“The soprano delivers some of the best singing I’ve ever heard from her in her sad song, introduced by a somber clarinet theme. In the music, premonitions of Strauss’s Frau and Elektra yet to come can be detected. Ms. Meade proves herself a persuasive Straussian: she might make an excellent Dyer’s Wife.

“Following a blessedly brief intermission, Act III opens with austere brass chords. A tone poem emerges, with the chorus chanting in Latin. Guntram and Freihild are alone onstage; the music becomes tempestuous, and the tenor sings of his anguish whilst the soprano continues in true Strauss mode. Mr. Myers’ voice is so perfect for this music. Ms. Meade sings with increasing urgency, the orchestra playing grandly, the string basses digging in as both singers give it their all.” Oberon’s Grove – Philip Gardner

“Range, shading, and presence made Angela Meade’s portrayal of Freihild’s turmoil evident. No libretto was needed; the emotion was self-evident. Meade’s squillo rang clear, and her strength was unmistakable. Of particular note was Freihild’s suicide attempt in Act one. The relatively short exchanges between her character and Guntram struck quickly and powerfully, with no drawn-out monologues. Strauss’s own verses carry the scene. Angela Meade as Freihild met that challenge, cutting through the swell, her strength unmistakable.” Operawire – Chris Ruel

“Equally magnificent was Angela Meade’s soprano portrayal of Freihild. Meade’s voice soared through Strauss’s demanding vocal lines with technical precision and deep emotional resonance. Her Act III prison scene, where Freihild confesses her love to the imprisoned Guntram, was a masterclass in vocal acting. Meade captured the character’s desperation and ultimate nobility, making Freihild’s final acceptance of her fate deeply moving.” The Front Row Center – Edward Kliszus

“Ms. Meade, who we don’t hear often enough these days, was in top form, her luscious voice soaring to the musical stratosphere. Rich tones colored her middle voice. She was swathed in shimmering gold, playing the love interest of both her dreadful husband and a minstrel.” Berkshire Fine Arts – Susan Hall

“the protean soprano Angela Meade, poured out radiant vocal climaxes. As a current and erstwhile bel canto soprano, I was unsurprised by the refulgence and ease at the top of her range, but the core power and stamina were a new and welcome surprise. (Meade recently added Chrysothemis in Elektra to her repertory with success.)” Parterre Box – Eli Jacobson

“In the only opera Strauss wrote with the male role as  the most important, we must say that it was soprano Angela Meade who ran away with the honors. Entering the stage in a gilded gown, she appeared like the Greek god Helios, drawing his golden chariot across the sky. Her voice, similarly, seems a gift from the gods–strong and gleaming when called for yet tender in the final love scene with the eponymous Guntram, sung by tenor John Matthew Myers.” Voce di Meche – Meche Kroop