“In Thora Einarsdottir’s Mimi-the heroine of the piece-a properly sweet-toned lyric Soprano” (Mimi in Vert-Vert, Opera Rara recording)
Christopher Cook, BBC Music Magazine (2010)

The music, here exquisitely played, is as skilfully wrought and as tuneful as any Offenbach, and the first-rate cast, headed by Toby Spence and Thora Einarsdottir, pitches its performances at exactly the right level: gentle wit. (Mimi in Vert-Vert, Opera Rara recorning)
Stephen Pettitt, The Sunday Times (2010)

Thora sang and acted with brilliancy and elegance that is rarely seen on the Icelandic Opera Stage. The voice is robust and even of texture in all the range and her performance was impeccable; after 10 years of career abroad it may be no wonder, but I am not sure the audience expected the kind of triumph she won on Sunday. The Icelandic Opera MUST allow us to enjoy her art more often; it is clear that Thora is among our leading singers now and then. (Adina in L’elisir d’amore)
Jón Viðar Jónsson, DV (2009)

Thora Einarsdottir sang the role of Adina brilliantly. She is a good actress with a beautiful voice and her quirky interpretation was absolutely right. Thora and Bjarni (Thor Kristinsson) reached such heights in their duet, acting and singing together, that we got a great "firework display"...Bjarni Thor and Thora Einarsdottir shine brightest of all stars in an otherwise quite clear sky. (Adina in L’elisir d’amore)
Páll Ásgeir Ásgeirsson, eyjan.is (2009)

The role of Cecilia herself was clearly written with the lyrical and stratospheric soprano of Thora Einarsdottir in mind. She and the tenor Björn Jónsson (Valerianus) both studied at London's Guildhall School, and now have international careers. As the choir led the audience back from Husafell to Rome, the apotheosis of Cecilia was robustly hymned by choir and soloists, with a luminous top D from Einarsdottir, and a mighty final roar of the saint's iconic organ. (Cecilia by Askell Masson)
Hillary Finch, The Times Online (2009)

Thora Einarsdottir sang with her bell like, finely structured and shining soprana voice, she manages the high register and koluraturas in "Dulcissime" with bravour.(Carmina Burana)
Wiesbadener Kurier (2008)

The surprise of the night clearly is Thora Einarsdottir. In her role as Euridice she defeats her lover with bare-footed naturalness, flexibility and defeating erotic charisma, and then makes a breath-taking metamorphosis into a suffering creature. Carried by the orchestra of Staatstheater Wiesbaden, marvellously throwing light on every little corner of the human soul under Cornelius Heine, Einarsdottir manages to present moments of impressiveness and perfection that are rarely rivalled on the operatic stage. (Gluck’s Orfeo ed Euridice)
Frankfurter Allgemeine Zeitung (2007)

The direct magic of Thora Einarsdottir’s anxious, flickering and erotic timbre and her piano animated by desperation were still audible long after in the streets of Berlin. (Gluck’s Orfeo ed Euridice)
Berliner Tagesspiegel (2007)