Handel's Messiah: "The quartet of singers was among of the best of recent years...Meg Bragle brought a strong, well-focused sound to the alto solos...there was much to admire in her basic singing and fine quality of voice"
Handel's Messiah: "The four vocal soloists – soprano Suzie LeBlanc, mezzo Meg Bragle, tenor Lawrence Williford and bass-baritone Andrew Foster Williams – were very good."
Bach Cantata 54 and 170:
"...Meg Bragle, an American mezzo-soprano with a handsome, focused tone and a natural sense of line. What a pleasure to hear a baroque singer use vibrato positively (if discreetly) as an expressive device rather than emit hollow sound.
She was equally gifted at communicating the devout essence of the texts. A particular highlight was Wie jammern mich, the solemn and minimal second Air of the Cantata No. 170.
Cantata No. 54 had its moments as well...the ensemble was in more assured form for the final Air, with Bragle first among contrapuntal equals."
Monteverdi Il Ballo delle Ingrate: "The event turned out to be a case of stunning music stunningly realized....a pure and resonant mezzo, Meg Bragle..."
Handel and Steffani duets: "The singers - Ellen Hargis and Mireille Asselin, sopranos; Meg Bragle, mezzo soprano; Mr. McStoots, tenor; and Mr. Williams, bass-baritone - gave a robust performance in which the sense of the text was paramount. That, thankfully, was the rule rather than the exception in this program, and at the festival generally."
"Da capo arias, with entrancingly embellished repeats, transformed Susan Hamilton, Meg Bragle, Nicholas Mulroy, and Matthew Brook almost into operatic characters, though all four of them seemed to relish the fact that that was exactly what they were not.
Bragle, an American mezzo-soprano new to the otherwise familiar Dunedin team, brought edge as well as beauty to her music."
"To have soloists as apt as Meg Bragle...who confided rather than declaimed, was a boon..."
Handel's Messiah: "American mezzo Meg Bragle has an intriguing, dusky tone that lent itself well to the trials and tribulations of Jesus."
"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 debut, 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."
"Meg Bragle contributed a fine account of the shapely mezzo-soprano line."