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Contessa Almaviva with Utah Festival Opera:

I must kowtow to Bridgette Gan who plays the Countess Almaviva, the long suffering wife of the womanizing Count. Gan is exquisite as the Countess. Her first aria that opens Act II, “Porgi, amor, qualche ristoro,” (or, “Grant, love, some comfort“) is beautifully sung and staged by director Suzan Hanson. The Countess stands, her back to the audience, framed in an archway, her thoughts assuredly on her husband. Gan sings this heartfelt aria wrenchingly, with artistry and amazing control. Hanson and Gan trust the music to carry the moment, keeping the action simple. Gan’s Act III aria, “Dove sono i bei momenti” is just as exquisite with Gan adding embellishments and nuances I’ve never heard before, which deepens its lush beauty.

-Utah Theatre Bloggers 

As Act II opened, Countess Almaviva (Bridgette Gan) provided a production highlight with her lamentation over her husband’s infidelity. It was heartfelt and pointed, and labeled Gan as the one to listen to.

-Deseret News 

Director Suzan Hanson gets marvelous performances from her entire cast, especially Rose-Antoinette Bellino and Bridgette Gan. Both women are impressive vocalists and their superb acting is just frosting on the cake.  As Rosina, the Countess Almaviva, Ms. Gan nicely balances what could have been contradictory roles as a tragically estranged spouse and a playfully amused object of a juvenile suitor’s affections.

-Utah Public Radio 


Sharon Graham in Master Class with Utah Festival Opera:


Bridgette Gan, as Sharon, the second Soprano is perfect in the role, and when she and Hanson interact, Hanson’s innate vulnerability and love of opera works.


-Utah Theatre Blog

Supporting cast members add lust and depth to the drama...Bridgette Gan beautifully performs an aria from “Macbeth”


-The Herald Journal

Adina in L'elisir d'amore with St. Petersburg Opera:


But the real draw is the promising Bridgette Gan as Adina, who made a strong impression in her St. Petersburg Opera debut. From her opening aria, Of the Cruel Isolda, Gan captures the ear and eye with power and precision. She also made use of other bel canto staples, such as the gradual crescendo and decrescendo, a portamento or glide between notes, and the artful gesture as part of a song's delivery. It was hard to watch her performance and imagine anyone else playing Adina.

~Tampa Bay Times


Norina in Don Pasquale with Opera Orlando:

Gan, who sports a clear, ringing soprano, has a saucy sparkle in her eyes--when Pasquale calls her a minx, you believe it.

                                        ~Orlando Sentinel 

Bethany Squeals in The Impresario with Opera Orlando:

A tarted-up Bridgette Gan particularly sparkles, vocally and comically.

                                -Orlando Sentinel

Zerbinetta at "Opera on The Waterfront" with Palm Beach Opera:


Next came the amazing Bridgette Gan, a fellow last year, now an opera star. Her soprano could break glass: the range is sensational and her pitch, perfection, as she sang Zerbinetta’s Rondo from Strauss’s Ariadne Auf Naxos. Impresarios will be happy to hire her.

She’ll fill seats with a command of vocal pyrotechnics like hers.


                                             ~Palm Beach Arts Paper 

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Marie in La Fille du Régiment with Palm Beach Opera:

Singing the role of Marie Saturday night was Palm Beach Opera Young Artist, Bridgette Gan (soprano). The role of Marie is a blend of coloratura and comic gags. Gan has lovely crystal clear high notes and a comic presence that brings to mind a slightly more refined Elly May Clampett.


                                            -The Shot Glass Review


The cast for Saturday's performance featured a member of the Palm Beach Opera Young Artist program, Bridgette Gan, stepping into the role of Marie in place of another soprano who was ill.  Gan came in and gave a tour de force performance as Marie. Her voice has a rich tone with sparkling high notes. Her first aria, "Chacun le sait, Chacun le dit,"was beautifully sung and her second act show pieces, the melancholy "Par le rang et par l'opulence and the rousing "Salut a la France," were just as expertly and artfully sung. Gan delivered a vocally beautiful and consistent performance....Gan's performance as Marie was a great star turn for this young singer who has a world of potential in front of her.


                                               -Edge Media Network 

Featured Soloist at "Opera on The Waterfront" with Palm Beach Opera:


"Glitter and Be Gay" from Leonard Bernstein's operetta "Candide" is one of the few pieces that crosses over between the operatic and musical theater repertories. It is a difficult piece to sing with a lot of florid coloratura and several high E flats. It also requires a lot of acting ability to pull off. Soprano Gan proved that she has the vocal as well as acting ability and stage presence to do this aria justice.


                                             -Edge Media Network


"Soprano Bridgette Gan wowed the audience with her fantastic and brilliant singing of “Glitter and Be Gay,” from Leonard Bernstein’s Candide. She was sensational, and got the loudest applause. 


                                      ~Palm Beach Arts Paper 

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Morgana in Opera in One Hour Alcina with Palm Beach Opera:


“Ever threatening, Gan’s evil side was very convincing… her runs were perfection. After her touching scene with Bradamante posing as Ricciardo, Gan lets off a bunch of Handelian “fireworks” that could be heard in the Florida Keys.

What a joy to hear her sing with such earnest conviction.”


                                       -Palm Beach Arts Paper

Opera Night at Columbus Citizens Foundation:

“Bridgette Gan sang “Sempre libera” from Verdi’s La Traviata and impressed with her unwavering defiance of love pulling her from freedom...Gan’s focused and steady, soaring soprano took us all on that journey.”


                                -Brooklyn Daily Eagle

Giulio Gari Foundation 2013 Gala:

“Sopranos Bridgette Gan and Samantha Guevrekian were a stunning blend in “Canzonetta sul aria” from Mozart’s Le Nozze di Figaro. Gan’s lyrical heights and Guevrekian dramatic flights made for perfect harmony.”


                             -Brooklyn Daily Eagle


Contessa Almaviva in Le Nozze di Figaro with the Pacific Opera Project:


“Bridgette Gan portrayed the ultra lovely heartbroken Countess… a gorgeous soprano who drove the show …her voice billows through her body and excited the audience even more.”


                             -LA Splash Magazine


2011 Gerda Lissner Foundation Award Winner:


“2nd place went to soprano Bridgette Gan who offered a well paced Depuis le jour with a pin point ending”

                            -Opera News

Konstanze in Die Entführung aus dem Serail with the Maryland Opera Studio:


“The audience and I enjoyed the outstanding voice of Bridgette Gan as Konstanze…this time I wanted the pirate to get his princess.”


                           -Baltimore Budget Events Examiner


“a gorgeous Konstanze…has the kind of lovely and flexible voice that can navigate intricate coloratura one minute and deliver a subtle put-down the next.”


                          -The Washington Post


Florencia in Florencia en el Amazonas with the Maryland Opera Studio:


“Bridgette Gan, in the challenging role of Florencia showed

a voice capable of gorgeous lyric singing”


                           -The Washington Post



Venus in Orpheus in the Underworld with Central City Opera:


“Several of the company's apprentices got opportunities to take on major roles, and all acquitted themselves commendably, especially soprano Bridgette Gan as Venus”


                          -Opera News

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