Narrator Cynthia Farrell’s strong and steady voice engages listeners as she vocalizes iconic photographer Imogen Cunningham’s passion for capturing the world with her art. A childhood love of picture books evolves into a talent for drawing and painting, and eventually Imogen discovers an affinity for photography. Taking pictures allows her to capture the world as she views it and to share her unique perspectives with others. Cunningham’s parents fostered her emerging talent and creativity, and Farrell subtly deepens her voice to portray her caring father. Cunningham, a woman who supported herself with her craft at a time when women couldn’t even vote, is still an inspiration to others: Farrell’s awe-filled voice reflects author Elizabeth Partridge’s love for her gifted and independent grandmother.

[Published: Aug. 26, 2025]

Cynthia Farrell’s crisp voice suits this history of Yellowstone National Park. Whether carefully pronouncing the Sioux and other Native American languages or telling the many engaging stories of the early 1870s, she narrates with intelligence, a careful cadence, and an actor’s dramatic style. The history is told through three central figures: the financier Jay Cooke, who endeavored to bring the railroad within 50 miles of the proposed park; geologist Ferdinand Hayes, whose 1871 expedition led directly to the 1872 legislation that created the park; and the courageous Sitting Bull, who led his Lakota people in resisting the incursions on their historic lands. The early 1870s, with Reconstruction taking place in the South and Manifest Destiny overtaking the West, provide historian Nelson a vivid backdrop for this audiobook. A.D.M. © AudioFile 2022, Portland, Maine

[Published: MARCH 2022]

Cynthia Farrell portrays Ada, a midwife who is unable to conceive in a postapocalyptic America that equates barrenness with witchcraft, in this novel take on the Wild West. Cast out by her husband’s family when she doesn’t become pregnant, Ada’s only hope is to be taken in by an unusual band of robbers led by the Kid, who hopes to create a safe haven for women. Farrell’s narration reflects the novel’s themes, the importance of reproduction and women’s rights, as presented by the characters. In particular, Farrell articulates Ada’s dialogue in strong, clear tones that give the protagonist authority. Her delivery also mirrors the other characters–from Cassie’s high pitch to the Kid’s raspy gender-ambiguous voice. E.J.F. © AudioFile 2021, Portland, Maine

[Published: APRIL 2021]

Sound effects and a full cast lift this graphic novel off the page to create an immersive audio experience. While vacationing at her family’s lake house, 13-year-old Gabby, a bookworm, decides to write a mystery story about the old, empty house nearby that is at the center of a celebrity disappearance. When her rebellious neighbor, Paige, pushes Gabby to trespass on the property to hunt for clues, Gabby has to decide how far she is willing to go to uncover a story. Cassandra Morris voices Gabby with youthful innocence that makes her good-girl trepidation all the more believable. Narrator Tara Sands provides the perfect counterpoint with Paige’s tone of jaded cynicism. Other narrators are equally distinct as the various family members and neighbors.

[Published: Oct. 6, 2020]

Narrator Cynthia Farrell’s approach to this serious subject is lighter than one might expect. Sometime around the year 1000, Norsemen (and a few women) crossed from Greenland to what is now Canada. This audiobook marks that achievement as the first time goods and ideas could–at least, theoretically–travel around the world from the Americas to Europe, Africa, and Asia, introducing the possibility of true globalism. International and intercontinental trade routes stretched for thousands of miles, ready for European explorers to connect to them. Farrell’s delivery is too light in some instances. Sometimes her phrasing suggests that she is not familiar with the text. Nevertheless, the material is fascinating to those with an interest in the distant origins of the modern world.

[Published: April 14, 2020]

Four narrators, Cassandra Campbell, Samantha Desz, Cynthia Farrell, and Devon Sorvari, are the perfect ensemble to instill emotion in 12 stories told from women’s perspectives. Characters vary in age, race, sexuality, and status but are connected by a sense of searching. Their agitation is illuminated in defining moments. Sometimes emotions are loud–such as the fear of a mother who loses her child at M&M World. Sometimes they are stated outright as when two mothers talk about their anxiety journals in short back-and-forth commentary in which social unease is masked by words slurred by wine. Other times what is left unsaid, like unrequited love, comes through in well-timed pauses. Each narrator speaks at a good pace in a distinctive tone that lets the author’s imagery shine.

A.L.C. © AudioFile 2020, Portland, Maine

[Published: MARCH 2020]

ynthia Farrell gives a solid narration of this fascinating and well-written account of the American Civil War in the West. While the main action of the Civil War took place between Richmond and Washington, there was a war west of the Mississippi, and this work looks at the war far west of that–in what is now New Mexico and Arizona. Through the lives of nine people who were in the midst of this drama, we see how the Confederate, Federal, and Native American antagonists interacted and had many divergent, and similar, goals. Farrell’s alto voice is pleasant, and her enunciation good. While her tone is mostly expressive, she occasionally comes across as flat and disengaged. Still, this fascinating account of a relatively unknown theater in the War Between the States is time well spent.

[Published: Feb. 11, 2020]

Four narrators, Cassandra Campbell, Samantha Desz, Cynthia Farrell, and Devon Sorvari, are the perfect ensemble to instill emotion in 12 stories told from women’s perspectives. Characters vary in age, race, sexuality, and status but are connected by a sense of searching. Their agitation is illuminated in defining moments. Sometimes emotions are loud–such as the fear of a mother who loses her child at M&M World. Sometimes they are stated outright as when two mothers talk about their anxiety journals in short back-and-forth commentary in which social unease is masked by words slurred by wine. Other times what is left unsaid, like unrequited love, comes through in well-timed pauses. Each narrator speaks at a good pace in a distinctive tone that lets the author’s imagery shine.

[Published: Oct. 1, 2019]

This audiobook launches a new series from the Preston-Child writing team but is a challenging listen. The opening chapters are disjointed, and the narration often lacks variation. Narrator Cynthia Farrell paces the story well but struggles with voicing the characters and injecting enough distinction in conversations. The premise is promising. Archaeologist Nora Kelly is approached with the opportunity of a lifetime: a chance to lead the search for the lost camp of the Donner Party. When Nora teams up with historian Clive Benton, the unearthing of the sad history leads to present-day violence and the arrival of young FBI agent Corrie Swanson. The story itself is compelling, but the narration doesn’t do it justice.

[Published: Aug. 20, 2019]

Narrator Cynthia Farrell becomes young Elena of Piedra Negra, Cuba. The aspiring poet from the country dreams of something other than making the firewater that is her family’s business. Farrell captures the dreamy possibilities of the postrevolutionary period, which is contrasted with the ugly reality of everyone spying on their neighbors. Farrell deftly handles the occasional Spanish words peppered throughout the story, giving the listening experience a musical quality. Fans of world literature will sink into this listening experience as Elena transforms from a country girl to a poet in the city.

M.R. © AudioFile 2019, Portland, Maine

[Published: JULY 2019]

Narrator Cynthia Farrell makes this charming look at grandparenting a treat for everyone, especially new grandparents (and parents) everywhere. Channeled by Farrell, former NEW YORK TIMES columnist and Pulitzer Prize-winning novelist Anna Quindlen plops listeners unceremoniously and often hilariously into her earliest days in grandma mode. From the moment she looks into her first grandson’s eyes, she knows that, should it ever become necessary, she will fight dragons for him. She investigates her perfectly normal yet painful feelings of being displaced, no longer a leading character but a supporting player in her children’s lives. She reminds us that “Nana judgment must be employed judiciously, and exercised carefully.” Farrell delivers Quindlen’s gentle wisdom and worldly wit to perfection, proving herself an expert tour guide through NANAVILLE.

[Published: JUNE 2019]

Listening to this comprehensive report is a riveting and fascinating experience, and is made even more interesting by the talented narrators who present it. What’s more, the report is mostly written in a literate, conversational style that allows them to deliver it as a book as opposed to a dry government account. Alternating sections of the report, the narrators have individual strengths–from Gibson Frazier’s clear, accessible voice to Jayme Mattler’s urgent, spirited approach and Prentice Onayemi’s deep pitch and expressive tone. They all uncover the nuances of the report, are able to emphasize key ideas, and pause effectively to allow listeners to digest the information.

[Published: JUNE 2019]

This entry in contemporary crime fiction by a historical novelist may remind listeners of the Sara Paretsky series: good writing, sexual polemics, clear adversaries. Brooklyn cop Betty Rhyzyk and her girlfriend relocate to Dallas, Texas, where Betty battles with culture shock and a series of complex cases. Narrator Cynthia Farrell is an asset, handling the Texas accents well, particularly that of a hyper-religious, grandma-like cult leader. Farrell enunciates the latter trait in this character–making her tone one of tolerant, sweet reason as she actually dispenses a mix of doctrinal idiocies and scary maternal advice. Both Kent and Farrell make it clear that the Betty is a strong, complex–and sometimes implacable–woman. In her situation, she has to so be.

[Published: MAY 2017]

Dear Michele Cobb (of MMB Media/VP Audiofile Magazine) ,

Yesterday I discovered that my book, What Motivates Getting Things Done: Procrastination, Emotion, and Success, is on Audible. I was quite apprehensive as I downloaded the audiobook. Although I am a psychologist and professor, I also hosted a talk show on Radio Disney stations for nine years and there I became familiar with the world of voice acting. Adding to my trepidation during the download was a recent disappointing experience with my publisher who inadvertently ran out of books 3 weeks following the release, with none available until mid-September (Amazon had to cancel pending orders). Clearly, I needed some activation of joy that seemed to be as unavailable as my book.

Cynthia Farrell’s voice not only brought my book to life, but gave me profound pleasure. Her narration was exceptional and her prosodic excellence is unmatched. As someone who has researched emotions and understands how they are conveyed in vocal rhythms and tones, I have firm conviction that Cynthia Farrell will garner the interest and attention of those who listen to the book. As an example, I later handed the headset to my husband, simply asking him to listen “for a minute” to the narration. He ended up in an easy chair with a smile on his face, asking for more time when I wanted it back. Clearly, Cynthia Farrell’s cadence and intonation are mesmerizing. Moreover, in the book are two brief sentences in Italian. Since my parents spoke to each other in Italian throughout my childhood, the narration of those words was important to me; specifically, the flow and pattern of sounds. I skipped to those sentences in the last chapter and again listened with a critical ear. I felt at home. Yet in listening to that chapter I also noticed an important subtlety: Through her voice Cynthia Farrell captured how the last chapter of the book is significantly more personal than the rest.

Thus, I want to express my wholehearted appreciation to Audible for choosing Cynthia Farrell as the narrator for my book. If I eventually find the energy to write a sixth book, I would love to have Cynthia Farrell be my voice.

Sincerely,
Mary Lamia

Mary C. Lamia, Ph.D.
http://www.marylamia.com
http://www.whatmotivatesgettingthingsdone.com

With her smooth, controlled, powerful voice, her deep concentration, and her diligent attention to enunciation and phrasing, Cynthia Farrell, now making her cabaret debut at Don’t Tell Mama, is a talent to keep a sharp eye on. The emotional intensity she can bring to a song, along with the way she pronounces certain words while singing, call to mind the spell-weaving early work of Jane Olivor. At one point in the evening, Farrell notes that she’s “half Mexican.” But there’s something in the way she sings certain phrases that sounds Irish (something her surname would support). Whatever her heritage, she’s a singer with presence.

The highlight of the set is a moving, flawlessly executed medley of Stephen Sondheim’s “Loving You” and Leonard Bernstein and Sondheim’s “I Have a Love.” Every note of the medley is full-bodied, assured, and lovely. Together, the pair of songs becomes a confession of romantic obsession and a coming to terms with that obsession. Farrell smiles at moments at the hopelessness of her overpowering devotion, but it’s a wise smile—and therefore a slightly sad one.

Farrell’s program has an autobiographical slant. She and writer-director James Horvath have created a story arc about finding love, starting a family, having it all fall apart, and then rebounding through a program of self-reflection and inner-strength building. It’s a familiar tack, of course, to build an act around one’s personal journey. It’s not what I would have recommended for a debut show, but for the most part, Farrell makes it work—although the narrative thread gets lost during parts of the program. The most interesting use of a song in service of her personal tale is the repurposing of Harold Arlen and E.Y. Harburg’s “Ding-Dong! The Witch Is Dead” as a celebration of the exorcism of the witch-like part of her personality that emerged following the collapse of her marriage This song is the lightest fare of the evening—and the jazz-inflected arrangement gives Farrell a chance to do some sprightly scat singing. On the night I saw her, “Ding-Dong!” was a crowd pleaser.

Not all of the selections are as effective. I believe this is due in part to some of the arrangements by musical director and pianist Fran Minarik, which tend to be heavy on dissonance and a kind of edgy, experimental quality that sometimes proves distracting. For instance, the opening number, Bernstein and Sondheim’s “Something’s Coming,” is outfitted with a kind of avant-garde boogie-woogie underpinning that doesn’t serve the singer at all. Here I felt Farrell was swimming upstream against the current of Minarik’s playing.

But—like the Sondheim/Bernstein medley—other selections, such as the trembling-with-emotion “100 Years” (John Ondrasik), are delivered in a graceful, resonant voice. Farrell gets to show off her talent for belting on two forceful numbers that close the program: Sondheim’s “Being Alive” and Michel Legrand and Marilyn and Alan Bergman’s “A Piece of Sky.” I would have advised her to pick one of these and discard the other in favor of something less bombastic. She does return to a quieter mode for her encore, Lennon and McCartney’s “Blackbird.” There are some moments of phrasing in that number that suggest that Farrell would do well to add some blues-oriented selections in future shows. I’d also like to hear what she can do with something in a swinging, lilting key—perhaps some up-tempo Gershwin or Berlin. As with her inclusion of “Ding-Dong! The Witch Is Dead,” such additions might offset the dramatic selections, thereby making them seem even stronger and more poignant.

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