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.")

-Liechtensteiner Vaterland

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,

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,

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