Specialist media reviews of Gemma Coma-Alabert praise her as an exceptional mezzo-soprano with a versatile and emotive voice. His masterful interpretation and his deep emotional connection to the repertoire have established him as a prominent figure in the world of classical music.


Impeccable Gemma Coma-Alabert in the role of Laura.

Luisa Miller, Laura, Gran Teatre del Liceu

La Vanguardia, July 2019


Gemma Coma-Alabert showed off as Mrs.Meg Page, standing out for her naturalness and style.

Fastaff, Mrs. Meg Page, Teatro Real

Opera Actual, June 2019


Gemma Coma-Alabert shone again in the sung part.
Symphonic poem Dante de Granados and Sombrero de tres picos de Falla. Auditori de Barcelona, OBC directed by Kazushi Ono

Revista musical catalana, December 2018


The Cherubino that debuted Gemma Coma-Alabert had all the ingredients that make this role a bonanza for any mezzo…pacardia, scenic grace, careful diction, expressiveness in the delivery of the two arias and a good balance in the concerters

Le Nozze di Figaro, Cherubino. Gran Teatre del Liceu.

Codalario, 2016


Dante disc from Granados, Naxos. We must mention the emotional and expressive performance of the mezzo-soprano Gemma Coma-Alabert in the second movement, with a round timbre, well-projected delivery and convincing diction in a particle of clear Franckian and, generically, Wagnerian resonances in one of the great commercialized record hits this 2016.

Codalario, June 2016


Gemma Coma-Alabert embodied a complete Dorabella, both vocally and dramatically, also enhanced by the good direction of actors in this production. The voice of the mezzo-soprano from Girona is well suited to the role of Dorabella, proving it in moments like “È amore un ladroncello”.

Revista musical catalana, June 2015


Gemma Coma-Alabert was totally convincing.

Madama Butterfly, Suzuki, ABAO Bilbao.

Eklectika, February 2015


Gemma Coma-Alabert played a moving Ottavia.

Poppea et Nerone, Ottavia, Òpera Nacional de Montpellier

Opera Magazine, May 2013


The important thing on this occasion was to listen, centering the program and in important repertoire, to the young mezzo-soprano from Girona, Gemma Coma-Alabert. He has a very beautiful voice, with an exercise of varied possibilities in the emission, tenuous vibrato, subtle in the coloring, precise tuning, incisive and defined projection, and articulation and diction of praise in this particular world of the Baroque, with an appropriate style in the ornament. What else? A sample of the potential we have and which must always be given its place in a demanding plan. His Nisi Dominus by Vivaldi, a masterpiece, was formidable, subtle and expressive.

Festival de Música de Torroella de Montgrí

La Vanguardia, August 2011


Mozartian pleasures. The most flirtatious and sensual Dorabella was admirably created by Gemma Coma-Alabert, nice and funny in her role, with anthology moments, such as in the aria “È amore un landroncello”.

La Vanguardia, May 2010


Nicklausse, in the voice of the excellent mezzo-soprano Gemma Coma-Alabert, a role very much in line with her French training. Carried out with an elegance and insight worthy of acclaim.

El libre pensador, February 2011


Gemma Coma-Alabert, as expected, was fantastic: good diction in French, elegant delivery and created a very convincing Nicklausse.

Moments d´òpera. February 2011


The montage promises a great career for the singer Gemma Coma-Alabert… the intervention of Gemma Coma-Alabert (Juditha) was revealing, with means of wonderful pigmentation and powerful musicality, a singer who is promised a career with lyrics from gold

El Periódico, July 2007


The quality of the still little-known Girona mezzo Gemma Coma-Alabert must be emphasized. Charming.

La Vanguardia, July 2007


First of all, we must highlight the interventions of Gemma Coma-Alabert in the titular role of Juditha, with a voice of exquisite timbre and an extraordinary sense of phrasing that delights in arias such as “Veni,veni, me sequere fida” and the beautiful ” Transit aetas”.

Opus Música, revista musical September 2007


Good comedian, Gemma Coma-Alabert (Dorabella) plays a bright and carefree young woman in the spirit of intrigue. His vocal performance is of a high standard (what an admirable diction!).

Resmusica (France), February 2006


Gemma Coma-Alabert is a mezzo-soprano with great drive who did an excellent job in the role of Medea, both vocally and characterizing the character.

New York Times, August 2005


The bright and elegant Spanish mezzo Gemma Coma-Alabert gives us a very present Isaura. His settled voice promises a brilliant career.

Forum Opera, March 2005


Gemma Coma-Alabert seduces with her vocal flexibility, delicate delivery and care given to the ornamentation.

Scenes Magazine, November 2004


…the mezzo-soprano Gemma Coma-Alabert sustained until the end of the show of more than an hour and a half with the phrasing and the delicate ornaments. Precise and of a fair style, different from the tradition of the later opera, here there are no explosions of force or violent feelings but there is a mastery throughout the work.

Eco, ópera Naciso de Scarlatti

Bergens Tidende (Noruega), May 2003


Gemma Coma-Alabert is a sensual Fidalma, with a luminous voice color and a beautiful semi-velvety register.

Le Figaro, April 2003


Gemma Coma-Alabert a voice that seduces and excites.

Opera Internacional, November 2002


Gemma Coma-Alabert (Eco) knew how to sweeten the attacks with a velvety softness, leading the musical phrases with perfect breathing and serene amplitude. Everything is in the place where it belongs, and the expression is not without emotion. The last aria was truly moving.

Coulisses (França), November 2002


Gemma Coma-Alabert, a powerful mezzo-soprano, did a refined job both in terms of vocals and characterization.

New York Times