Isabel Leonard is a major opera star at the Metropolitan Opera and a former winner of the prestigious Richard Tucker Award, which is "awarded to an American singer poised on the edge of a major national and international career, and it is hoped that the award acts as a well-timed catalyst to elevate the artist's career to even greater heights."

The singer recently made a star turn in a new Richard Eyre production of "Le Nozze di Figaro" at the Met and is slated to lead a terrific cast in Rossini's masterwork "Il Barbiere di Sivilgia" starting on Nov. 18.

The American artist, who is of Argentine decent on her mother's side, recently spoke with Latin Post regarding her experiences this year at the Met, as well as her upcoming projects.

Latin Post: What was the experience like working with Richard Eyre on the new Nozze di Figaro production? How did he help you develop your interpretation of Cherubino? What new ideas did the setting open up for you when portraying the character?

Isabel Leonard: I completely enjoyed working with Richard Eyre. I think he is an incredible director. He was so kind and generous with us, and he allowed us to develop our characters as we went along in the rehearsal process. He and I met eye-to-eye when it came to Cherubino's character, and this meant that I was really free to do what my heart wanted to do with the role. What a gift that is to an actor/singer.

LP: You worked with James Levine last year on" Cosi Fan Tutte" and now got a chance to work with him on "Nozze." How did he help you understand the character in a new light? What was the experience of working with him last year in his big return and this year in his first opening night in years?

IL: James Levine, as we know, is another incredible artist. Working with him is a freeing experience. He loves singers and he creates an environment where the singers are safe to experiment and be better every day. There was so much excitement around his return last year with "Cosi Fan Tutte" and just as much more with this season's opening. For me, the most wonderful part about working with Levine is the ease of musicality and the ease of partnership and collaboration.

LP: What was the greatest challenge in performing this "Nozze di Figaro?" What was the most memorable moment?

IL: For this particular production, I had to jump out of a 10-foot window, so I would say that was absolutely a new challenge and quite a memorable moment every evening.

LP: "Nozze" is a sequel play to Beaumarchais' "The Barber of Seville." How does it feel to play characters in two worlds that are connected? How do you approach Rosina in Rossini's work, knowing full well where her relationship is headed in the new sequel? How does playing Rosina in "Barber" affect how you interact with the Countess as Cherubino in "Nozze?"  Or is there a divorce for you between the two works?

IL: In terms of playing Rosina, since she is young in the "Barber of Seville," I don't think too much about where she is headed in her relationship with the count in the next play, "The Marriage of Figaro." She is young and full of life and just at the beginning of her journey in the "Barber of Seville." What is most fun for me is to channel her spirit, her intelligence and her love, not only of life but for the Count.

As Cherubino, I have to react to the Countess depending on how she is portrayed in "The Marriage of Figaro." They are separate people and characters, and if I am Cherubino, I am not Rosina in any incarnation.

LP: You performed this production to great acclaim a few years ago. How will you approach this production of "Barbiere" differently this time around?

IL: There is always something new to do onstage when you repeat a role several times. Every time I do the same role, I always find new little details that I can play with throughout the course of the production.

LP: A lot of opera singers are active on Twitter and Facebook. Why do you think social media is essential for artists like yourself?

IL: Social media has allowed us to be in contact with people all over the world. It has enabled us to have the opportunity to communicate with and affect many people who otherwise we may never ever have known appreciate the art form.

LP: You recently made a recording of Dr. Seuss' "Gertrude McFuzz." What was your experience like engaging in this kind of project? Was Dr. Seuss an important part of your childhood? What was your connection to the material?

IL: [CD Producer] Glen Roven and [composer] Rob Kapilow asked if I would be a part of this project. It was a no-brainer to me. I love Dr. Seuss, I read it as a child and I read it to my son. Rob's music is so fun and charming that it was just the perfect project to be involved in.

LP: Looking ahead to 2015, what are you most excited about?

IL: I am really excited about a new opera by Jennifer Higdon, which will be premiered this summer in Santa Fe, called "Cold Mountain." It's based on the novel by Charles Frazier and I'm thrilled to sing the role of Ada. The cast is full of wonderful singing actors and I'm so looking forward to the summer.

Leonard sings in six performances of "Il Barbiere di Sivilgia" starting on Nov. 18 and ending on Dec. 6. The performance on Saturday, Nov.22 will be part of the Met's award-winning live in HD series, which is broadcast to cinemas worldwide.

The recording of Dr. Seuss' "Gertrude McFuzz" hits stores on Nov. 18 and also features renowned opera singer Nathan Gunn.

Leonard was previously interviewed by David Salazar for Latin Post's affiliate site "Latinos Post." Read that interview here.