ORATORIO/ORCHESTRA REVIEWS

John Adams: The Wound Dresser

"Thomas Meglioranza sang impressively."
--The New York Times

"Meglioranza was sweet and sympathetic in voice and manner."
--The Boston Globe

"Thomas Meglioranza projected a strong and determined baritone voice that effectively brought forth the words of the poet."
--Paris Transatlantic Magazine

Bach: St. Matthew Passion

"The evening's satisfactions came mostly from individual performances, especially that of the bass Thomas Meglioranza, who sang beautifully and warmly as Jesus."
--The New York Times

Bach: St. John Passion

"Bass Thomas Meglioranza was suave and thoughtful as Pilate, though he turned prickly when Jesus refused to answer his questions. Like [Paul] Agnew, his voice is flexible and mellow at the edges, which gave his extended arias added impact."
--The Chicago Sun-Times

"Thomas Meglioranza used his eloquent bass to create a sympathetic portrayal of Pilate."
--The Cleveland Plain Dealer

"Thomas Meglioranza was warmly persuasive in his declamation as Pilate."
--The New York Times

"More pleasure came from the singers, especially Thomas Meglioranza, who managed to sound natural and unaffected."
--The Boston Globe

Bach: Cantatas 205 and 207

". . .especially fine work from Thomas Meglioranza, a baritone, who gave a rollicking account of the blowhard Aeolus’s delightful laughing aria"
--The New York Times

Beethoven: Christus am Ölberge

"baritone Thomas Meglioranza offered warm, flexible vocalism in his brief role as Peter."
--Contra Costa Times

Handel: Messiah

"In Handel's day, basses sang coluratura too; Meglioranza showed us what that meant in Part Three's thrilling 'The Trumpet Shall Sound.'"
--The Sacramento Bee

"And that brings us to soloist Thomas Meglioranza, whose brilliant and melodic bass is as thrilling to hear as his animated, expressive face is to watch."
--Evansville Courier and Press

Handel: Israel in Egypt

"The soloists have famously little to do in Israel in Egypt, but they did it well here. . .The most welcome surprise was when Thomas Meglioranza and Curtis Streetman delivered a spirited, entertaining and musical rendition of the duet "The Lord is a man of war", a piece too often used by basses as an excuse for a shouting match."
--Andante.com

Handel: Apollo and Daphne

"Thomas Meglioranza gave a stunning portrayal of Apollo."
--San Francisco Station

Roberto Sierra: Missa Latina

"everything about the Missa Latina seemed con gran expresión...from the orchestra's expansive playing to the rich sound of the Houston Symphony Chorus to the exemplary singing of soloists Heidi Grant Murphy and Thomas Meglioranza."
--The Houston Chronicle

Haydn: The Creation

"Thomas Meglioranza made a distinguished area debut, inflecting each word with character and projecting a pleasing baritone voice. His descriptive recitative of teeming creatures and the lowly worm elicited chuckles."
--The Cincinnati Inquirer

Haydn: Mass in the Time of War

"Meglioranza's solo with principal cellist Stephen Reuss was one of the highlights of the evening."
--Rochester Times Union

Monteverdi: Vespers of 1610

"among the agile and beautifully blended voices were a few standouts: the warm and supple baritone of Thomas Meglioranza."
--The Oregonian

Purcell: King Arthur

"Throughout the afternoon, there were solos of vocal distinction and expressive warmth from baritone Thomas Meglioranza."
--The Boston Globe

"Rollicking good humor"
--The New York Times