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."

Opera News


"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."
Chicago Tribune

"Cendrillon's (Siobhan Stagg) sweet voice will hold everyone's attention, while the best performances come from the gorgeous fairy godmother (Marie-Eve Munger)..."

Chicago Parent

Musette - Bohème, notre Jeunesse

Opéra Comique

"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. "

Olyrix

"Marie-Eve Munger, has a round and sensual tone befitting her character, on stage the singer doesn't lack presence."

Forum Opera

"Marie-Eve Munger sings a tender and powerful Musetta."

Webtheatre

 

"Marie-Eve Munger is a lively and insolent Musetta, very comfortable in the virtuosity of her charming number of Café Momus."

Bachtrack

 

"(…) the power and sensuality of Marie-Eve Munger as Musetta."

Toute La Culture

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 ..."

Le Figaro

"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"

Opéra Magazine

"As for the voices, we are blown away by the incredible coloratura soprano Marie-Eve Munger, mischievous and virtuosic Zerbinetta."

Le Courrier Genève

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."

Opéra Magazine

"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..."

Olyrix

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"

Opera News

"And coloratura Marie-Eve Munger as the Fairy weaves a veil of unprecedented and seductive gentleness."

Libération

 

"... 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."

RTBF

"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."

Classique Agenda

"Marie-Eve Munger is a masterful coloratura who has everything to camp a caring, delicate fairy"

Forum Opéra

"Her lyrical voice, rich and subtly ornamented, her sweet and delicate presence is reminiscent of a loving mother."

Olyrix

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."

Opera News

"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."

Star Tribune

“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.” 

The Saratogian

 

“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."

Forum Opera

"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."

La Provence

"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

Concerts

"Gracious, virtuosic..."

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.”

Le Quotidien