LUISA FERNANDA - MANUEL DE FALLA AUDITORIUM

Anna Gomà as Luisa Fernanda was splendid, demonstrating not only the flexibility of her voice but also her technique and beauty. Her performances were full of power, and she always offered the perfect response to her fellow cast members. She stood out in her duets with Vidal and Javier. 'Luisa Fernanda' captivated the Granada audience.

CARMEN

Eleven numbers from the opera, with Anna Gomà embodying the gypsy and Juan Noval-Moro as José, she barefoot and he swaggering, vocally brilliant, with abundant sound and excellent, expressive phrasing. From the prelude to the final duet (“C’est toi? C’est moi!”), including the celebrated Habanera, the seguidilla “Près des remparts de Séville,” and José’s challenging aria (“La fleur que tu m’avais jetée…”), the singers were fully committed to the theatrical action, with the generosity of true artists. https://www.operaworld.es/critica-passion-francaise-en-logrono/

GITANA

Anna Gomà carries the bulk of the performance on her shoulders, displaying a voice with an easy, pleasing timbre, free-flowing at the extremes and with a very present center. Her voice was heard singing ‘Mon coeur s’ouvre à ta voix’ from Samson et Dalila, the ‘Song of the Gypsy Woman’ from Chapí’s La chavala, the ‘Song of the Gypsy Woman’ from La alegría del batallón, Azucena’s ‘Stride la vampa’ from Verdi’s Il trovatore, ‘Pobre chica’ from La Gran Vía, ‘Bendita cruz’ from Don Gil de Alcalá, the Habanera from Carmen… A true tour de force, a full-fledged recital, in which Anna Gomà could not have left a better vocal and stage impression. https://www.plateamagazine.com/criticas/18316-anna-goma-protagoniza-gitana-en-el-espacio-garage-lola

MARIA- YERMA - AUDITORIO DE TENERIFE

The performance is also sustained by a large cast of supporting and minor actors. Among the former, it is worth highlighting Anna Gomà's Maria, a singer who does not waste a new opportunity to assert herself as a professional destined for greater commitments. https://www.plateamagazine.com/criticas/19177-berna-perles-protagoniza-una-nueva-produccion-de-yerma-en-la-opera-de-tenerife-con-escena-de-paco-azorin

In the extensive, varied, and well-calibrated cast, all the women stood out, from mezzo-soprano Anna Gomà in her outstanding performance as Maria... https://www.beckmesser.com/critica-yerma-tesoro-lirico-tenerife/

...as did the excellent group of women who are neighbors of the protagonist, especially Anna Gomà's Maria, with the most extensive role... https://www.operaactual.com/critica/aclamado-estreno-europeo-de-yerma-de-villa-lobos-en-tenerife/

MERCEDES - TEATRO DE LA MAESTRANZA - TEATRE PRINCIPLA DE MALLORCA - ÓPERA DE OVIEDO 

Soprano Mercedes Arcuri and mezzo-soprano Anna Gomà were worthy friends of the protagonist, achieving excellent teamwork in their participation in the second act quintet and, especially, in a high-caliber card scene. https://www.operaactual.com/critica/la-segunda-carmen-pasaba-por-alli/ Fortunately, the supporting cast was excellent, with special mention for Bou, Esteve, Marín, Brasò, and Gomá. https://scherzo.es/sevilla-carmen-regreso-en-falso/ Superb supporting roles in these performances of Carmen. Especially noteworthy were Laura Brasó's Frasquita and Anna Gomà's Mercedes, two young singers who gave absolutely everything as both actresses and singers. Fresh voices of excellent quality to whom I predict, if luck is on their side, a great future https://www.plateamagazine.com/criticas/11305-ketevan-kemoklidze-protagoniza-carmen-debizet-en-el-30-aniversario-del-maestranza-de-sevilla

There was competence and good theater in Mercédès (Anna Gomà) and Frasquita (Laura Brasó) https://www.operaactual.com/critica/carmen-y-su-regreso-al-maestranza-merecio-la-pena-laespera/ Carmen's companions, brilliantly interpreted by Laura Brasó and Anna Gomà, take on special importance in the central acts; the acting versatility of both singers was combined with perfect diction and refined technique that gave their characters presence and flexibility, enhancing the ensemble scenes in which they appeared. https://www.operaworld.es/una-carmen-de-excepcion-en-el-teatro-de-la-maestranza/ Among the supporting roles, we highlight the Dancaire, always effective, by Esteve, and the attractive voices of Frasquita de Brasó and Mercedes de la Gomà, both fresh, agile, and intense. https://www.ritmo.es/auditorio/critica-vendedoras-de-humo-carmen-teatro-de-la-maestranzapor-carlos-tarin

FLORA - OVIEDO OPERA

And for the opera to work perfectly, the vocal cast is paramount, which in Oviedo was headed by the Russian soprano Ekaterina Bakanova - returning to the Campoamor stage after her excellent Leïla in "The Fishermen" in 2021 and having premiered this same production in Perelada three years ago - and the Mexican tenor Leonardo Sánchez (interviewed by OW in January of this year), making his debut in the Asturian capital, the leading couple