Tytania - Midsummer Night's Dream
Opéra de Lille
"Couple en tout point digne d’éloges, Oberon et Tytania. (...) tandis que le soprano rond et pulpeux de Marie-Eve Munger darde sans difficulté ses aigus dans la stratosphère."
"Elle, Marie-Eve Munger, dardant les flèches de ses vocalises stratosphériques, mais pas fée clochette pour un sou, avec de la pulpe dans le médium et du poids dans les mots."
"elle Tytania plus corsée, autoritaire et incarnée"
"distribution vocale proche de la perfection"
"Sa voix de soprano colorature est très sonore, fruitée, étendue, permettant l’incarnation de toutes les situations, y compris celles burlesques où la frénésie érotique se déploie. »
"tandis que Marie-Eve Munger cumule en Tytania la virtuosité acrobatique nécessaire à plusieurs de ses interventions avec un timbre pulpeux qui confère à la reine des fées une sensualité inhabituelle."
"Un plateau vocal sans maillon faible, une homogénéité dans l’excellence. Le plateau est dominé comme il se doit par le couple Obéron Tytania. Marie-Eve Munger qui chante Tytania, c’est un soprano d’agilité, donc très à l’aise dans ses vocalises, mais avec quand même aussi de la chair dans le medium. C’est très séduisant."
Le Rossignol - Die Vögel
Opéra National du Rhin
"Marie-Eve Munger dazzles from start to finish with her technical solidity, precision and ease, the clarity of her projection and the intensity of her impersonation."
"Marie-Eve Munger, as the Nightingale, let us hear a nourished voice, coppery, warm and rich in timbre. Her line, grounded, flies away, precise and agile, woven on a round vibrato, piercing in the ensembles. In the duet of Act II, her nuanced singing is patinated with a soft melancholy."
"Finally Marie-Eve Munger wins the expected triumph in a role that has everything to seduce: birdsongs, endlessly spun high notes like the one that concludes the opera, great duet with the tenor. The soprano chirps with the agility of an acrobat and even adapts to changed tempos, which surprise her."
"She plays with the coloraturas and high-pitched notes of the Nightingale, sometimes close to those of Zerbinetta, which she adorns with the seductions of a chiseled line, with a fleshy midrange..."
"We love the agility and roundness of the emission of Marie-Eve Munger (the Nightingale), with the most beautiful high notes in the coloraturas."
"… with a marvelous voice, full of transparency, lightness and extreme accuracy and with a physical charisma, the beautiful coloratura soprano Marie-Eve Munger, an excellent interpreter, was rightly acclaimed at the end of the performance of this formidable role, full of difficulty and vocal pyrotechnics."
"Marie-Eve Munger mastered the bravura part of The Nightingale in an impressive way, and the poignant soprano made it understandable."
"In the perilous role of the Nightingale, the Canadian Marie-Eve Munger possesses ease of the higher register, perfect accuracy, legato and, even more, a rare ability to inhabit the notes."
La Fée - Cendrillon
Lyric Opera of Chicago
"Best of all was the Godmother of Marie-Eve Munger, whose
pinpoint coloratura and saucy characterization bewitched
the audience in her every appearance."
"No character is more central to conjuring the opera’s wizardry and wonder than the Fairy Godmother, and coloratura soprano Marie-Eve Munger, in her Lyric debut, did just that through vocal gymnastics and saucy body movement. The pyrotechnics of Munger’s singing established the Fairy Godmother’s supernatural powers, while the way she sashayed across the stage – waving that light-tipped wand as if it made the world go ’round – explained why everyone did precisely as the Fairy Godmother instructed."
"Cendrillon's (Siobhan Stagg) sweet voice will hold everyone's attention, while the best performances come from the gorgeous fairy godmother (Marie-Eve Munger)..."
Zerbinetta - Ariadne auf Naxos
Opéra de Lausanne
"It is on the shores of Lake Geneva that we heard the most sparkling and incarnated Zerbinetta, Marie-Eve Munger, without the acidity of ... or the toughness of ..."
"Light and enchanting, Marie-Eve Munger's Zerbinetta seduces by the security of the means, the ease of the higher register, the stage presence she knows how to flaunt"
"As for the voices, we are blown away by the incredible coloratura soprano Marie-Eve Munger, mischievous and virtuosic Zerbinetta."
Le Courrier Genève
Musette - Bohème, notre Jeunesse
"Marie-Eve Munger, as Musetta, shows a confident and exciting voice, with razor-sharp high notes, beautiful deep chest voice, and an incandescent presence. She modulates her characterization, as convincing as a seductive extroverted than a generous friend. "
"Marie-Eve Munger, has a round and sensual tone befitting her character, on stage the singer doesn't lack presence."
"Marie-Eve Munger sings a tender and powerful Musetta."
"Marie-Eve Munger is a lively and insolent Musetta, very comfortable in the virtuosity of her charming number of Café Momus."
"(…) the power and sensuality of Marie-Eve Munger as Musetta."
Toute La Culture
Ophélie - Hamlet
Angers Nantes Opéra, Opéra de Rennes, Minnesota Opera
"At his side, Canadian soprano Marie-Eve Munger is not only singing beautifully, but she interprets a most credible Ophelia."
"In front of him, Marie-Eve Munger's Ophélie also avoids any insincerity in her incarnation. The voice is well balanced, coloratura always emotionally justified, disconcerting of ease and focus. She, naturally, gives the full measure of her talent in a fabulous fourth act where she fills the stage alone during a mad scene of striking of density and authenticity. "
Forum Opera (Rennes)
"Even if she still performs coloratura repertoire like Zerbinetta or the Fairy from Cendrillon, Marie-Eve Munger is starting to sing more lyrical roles, and one can hear that in her fleshier medium register, without losing any of the virtuosity, timely reminder of an era when the greatest sopranos had Ophélie in their repertoire."
Forum Opera (Nantes)
"Her voice is intelligently modulated, and vibrated with beautiful and nuanced high notes, her coloratura is solid but without exageration. The emotion is pure and sincere. She is moving and convincing in her mad scene, managed with subtility..."
La Fée - Pinocchio
Festival d'Aix-en-Provence, La Monnaie, Opéra de Dijon
"Among the fine cast, the soprano Marie-Eve Munger stood out as the fairy, who expresses herself in glassy-clear coloratura."
The New York Times
"Soprano Marie-Eve Munger was gentle and alluring in her spun-sugar coloratura above the staff, which brought to mind Massenet’s Cendrillon"
"And coloratura Marie-Eve Munger as the Fairy weaves a veil of unprecedented and seductive gentleness."
"... one and the same singer, staggering, the Canadian Marie-Eve Munger, passing from the medium soprano register to a coloratura whose hyper-high notes are reached almost gently."
"By caressing the pianissimo high E flat, as if it were an ordinary lullaby, the Canadian coloratura soprano Marie-Eve Munger makes us want to return to childhood, and start believing in Fairies again."
"Marie-Eve Munger is a masterful coloratura who has everything to camp a caring, delicate fairy"
"Her lyrical voice, rich and subtly ornamented, her sweet and delicate presence is reminiscent of a loving mother."
Gilda - Rigoletto
Minnesota Opera, Saratoga Opera
"Quebec-born soprano Marie-Eve Munger was a winning Gilda; her account of the role embraced both the girlish charm of the first act—“Caro nome” was captivating—and the passionate self-sacrifice (however misguided) of the last. Her coloratura was as expressive as it was secure; her otherworldly singing in the final scene held the audience rapt. This is an artist to reckon with."
"Among the three, I was most impressed by soprano Marie-Eve Munger as Gilda. Seldom will you hear Gilda’s ascents up the scale handled with such tenderness and fluidity. Gilda’s the only endearing character on stage, and Munger makes her the embodiment of sweet adolescent innocence."
TwinCities Pioneer Press
"Caro nome,” the Act One set-piece where Gilda daydreams about the Count’s attractions, was a particular high point. Lolling on a bed and flirtatiously kicking her heels, Munger made the aria a delightfully capricious interlude."
“Gilda, sung beautifully by Quebec coloratura soprano Marie-Eve Munger(...) [she] owned her role, morphing from a virginal, dutiful daughter to a giddy, enraptured young woman to the ravished, brutalized victim of lecherous courtiers and, of course, of her lover, the Duke. She sang the signature soprano aria, “Caro nome” with an effortless, crystal-clear voice, earning a lengthy ovation.”
“But coloratura Marie-Eve Munger, as Rigoletto’s daughter Gilda, was all sweetness and light, with a voice that soared with golden tones. Her range, which easily stretched three octaves, and her control, which allowed her to caress her very highest notes as easily as a gentle breeze, made hearing her a great pleasure for the capacity crowd. The many duets she had with either Kohl or LeBron were sensational.”
The Daily News
Eliza Doolittle - My Fair Lady
Opéra de Marseille, Opéra de Lausanne
"Irresistible Eliza, Marie-Eve Munger uses her Canadian origin to replace the cockney accent with the Quebecois, before speaking in high French and Oxford English. When someone has Ophelia, Lakme or Gilda in their repertoire, the role of Eliza is a breeze. To the homogeneity of the timbre and the vocal extension, is added a very sure stage presence that exposes the character in its diversity, comic and sentimental."
"Marie-Eve Munger, a beautiful soprano voice, gives sensitivity to her heroine. The "so British" tunes are perfectly interpreted ...
The Quebec soprano gives the full measure of her talent."
"Marie-Ève Munger is a charming, determined and touching Elisa Doolittle with a beautiful soprano voice in one of the world's most acclaimed standards," I could have dance all night ", exciting and tender. "
Journal La Marseillaise
The New York Times
““But the crowd pleaser arrived during selections from Bernstein’s operetta, “Candide,” featuring guest soloist Marie-Eve Munger in an expressive rendition of “Glitter and Be Gay.” The Canadian soprano’s honeyed voice soared through the aria’s coloratura so fluidly and humorously that she stole the show as the lamenting and coy Cunegonde."
The Washington Post
"Marie-Eve Munger presented a diverse and original program, beautifully conceived to show her tessitura. Her interpretation of the Cuatro Madrigales Amatorios by Joaquín Rodrigo showed great accuracy and a real dramatic intensity. Her interpretation of the Quatres chansons pour les oiseaux by Louis Beydts offered moments of pure pleasure as she handled the humour with intelligence, especially in the melody L'Oiseau bleu that consists of a quick enumeration of women's names. The three Brentano Lieder by Richard Strauss that ended her recital allowed the soprano to reveal the full amplitude of her coloratura voice and a real virtuosity."
La Scena Musicale
“Marie-Eve Munger transports you with strenght and softness, with intensity and emotion. (...) the performance was extraordinary, the emotion palpable.”
Canadian soprano Marie-Eve Munger’s debut album, Colorature, is an ambitious collection of virtuoso French mélodies from the late-nineteenth century to the mid-twentieth century. Munger could have chosen more traveled roads for her recording debut, but she and Canadian pianist Louise-Andrée Baril instead selected repertoire that showcases Munger’s crystalline high notes and virtuosity, as well as her intelligence, musicality and poetic sensitivity. The program contains songs and études by Gabriel Fauré, Claude Debussy, Maurice Ravel, Louis Beydts and Darius Milhaud and a daunting concerto for coloratura soprano by Reinhold Glière.
Five early songs by Debussy cover a range of topics including love, quiet and fantastical, immortality, regret and — in the long ballad “Les Elfes” — the paranormal and sinister. Munger sings each track with specificity, shading her voice and using the melismatic and stratospheric passages to enhance her role as poet and storyteller. She has no trouble mesmerizing the listener with Fauré’s simple “Vocalise-étude.” The tessitura of this etude, as well as that of Ravel’s, also included on this album, is surprisingly low. In both pieces, the soprano shows that she doesn’t need trills, wide-ranging scales and high notes to make an impression; she can transform conservatory exercises into meaningful, memorable music.
The two complete cycles on the album, Beydts’s 1948 Chansons pour les Oiseaux and Milhaud’s 1941 Chansons de Ronsard, were written for two famous French singers. In Beydts’s elegant creation for Janine Micheau, Munger’s luxurious middle voice is used to full advantage in the smooth lyricism of “La colombe poignardée” and “L’oiseau bleu,” the latter ending on an enraptured high D-flat. The fourth song, “Le petit serin en cage,” betrays Beydts’s success as a composer of French operetta and allows Munger’s personality to shine. The Milhaud cycle was written for Lily Pons, a superstar of her era, whose voice sparkled brightest in show-stopping filigree. The four songs are harmonically and melodically rich, with Milhaud decorating the poems of the sixteenth-century Ronsard with Pons-inspired scales, trills and acuti. Munger imbues these outbursts with intention and weaves them into vivid musical tapestries.
Glière (1875–1956) was a Russian-born composer whose career spanned the late Romanticism of Tchaikovsky and the trials of Shostakovich. Written in 1943, Glière’s Concerto for Coloratura and Orchestra, performed here with Baril on piano, is a flashback to the melancholic romances and flashy waltzes of Imperial Russia. Glière gives no indication of how the singer and, in this case, the pianist should navigate his long phrases, but Munger and Baril rise to the challenge. They allow the shorter phrases to expand, while the longer ones, which contain some unexpected leaps and tricky accidentals, are sculpted to display Munger’s exceptional breath control without rushing or weighing down the flow of the music. The second movement is an exciting, rhythmic romp, with the voice performing chromatic somersaults atop the waltz in the piano. Munger, who shies away from indulging in gratuitous high notes throughout the album, ends the concerto on a pristine, optional high F, a carefree dénouement to a promising debut album.