“In the balance between Figaro and his bride, Susanna ruled. Elena Galvan’s clarion soprano and vivacious acting placed Susanna at the center of the maelstrom, driving the action. Galvan was especially impressive for stepping in at the last minute with an outstanding performance.”

-Ruth O. Bingham, Star-Advertiser, February 2020

“Elena Galvan's Gretel is perfect. She possesses a certain impishness to begin with, so playing an imaginative young girl is a natural. And the energized lift of her soprano is one of my favorite brands of coffee. She excels especially the morning scene , and the two of them blend wonderfully in Humperdinck's Evening Prayer.”

-Michael J. Vaughn, Operaville, November 2019

“Soprano Elena Galván was a graceful, vivacious Gretel.”

-Joshua Kosman, Datebook, SF Chronicle, November 2019

“Elena Galván’s perky Adele threw off plenty of spunk and sparks, making her a decided audience favorite. Ms. Galvan’s perfectly spun, silvery soprano caressed the ear as it effortlessly soared above the staff, below the staff, and all points in between. Her accurate coloratura provided much pleasure, and her bubbly personality and wicked sense [of] fun proved infectious.”

- James Sohre, Opera Today, September 2019

“Galván’s playful rendition of ‘My Lord Marquis’ may have been the highlight of the act, with the coloratura soprano skillfully executing the formidable aria.”

- Sarah Morris, Peninsula Reviews, September 2019

“The cast was vocally tasty, beginning with moment one, Elena Galvan releasing a cascade of glistening notes as housemaid Adele receives a Cinderellish invitation to the ball. Galvan's coloratura is a fine dessert throughout, particularly in the Laughing Song.”

- Michael J. Vaughn, Operaville, September 2019

“Entre estos últimos cabe destacar la exquisitez de timbre, la excelencia vocal y el efectivo dramatismo de las dos divas: Lyubov Petrova como Susanna y Elena Galván como La Contessa. Cada una de sus arias fue entregada con sensibilidad y gracia, y recibieron los merecidos aplausos, pero el dúo de ambas resultó de una belleza casi dolorosa. Inolvidable.”

“Between these last should be noted the exquisiteness of timbre, the vocal excellence, and the effective dramatism of the two divas: Lybov Petrova as [The Countess] and Elena Galván as [Susanna]. Every one of their arias was delivered with sensitivity and grace, and received the deserved applause, but the pair of both resulted in a beauty almost painful. Unforgettable.”

- Daniel Fernández, El Nuevo Herald, January 2019

“Hardly a damsel in distress, Elena Galván’s Susanna was a charmer with a tough edge who could hold her own against Count Almaviva’s amorous advances. Her light soubrette timbre contrasted aptly with Petrova’s weightier sound in the letter duet and she assayed “Deh vieni, non tardar” with fetching allure.”

- Lawrence Budman, South Florida Classical Review, January 2019

“This young soprano is taking on the role of Susanna, the intended bride for FIgaro. Ms. Galvan was formerly a member of the Florida Grand Opera Studio and is now gracing the main stage as a leading lady. Her light soprano voice is a nice contrast to the more dramatic sounds of Ms. Petrova and she fills the role of the ingenue perfectly. Her performance is solid from beginning to end and her rendition of the aria “Deh vieni non tardar” is lovely. Susanna is a difficult role for sopranos to sing because it does not have a lot of flash and thunder, but rather requires a skill for delicacy and perfection. Ms. Galvan meets the challenges of the role easily and gives a superb performance.”

- Jack Gardner, Out Clique Magazine, February 2019

“…Elena Galván’s clear and glimmering soprano. As Susanna, Galván was sharp and savvy, standing firm against the Count and offering perceptive, quick-witted asides as the wedding-day chaos unfolded. Galván seemed to have fun in her role, with a compelling lightness and organic ease in both her acting and singing.”

- Carly Gordon, Schmopera, January 2019

“Calvin Griffin and Elena Galván are marvelous as Figaro and Susanna, around whom the plot revolves, bringing chemistry and fine comedic timing… Galván makes a wise and sparkling bride-to-be, excelling vocally as she schemes with the Countess and Cherubino as well as with Figaro; ‘Deh vieni, non tardar’ was beautifully rendered.”

-David M. Rice, Classical Source, January 2019

"[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

"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

"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

"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

"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 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

"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

“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

"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

"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