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Meg Bragle: Acclaim

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

John Terauds - The Toronto Star
"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."
Kenneth Delong - The Calgary Herald
"Bragle...bloomed in her upper register, with spot-on attacks;"
James McQuillen - The Oregonian

"Mezzo Margaret Bragle, making her Tafelmusik debut, has a memorable, raw-silk voice that she used nicely."

John Terauds - Toronto Star

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

Scott Cantrell - The Dallas Morning News

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

Dean Smith - The Charlotte Observer

"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."

Dean Smith - The Charlotte Observer

"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."

Ken Hoover - Classical Voice of North Carolina

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

Scott Cantrell - The Dallas Morning News

Purcell's Dido and Aeneas

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

Scott Cantrell - Dallas Morning News

"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."

Andrew Lindemann Malone - The Washington Post

"Margaret Bragle's Dido was strong and sonorous."

Scott Cantrell - The Dallas Morning News

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

Laura Kennelly -

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

Donald Rosenberg - Cleveland Plain Dealer

"Meg Bragle the wonderfully threatening Sorceress..."

Daniel Hathaway -

As Second Witch:  "His divinely voiced cohorts, witches Meara Conway, soprano, and Meg Bragle, mezzo, were deliciously conniving, chuckling over their conspiracy."

Gwenda Nemerofsky - Winnipeg Free Press

Handel's Dixit Dominus

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

Donald Rosenberg - Cleveland Plain Dealer

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

C.J. Gianakaris - Kalamazoo Gazette

Copland's In the Beginning

"Meg Bragle contributed a fine account of the shapely mezzo-soprano line."
Allan Kozinn - The New York Times

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

David Johnson - Lynn News

"Mezzo soprano soloist Meg Bragle contributed greatly to the evening."

Richard Parr - Eastern Daily Press

"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."

Dean Smith - The Charlotte Observer

"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."

Lawrence Toppman - The Charlotte Observer

Cozzolani's Mass and Vespers

"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."

Joshua Kosman - San Francisco Chronicle

"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."

Joshua Kosman - San Francisco Chronicle
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