Meg Bragle: Acclaim

"Meg Bragle contributed a fine account of the shapely mezzo-soprano line."

“The most significant musical moment of the season. Bragle was the key to this performance’s success. She brought a Dawn Upshaw-like freshness that perfectly met Copland’s request to ‘tell a familiar story.’ So honest.”

“Whereas the group’s recent performance was exciting in Davidson, it was stunning here. Tang and the singers projected a knowing confidence in every passage of this difficult score and Bragle brought each word vividly to life.”

“Although the singers were all superb, special mention should be made of Bragle, whose dynamic and eloquent account of the solo motet ‘Concinant linguae’ was one of the evening’s many high points.”

“Some of the solo turns boasted a degree of expressive virtuosity that must have rivaled those of Cozzolani's own colleagues - Bragle's extraordinarily vibrant account of the motet ‘O Maria, tu dulcis,’ for instance.”

Bach's Christmas Oratorio:  "Mezzo soprano Margaret Bragle has without doubt a truly gorgeous voice."

As Arsamene in Handel's Xerxes:  “Margaret Bragle, for instance, wielded a delicate instrument wisely and well as Arsamene, the long-suffering brother of the wacky King Xerxes.”

Bach’s Tilge Höchster, meine Sünden and Cantata BWV 213: "The balmy succulence of alto Meg Bragle [was] vital to this entertaining climax."

Handel's Ode for the Birthday of Queen Anne:  “’Ode for the Birthday of Queen Anne’ brought forth another group of exceptional soloists...mezzo-soprano Meg Bragle gave warm impetus to her lines…”

Delilah in Handel's Samson:  “Bragle's Delilah was certainly assured and boldly projected.”

Mozart's Requiem and Haydn's St. Cecilia Mass:  “The soloists were a treat…dusky mezzo Meg Bragle….”

Monteverdi's "Lamento della Ninfa":  "Bragle had a triumph expressing the anguish of a deserted maiden...'"

Bach's Mass in B Minor:  “Bragle had the most success, turning the penultimate Agnus Dei into the night’s most poignant moment.”

Bach's St. John Passion: “The other soloists also were distinguished as Bach stylists and communicative artists. Bragle abounded in refinement in the arias, until she briefly needed to turn up the temperament.”

Boccherini's Stabat Mater:  “Bragle made the tour de force seem effortless...[she] sang the score, both the arching long lines...and the more decorated, concert aria display sections, with a warm and expansive glow.”

Bach's St. Matthew Passion:  “Bragle sang magnificently.”

Showcase Concert of Baroque Arias at the Carmel Bach Festival:  “Bragle was a fine performer. Her two Bach selections set off her warmth of tone and refined delivery.”

As Elpina in Vivaldi's La Fida Ninfa:  “Mezzo-soprano Margaret Bragle, doubling as the heroine's comic sister and as Juno in the deus ex machine finale, deftly differentiated her respective characters, offering a light but creamy sound as Elpina and a darker tone for the goddess. He (Drew Minter) and Bragle made a delightful pair in their scenes together."

Handel's Israel in Egypt:  “Bragle, simply stated, has a gorgeous voice. She can produce her legato sound with just the right amount of drama necessary, and her text readings were excellent. She has a smooth line and employs dynamics very well. Her diction was first rate even in fast moving coloratura passages. I could listen to her sing a cookbook. Her beautiful rendering of the aria in Part II was delivered with effortless projection and line. As my scribbled note’s state, ‘she is the cat’s meow.’”

As Clori in Handel's Clori, Tirsi e Fileno:  "Margaret Bragle was the perfect Clori. She looked and sounded like the innocent maiden, unable to choose between her suitors.”