"Gloria Hodes steals the show with her fabulous operatic voice." THE NEW YORK POST (The Club)

"A stronger dramatic fiber can be attributed to both Irving Guttmans's minor changes in the staging..and the dramatic skill of the lovely Gloria Hodes who was a very convincing, abused Amelia. Miss Hodes brought affecting sympathy to the role..she was truly great in the quieter passages."  SEATTLE POST INTELLIGENCER (Un Ballo in Maschera)

"Gloria Hodes is on target in the pivotal role of Madame Giry, the choreographer and go-between for the Phantom. Her performance alone incites more paranoia than the entire chorus of screaming ballerinas." EVERYBODY'S NEWS CINCINNATI (Phantom of the Opera)

"In the role of Madame Giry, Gloria Hodes manages to create a distinctive personality, close in spirit to the Phantom himself and equally creepy.." THE OAKLAND PRESS (Phantom of the Opera)

"As the Mother Abbess, Gloria Hodes' mezzo shimmered in her Act I curtain solo, "Climb Every Mountain," justifying for a few brief moments, a production of this musical by an opera company." THE OAKLAND PRESS (Sound of Music)

"Gloria Hodes is magnificent as the Mother Abbess." MILWAUKEE SENTINEL (Sound of Music)

"Gloria Hodes as the tragic Julie turns in the kind of powerful performance that attracts a special aura of brilliance about it."  MILWAUKEE SENTINEL (Showboat)

"...and the really glorious voice of Gloria Hodes." Clive Barnes, THE NEW YORK TIMES (Gantry)

"Gloria Hodes as Odabella, had the height and tremendous soprano essential for the role of the Amazon." BACKSTAGE (Attila)

Tall, dark beautifully handsome, a golden-throated soprano with an overdose of stage presence..."  VILLAGE VOICE (The Club)