JS Bach B Minor Mass Some of the most memorable moments were provided by the soloists. Mezzo-soprano Meg Bragle made a notable debut, the highlight being a ravishing duet in “Laudamus te” with violinist Kathryn Woolley, acting associate concertmaster.” - Janelle Gelfand

— Cincinnati Enquirer

JS Bach Cantata BWV 81, Jesus schläft, was soll ich hoffen?            Cantata BWV 111, Was mein Gott will, das g’scheh allzeit    "John Eliot Gardiner has written that this cantata [BWV 81] is the closest that Bach came to composing an opera, and the coloristic writing glinted through Butt’s direction, aided by Meg Bragle’s dark, sonorous alto... Nicholas Mulroy’s rich, bright tenor was at home in the upwardly optimistic environment of BWV 111, his duet with Bragle forming the highlight of that cantata’s rigorous commitment to divine will. ” - Simon Thompson

— Seen and Heard International

Aaron Copland In the Beginning "Bragle sang beautifully: she has a supple, expressive voice and an exceptionally intelligent musicality. She sang the Genesis verses as offerings to be marveled at and was fully equal to intricate rhythmic and harmonic dialog with all sections of the entire choir."” - Jean Ballard Terepka

— Theaterscene.net

JS Bach - St. John Passion: "Aldeburgh, even in Britten’s centenary year, is about much more than an opera on a beach. Highlights of the other events I attended in a four-day sampling included an impeccable Bach St John Passion from the Monteverdi Choir and Orchestra under John Eliot Gardiner, with alto Meg Bragle a standout among the soloists...."” - Michael Dervan

— Irish Times

JS Bach - St. John Passion (ATMA Classique) "...one of the most moving accounts of 'Es ist vollbracht' in recent years....'” - Jonathan Freeman-Attwood

— Gramophone Magazine

Beethoven - Symphony #9:  "Polegato gave a beautiful account of the recitative with flawless German, and the soloists Dominique Labelle (soprano), Meg Bragle (mezzo-soprano) and Benjamin Butterfield were all in fine form. Polegato gave a beautiful account of the recitative with flawless German, and the soloists Dominique Labelle (soprano), Meg Bragle (mezzo-soprano), and Benjamin Butterfield were all in fine form."” - Stephen Bonfield

— Calgary Herald

JS Bach - Mass in B Minor:  "The soloists — Tiffany Rosenquist de la Torre, soprano; Meg Bragle, mezzo-soprano; Steven Caldicott Wilson, tenor; and Jesse Blumberg, baritone — were well matched in the duets, and consistently moving in their solo contributions, though Ms. Bragle’s supple account of the Agnus Dei stood out as a clear highlight."” - Allan Kozinn

— NY Times

JS Bach - Auf Christi Himmelfahrt allein BWV 128:  "Of particular note was the duet for alto and tenor with oboe d'amore obbligato telling of mortal man's silence at the magisterial mystery of God.  Tenor Andrew Tortise and mezzo Meg Bragle sang this duet in perfect harmony with each other. JS Bach Lobet Gott in seinen Reichen BWV 11:  Mezzo Meg Bragle gave a suitably sustained, but well contoured rendition of the first aria, which tells of the sorrow caused by the parting of Christ. Although Bach specifies an alto (Altus), for the alto parts I was not too disappointed that Eliot Gardiner chose a mezzo, Meg Bragle, who sang excellently..."” - Geoff Diggines

— MusicWeb International

Pergolesi - Stabat Mater and Scarlatti - Totus Amore Languens: "Both soloists wove their threads of the contrapuntal fabric with expressive clarity, particularly effective in the duet verses in which the parts glide seamlessly in and out of homophonic union.  The engagement with the string ensemble was equally effective, using the instrumental textures as points of departure for the vocal interpretations....Bragle delivered the text with both clarity and sincerity, allowing the composition to rise above mere religious propaganda."” - Stephen Smoliar

— San Francisco Examiner

Pergolesi - Stabat Mater and Scarlatti - Totus Amore Languens: "Mezzo-soprano Meg Bragle....produces an appropriate tone while avoiding a stereotypical early-music sound...providing an attractive tone and vivid presence."   ” - Thomas Busse

— San Francisco Classical Voice

Perhaps the loveliest of these four pieces was Irene’s “As with Rosy Steps the Morn,” from Theodora, music of wonderful rhythmic subtlety, which was sung with a powerful range of emotion by Meg Bragle.” - Bernard Jacobson

— MusicWeb International