New York Times
Cynthia Munzer was excellent! [Metropolitan Opera LULU]
Los Angeles Times
Cynthia Munzer's rich mezzo-soprano was heard to good effect in Es ist vollbracht. [Oregon Bach Festival]
Dallas Times Herald
Cynthia Munzer was sexy of voice and physical appearance and created a Maddalena who sticks in the mind. [Dallas Opera]
Munzer not only has a rich, buttery mezzo, but knows just what to do with it. She got right under the skin of He Was Despised, and was able to tap the pain and drama of the doleful aria. [Rhode Island Symphony]
The Washington Post
One of the finest voices in the whole well-sung production (EUGENE ONEGIN) is that of Cynthia Munzer in the role of Olga. Her characterization of Tatiana's lighthearted sister who drives Lensky to despair and ultimately, death -- was excellent. [Washington Opera]
Miss Munzer's beautiful, rich mezzo revealed great emotional power, her voice and acting raised this character to the most tragic and sympathetic figure.
[Augusta Tabor - THE BALLAD OF BABY DOE - Michigan Opera Theatre]
Munzer's intense portrayal and forthright vocalism quickly established and held the dramatic center of the evening. [Augusta Tabor- THE BALLAD OF BABY DOE - Dayton Opera]
The brightness of this lovely singing actress was enhanced greatly by the contrasting sorrowful darkness unerringly projected in the acting and superb singing of Cynthia Munzer. As Augusta Tabor, the wife wronged by the young attraction of Baby Doe, Munzer expressed her anger and anguish by allowing her warm contralto voice to take on dramatically ugly timbre. [Florentine Opera]
THE ITALIAN GIRL had many strong points--notably Cynthia Munzer's saucy, sparkling heroine. Miss Munzer's bewitching personality and creamy coloratura made a perfect foil for the buffoonish Mustafa. [Kansas City Lyric Opera]
Kansas City Star
In mezzo-soprano Cynthia Munzer, the Lyric Opera has a vivacious and sinfully attractive Isabella. Miss Munzer's glowing personality would light up any stage, and her agile voice ranged easily through the peaks and valleys of Rossini's exuberant coloratura. On opening night, Miss Munzer would have stolen the show if the rest of the cast had not been so good.
New York Times
Cynthia Munzer was a well sung and finely acted Olga. [Washington Opera]
The Star Ledger
Munzer (in the role of Adalgisa) was impressive . . . Miss Munzer was by far the most polished singer of the evening, and her coloratura was consistently dazzling. [New Jersey Opera]
The South China Morning Post
Two arias were splendid...Cynthia Munzer sang a delicate bel canto Rossini aria (Cruda Sorte from L'ITALIANA IN ALGERI.) The mimes, action and the delicious runs of the song made a most happy combination. [Hong Kong Philharmonic]
The New Yorker
The concert was notable for gleaming vocal performances. Cynthia Munzer - an Amneris, Maddalena, and Carmen - made something very striking of Jacob Druckman's early psalm sequence Dark Upon the Harp, for mezzo-soprano, brass quintet, and percussion. She was flamboyant as she recalled strong bulls of Heshan opening wide their mouths like a ravening and a roaring lion; she shivered deliciously when her mourning was turned into dancing. ... It was in this spirit (of Lotte Lehmann) that Miss Munzer sang Druckman's music.
Mezzo Cynthia Munzer sang Azucena mit uppigem ton und grosser dramatischer Ausstrahlung. Auch sie hat eine grosse, ausgeglichene stimme, die sie vorteilhaft benutzt, gibt gelegentlich zuviel Druck, bringt aber fertig, was nur wenige Azucenas konnen: das dramatishche Zentrum des Werks, das Verdi so wichtig war, stark zu besetzen. [IL TROVATORE]
The longer opera, THE MEDIUM proved to be an excellent vehicle for the considerable talents of Cynthia Munzer as Madame Flora. Although one must admire her strong resonant mezzo-soprano, the most compelling aspect of her execution was her ability to establish and continually intensify a frightening dramatic presence.
Cynthia Munzer made a meal of the title role. [THE MEDIUM]
The Chronicle (Orange County)
Cynthia Munzer as the sorceress Madame Arvidson (Ulrica) brings a bewitching presence to the opera's first act in a performance that almost steals the show. [UN BALLO IN MASCHERA - Opera Pacific]
New York Times
In my review of the Metropolitan Opera's TALES OF HOFFMANN I wrote
that obviously the voice of Cynthia Munzer was amplified. I took it for granted
that this was one of the special effects that the Metropolitan sometimes uses.
Several readers have pointed out that Munzer's voice was not amplified. Sorry.
And it should also be noted that Munzer revealed a voice of uncommon size and
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