opera America Hall in . Mitchell also appeared at significant domestic events, including the of Oklahoma Governor on January 13, 2003, and performed for U.S. Presidents , , , and . Mitchell's contributions extended to cultural ambassadorship and recognition in her home state. Inducted into the Oklahoma Music Hall of Fame in 2001 and the Oklahoma Hall of Fame in 2004, she received honorary doctorates in music from Oklahoma City University and the University of Oklahoma. Enid, Oklahoma, honored her legacy by naming Leona Mitchell Boulevard and establishing the Leona Mitchell Southern Heights Heritage Center and Museum. In August 2025, Oklahoma City Community College presented her with a lifetime achievement award alongside an exhibit of her gowns, costumes, photographs, and memorabilia, highlighting her journey from Oklahoma roots to global stages. These accolades underscore her enduring influence as an Oklahoma State Cultural Ambassador and trailblazing soprano.

Vocal Style and Repertoire

Signature Roles and Interpretations

Leona Mitchell excelled in roles within the Italian tradition, particularly those by and Puccini, where her vocal power, lyrical phrasing, and emotional depth distinguished her performances over 18 seasons at the . Her repertoire emphasized dramatic heroines requiring both stamina and interpretive sensitivity, often drawing acclaim for infusing characters with personal conviction derived from her and spiritual approach. Mitchell's portrayal of Micaëla in Bizet's marked her debut on December 15, 1975, and became a cornerstone of her career, lauded for its sincere warmth and vocal purity that highlighted the character's innocence amid turmoil. This role, which she had sung earlier in auditions and initial professional appearances, showcased her ability to blend technical precision with heartfelt expression, earning consistent praise across major houses. In Verdi's , Mitchell embodied the titular Ethiopian princess with commanding presence and finesse, performing the role in iconic venues such as 's Arena di Verona and Rome's Teatro dell'Opera during the late and ; she regarded it as a favorite for its vocal demands and dramatic arc. Her interpretation emphasized the heroine's inner conflict and resilience, leveraging her resonant to navigate the opera's expansive lines like "O patria mia." Mitchell's Madama Butterfly in Puccini's opera received particular recognition for its exquisite emotional layering, with The New York Post noting her capacity to animate Cio-Cio-San's tragic devotion through nuanced acting and luminous tone, especially in arias such as "Un bel dì vedremo." She also shone as Liù in Puccini's Turandot, delivering self-sacrificial pathos with poignant vulnerability, and as Tosca, where her dramatic intensity culminated in the opera's visceral final moments. Among Verdi's Leonoras—in and —Mitchell conveyed the figures' turmoil and nobility through her robust upper register and dynamic control, roles that underscored her versatility in the composer's demanding parts. Outside the core Italian canon, her Bess in Gershwin's —featured in a Grammy-winning 1976 recording with the —integrated operatic technique with soulful authenticity, reflecting her Oklahoma roots. These interpretations collectively demonstrated Mitchell's preference for Puccini's theatrical opportunities and Verdi's technical rigor, prioritizing character-driven vocalism over mere display.

Technical Attributes and Comparisons

Leona Mitchell's voice is classified as a , featuring a clear, centered with a velvety quality particularly evident in her lower register, which deepened into a ravishing mezzo-like depth by her later performances at age 75. Her technique emphasized lyrical expression and vocal beauty, enabling precise pitch control and a blooming quality in sustained phrases, as demonstrated in roles like Mimì in and Suzel in L'amico Fritz. This approach suited Italian repertoire from composers such as Puccini and , where her interpretations conveyed power without excessive drama, though her characterizations sometimes lacked tonal differentiation between roles. In the upper register, Mitchell exhibited unexpected mettle and edge, providing thrust for climactic moments in arias like "Signore, ascolta" from , yet her overall volume was deemed undersized for the most demanding dramatic demands of that opera compared to sopranos like or . Her vocal health practices, discussed in interviews, focused on maintaining even registers and avoiding overextension, contributing to an 18-season tenure at the from 1975 to 1993. Mitchell drew frequent comparisons to , being dubbed the "second coming" for her command of spinto-leaning and Puccini heroines, such as and , where she emulated Price's dramatic intensity while favoring a lighter, more agile line suited to lyric demands. Critics noted her as a potential leading /Puccini soprano, though her career trajectory diverged from Price's in emphasizing consistency over peak dramatic heft, positioning her as a bridge between lyric purity and emerging power in African-American operatic sopranos.

Recordings and Performances

Discography Highlights

Mitchell's breakthrough in recordings came with her role as Bess in the first complete studio recording of George Gershwin's , released in 1976 by London Records under conductor , which earned the Grammy Award for Best Opera Recording in 1977. This three-disc set featured a full cast including as Porgy and featured her dramatic interpretation of the character, drawing on her spinto soprano's power and emotional depth in key arias like "My Man's Gone Now." Her first solo operatic album, Presenting Leona Mitchell with Kurt Herbert Adler: An Operatic Partnership, was recorded in 1979 with the National Philharmonic Orchestra under Kurt Herbert Adler, showcasing arias from Verdi (, ), Puccini (), Mascagni (), Mozart (), and Rossini (). The release highlighted her versatility across Italian and repertoires, with Adler's conducting emphasizing dramatic phrasing suited to her vocal . Later recordings included a rendition of Handel's Messiah with Eugene Ormandy conducting the Philadelphia Orchestra and Mormon Tabernacle Choir, noted for her soprano solos in a performance emphasizing oratorio grandeur. She also committed Aaron Copland's Twelve Poems of Emily Dickinson to disc, accompanied by the composer himself at the piano, capturing the introspective lyricism of works like "Nature, the Gentlest Mother." In her post-Metropolitan phase, Mitchell released two independent CDs: one devoted to praise hymns reflecting her gospel roots, and another compiling classical selections.

Videography and Notable Broadcasts

Mitchell's operatic videography primarily consists of preserved Metropolitan Opera performances available through official archives and streaming platforms. She portrayed Liù in Franco Zeffirelli's production of Puccini's during the March 7, 1987, live television broadcast on PBS's Live from the Met, alongside Eva Marton as Turandot, Plácido Domingo as Calaf, and Paul Plishka as , under James Levine's direction; this telecast was later streamed by the Met Opera during its Nightly Streams series in April 2020. In Verdi's , Mitchell sang opposite as , Sherrill Milnes as Don Carlo, and Ruggero Raimondi as Silva in a December 1983 Metropolitan Opera performance, which has been video-recorded and is accessible via Met Opera on Demand, highlighting her dramatic intensity in the role amid pursuits by multiple suitors. She also featured in the Metropolitan Opera Centennial Gala broadcast on October 22, 1983, performing the Act I love duet "Viene la sera" from Puccini's with tenor Giuliano Ciannella, part of a presentation celebrating the company's 100th anniversary. Other notable broadcasts include her aria "" from Puccini's during the 1986 , showcasing her in a charitable television context. Mitchell's appearances extended to non-operatic televised events, such as a 1986 rendition of "" from Puccini's with the National Philharmonic Orchestra, broadcast as part of public programming.

Awards, Honors, and Recognition

Major Accolades

Mitchell earned the Grammy Award for Best Opera Recording in 1977 for her portrayal of Bess in the complete studio recording of George Gershwin's , conducted by Robert Shaw. This accolade highlighted her dramatic intensity and vocal power in the role, contributing to the album's critical and commercial success as the first full recording of the opera. In 1971, following her graduation from , Mitchell received the Kurt Herbert Adler Award from the , recognizing her emerging talent as a . The same year, she was granted a $10,000 award from Opera America to support advanced vocal studies with coach St. John Metz in , facilitating her preparation for major professional debuts. Her sustained prominence at the , spanning eighteen consecutive seasons from 1975 to 1992 with over 200 performances in leading roles, underscored her reliability and artistic impact, though formal longevity awards from the institution were not conferred. These engagements in operas by , Puccini, and others established her as a principal artist without additional named prizes beyond contractual elevation to starring status.

Institutional and State Honors

In 2001, Leona Mitchell was inducted into the Oklahoma Music Hall of Fame. In 2004, she received designation as Oklahoma Cultural Ambassador and induction into the Oklahoma Hall of Fame. She has also been inducted into the Oklahoma Women's Hall of Fame. Locally in Enid, her hometown, Mitchell was added to the Enid Walk of Fame in 2018, and the city named Leona Mitchell Boulevard and the Leona Mitchell Southern Heights Heritage Center and Museum in her honor. Mitchell holds multiple honorary doctorates from Oklahoma institutions. Her alma mater, Oklahoma City University, conferred an honorary Doctorate of Music. The University of Oklahoma awarded her an honorary doctorate. In 2018, Oklahoma State University presented her with an Honorary Doctorate of Fine Arts during its commencement ceremonies. In August 2025, Oklahoma City Community College honored her with a lifetime achievement award alongside a tribute exhibit.

Legacy and Influence

Impact on Opera and Cultural Ambassador Role

Leona Mitchell's 18-season tenure as a leading spinto soprano at the Metropolitan Opera from 1975 onward exemplified vocal stamina and versatility, with over 200 performances in roles including Micaëla in Carmen, Aida in Verdi's opera, and Cio-Cio-San in Madama Butterfly, thereby upholding standards for dramatic lyricism in Verdi and Puccini repertory. Her Grammy Award-winning recording of Bess in George Gershwin's Porgy and Bess (1976) elevated the work's status as a cornerstone of American opera, garnering critical praise for her interpretive depth and contributing to its broader acceptance beyond traditional European canon. These achievements advanced the visibility of African-American artists in major opera houses, where she navigated competitive environments dominated by European traditions. Mitchell's international engagements at venues like , , and the extended American operatic influence abroad, performing for audiences in , , and during the 1980s and 1990s, which helped diversify programming and audiences in those institutions. Her technical prowess, often compared to for its power and emotional resonance in heroic roles, influenced subsequent sopranos pursuing , emphasizing unamplified vocal projection suited to large halls. In her role as Oklahoma's State Cultural Ambassador, designated by Governor in 2003, Mitchell leveraged her global renown to promote the state's cultural contributions, including masterclasses at and performances highlighting regional talent at events like the Oklahoma Arts Conference. This position facilitated educational initiatives, such as mentoring young singers from rural , fostering a pipeline of performers who credit her example of rising from Enid's modest beginnings to international stardom. Her ambassadorship underscored opera's potential as a for regional pride, with honors like the naming of Leona Mitchell Boulevard in reflecting reciprocal state recognition of her diplomatic efforts in cultural export.

Recent Tributes and Enduring Reputation

In August 2025, Oklahoma City Community College (OCCC) hosted the "Leona Mitchell Exhibit and Tribute" event on August 19, featuring a reception, live tribute program, and musical performance by J. Warren Mitchell, alongside an exhibition of her international performance costumes. During the event, OCCC presented Mitchell with a lifetime achievement award, recognizing her career from Enid origins to global stages. The exhibit, displayed at the Inasmuch Art Gallery, highlighted her Grammy-winning soprano voice and trailblazing path as an Oklahoma native. Earlier that month, on August 14, 2025, Mitchell performed at the memorial service for former Governor in , delivering a heartfelt operatic broadcast locally. These events underscore her ongoing role as 's State Cultural Ambassador, with tributes emphasizing her 18-season tenure as a leading at the and performances for U.S. presidents including , , , and . Mitchell's enduring reputation rests on her vocal prowess in spinto roles, often likened to as a successor in interpretation, particularly in and Puccini operas. Colleagues and critics have praised her for overcoming barriers as an African American , achieving debuts at major houses like the and by 1975, while maintaining ties to her Enid roots through scholarships and local inspirations for aspiring singers. Her legacy persists in Oklahoma-centric honors, including induction into the Oklahoma Hall of Fame in 2004, and continued exhibitions that frame her as a symbol of regional pride in amid broader opera's evolving demographics.

References

  1. https://www.okhistory.org/publications/enc/entry?entry=MI049
  2. https://www.enid.org/Government/Enid-Walk-of-Fame/2018-Leona-Mitchell
  3. https://voicesofoklahoma.com/interviews/mitchell-leona/
  4. https://www.oklahomahof.com/hof/inductees/mitchell-leona-2004
  5. https://tulsaopera.com/2021/02/oklahomas-opera-legend-leona-mitchell/
  6. https://operawire.com/the-career-milestones-of-leona-mitchell/
  7. https://uncrownedcommunitybuilders.com/person/leona-mitchell
  8. https://digitalprairie.ok.gov/digital/collection/culture/id/110/
  9. https://www.encyclopedia.com/education/news-wires-white-papers-and-books/mitchell-leona-1949
  10. https://www.youtube.com/watch?v=Ld4fhoMEjTk
  11. https://aaregistry.org/story/leona-mitchell-has-a-beautiful-voice/
  12. https://time.com/archive/6856894/music-destiny-rides-again/
  13. https://operawire.com/leona-mitchell-to-perform-in-new-york-for-the-first-time-in-nearly-30-years/
  14. https://www.nytimes.com/1988/12/10/arts/review-opera-leona-mitchell-in-met-s-new-aida.html
  15. https://www.operabase.com/leona-mitchell-a10240/en
  16. https://www.metopera.org/discover/archives/puccini-at-the-met-a-centenary-celebration/manon-lescaut/
  17. https://www.metopera.org/about/press-releases/met-announces-two-week-schedule-for-nightly-met-opera-streams5/
  18. https://www.youtube.com/watch?v=JYyjOi6JLhs
  19. https://amydeestephens.files.wordpress.com/2009/12/leona-mitchell-text-only.pdf
  20. https://blackpast.org/african-american-history/mitchell-leona-1949/
  21. https://www.oklahoman.com/story/entertainment/2025/08/28/new-occc-exhibit-shines-spotlight-on-world-renowned-opera-singer-and-oklahoma-native-leona-mitchell/85717403007/
  22. https://www.publicradiotulsa.org/studiotulsa/2020-02-27/a-chat-with-leona-mitchell-the-iconic-operatic-soprano-and-oklahoma-state-cultural-ambassador
  23. https://operawire.com/artist-profile-soprano-leona-mitchell-a-hall-of-famer/
  24. https://www.broadwayworld.com/bwwclassical/article/Review-LEONA-MITCHELL-RETURNS-TO-NEW-YORK-at-Theater-Of-St-Jean-20240531
  25. https://www.facebook.com/groups/FAASingersofConcertO/posts/10163242930819428/
  26. https://www.classicstoday.com/review/review-4224/
  27. https://www.youtube.com/watch?v=trpE6jf0Pl0
  28. https://www.youtube.com/watch?v=GdqUP2oFUY8
  29. https://www.youtube.com/watch?v=Yq1yOl_0M78
  30. https://rec.music.opera.narkive.com/xDveYe7G/what-happened-to-these-singers-at-the-met
  31. https://www.facebook.com/groups/Operatalk/posts/2154205594698364/
  32. https://www.facebook.com/groups/okruralschools/posts/1106741620104988/
  33. https://ondemand.metopera.org/performance/detail/29c67b86-e581-5a28-bc8e-618a367c5a6a
  34. https://www.metopera.org/user-information/nightly-met-opera-streams/week-42/
  35. https://www.youtube.com/watch?v=Dtzn_xYUPOc
  36. https://www.youtube.com/watch?v=Uy2X6kSjfS8
  37. https://tulsaopera.com/2024/07/tulsa-opera-history-william-johns-leona-mitchell/
  38. https://www.arts.ok.gov/Oklahoma_Arts_Conference/index.php?c=1&n=p&sp=69
  39. https://www.news9.com/story/689b4edcfc97d58dd80fa3d0/grammy-winning-soprano-leona-mitchell-to-be-honored-with-exhibit-and-tribute-at-occc
  40. https://www.travelok.com/music-trail/itineraries/leona-mitchell-itinerary
  41. https://news.okstate.edu/articles/communications/2018/obrate-and-mitchell-to-receive-honorary-doctorates.html
  42. https://www.travelok.com/at/music-trail/artist/leona-mitchell
  43. https://www.news9.com/story/68a4e086ba7f73b9ce38da4a/from-enid-to-the-met-leona-mitchell-s-global-influence-explored-in-new-occc-exhibit
  44. https://www.facebook.com/TheOklahoman/posts/along-with-hosting-the-tribute-and-exhibit-occc-honored-leona-mitchell-with-a-li/1294415219364948/
  45. https://journalrecord.com/2025/08/22/leona-mitchell-occc-exhibit/
  46. https://www.newson6.com/story/689e0c88b8fabebdb688a2b9/world-famous-opera-singer-leona-mitchell-perform-governor-george-nigh-memorial-service
  47. https://www.cbs42.com/business/press-releases/ein-presswire/844448351/celebrating-the-legacy-of-opera-icon-leona-mitchell
  48. https://www.instagram.com/p/DPv_NsnEWDG/
  49. https://www.mariettamonitor.com/society/oklahoma-s-unsung-opera-star-who-performed-on-the-world-stage/article_341ee89f-b1cd-40cb-926f-59b2733fa1a7.html
Add your contribution
Related Hubs
User Avatar
No comments yet.