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Meg Bragle: Acclaim

"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."

Clement Crisp - Financial Times

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

"From ruhig to marrow-chilling dramatics - Margaret Bragle's singing is clear as a bell."

Vera Liber - The British Theatre Guide

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."

Igor Toronyi-Lalic - TheArtsDesk.com

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

Susan Nickalls - The Scotsman

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'..."

William Fazekas - ClevelandClassical.com

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."

Donald Rosenberg - Cleveland Plain Dealer

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

John Jane - reviewVancouver

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.”

Anne Midgette - The New York Times

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

Kenneth Walton - The Scotsman

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…”

Donald Rosenberg - Cleveland Plain Dealer

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

Scott Cantrell - Dallas Morning News

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

John Terauds - Toronto Star

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

Donald Rosenberg - Cleveland Plain Dealer

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

Lawrence Toppman - The Charlotte Observer

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.”

Donald Rosenberg - Cleveland Plain Dealer

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.”

Milton Moore - The (New London) Day

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

Michael Caruso - Chestnut Hill Local

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.”

Nathalie Plotkin - The Monterey Herald

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."

Lisa Berglund - Opera-L

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.’”

Classical New Jersey Society Journal

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.”

Harry Abraham - Opera-L
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