For La clemenza di Tito with Opera Boston:
“…River offered perhaps the most purely delightful singing of the evening.”
-Boston Herald

“Krista River stood out in the smaller role of Annio thanks to her keen musical instincts and graceful, heartfelt singing.”
-Boston Globe

“…eloquent and elegant …”
-Boston Phoenix


For Handel’s Orlando with Emmanuel Music:
“Krista River sang Medoro with gracious phrasing and a lovely bloom to her voice.”
-Boston Globe


For her New York Debut Recital at Weill Recital Hall:
"a shimmering voice...with the virtuosity of a violinist and the expressivity of an actress."
-The New York Times


 For Telemann’s St. Matthew Passion with the Pittsburgh Bach and Baroque Ensemble:
“ Alto Krista River beautifully expressed the angst and compassion of 'Wo ist, o Herr.' ”
- Pittsburgh Post-Gazette


For Schumann’s Genoveva with Emmanuel Music:
"…mezzo Krista River brought youth and tonal luster to the role of the sorceress.”
- Boston Globe

“ Mezzo Krista River’s Margaretha was earthy and intense, and her voice held an astonishing range of colors.”
- Boston Phoenix


For Falla’s “Song of Sorrowful Love” with the Boston Symphony Orchestra:
“He also had two attractive soloists: mezzo-soprano Krista River, who smoldered in the 'Song of Sorrowful Love' from Falla's 'El Amor Brujo.' “
- Boston Globe


For Handel's Messiah with the Handel & Haydn Society, Boston:
“… mezzo Krista River was stylistic urbanity itself. No one on stage sang English half as beautifully, and she was especially canny at filling out her sound in those nether regions where Handel makes life so difficult for light-voiced altos. Whenever the line ascended, the sun came out. A treasurable artist.”
- Boston Phoenix

“…her beauty of timbre and musicianship and eloquence of utterance stood her in good stead.”
- Boston Globe

“Andemicael is a singer to watch. As is the effervescent River …filled with the same musical acumen.”
- Boston Herald


For Rorem’s Evidence of Things Not Seen with the Florestan Recital Project:
“Of the vocalists, baritone Engebreth and mezzo River stood out for the beauty of their voices as well as their eloquence.”
- Boston Globe


For Schumann’s Frauenliebe und Leben with the Florestan Recital Project:
“River sang with warmly lush, even tone and meaningful diction.  She also knows a thing or two about using straight tone.”
-South End News


As Nancy in Britten’s Albert Herring with Red House Opera:
“…just about perfect in appearance, voice and characterization.”
- Boston Globe


As Anna I in Weill’s Seven Deadly Sins with Intermezzo Opera, Boston:
“And mezzo-soprano Krista River, from Emmanuel Music, made a stunning Anna I. …River’s luscious voice was a treat. She injected words with both meaning and nuance. And she moved on stage as if she’d lived there all her life.”
- Boston Phoenix


As Zerlina in Mozart’s Don Giovanni with Opera Aperta:
“ Krista River and Aaron Engebreth portrayed the earthly lustiness of Zerlina and Masetto with gusto and sang the roles sumptuously.”
- Boston Herald

"As Zerlina, mezzo-soprano Krista River was seductive and energetic,”
-Opera News

“Krista River as Zerlina is equally seductive whether presenting Aaron Engebreth’s puppy-dog Masetto with a switch and waggling her tail at him in her "Beat me" aria or straddling him restoratively after he’s been whacked by Don Giovanni; she’s also effective in expressing Zerlina’s Janus-like attraction to both men, and the way she sways her hips in her contredanse with Don Giovanni would make anyone jealous.”
- Boston Phoenix


 As Nora in Vaughan-Williams’ Riders to the Sea with Theatrework, Santa Fe
“ Krista River contributed a beautifully sung Nora, quietly watchful.”
- Santa Fe New Mexican