“Brooke Clark Gibson was the glue that held the productions together, playing the female lead in both of the short operas. As Trouble in Tahiti’s Dinah, the unhappy suburban wife of ego-centric businessman Sam (sung powerfully by Brian Carter), Clark Gibson was alternately poignant at her psychiatrist’s office and breezy after spending an afternoon at the movies. With a totally different look in The Old Maid and the Thief, she was a comic dowager who goes wrong after meeting a handsome young beggar. … In April, TLO performed Aaron Copland’s three-act opera, The Tender Land, again featuring Gibson and her husband, bass Brandon Gibson. Is there any role that she can’t play?” 
​​- Chester Rosson, Texas Monthly

​​Italienisches Liederbuch with Voces Intimae (Dallas): “The four singers brought not only powerful, expressive voices but also physically gripping presences. … Brooke Clark Gibson supplied a potent mezzo, impressively even from top to bottom …” 
​- Scott Cantrell, The Dallas Morning News

From Art Deco to Art Song with Voces Intimae: “Vocalist Brooke Clark Gibson ... [an] impressive musical dramatist...” 
​- Olin Chism, The Dallas Morning News

As Jezibaba (Rusalka): “Brooke Clark Gibson played Jezibaba… with a cackle that continued way after she re-entered her underworld through the stage floor, she did haunt me.” 
​- J. McConnell, Norman Transcript

As Bloody Mary (South Pacific) with Brevard Music Festival: "The Bloody Mary of Brooke Clark was deliciously vulgar and gross with a voice that captured the mystery of her Bali Ha'i." 
​- John Bridges, Asheville Citizen-Times

As La Voix (Les Contes d'Hoffman) with Opera North: "Supporting roles were well taken, including Brooke Clark as Antonia's mother.”
​- Catherine Peterson, The Boston Globe