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]

Providence Journal
 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]

Opera News
 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]

Milwaukee Sentinel
 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]

Musical America
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]

Augusta Chronicle
 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.

Opera News
 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    color.
 --  Schonberg