Meg Bragle: Acclaim

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

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

"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 St. John Passion: "L'autre petit miracle est une dénommée Meg Bragle dans Es ist vollbracht. Le fait de donner à une femme — une mère — cet air crucial de déploration de la mort de Jésus atteste de l'intelligence fine d'Alexander Weimann et de l'humilité du contre-ténor Matthew White, directeur artistique des Voix baroques, qui n'a pas cherché à accaparer ce moment clé."

Bach St. John Passion "...s'agit d'une mezzo-soprano, d'ailleurs très douée, qui s'appelle Meg Bragle."

Bach's B Minor Mass:  "But this designer-model Bach, which the Monteverdi Choir has perfected, certainly has its moments....[the] bucolic dancing solo violin in the Laudamus te and the resinous singing of...Soprano II will stay long in the memory."

"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."

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

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

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."

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

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'..."

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."

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.”