Gina Galati

Soprano

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“Gina Galati’s Donna Elvira, on the other hand, was no less powerful, but with a smoother, more mature vocal quality that suited her character.
“— St. Louis Post Dispatch – July 11, 2015 – Union Avenue Opera Don Giovanni

“Gina Galati gives a very polished performance as Donna Elvira, one of Giovanni’s abandoned conquests. She confidently masters arias with complex coloratura elements.”— KDHX – St. Louis – July 10, 2015

“Winter Opera general director Gina Galati took on the role of Suzel. She has a beautiful instrument, and she uses it well; her portrayal was sweet and appealing.”— By Sarah Bryan Miller, St. Louis Post Dispatch – January 26, 2015

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“Bass and soprano deliver the highlights in Miami Lyric Opera’s ‘Don Pasquale’

Galati’s ‘So anch’io la virtu magica’ revealed her flexibility but powerful lyric soprano and good intonation.

Galati was in the zone both dramatically and vocally, first as ‘Sofronia,’ a trembling girl of sweetness and light, complemented by de Peppo’s secure voice and detailed comic timing…. After they marry, a triumphant quartet, featuring nicely matched, soaring duos between Galati and Pereira…..the pinnacle of the opera was the two leads’ extended scene with Don Pasquale’s lament ‘E’ finite’ underpinned by Galati’s tender, concealed remorse for her part in the deception”— By Dorothy Hindman, South Florida Classical Review – Sunday June 29th, 2014

“Gina Galati took on the role of Suzel. She has a beautiful instrument, and she uses it well; her portrayal was sweet and appealing.”— St. Louis Post Dispatch, 1/26/15

“Ms. Galati’s aria ‘So anch’io la virtù magica’ revealed her flexible but powerful lyric soprano and good intonation.

By Act II, Galati was in the zone both dramatically and vocally, first as ‘Sofronia’, a trembling girl of sweetness and light, complemented by de Peppo’s secure voice and detailed comic timing. After they marry, Sofronia’s sudden turn for the much, much worse is joined by Ernesto and Malatesta in a triumphant quartet, featuring nicely matched, soaring duos between Galati and David Pereira as Ernesto.”— South Florida Classic Review, 6/29/14

“An anchor who is a strong woman: Alexandra (Gina Galati), a shrewd businesswoman with a heart as big as the prairie she tames. She tries mightily to protect young brother Emil. Her angst over him was moving to watch. Brava, Miss Galati.” — The Examiner

“Gina Galati, sings a beautiful Lucia.  Her voice is sweet and true, and she quite masters all those Bel Canto flourishes—she’s vocally light and free like a lovely bird.  Miss Galati’s voice is very beautiful”— Steve Callahan – KDHX, 3/8/14

“Galati was a passionate, vocally impressive Gilda. Her Caro Nome, brought a clear, rich voice to its lyric passages and handled the coloratura with apparent ease. The quartet and the final scene, as she prepares to meet her death, were her best moments, as she gave a dramatic, vocally searing account of the character’s tortured decision to face the murderer’s knife.” — South Florida Classical Review

“In the title role, soprano Gina Galati displayed a sweet, clear voice with well-placed high notes, and captured the essence of Baby. The character’s devotion is rewarded with four lovely arias, and Galati made the most of them.” — Post-Dispatch

“Ms. Galati’s aria ‘So anch’io la virtù magica’ revealed her flexible but powerful lyric soprano and good intonation.

By Act II, Galati was in the zone both dramatically and vocally, first as ‘Sofronia’, a trembling girl of sweetness and light, complemented by de Peppo’s secure voice and detailed comic timing. After they marry, Sofronia’s sudden turn for the much, much worse is joined by Ernesto and Malatesta in a triumphant quartet, featuring nicely matched, soaring duos between Galati and David Pereira as Ernesto.”— South Florida Classic Review, 6/29/14