Meg Bragle: Acclaim

Copland's In the Beginning:  "The audience was introduced to American soloist mezzo-soprano Meg Bragle whose vocal clarity brought out the full meaning of the biblical text."

Copland's In the Beginning:  "Mezzo soprano soloist Meg Bragle contributed greatly to the evening."

Handel's Messiah:  "American mezzo Meg Bragle has an intriguing, dusky tone that lent itself well to the trials and tribulations of Jesus."

"Bedtime" (Schubert lieder) with the Mark Morris Dance Group:

"Be it said that the opening Wiegenlied is utterly charming, that the Ständchen (very well done by its soprano and male quartet) is a delight in its fluent dance shapes and its unfailing originality of movement ideas. But the Erlkönig is staggering....With an eloquent account of the text from the soprano Margaret Bragle and the pianist Colin Fowler, the drama seems new, heart-tearing, and Schubert honoured in this masterly realisation."

Handel's Israel in Egypt:  "Their solo turns, too, were exemplary: unaffected, unassuming and perfectly in tune to the intentions behind these arias, which is to represent the ordinary man."

Handel's Israel in Egypt:  "The soloists were superb..."

Bach's B-Minor Mass and Vivaldi's Gloria:  "Particularly memorable were the duet for Ms. Simon and Ms. Bragle in 'Christe eleison', the majestic swelling chorus at 'Gratias agimus tibi', and Ms. Bragle’s breathtaking vocal control at the beginning of 'Qui sedes ad dexteram patris'..."

Bach's B-Minor Mass and Vivaldi's Gloria:  "The vocal soloists were alive to the poetry and vivacity in Vivaldi’s writing....Mezzo-soprano Meg Bragle demonstrated her Baroque versatility paired with Rene Schiffer’s jaunty cello and on her own agile journey."

"To have soloists as apt as Meg Bragle...who confided rather than declaimed, was a boon..."

"Mezzo-soprano Meg Bragle was sure of tone from top to bottom, her voice quality appealing, as was her moving account of He Was Despised."

"Bragle...bloomed in her upper register, with spot-on attacks;"

“Mezzo Margaret Bragle, making her Tafelmusik début, has a memorable, raw-silk voice that she used nicely.”

“Meg Bragle supplied a mezzo clear and true, dipping seamlessly into a finely finished chest voice…”

“To her arias Bragle brought a no-nonsense forthrightness and surprise, storytelling.”

“Bragle [sang] with finesse and interpretive skill. Think of the difference between the nuance of a viola da gamba versus the flash of a violin.”

“Another memorable highlight was mezzo-soprano Margaret Bragle's aria "He was despised and rejected." In the repeated passage where she sang these words unaccompanied, her pianissimo vocal control and the meaning she put into the words was stunning.”

“Bragle had a handsome, enameled [voice] and vivid delivery.”

"Meg Bragle's Dido had a beautifully even and enameled mezzo, and she sang most expressively."

“The production was not staged, but the uniformly excellent cast did enough acting to underline their characters’ motives and foibles, as with mezzo-soprano Margaret Bragle’s imperious, spiteful Sorceress…”

“Margaret Bragle’s Dido was strong and sonorous.”

"Meg Bragle...also added fire, great voice..."

"Several singers from the 1998 production have returned to re-create their roles, including the sonorous Bragle..."

"Meg Bragle the wonderfully threatening Sorceress..."

“The vocal soloists...were fine: soprano Kiera Duffy, animated and gleaming, mezzo-soprano Margaret Bragle, vibrantly alert.”

“Margaret Bragle displayed a smooth, attractive voice and ideal intonation.”