[et_pb_section fb_built=”1″ admin_label=”Header” _builder_version=”4.27.2″ _module_preset=”default” use_background_color_gradient=”on” background_color_gradient_direction=”9deg” background_color_gradient_stops=”rgba(19,26,35,0.15) 0%|rgba(19,26,35,0.76) 100%” background_color_gradient_start=”rgba(19,26,35,0.15)” background_color_gradient_end=”rgba(19,26,35,0.76)” background_image=”https:\/\/www.gemmacomaalabert.com\/wp-content\/uploads\/2024\/10\/header_critiques.jpg” background_position=”top_center” custom_padding=”5vw||18vw||false|false” hover_enabled=”0″ global_colors_info=”{}” title_text=”header_critiques” sticky_enabled=”0″][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.25.0″ _dynamic_attributes=”content” _module_preset=”e864d11f-3dab-4fa3-ac06-4f0e1a260807″ header_font=”Baskervville|700|||||||” header_text_color=”#FFFFFF” header_font_size=”60px” header_line_height=”1.1em” text_orientation=”right” custom_margin=”||0px||false|false” header_font_size_tablet=”40px” header_font_size_phone=”24px” header_font_size_last_edited=”on|desktop” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF90aXRsZSIsInNldHRpbmdzIjp7ImJlZm9yZSI6IjxoMT4iLCJhZnRlciI6IjwvaDE+IiwiZW5hYmxlX2h0bWwiOiJvZmYifX0=@[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.25.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.2″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n
Gemma Coma-Alabert is of high quality when approaching a profound role such as that of Suzuki, a true emotional workhorse both vocally and dramatically, areas in which the Girona native maintained her precision and excellent work.<\/strong><\/p>\n Madama Butterfly, Suzuki, Teatro Real<\/p>\n Press Music, July 2024<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.2″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Mezzo-soprano Gemma Coma-Alabert showed us a Suzuki with power, with well-finished phrases in a homogeneous voice.<\/strong><\/p>\n Madama Butterfly, Suzuki, Teatro Real<\/p>\n Opera World, July 2024<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.2″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Coma-Alabert possesses a strong, resounding sound, showcasing her dramatic abilities in the first scene of the second act with Butterfly and in the final scene, as well as a beautiful lyricism and mezza voce in the flower duet with Butterfly at the end of the second act.<\/strong><\/p>\n Madama Butterfly, Suzuki, Teatro Real<\/p>\n Opera Wire, July 2024<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.2″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Along with Sondra Radvanovsky, I would like to highlight the perfection of the mezzo-soprano Gemma Coma-Alabert in the role of Dama. The first great ovation of the evening in the final bows was for her and there is no doubt, given her ample excellence, that it was deserved. <\/strong><\/p>\n Macbeth, Dama, Gran Teatre del Liceu<\/p>\n Platea, February 2023<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.2″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert made her debut on the Madrid stage with absolute excellence; I wish she could be seen more often at the Madrid coliseum.<\/strong><\/p>\n La Celestina, Are\u00fasa, Teatro de la Zarzuela de Madrid<\/p>\n Opera Actual, September 2022<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.2″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert’s Marcellina was very good, with a touch of Spanish authenticity that suits the character very well.<\/strong><\/p>\n Le Nozze di Figaro, Marcellina, Teatro Real<\/p>\n Opera Actual, April 2022<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Impeccable Gemma Coma-Alabert in the role of Laura.<\/strong><\/p>\n Luisa Miller, Laura, Gran Teatre del Liceu<\/p>\n La Vanguardia, July 2019<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert showed off as Mrs.Meg Page, standing out for her naturalness and style.<\/strong><\/p>\n Fastaff, Mrs. Meg Page, Teatro Real<\/p>\n Opera Actual, June 2019<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.2″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert shone again in the sung part.<\/strong><\/p>\n Symphonic poem Dante de Granados and Sombrero de tres picos de Falla. Auditori de Barcelona, OBC directed by Kazushi Ono<\/p>\n Revista musical catalana, December 2018<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert’s debut Cherubino had all the ingredients that make this role a bonanza for any mezzo… mischievousness, scenic grace, careful diction, expressiveness in the delivery of the two arias and a good balance in the concerters<\/strong><\/p>\n Le Nozze di Figaro, Cherubino. Gran Teatre del Liceu.<\/p>\n Codalario, 2016<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.27.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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 hits records marketed this 2016. <\/strong><\/p>\n Codalario, June 2016<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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 “\u00c8 amore un ladroncello”. <\/strong><\/p>\n Revista musical catalana, June 2015<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert was totally convincing.<\/strong><\/p>\n Madama Butterfly, Suzuki, ABAO Bilbao.<\/p>\n Eklectika, February 2015<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert played a moving Ottavia.<\/strong><\/p>\n Poppea et Nerone, Ottavia, \u00d2pera Nacional de Montpellier<\/p>\n Opera Magazine, May 2013<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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.<\/strong><\/p>\n Festival de M\u00fasica de Torroella de Montgr\u00ed<\/p>\n La Vanguardia, August 2011<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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 “\u00c8 amore un landroncello”.<\/strong><\/p>\n La Vanguardia, May 2010<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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.<\/strong><\/p>\n El libre pensador, February 2011<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert, as expected, was fantastic: good diction in French, elegant delivery and created a very convincing Nicklausse.<\/strong><\/p>\n Moments d\u00b4\u00f2pera. February 2011<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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<\/strong><\/p>\n El Peri\u00f3dico, July 2007<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n The quality of the still little-known Girona mezzo Gemma Coma-Alabert must be emphasized. Charming.<\/strong><\/p>\n La Vanguardia, July 2007<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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”.<\/strong><\/p>\n Opus M\u00fasica, revista musical September 2007<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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!).<\/strong><\/p>\n Resmusica (France), February 2006<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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.<\/strong><\/p>\n New York Times, August 2005<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n The bright and elegant Spanish mezzo Gemma Coma-Alabert gives us a very present Isaura. His settled voice promises a brilliant career.<\/strong><\/p>\n Forum Opera, March 2005<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert seduces with her vocal flexibility, delicate delivery and care given to the ornamentation.<\/strong><\/p>\n Scenes Magazine, November 2004<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n …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. <\/strong><\/p>\n Eco, \u00f3pera Naciso de Scarlatti<\/p>\n Bergens Tidende (Noruega), May 2003<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert is a sensual Fidalma, with a luminous voice color and a beautiful semi-velvety register.<\/strong><\/p>\n Le Figaro, April 2003<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.24.0″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert a voice that seduces and excites.<\/strong><\/p>\n Opera Internacional, November 2002<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n 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.<\/strong><\/p>\n Coulisses (Fran\u00e7a), November 2002<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.24.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”{||divi||400″ icon_color=”#000000″ _builder_version=”4.25.0″ _module_preset=”default” body_font=”Montserrat||||||||” body_text_color=”#565656″ text_orientation=”center” background_layout=”dark” global_colors_info=”{}”]<\/p>\n Gemma Coma-Alabert, a powerful mezzo-soprano, did a refined job both in terms of vocals and characterization.<\/strong><\/p>\n New York Times<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Gemma Coma-Alabert is of high quality when approaching a profound role such as that of Suzuki, a true emotional workhorse both vocally and dramatically, areas in which the Girona native maintained her precision and excellent work. Madama Butterfly, Suzuki, Teatro Real Press Music, July 2024Mezzo-soprano Gemma Coma-Alabert showed us a Suzuki with power, with well-finished […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-1119","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\n