« Cécile Muhire’s Cherubino is lovely and comic, and I loved the mix of spunk and fear Cherubino demonstrates as he faces the rage of his soon to be ex-boss. Ms. Muhire does a good job in making Cherubino human, showing both why Cherubino is an idiot but also why he’s loved. He’s a goof, but he’s totally unaware of just how plain silly he is, and that makes him sweet. And he is totally dedicated to his very imaginary loves. He doesn’t love all women, he loves being in love. When Figaro sings to him about the glories of war, you can watch Ms. Muhire’s Cherubino becoming caught up with the idea—though he would desert his post in a second if he’d ever gotten to the battlefield. »

« Cherubino, played by soprano Cécile Muhire was dressed in a banana yellow bellhop outfit, was comedy gold. From crawling around the floor to hide from the count, to the weird mannerisms in the “girl dressed as boy dressed as girl” moments in act III, Muhire was playful and funny throughout. »

« A pair of comic characters almost stole the show. Soprano Cecile Muhire did a lovely job as Cherubino, an adolescent Puck intent on copulating with any female in sight. Managing a little backwards somersault upon entering, Muhire gave a fine rendition of
 Non so piu cosa son, in which the character details his randy aspirations. Overall, hers was a fine, fully realized performance — charming and highly physical. »

« It was soprano Cécile Muhire’s character Despina, maid to Dorabella and Fiordiligi and partner-in-crime to Don Alphonso, however, who had the clearest, most well-developed character on the stage—and she ran with it. Her young voice slightly under-powered now and then, she brought much needed energy and a welcome touch of bawdiness to this otherwise rather flat interpretation of Mozart’s comic masterpiece. »

« Soprano Cécile Muhire is well cast as Despina the maid. Muhire possesses a flair for physical comedy — her over-the-top antics were among the opera’s most amusing. »

« The hapless couple of Zerlina and Masetto were portrayed by soprano Cécile Muhire and bass-baritone Peter Monaghan. The duo, usually characterized as dupes who fall easily for Don Giovanni’s wiles, were instead depicted as nuanced, believable – albeit flawed – characters. Monaghan was a comic genius from start to finish with a lush, full voice that soared through the hall. Muhire was lovable and seductive, urging Masetto to trust her with a light, agile soprano. »

« On opening night he particularly impressed with a seductive and sensitive interpretation of Deh, vieni alla finestra. Equally fine was Là ci darem la mano, his flirtatious duet with peasant girl Zerlina played by Cecile Muhire, a pleasingly light-voiced soprano. This song exemplifies Mozart’s exemplary skill in making the music mirror the words. As Zerlina succumbs to Don Giovanni’s seduction, the pair fall into parallel rhythms like waves lapping in perfect tandem. And then they collapse to the stage in a lascivious embrace.
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