Press Quotes

As Norina in Don Pasquale

- The Post Standard Syracuse New York March 8, 2008, Chuck Klaus

Another superior vocal and comic performance is turned in by soprano Monica Yunus. Her light, strong and flexible voice ascends to dizzying heights with security and a fine sense of sound, as well as a superb sense of character. Rarely has an ingenue received or deserved so many laughs for her playing of a demure young maid who instantly morphs into a spendthrift termagant.

As Lucia in La Farsa Amorosa

- QOnStage New York's Performances & Arts Review November 17, 2006

Yunus, displaying an ingratiating light soprano..... led off a rousing ensemble with her high notes ringing out above all."

-MusicalAmerica.com November 16, 2006
Yunus' silvery soprano and disarming manner complimented perfectly as the lovable Lucia--her vocal personality, in fact, closely resembles the exquisite singer who created the role, Maflada Favero.

-The New York Times November 14, 2006, Steve Smith
Monica Yunus offered a bright account of Lucia...

In Concert at The Spoleto Festival USA

- The Post and Courier June 7, 2006

Yunus, performing the challenging Debussy cycle "Ariettes Oubliees," had a lush, vocally seductive delivery which matched Debussy's sumptuous harmonies perfectly. Sudden leaps into her upper range presented no technical challenge, and she stayed fully connected to the emotion of the songs at all times. The heartbreak of "Il pleure dans mon coeur" was convincing but not overindulgent, and after "Chevaux de Bois" ("horses of wood"), it felt like we had spent a wonderful day at the fair with her. With "Adieu notre petite table" from Massenet's "Manon," she confirmed her status as a fully formed artist.

-The Post and Courier June 6, 2006
"When she returned to sing the "Adieu notre petite table" scene from Massenet's "Manon" suddenly it was as if the clouds had opened. Here now was a stunning voice coupled with vibrant acting, and her French was clear and compelling. I lost my heart entirely."

As Zerlina in Don Giovanni

- Portland Press Herald July 29, 2006

"Monica Yunus as Zerlina (was) a joy to watch and hear....both lively and seductive."

- New York Times, June 7, 2005, James Oestereich
"Monica Yunus was especially winning as Zerlina.”

- Wall Street Journal June 7, 2005
"Monica Yunus, a charmingly melodious Zerlina...."

- Charleston City Paper June 1, 2005
"Not enough can be said of Monica Yunus’ Zerlina. Her rich and sensuous voice was utterly captivating".

- The Post and Courier May 31, 2005
"And as the peasant girl Zerlina, soprano Monica Yunus provided the broadest spectrum of emotion and tone color."

- The Post and Courier May 31, 2005
"Peasant bride Zerlina was radiantly sung by soprano Monica Yunus..."

As Gilda in Rigoletto

- Opera Online, April 4, 2005

“Singing the role of his daughter, Gilda, soprano Monica Yunus gave us a performance that was quintessentially, Gilda. Her delivery was sweet, strong, smooth, evocative of the moment she was singing and most importantly, flexible and dynamic. She never seemed to strain or reach at the higher end, but rather arrived wherever the score called for her to be, making her performance even more enjoyable for the audience because she carried it off with such grace.”

As Adele in Die Fledermaus

- Sidelines Online, February 10, 2005

"Monica Yunus, as Eisenstein’s chambermaid, absolutely stole the show from the other female roles.”

In Concert at The Austrian Embassy

- Washington Post

"Korngold's "Drei Lieder" Opus 22, featured the bright, athletic voice of soprano Monica Yunus..."

As Gretel in Hansel and Gretel:

- Palm Beach Post, December 12, 2004

"A light-footed and charming presence, Monica Yunus was an ideal Gretel, her high soprano possessing the bright, youthful timbre apt for the young girl."

As Barbarina in Le Nozze di Figaro:

- The New York Times, October 3, 2003

“Monica Yunus, in her [Metropolitan Opera] debut, gave a sweetly turned account of Barbarina’s music.”

- The Financial Times, October 3, 2003
“The supporting ensemble includes…. Monica Yunus as a winsome Barbarina.”

As Fleurette in Bluebeard:

- The New York Times, August 11, 2003

“Fleurette, (Monica Yunus, a fresh voiced soprano), is a flower seller who turns out to be a princess, and speaks Brooklynese, like Adelaide in “Guys and Dolls.”

As Walter in La Wally:

- The New York Times, November 25, 2002

“A standout was Monica Yunus, a bright-voiced coloratura, in the role of Walter.”

As Oscar in Un Ballo In Maschera:

- Port Folio Weekly, March 19, 2002

“The most pleasing discovery of the show may be soprano Monica Yunus in the pants role of Riccardo’s page Oscar. Displaying a bright voice with pretty vibrato and complete control of the coloratura, Yunus was a delight each time she appeared on stage. Her diminutive stature enhanced the illusion of her being a boy.”

- The Virginian Pilot, March 10, 2002
“Soprano Monica Yunus was an ideal Oscar, the governor’s young page. Impishly jesting with superiors, she sparkled vocally, giving the necessary balance of light frivolity in an otherwise ominous situation.”

- Palm Beach Daily News, December 6, 2000
“Soprano Monica Yunus, in the pants role of Oscar, showed a voice destined for super-stardom. Such clarity of tone, vocal flexibility and beautiful singing coupled with a flair for acting makes for an unbeatable combination.”

- Sun Sentinel, December 11, 2000
“Monica Yunus was a terrific Oscar, the petite soprano charming and singing with pure tone and agility in the page’s two arias.”

As Countess Olga in Fedora:

- The Palm Beach Post, December 13, 1999

“The rest of the cast has a few hidden jewels. As Fedora’s flirty friend Olga, soprano Monica Yunus brings a perfectly light voice and charming personality to the table (it would be nice to see the opera cast her again in something, say, by Mozart.)”

- Palm Beach Daily News, December 13, 1999
“But it was soprano Monica Yunus, as Countess Olga Sukarev, who was a crowd favorite. Her part provided much of the lighter relief to the dramatic central core of the opera. And she played it for all it was worth. She moved and sang with refreshing grace.”