The sweet-voiced and lovely soprano Molly Mustonen is wonderful as Rosabella…What a pleasure to hear Ms. Mustonen filling Rosabella’s arching melodic lines in the wistful “Somebody, Somewhere” with her shimmering voice, while making the words come through so conversationally…Take that, Broadway.”
–  Anthony Tommasini,  The New York Times

“…superb, magnificent, sublime all come to mind. Forget about 1957—this was the best performance I’ve heard of this great American masterpiece; the perfect amalgam of wonderful unamplified singing…Possessing a beautiful soprano voice, Ms. Mustonen is a fine singing actress. Her deepening love for Tony was palpable and brought tears to my eyes.” -Harry Saltzman, New York Concert Review

“…His love interest was played by the honey-voiced Molly Mustonen. Her even singing was quite lovely and consistent and her portrayal of Rosabella,  vulnerable and charming…It is no wonder that audiences are flocking to this performance.
– Minda Larsen,

____MM_Mus Man

“Molly Mustonen, who was memorable as Nellie in SPO’s South Pacific two years ago, makes for a lovely Marian the librarian.
Her singing voice is exquisite, and all thoughts of The Beatles evaporate during her stirring “Till There Was You.” Her “My White Knight” was also splendid.
– Peter Nason, Broadway World

“…Mustonen’s rendition of ‘Goodnight, My Someone’ is breathtaking…” – Bill Deyoung, Tampa Bay CL

“Soprano Molly Mustonen demonstrated a consistent vision as librarian Marian Paroo and the kind of singing you won’t hear on Broadway, sometimes to Broadway’s detriment.”
– Andrew Meacham, Tampa Bay Times

“Marian Paroo is a quintessential ingenue role. Because it has in the past been taken by several legendary Broadway leading ladies (Barbara Cook, Rebecca Luker), she has been played with dashes of spice. Molly Mustonen does well by the glorious music given to her in this role, including two of the above mentioned memorable songs (Goodnight My Someone, Till There Was You) as well as “My White Knight” and “Will I Ever Tell You.” One of the glories of her performance is the chemistry with her onstage mother, Paula Broadwater, and brother, the adorable Jackson Orcha” -William S Oser, Talkin Broadway

The show was Molly Mustonen’s the second she walked out on stage.
Playing the lead character, nurse Nellie Forbush, she is a believable naive Arkansas girl desperately in love-at-first-sight with French plantation owner…Her enthusiasm and voice brought a warmth to the theater and enthralled the audience.” – Michael Aaron, Q-Salt Lake

“Harrer’s gamble pays off richly in the person of Molly Mustonen, a Minnesota native making her UFOMT debut as U.S. Navy Ensign Nellie Forbush. Mustonen plays that role with such wide-eyed innocence that she not only makes the improbable reactions of the self-proclaimed “hick from Little Rock” to her first romance believable but also infects her fellow cast members and the audience with her enthusiasm. From its opening curtain, this UFOMT production is Mustonen’s show; it is her spirited singing and dancing that makes some of the musical’s well-known production numbers work.” – Charlie Schill, The Herald Journal


“Mustonen had a particularly beautiful and round sound that was evident throughout the show but especially highlighted in her duet with Mason during the song ‘If I Loved You.’ ” – Peter Harrison, UTBA

“The strength of the production seems to be in its casting, or perhaps in the actors’ and singers’ ability to form their voices and dynamics to the character being played…As Julie Jordan, Molly Mustonen has a soft yet solid projection, hitting the top of every note, not waving — again, perfect for her role.” – Jay Wamsley, Desert News



“…Soprano Molly Mustonen gave a sensitive, nuanced portrayal of Nina’s progression from innocent, idealistic naif into a woman who, though battered by life’s storms, has come to know and believe in herself….”  – Arlo McKinnon, Opera News

“…Molly Mustonen brought a rich soprano voice and lovely grace to Nina…”   – Anthony Tommasini,  New York Times

“…Molly Mustonen (Nina) sang with passion and grace. She really shined in her extended duets with Constantine and Trigorin, and she and Haja cut a handsome couple. Her luscious voice carried her well throughout the performance…”
– Victor Wheeler, The Classical Source

“…Molly Mustonen sings with a rich soprano voice and is charming as Nina…”  – ZataPress


“The beautiful Molly Mustonen used her lustrous soprano to good advantage as she portrayed a present day chorister as well as the historic saloon singer.”  Voce di meche

“Soprano Molly Mustonen played twentieth century Isabelle and nineteenth century Madeline. Mustonen has a strong and accurate voice;  capable of considerable expressivity and fluent range. Mustonen has well-developed acting skills;  her supple voice can shimmer in flirtatious affection;  whisper throatily in supplication or fill the house with intense drama;  while never losing the coherence of the melodic line. One example of the subtlety of her voice lies in the different styles of Isabelle’s performance-singing and Madeline’s performance-singing.

Twentieth century Isabelle sings opera: her brief sample Traviata aria excerpt is entirely credible as the sound of a classically trained singer reveling in Verdi. In contrast;  nineteenth century saloon girl Madeline sings an old-time pioneer ballad of love and violence: the song transports us to the Wild West of our collective American imagination. That Mustonen can so easily carry these different styles and identities within a single performance is testament to her depth and maturity as an artist.” – Jean Ballard Terepka, Theater

“Soprano Molly Mustonen, tenor Benjamin Robinson and baritone John Callison all provided musically strong, dramatically satisfying performances.” – Arlo McKinnon, Opera News

“…exciting and powerful singing from soprano Molly Mustonen…” – George Grella, New York Classical Review

“…In particular, Molly Mustonen brought a powerful sound and striking stage presence to Tallulah…”
– Steve Smith, New York Times

“…one could glean that there was real talent in the cast. Molly Mustonen, as Tallulah, made the strongest effect, perhaps because she was playing the opera’s most thoughtful character – its Countess Almaviva figure …She did not seem to have taken the measure of Dicapo’s 200-seat theater – at high volume, her bright lyric soprano seemed to overload the space – but she created a touching figure. Her diction was also commendable…” – Fred Cohn, Opera News

“… the performance of “Hotel Casablanca” proved to be nothing short of sensational. Funny and charming…and performed in excellent voice, particularly Molly Mustonen in the role of Tallulah…”  – Douglas Harrington,

“…A height of romantic tragedy was reached quite easily by Mustonen…the soulful soprano consistently maintained a haunting air of dreamy fragility. A soft, affectionate woman, Mustonen’s deeply emotional aria…marked by the somber words, ‘I blame my breaking heart,’ truly grips that of the viewer, as the bright and extraordinarily expressive vocalist performs splendidly.
– Olga Privman, Review Fix

“As the perky “cockeyed optimist,” Nellie Forbush, bright-eyed Molly Mustonen is a winner. Her ingratiating personality is so lively, lovely, that you see why de Becque falls in love with her. Her singing voice is gorgeous

…One of the most underrated numbers in the Rodgers and Hammerstein songbook remains “My Girl Back Home,” a duet where Cable and Nellie sing of being far away from the world they know. I love the song because it’s so simple–two characters from two separate plots coming together briefly to tell their tales to each other. And it’s wonderfully interpreted here by Kaneklides and Mustonen.” -Peter Nason, Broadway World

Mustonen is utterly adorable as the round-heeled bride who initially would love to fall victim to Don Giovanni’s charms if only Donna Elvira would stop interrupting the process.” – Charlie Schill, The Herald Journal

“Molly Mustonen as Zerlina and Gabriel Preisser as Masetto were extraordinary as a young couple celebrating their marriage … providing some of the opera’s most lyric and comic moments.” – Robert Coleman, Salt Lake City Tribune

“Molly Mustonen made a pretty, sonorous and sympathetic Carmela”  -David Shengold, Opera News

“‘The Saint of Bleecker Street,’…is not only one of the most ambitious projects the company has undertaken, but also among its most accomplished…supporting players offered solid work: in particular, Molly Mustonen as Carmela, Annina’s friend and confidante…” – Steve Smith, New York Times