Mozart's Requiem and Haydn's St. Cecilia Mass: “The soloists were a treat…dusky mezzo Meg Bragle….”
Meg Bragle: Acclaim
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.”
Bach's St. Matthew Passion: “Bragle sang magnificently.”
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.”
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."
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.’”
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.”