A streetcar named Desire (Stella) - Florida Grand Opera, 2022
„La Stella de la joven Rebecca Krynski Cox completó el terceto con notable aplomo y una voz caudalosa que augura carrera promisoria.”
“The Stella of the young Rebecca Krynski Cox completed the trio with remarkable poise and a mighty voice that foretells a promising career.”
-Miami Clásica, Sebastian Spreng
“Special note is due to soprano Rebecca Krynski Cox in her FGO debut as Stella who makes her the most three-dimensional of all the characters on stage.”
-Florida Theater on Stage, Bill Hirschman
„Rebecca Krynski Cox cantó el papel de Stella con voz bien impostada y rica en matices. Cosechó el primer aplauso de la velada tras su aria del primer acto ‘I can hardly stand it’ y supo interpretar muy bien la difícil relación que mantiene Stella con su esposo."
"Rebecca Krynski Cox sang the role of Stella with a well-placed, richly nuanced voice. She garnered the first applause of the evening after her aria from the first act 'I can hardly stand it' and she knew how to interpret very well the difficult relationship that Stella maintains with her husband."
-Pro Ópera, Roberto San Juan
“…stirringly sung by soprano Rebecca Krynski Cox… [who] so formidably displayed a woman torn by the notion blood is thicker than water…”
-Biscayne Times, Michelle F. Solomon
Djungel (Raja) - Luzerner Theater, 2020
"Auch die expressive Rebecca Krynski Cox als besoffene Raja setzt einen Akzent."
"The expressive Rebecca Krynski Cox as a drunk Raja was also a standout."
-Schweitzer Musikzeitung, Verena Naegele
Don Giovanni (Donna Anna) - Luzerner Theater, 2019
"…stimmgewaltige Diva des Ensembles Rebecca Krynski Cox als Donna Anna…"
"…powerful-voiced diva of the ensemble Rebecca Krynski Cox as Donna Anna…"
"…gerade die Übergänge von Abscheu und Anziehung wie bei Donna Anna (Rebecca Krynski Cox), von Gewalt und Lust sind faszinierend dargestellt."
"…especially the transitions from disgust and attraction as in Donna Anna (Rebecca Krynski Cox), from violence and lust are presented in a fascinating way."
-Kutur Joker, Georg Rudiger
"Packend spielen auch Rebecca Krynski Cox als Donna Anna … ihre Partie als von widerstreitenden Gefühlen regelrecht geschüttelten Menschen. Die Koloraturen in ihren Arien bleiben hier nicht allein rein musikalische Ornamente, sondern sind herausgeschleuderte Hilferufe nach seelischem Halt."
"Rebecca Krynski Cox is also gripping as Donna Anna ... her role as a person literally shaken by conflicting feelings. The coloraturas in her arias do not just remain purely musical ornaments, but are thrown out cries for help for spiritual support."
-Online Musik Magazin, Christoph Wurzel
Maria Stuarda (Elisabetta) - Luzerner Theater, May 2018
"Rebecca Krynski Cox war eine Elisabetta mit einem beeindruckenden Stimmumfang. Mit vielen Zwischentönen war sie Königen und verschmähte Geliebte zugleich, führte ihre Stimme sicher und mühelos über alle Fallstricke."
("Rebecca Krynski Cox was an Elisabetta with an impressive vocal range. With many nuances, she was both queen and spurned lover at the same time, her voice moved securely and effortlessly through all pitfalls.")
Lucerne Festival - Soprano Solist, 2018
"…«Nähe des Geliebten» als Uraufführung werden von Sopranistin Rebecca Krynski Cox ausdrucksvoll gesungen."
("…The world premiere of «Nahe des Geliebten» was sung expressively by soprano Rebecca Krynski Cox.")
-Luzerner Zeitung, Gerda Neunhoeffer 2018
Faust-Szenen (Gretchen) - Luzerner Theater, March 2018
"Rebecca Krynski Cox singt die Partie wundervoll, ihr warmes Timbre bildet einen reizvollen Kontrast zu ihrem unheimlich konzentrierten Spiel."
("Rebecca Krynski Cox sings [Gretchen] wonderfully, her warm timbre is a delightful contrast to her incredibly focused acting.")
-Katharina Thalmann, Luzerner Zeitung
Stiffelio (Lina) Act III - Santa Fe Opera Apprentice Scenes Program, August 2016
"...Soprano Rebecca Krynski Cox, also remembered from MSM, went through several emotional phases without compromising her fine vocal technique."
-Voce di meche
Thaïs (Thaïs) - Manhattan School of Music Opera Theatre-December 2012
"Ms. Krynski’s rich voice conveyed the torment of the beautiful Thaïs, who dreads the inevitable loss of her beauty."
-Vivien Schweitzer, The New York Times
"The severe vocal challenges written into the title role are one factor that keeps Thaïs off the world's stages. Soprano Rebecca Krynski made a convincing case for herself in the part, tracing the courtesan's path from bordello to cloister with a powerhouse performance that anchored the whole show. Elegant and teasing in the first act, Ms. Krynski managed to make Thaïs' lightning-quick conversion in Act II into a believable theatrical coup. Ms. Krynski saved her most powerful singing (and some beautifully floated top notes) for the demanding finale, as Thaïs rises to a vision of heaven brought on by solitary confinement in the convent. Mr. Doucet created an Aida-like split-screen effect by means of a simple stage lift. Better yet, the soprano rode the orchestra to a fitting apotheosis in the final duet, her voice ascending to heaven along with her character."
-Paul J. Pelkonen, Superconductor Blogspot
"The night we attended, the eponymous heroine was sung by soprano Rebecca Krynski who looked and sounded marvelous, using her beautiful instrument to good advantage with some lovely phrasing and fine French style. A high point was her consideration of the future loss of her beauty and her fear of death."
-Voce di meche Blogspot
The Ghosts of Versailles (Rosina) - Manhattan School of Music Opera Theatre-April 2012
"Singling out cast members is almost unfair, since the opera is such an ensemble piece and the students were so uniformly good. Still... Brett Sprague and Rebecca Krynski as the Count and Countess Almaviva...were among the standouts."
-Anthony Tommasini, The New York Times
"However, the vocal highlight of the evening belonged to two of the actors caught in the opera’s play-within-a-play: the Countess Rosina and her maid, Susanna, performed by Rebecca Krynski and Kaitlyn Costello-Fain, respectively. Singing of the stress that their marriages have brought them, the actresses sang with an incredible sense of nuance, with complementary vocal timbres that only strengthened each other’s lines as they dovetailed in exquisite harmony."
-Michael Cirigliano II, www.feastofmusic.com
Così fan tutte (Fiordiligi) - Manhattan School of Music Opera Theatre-December 2011
"Rebecca Krynski also shone as Fiordiligi, displaying strong top notes..." -Vivien Schweitzer, The New York Times
"Among the excellent cast, Krynski's Fiordiligi made the strongest vocal impression. She offered Mozart singing on the grand scale ...capable of big, sweeping line and emotional force.
-David J. Baker, Opera News
"Soprano Rebecca Krynski has a rich, shimmering soprano voice. She negotiates the technical challenges of Fiordiligi's two showpiece arias with enormous skill and confidence and also manages to make the character appealing."
-Howard Kissel, The Huffington Post
"Krynski had a warm, stylish voice that could soar with a creaminess - an unexpected feature at such a young age."
-Richard Traubner, www.musicalcriticism.com
La Vida Breve (Salud) - Manhattan School of Music Opera Theatre-April 2011
"Rebecca Krynski, a vibrant soprano who played an unwitting rival to Candelas, sang Salud with a secure, appealing sound and eye-opening volume."
-Steve Smith, The New York Times
"Krynski's voluminous, steel-edged soprano hinted at bigger roles to come, and she effectively moved from lovesick restlessness to soul-annihilating desperation."
-Joanne Sydney Lessner, Opera News