Lisette, La rondine
Opera San Jose, 2017
Director: Candace Evans; Conductor: Christopher Larkin
"[T]he animated soprano Elena Galván was a silver-voiced, spunky actress who accurately hit each and every one of her musical and dramatic marks. Mr. Gates and Ms. Galván contributed mightily to the soaring Act II quartet (with Magda and Ruggero), helping to make it a true highlight of the evening."
- James Sohre, Opera Today, November 2017
"Elena Galván needs special mention for her portrayal of Lisette — her sassy, flirtatious spirit was fun, spirited and deftly executed. Each of the couple’s voices was very well balanced and no one in the cast was a weak link."
- Sarah Morris, Peninsula Reviews, November 2017
"Playing the housemaid Lisette, soprano Elena Galvan displays an agile tone and excellent comic skills (notably a pantomime of being pelted by tomatoes at her singing debut). Together, these two have a bickering repartee much like the lighter moments of Boheme’s Marcello and Musetta."
- Michael J Vaughn, Operaville, November 2017
"Elena Galván’s Lisette fills out the lovers’ ensemble. She is rapid-fire, witty, and penetrating, but with fine vocal quality."
- Victor Cordell, For All Events, November 2017
"Elena Galván, the maid turned opera singer turned maid again, is lively and funny. Her voice sparkles and she plays off of Mason Gates, whose Prunier is also adorable."
- Opera Tattler, November 2017
"The second star of the night clearly went to soprano Elena Galvan as Lisette. Puccini beautifully understands the desire and need to add a bit of comic relief to his otherwise tragedy riddled operas and Lisette’s role was clearly defined as this from the very beginning of the performance. Galvan owns this role and delivers it with incredible mastery."
- Sherrie Perkovich, Communities Digital News, November 2017
Oscar, Un ballo in maschera
Florida Grand Opera, 2017
Director: Marco Pelle; Conductor: Ramón Tebar
"Elena Galván’s nimble coloratura and perky stage presence were captivating as Oscar, the king’s page. Prancing and dancing around the stage, seemingly immune to the unfolding tragedy at the king’s court, the vocally and physically agile Galván even turned a cartwheel during the curtain calls."
- Lawrence Budman, South Florida Classical Review, April 2017
"Young Artist Elena Galvan sang the soprano role of Oscar the King's page. Galvan's sparkly voice has the perfect edge to be a Verdi coloratura soprano. The voice has dexterity and agility while still being loud enough to cut over a Verdi orchestra."
- Jack Gardner, EDGE Media Network, May 2017
"Soprano Elena Galván, a light-voiced singer with an agile instrument, was charming as Oscar, which was important for the contrasts built into this opera, with its mix of comedy, heartbreak and tragedy. Her Act III “Saper vorreste” offered a pleasing throwback to a more bel canto style of singing, and Galván showed she can pull it off."
- Greg Stepanich, Palm Beach Arts Paper, May 2017
"It is the singing that counts this time and for this we were treated to something rare these days, truly great Verdi singing starting with the newly svelte (and no less cute) Elena Galván as Oscar. The coloratura was no challenge for her. Oscar’s movements require a dancer’s grace so Ms. Galván was simply having the time of her life. This brilliant performer is completing her second year in Florida Grand Opera’s Young Artist program, her future is secure. Of course she will do the soubrettes for quite awhile, but something tells me that she will move on to riper repertoire. But now let’s revel in someone who can easily tackle this risky stuff with the command of someone much more experienced.."
- Jeff Haller, ConcertoNet.com, May 2017
"In the trouser role of Oscar, the king's lighthearted page, was soprano Elena Galván, who previously scored points as Norina in FGO's production of "Don Pasquale." She defended Ulrica ("Volta la terrea") with crisp and supple Mozartian vocal leaps and energy, later darting from chair to chair with her sparkling soprano, taunting Anckarstöm as to the exact description of the king's costume at the ball ("Saper vorreste")."
- Steve Gladstone, miamiartzine, May 2017
"Elena Galván lució su afinada voz y hasta su capacidad para la acrobacia como Oscar, mensajero y mignon del rey."
"Elena Galván showed her honed voice and even her capacity for acrobatics as Oscar, messenger and mignon of the king."
- Daniel Fernández, el Nuevo Herald, May 2017
"Soprano Elena Galván, a member of FGO’s Young Artist program, was delightful as the annoyingly flighty courtier Oscar."
- Bill Hirschman, Florida Theater On Stage, May 2017
Soprano Soloist, A Cuban in Vermont
Nu Deco Ensemble, 2017
Conductor: Jacomo Bairos
"Soprano Elena Galván, a member of Florida Grand Opera’s Young Artist Program, was the outstanding soloist. Although she was standing at the rear of the orchestra and was amplified, her clear, bright tone and spot-on coloratura gave voice to the creature’s flight in “Sing, sweet bird.” She brought intense feeling to the “Nocturno” with the lines “Where is my home?” receiving emphatic impact. She registered both joy and sorrow in “I love another love.” Martín’s string writing is deft and expressive. The repetitive figures to the text “we live happily…happily” are particularly intoxicating. Galván gave a memorable performance, both expressive and agile."
- Lawrence Budman, South Florida Classical Review, March 2017
Norina, Don Pasquale
Florida Grand Opera, 2016
Director: Renaud Doucet, Conductor: Ramón Tebar
"Galván was a spunky heroine with the deft timing and repartee of a natural comedienne. Her duet with the Malatesta of Marco Nisticò was appropriately playful. She played the scenes with Kristopher Irmiter’s Pasquale to the hilt. At first pretending to be a shy bride, she turned tigress with fury and real command of the stage. Galván’s bright timbre and agile top register were a good fit for the soubrette role. She easily nailed the coloratura runs and trills in the final ensemble."
- Lawrence Budman, South Florida Classical Review, May 2016
"Elena Galván’s vocal youth is matched by her understanding of Norina’s prickly nature; her famous slap really stings. This combination gives the performance its drive. Norina’s many high notes provide a coloratura roller coaster... they are always on pitch, strong and beautiful; Galván is the real thing. Let’s hope that companies fully utilize her freshness for bel canto before she moves on to the heavier repertory."
-Jeff Haller, ConcertoNet.com, May 2016
Yvette, The Passenger
Florida Grand Opera, 2016
Director: David Poutney, Asst. Director: Rob Kearley
Conductor: Steven Mercurio
"Soprano Elena Galvan sang the small role of the French prisoner Yvette... Galvan has a beautiful coloratura soprano with a brilliant, crystalline top coupled with a good strong sense of the dramatic."
-Jack Gardner, EdgeMediaNetwork.com, April 2016
"La soprano neoyorkina Elena Galván, de voz ligera, hizo una creación de Yvette, la prisionera francesa."
"The New Yorker soprano, Elena Galván, with light voice, made a creation of Yvette, the French prisoner."
-Pedro J. Lapeña Rey, CodaLaria.com, April 2016
"In one scene, [Kathryn Day] and Elena Galván, as the young French girl Yvette, sat on a bunk, their legs dangling, as they tentatively reached across barriers of language and age, forming a fragile connection amid the surrounding brutality."
-David Fleshler, South Florida Classical Review, April, 2016
Mabel, The Pirates of Penzance
Lamplighter's Music Theatre, 2014
Director: Jane Erwin Hammett, Conductor: Baker Peeples
"Elena Galvan as Frederic's fiance Mabel... surprises with a sweet and clear operatic voice worthy of far-larger stages."
-Harmony Wheeler, BroadwayWorld.com, August 2014
"Saddled with one of the most demanding solos possible for a soprano (“Poor Wandering One”) Galván performs masterfully, with a light coloratura that hits just the right tone in this comedic musical."
-Meg Elison, The Daily Californian, August 2014
Lamplighter's Music Theatre, 2013
Director: Barbara Heroux, Conductor: Baker Peeples
"As the Arcadian shepherdess Phyllis, soprano Elena Galván's appeal is evident; her voice shines with a winsome, lyric luster."
-Carol E. Davis, Opera News, May 2013