“As Gilda, Gemma Nha walks an emotional tightrope from rebellious bobby-soxer to grief-stricken abductee. Her Caro nome is sublime, her top notes effortlessly carrying over the orchestra and throughout the glorious Act III concertante…” (Jansson J. Antmann, Limelight)

“Gemma Nha is a star, plain and simple. Full vocal honors from start to finish… ravishing pianissimi, glittering acuto, and tasteful, measured pacing. Her “Caro nome” was positively transcendent. She was a committed and compelling actor...” (David Meadows, Opera Gazet)

“The evening’s emotional compass is Gemma Nha, whose Sydney Opera House debut as Gilda is distinguished by uncommon sincerity. Her soprano combines crystalline clarity with remarkable ease across the role’s demanding range, yet technical accomplishment never overshadows dramatic truth. She resists portraying Gilda as merely innocent. Instead, she embodies someone who believes that goodness is the natural state of the world. Watching that belief unravel is infinitely more heartbreaking than watching innocence simply disappear.” (AW, Time and Tide)

“… in Act 2… This was also Gemma Nha’s finest moment as Gilda. Here she displayed a wide emotional and tonal range, beginning Tutte le feste al tempio with winning quietness, before rising to thrilling passion. Earlier she had sung Caro Nome in Act 1 with a bright penetrating sound and a tight vibrato that crazed the tonal surface. Her dramatic persona moved lightly between pertness, filial loyalty and youthful yearning.” (Peter McCallum, The Sydney Morning Herald)

“As Gilda, the Korean-Australian Gemma Nha displayed a rich soprano with an impressive top and an effortless vocal power that belied her tiny frame.” (Tom Pillans, The Daily Telegraph)

“In her company debut, Korean-Australian soprano Gemma Nha portrays Gilda; daughter of Rigoletto with great musical agility. Her Caro Nome is divine; a memorably breathtaking vocal performance with floating coloratura lines, effortless pianissimo high notes and crystal-clear tone… Nha delivers a musically sensitive and stirring Gilda.” (Claira Prider, Theatre Thoughts)

“In her bobby sox, Gemma Nha was a most convincing young, innocent, and gullible Gilda. Her “Caro nome” contained real variety and excited breathlessness. Her coloraturas meaningfully conveying blissfulness in contemplation of the name of the young student who has caught her eye, the Duke in disguise and under an assumed identity. Her notes were thrilling to listen to, but also carried meaning, especially at the end of the “Sì, vendetta” duet with her incensed father where they were tinged with desperation.” (Gordon Williams, OperaWire)

“In the role of his daughter Gilda is Korean-Australian soprano Gemma Nha. Her acting skills are excellent as she faithfully portrayed the innocent teenager, bored with the smothering protection of her father and completely falling for the silver tongued words of the Duke. Nha easily reached all notes and phrases demanded within this coloratura role and was clearly enjoying the experience.” (Annabelle Drumm, Sydney Arts Guide)

“The three leads were spectacular… Gemma Nha as Gilda delighted the audience with a furiously intense vibrato.” (David Spicer, Stage Whispers)

“In this production, both Kang Wang and Gemma Nha, as the Duke of Mantua and Gilda respectively, were stunning in their roles… In her Opera Australia debut, Sydneysider Gemma Nha was also exceptional, receiving deservedly rapturous ovations throughout the production as her stunning soprano showcased both technical expertise and a great deal of character and lyricism to captivate the audience… Overall, this was an exceptional performance that showcased some of Opera Australia’s finest talent, with the performances of Nha and Wang proving to be the highlights.” (Kiran Gupta, Musicaltheatre.au)

“… Gilda, beautifully portrayed by Gemma Nha… Nha’s soaring soprano is breathtaking, particularly during the opera’s most tender moments.” (Yara Vasina, The Plus Ones)

“Gemma Nha was Soeur Constance. Her bubbly nature filled the stage with enthusiasm and passion for life, making her last moment at the scaffold both terrifying and poignant. She has a clear voice across the range with real gleam and beauty at the top, none of it forced. Her singing glided with commendable agility over the score’s more complex passages.” (Héctor Luisi, Opera Magazine)

“Soprano Gemma Nha sang Sister Constance, Blanche’s fellow postulant, with care. Nha’s sunny, nimble soprano effectively conveyed the chatty nun’s earnest devotion and her subtle, graceful vibrato was a vocal highlight.” (Andrew Lokay, Parterre Box)

“In another standout performance, soprano Gemma Nha sang with beauty and clarity as Constance… “ (Opera Gene)

“…there were other standout vocal performances. Gemma Nha as Sister Constance brought a sense of humor to the beginning of her first scene…this role let her show off her fabulous high soprano.” (Maggie Ramsey, Opera Today)

“Gemma Nha as Sister Constance was an utter delight, leaving me laughing out loud…Her impressive vocal range matched her acting chops…” (Emily Berger, Broadway World)

“As Blanche’s unlikely young compatriot at the convent, Sister Constance, Gemma Nha had the winning stage presence to bring off the character’s memorable mix of naivete and obsession with death. Her ebullient soprano proved a fine fit for the part…” (Alex Baker, Washington Classical Review)

Orchestra of St. Luke’s Bach Festival 2026 “The lovely young soprano Gemma Nha…has a fantastic technique…The Alleluia ending of the motet was a show-stopper; Gemma has amazing coloratura, and it showed with that piece.” (Mark Anthony Martinez II, Oberon’s Grove)

Grant Park Music Festival 2024 “Later, as the unearthly Mater Gloriosa, Gemma Nha — a thrillingly evocative soprano, and an incoming Ryan Opera Center singer to watch — sang from the very back of the choral loft, sounding every bit like a voice from heaven. Those placements were pure musical pageantry, in the best way.” (Hannah Edgar, Chicago Tribune)

Civic Orchestra and Ryan Opera Center Concert 2024 “The lovely Korean-Australian soprano Gemma Nha’s petite stature is in complete contrast to her powerhouse gorgeous vocals.” (Susan Lillis, Splash Magazines)

Juilliard 415 Dreams and Monsters: The Theatrical Imagination of Jean-Phillippe Rameau 2023 “Soprano Gemma Nha impressed with the richness of her voice and the purity of emotion expressed in “Tristes apprêts, pâles flambeaux,” in which Télaïre mourns the death of Castor. In total contrast was the warmth and delight in her singing of Cupid and the joys of love in “Régnez, plaisirs” from Dardanus” (Rick Perdian, New York Classical Review)

Lyric Opera of Chicago 2024 “…Gemma Nha brought a spunky energy to Barbarina and filled “L’ho perduta” with the highest level of musicality one could possibly bring…” (Christina Colanduoni, Parterre Box)

Volksoper Wien 2023 “Gemma Nha erfrischte als druckvolle Barbarina.” Gemma Nha was refreshing as a powerful Barbarina. (Stefan Ender, Der Standard)

Volksoper Wien 2023 “Gemma Nha…spielen in den kleineren Partien perfekt Komödie.” Gemma Nha…played the smaller parts with perfect comedy. (Peter Jarolin, Kurier)

“1위 결정 후 심사위원들은 “발성과 가사의 발음, 해석이 완벽하고 자신의 드라마를 만들어낼 줄 아는 가수다. 바로 세계 주요 오페라 무대에 서도 환영받을 재목”이라고 입을 모았다.” After deciding on first place, the judges said, “This singer has perfect vocalization, pronunciation and interpretation of lyrics, and knows how to create her own drama. She is a talent who will be welcomed on major opera stages around the world.” (유윤종, 동아일보 Gustav Yoo, Dong-A Ilbo)

“Standouts included soprano Gemma Nha as Ruth, a down-on-her-luck actress who decides to leave the city, whose focused and luminous sound made her aria a dramatic and vocal highpoint.” (Gabrielle Ferrari, Parterre Box)

“Soprano Gemma Nha was quintessentially Hopper-esque and sounded lovely as Ruth, the failed dancer who has jilted Joe.” (Richard Sasanow, Broadway World)

“Gesanglich bewegt sich der Abend auf hohem Niveau. Gemma Nha zeichnet ihre Wendla mit hellem, flexiblem Sopran und einer Mischung aus Neugier und Verletzlichkeit.” The vocal performance through the evening were of a high standard. Gemma Nha portrays her Wendla with a bright, flexible soprano and a mixture of curiousity and vulnerability. (Patricia Messmer, Kulturfeder)

“Sie spielte sehr natürlich und mit einer kindlichen Art und Naivität die Unwissenheit in Person…Das unbedarfte, neugierige und völlig ratlose Mädchen nahm man ihr zu 100% ab… Bei ihrem Song „Whispering“ wirkte sie sehr zerbrechlich und man hatte das Gefühl, dass man sogar eine gewisse Vorfreude auf das Leben in ihr heraushören konnte.” She portrayed the character with great naturalness, childlike naivety, and a childlike quality that perfectly captured her ignorance… The innocent, curious, and utterly bewildered girl was completely believable… During her song "Whispering," she seemed very fragile, and one could almost hear a certain anticipation of life within her. (Andrea Martin, Kultur Aspekte)