for Juilliard Opera's Die Lustigen Weiber von Windsor, February 2018
"The scene-stealer was Mr. Munn, clomping about in a great pair of work boots and speaking with an outrageous accent, he then proved to have an impressive, full bass with pleasing low notes. "
Superconductor, February 2018
for "The Genius of Monteverdi," concert of Madrigals conducted by WIlliam Christie with Juilliard415.
"Andrew Munn, Joshua Blue, and John Noh parodied the whole love/battle metaphor with mock horses, mock fleeing, mock attempts to save the world from that terrible villain Love. Like Shakespeare, Monteverdi enjoyed following tragedy with comedy, and here the comedy was (in Dante’s words) divine."
The Classical Music Network, October 2017
for the world premier of "The Sand Reckoner" by Nathan Davis at The Tanglewood Music Center
"A sextet of terrific voices (soprano Alexandra Smither and bass Andrew Munn, most notably), with Greenberg on celeste and computer sounds, brought to life a piece that sounded organic in every measure."
Music Critic, Keith Powers, Leonora Overture August 2017
for Juilliard Opera's Agrippina by Handel in Lincoln Center's Alice Tully Hall, February 2017
"It was a fabulous night, with performers you will hear about again: sopranos Nicolette Mavroleon and Onadek Winan; mezzo-sopranos Avery Amereau and Samantha Hankey; countertenor Jakub Józef Orlinski; baritone Jacob Scharfman; bass-baritone Cody Quattlebaum; and bass Andrew Munn."
Fred Plotkin, Operavore, WQXR February 2017
"Laurence Cummings, a Baroque specialist, conducted the period band Juilliard415 and a talented cast of students from the school’s vocal arts program."
James Ostereich, New York Times, February 2017
for Second Prisoner in Fidelio by Beethoven at the Caramoor Center for Music and the Arts, July 2016
“excellent young singers as the First and Second Prisoners, tenor Cameron Schutza and bass Andrew Munn.”
Broadway World, August 2016
for Beethoven Lieder at the Caramoor Center for Music and the Arts, July 2016
“Andrew Munn’s sonorous bass and sensitive phrasing were put on particularly good display.”
The Huffington Post August 2, 2016
for Beethoven in The Classical Style by Steven Stucky at the Aspen Music Festival, 2015
“Sonorous bass Andrew Munn made a moody and gawky Beethoven… Audience response was highly enthusiastic. The laughs kept coming, the casts delivered good comedic timing and even better singing.”
Aspen Times, August 4, 2015
“This staging, performed enthusiastically by members of the Aspen Opera Theater Center, and directed briskly by Edward Berkeley, served as a rewarding vehicle for the wigged Big Three… basso Andrew Munn, suitably gruff as Beethoven. The trio displayed fine singing and decent acting, each doubling in smaller roles along with the rest of the cast.”
Opera News, November 2015
for Reverend Wadsworth in Emily by Eva Kendrick with the Thompson Street Opera, 2014
“Andrew Munn’s rich, velvety bass is a delightful, if brief, presence.”
Louisville Public Media May 24, 2014