"[A] well-rounded and gifted vocalist"
-Review of Maid of Orleans by Kimmie Tubre, Where Y'at, 2020
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"The title character gave a beautifully haunting performance topped with a glare that melted, with an equally stunning instrument and effective physicality of character."
-Review of Elizabeth Cree from the National Opera Association, 2019
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"There was much to celebrate in the singing here, including the first-cast Joan, Elana Gleason. Her substantial lyric soprano has a silvery shimmer and quick vibrato that reminds me of Pilar Lorengar, a favorite of mine—and, also like Lorengar, she has a compelling emotionality. Gleason’s is a very different sound than the heavier mezzos who often sing Joan, but her youth and femininity are very effective, and she showed real musicality in her arias and ensembles."
-David Fox, Parterre Box, 2019
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"Soprano Elana Gleason flaunted pinpoint finesse on high B’s and C’s"
- James Jorden, New York Post
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"Elana Gleason displayed a particularly beautiful soprano as one of the 'London Girls.'"
- Opera News
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"The undisputed star of Pagliacci was Elana Gleason as Nedda. ...Ms. Gleason sang the role with great skill and beauty. Whether she was acting as Nedda, longing to run away with her lover, or play-acting as Colombine in the play within the play, one couldn't tear one's eyes away."
-David Browning
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"Beautiful soprano Nedda (Elana Gleason) conveys comedy, tragedy and infidelity with grace, wit and anguish. It is eminently understandable why three men will battle for her heart."
- Cliff Kasden, Brooklyn Spectator
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"The role [of Vitellia] was sung by soprano Elana Gleason who used her stunning looks and equally stunning voice to good effect"
- Voce di Meche
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"As Vitellia, Elana Gleason projected the old-school glamour of a noir heroine without the sheer psychosis that one often sees in this role. She has a large voice with a sturdy, slightly metallic quality, that glowed and flourished in her big arias."
- Paul J. Pelkonen
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"The talented cast performed with considerable zest...Elana Gleason was credibly coquettish in Musetta’s ‘Quando men vo’ from La bohème, and, as Magda in La Rondine, she sang ‘Chi il bel sogno di Doretta’ with verve and elegance."
- Victor Wheeler, Classical Source
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"Elana Gleason, as the compassionate and feisty Sister Genovieffa, displayed a bright, warm soprano"
- Opera Obsession
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"The matinee concert opened with a memorable performance of “Italian Street Song” (Naughty Marietta) sung by soprano Elana Gleason."
-Rachel Silberstein, Bensonhurst Bean
-Review of Maid of Orleans by Kimmie Tubre, Where Y'at, 2020
●
"The title character gave a beautifully haunting performance topped with a glare that melted, with an equally stunning instrument and effective physicality of character."
-Review of Elizabeth Cree from the National Opera Association, 2019
●
"There was much to celebrate in the singing here, including the first-cast Joan, Elana Gleason. Her substantial lyric soprano has a silvery shimmer and quick vibrato that reminds me of Pilar Lorengar, a favorite of mine—and, also like Lorengar, she has a compelling emotionality. Gleason’s is a very different sound than the heavier mezzos who often sing Joan, but her youth and femininity are very effective, and she showed real musicality in her arias and ensembles."
-David Fox, Parterre Box, 2019
●
"Soprano Elana Gleason flaunted pinpoint finesse on high B’s and C’s"
- James Jorden, New York Post
●
"Elana Gleason displayed a particularly beautiful soprano as one of the 'London Girls.'"
- Opera News
●
"The undisputed star of Pagliacci was Elana Gleason as Nedda. ...Ms. Gleason sang the role with great skill and beauty. Whether she was acting as Nedda, longing to run away with her lover, or play-acting as Colombine in the play within the play, one couldn't tear one's eyes away."
-David Browning
●
"Beautiful soprano Nedda (Elana Gleason) conveys comedy, tragedy and infidelity with grace, wit and anguish. It is eminently understandable why three men will battle for her heart."
- Cliff Kasden, Brooklyn Spectator
●
"The role [of Vitellia] was sung by soprano Elana Gleason who used her stunning looks and equally stunning voice to good effect"
- Voce di Meche
●
"As Vitellia, Elana Gleason projected the old-school glamour of a noir heroine without the sheer psychosis that one often sees in this role. She has a large voice with a sturdy, slightly metallic quality, that glowed and flourished in her big arias."
- Paul J. Pelkonen
●
"The talented cast performed with considerable zest...Elana Gleason was credibly coquettish in Musetta’s ‘Quando men vo’ from La bohème, and, as Magda in La Rondine, she sang ‘Chi il bel sogno di Doretta’ with verve and elegance."
- Victor Wheeler, Classical Source
●
"Elana Gleason, as the compassionate and feisty Sister Genovieffa, displayed a bright, warm soprano"
- Opera Obsession
●
"The matinee concert opened with a memorable performance of “Italian Street Song” (Naughty Marietta) sung by soprano Elana Gleason."
-Rachel Silberstein, Bensonhurst Bean