Critical Acclaim | Features

Puccini’s Turandot at the Los Angeles Opera

“Soprano Angela Meade’s voice is robust and powerful, surpassing even her remarkable performance in LA Opera’s 2002 production of “Roberto Devereux.” Her extraordinary talent made it evident that we were witnessing a historic moment in opera, one destined to be remembered as legendary.” Indulge Magazine – G. Dhalla

“Los Angeles Opera’s Turandot, which opened last night at the Dorothy Chandler Pavilion, is a resounding success, immersing audiences in a mélange of artistic splendor and vocal magnificence that elevates the experience to extraordinary heights. David Hockney‘s imaginative sets and vibrant staging, coupled with the star performances of Angela Meade and Guanqun Yu, breathe life into the epic tale with emotional depth and aesthetic grandeur that is nothing short of breathtaking…Angela Meade, in her inaugural portrayal of Turandot, exhibited formidable vocal prowess and dramatic fervor. She adeptly captured the princess’s frigid heart with a riveting performance. Her voice, commanding and soaring over the orchestra, shone particularly during the opera’s climactic junctures. Meade’s Turandot transcended mere aloofness, revealing layers of vulnerability. Her execution of “In questa reggia” was striking, masterfully conveying Turandot’s complex emotions and regal contempt, ensuring we were attuned to every subtlety of her transformation.” Stage and Cinema – Michael M. Landman-Karny

“Here’s the thing about singing Puccini’s Turandot, you spend an entire act and a half backstage cooling your heels with just a brief peek onstage halfway through Act I. Meanwhile, you are the only topic of conversation for every character on stage. Then you’re supposed to saunter on to all that fanfare and advance press halfway through the opera, while everyone else has had plenty of time to warm up, and deliver like a boss. Which is exactly what Ms. Angela Meade did. She was literally ferocious from the first. The voice was perfectly placed with none of that tentative reaching for high notes (which start coming pretty fast). Plus, the bottom of that voice has filled out considerably to juicy effect. She literally sailed through “In questa reggia.” She was also determined to involve the audience in her story– she was so completely committed to the text you could have taken dictation from her. How many sopranos have I heard who started so tentatively that they didn’t actually start ‘singing’ until halfway through Act III, almost afraid to pronounce the words? The result is some weird combination of solfège with consonants.

At the conclusion of the aria, Mr. Thomas joined in for the bit with ‘anything you can sing I can sing higher’ and they both ended up on the ‘C’ in alt and, children, it was g-l-o-r-i-o-u-s. Just as things quieted down, a single person in the back broke into the most rabid applause for a hot second. I felt it, but the rest of us were too stunned to move. Then she unleashed one of the most titanic “Straniero, Ascolta!”s I’ve ever heard (in one breath mind you) and I was afraid the oxygen mask over my seat was going to deploy.

My favorite moment was after the second riddle when the Emperor called out for Calaf to have courage and she gave her dad some atomic side-eye. Then when he got the answer right, she marched over to the three wise men, grabbed the scroll, and flung it out of sight like, “these riddles are crap.” The melodrama was fabulous. When Mr. Thomas triumphed, and she was begging daddy not to marry her off, she did some very nifty dominating of the ensemble, climbing the hill up to the high C’s and blazing out over the top of the entire chorus and orchestra not once, but twice. At this point I was pretty certain the first three rows of the audience were suffering from tinnitus. Not to be outdone, Mr. Thomas took the optional high C in ‘ardente’ because it was that kind of evening.

Then we were back at “Clash of the Titans,” except Ms. Meade literally melted during her “Del primo pianto.” She intentionally and deliberately softened the top of her voice so it was all warmth and started really leaning into her bel canto training. Then, Mr. Thomas revealed his name and we were back with ‘anything you can sing I can sing louder’ and my ears were literally ringing in my seat (no joke).

I don’t know where the final set comes from. It just drops out of the flies and appears in front of you like magic. Plus, after all of that, it’s dazzling to look at in-person. When the curtain came down, it was the first time in LA I’ve seen a standing ovation start before there were any performers back on stage for the calls.

I’m sorry I wasn’t out on the plaza to see the white smoke puff out of chimney from the top of the Dorothy Chandler for Ms. Meade.” Parterre – Patrick Mack

“One of the highlights of this production was undoubtedly the cast’s stellar performance. The role of Princess Turandot demands both vocal prowess and dramatic intensity, and soprano Angela Meade rose to the occasion magnificently. Her portrayal of the icy princess was both commanding and vulnerable, capturing the character’s inner turmoil with grace and power.” Arts Beat LA – Pauline Adamek

“Without question, Meade strikes a formidable figure as Turandot, physically and vocally. The impact of her voice is palpable, capable of cutting through the full force of the orchestra like an executioner’s blade or projecting to the rafters like an artillery shell. The combined power Meade wields with Thomas is titanic.” Classical Voice SF – Jim Farber

“Angela Meade’s Turandot is just as mesmerizing, her soprano voice soaring with clarity and strength. Her portrayal of the icy princess is both commanding and nuanced, conveying the inner turmoil and eventual transformation of her character with remarkable skill.” ParisLA – Yann Perreau

“Angela Meade, the Turandot, has a powerful and vigorous soprano. The role (and the sizeable orchestra) seemed to hold no terrors for her. Her tone was firm and unwavering. Her singing was strong and unflagging. It was also a performance with subtlety and delicacy – when describing the plight of Turandot’s ancestor Lo-u-Ling in “In questa reggia”, and uttering the word “amore” in the final duet.” Classical Voice – Truman C. Wang

“Soprano Angela Meade, who was last seen at the Dorothy Chandler Pavilion as Elisabetta in the pandemic-encroached Roberto Devereux, returns with a vengeance as the fierce and unsympathetic Turandot who has her reason for distrusting men: Her ancestress Princess Lo-u-Ling and her kingdom were once ravaged by a long-ago King of the Tartars and his men. As an inheritor of this trauma, Turandot guards against a potentially horrific future by clinging to the narrative of her people’s past. Communicating this truth, Meade bowls over the audience with “In questa reggia,” cobbling the intensity of a thousand suns which reverberates preternaturally and overpowers an entire collective around her. Meade, in addition, does her part to elevate the percussion-intensified riddles scene with Thomas’s Calàf to a level that has audience members on the edge of their seats before evincing her versatility by portraying a more thawed-out, vulnerable Turandot in the opera’s final moments.” – Imaan Jalali

“Taking on the titular role, Angela Meade is the star of the evening, her piercing voice capturing the iciness of the murderous princess and later earning our sympathies as she explains her motives. Russell Thomas’ Caláf is a fitting counterpart, alchemizing the murmurs of excitement which greet the opening chords of “Nessun dorma” into roaring applause. The final act between the two rivals in the palace’s garden is one of the most visually and aurally stunning performances likely to appear on an LA stage this season.” – Andrew Child

“Angela Meade and Russell Thomas, local favorites with impressive international careers, are two of the more ideal singers for the demanding lead roles of Turandot and Calaf and they made this revival an appealing prospect…In her role debut as the icy princess, Meade’s powerful voice was thrilling, with intonation and ferocity spot on.” Bachtrack – Matthew Richard Martinez

Verdi’s Un Ballo in Maschera at the Metropolitan Opera

“the soprano Angela Meade delivered a memorable Amelia. Her sound is essentially cool, but it got fuller and more inflamed as the weird, tragic plot developed, ending up lean yet glowing, like a red-hot poker.” New York Times – Zachary Woolfe

“As for the singing, simply put: this was brilliantly sung. The leading cast displayed exemplary bel canto technique from the first note to the last, and their approach to Verdi’s music elevated even the most bare-bones of dramatic elements….Angela Meade, as the guilt-ridden but glamorous Amelia, was superb. She has a dazzling, full-bodied sound, nicely balanced and perfectly controlled, and navigates the massive range of Amelia’s part with a deft touch. There was more than one breathtaking moment in each of her arias—from acapella pianissimo entrances that emerged with crystalline splendor to waterfalls of sound so forceful that the air shook around her.” Observer – Gabrielle Ferrari

“This was not Angela Meade’s first appearance in the opera, and her Amelia was burnished with experience that emerged from the singer’s resonant middle and lower registers—a reminder that her unconsummated love for the King helps seal his doom. Her versatile delivery emerged in great relief in Amelia’s Act II aria “Dell’arido stelo divulsa,” but her aria of maternal despair in the next act, “Morrò, ma prima in grazia” showcased her singing at its best.” The European Conservative – Paul du Quenoy

“Angela Meade was in sumptuous voice as Amelia. She filled out Verdi’s soaring lines with plush sound, often topping a phrase with soft, shimmering high notes. As an actress, she made for a sympathetic woman torn between fidelity to her husband and passion for Gustavo in grand operatic style.” New York Classical Review – Rick Perdian

Strauss’ Elektra at the Dallas Opera

“The most glorious singing, of seemingly limitless power and warmth, comes from soprano Angela Meade as Electra’s sister Chrysothemis” Dallas Morning News – Scott Cantrell

“The superstar in the strong cast was soprano Meade as Chrysothemis, Elektra’s less-violent, essentially well-adjusted sister. Meade sang with pitch-perfect gusto, and her voice consistently rang out over the orchestra. The audience heard every gorgeous note.” Classical Voice North America – Susan Geffen

“Dallas Opera’s production of Richard Strauss’s expressionist masterpiece Elektra opened Friday night at the Winspear Opera House and the performance was stunning in every respect…The strongest voice among the cast came from Angela Meade, who brought her robust soprano to the role of Elektra’s dubious sister Chrysothemis. The several duets for Owens and Meade were sensitively sung, their voices well matched. When Elektra cajoles Chrysothemis to join the revenge plot, Strauss employs the sweetest love-duet style, in which both sopranos were radiant. The sisters’ soaring victory duet after their father’s murder is avenged was a highlight.” Texas Classical Review – Stuart Cheney

“Angela Meade’s portrayal of Chrysothemis, Elektra’s sister, steals the spotlight with her thunderous belts and effortless high notes that are sure to electrify the audience (no pun intended!). Her resonant voice will leave a lasting impact, adding depth to the production.” Eskimo Tv – Jason Escamilla

“Owens is matched by Angela Meade’s portrayal of her emotionally crippled sister, Chrysothemis,… her nightmarish portrayal combined with her superlative vocal abilities makes her an ideal contrast to Owen’s more concentrated madness.” EarRelevant – Gregory Sullivan Isaacs

Donizetti’s Anna Bolena at the Teatro Carlo Felice di Genova

“Angela Meade got a well-deserved personal success, great Bolena for temperament, voice, confidence in phrasing, intonation: the final scene was extraordinary.” La Repubblica – Roberto Iovino

“The Teatro Carlo Felice hadn’t offered Anna Boleyn since 1851, for which it is now pardoned by presenting a splendid edition to the public. It has been the protagonist Angela Meade, who faced with amazing ease the arduous, long and tiring task entrusted by Donizetti to the mythical Giuditta Pasta. This American soprano seems to know no limits: she has a full, homogeneous and well-pitched voice throughout her extension, with endless breath and precise and sure agility. She developed an impressive power in the moments of fury, as in the end of the first act and in the cabaletta “Coppia iniqua” and seduced with wonderful pianissimi, limpid and delicate in the painful and dreamy moments such as those exhibited in “Al dolce guidami castel natío ”. Few are the singers today capable of facing with this perfection some pages that demand vocality and expression in such different ways.” Opera Actual – Mauro Mariani

“What spearhead was the performance of soprano Angela Meade, an artist who in this last year is making herself strongly noticed on our stages, thanks to that rare mixture that combines in her voice a particular, very theatrical and characteristic color, a volume of considerable impact, excellent technique and a very refined sense of handing and phrasing. Her Bolena therefore imposed itself thanks to a careful and sensitive interpretation in which the various accents were well blended, transmitting a very complete and in-depth theatrical story of the queen’s drama.” I teatri dell’est – opera senza confini – Silvia Campana

“All this to say how amazing Angela Meade is. Timbre beauty is a must for such writing, as are purity of line, firmness of even very long legacies, very long pianissimi discolouring at dizzying heights, softness of a chromatic palette all chiaroscuro and half-tints, as well as – where needed – the pop of lightning bolts in the lightning stroke, as in the final cabaletta: an Anna with a superb style and phrasing.” Classical Voice – Elvio Giudici

“The proposition of a title like this is unthinkable without the presence of at least two exceptional performers who have the qualities other than to confront the creators of the characters – which is obviously impossible – at least to adapt to the demands of two such demanding roles, and here we have them. The Anna Bolena who was therefore Giuditta Pasta relives here with the American soprano Angela Meade in the repertoire most congenial to her: the sumptuous timbre, the exceptional projection of the voice, the interminable winds, the enchanting half voices, the fluid agility, the colors nuances make his performance a success acclaimed by the public who is enchanted by his dreamy “Al dolce guide me”, he is subjugated to his incisive cabaletta “Inequitable couple”, he is moved by his tragic end.”  L’opera oggi – Renato Verga

Verdi’s Aida at the Arena di Verona

‘Also admirable is the Aida by the American soprano Angela Meade, with a seductive legate and a very musical adherence to the word, in an elegant balance between lyricism and drama.’ – le salon musical – cesare Galla
“The performance on July 1st shone thanks to a cast in many ways amazing led by soprano Angela Meade in the title role, which can be considered the best Veronese Aida heard in the last thirty years. She is gifted with a truly exceptional instrument, there are few in the world to whom nature gives such a generous gift. Making comparisons does not always bear good fruit, but spontaneously recalls the words of Toscanini from the voice of Renata Tebaldi quoted in the book by Giuseppe Valdengo Cantai con Toscanini: “A heavenly voice, one of those that penetrate the soul, , shining. When Tebaldi sings, everything clears up as if the sun appeared, and you can smell the scent of spring “We have quoted these words not to compare Meade’s voice to Tebaldi’s, but only to describe the sensations that arise when listening to the voice of the famous soprano of our days. Incomparable beauty of the timbre and, then, softness and sweetness, homogeneity and brightness, and still not enough. She pronounces clear, the line of the song flawless, remarkable expressiveness. Angela Meade takes us to heaven and we are very grateful to her. She also manages to create a very believable character, without any melodramatic overtones. The final monologue of the first act, such as the Nile romance could serve as a singing manual.” – L’ape musicale – Irina Sorokina

Donizetti’s Roberto Devereux at the Los Angeles Opera

“Impressively, Angela Meade, an American soprano who has what may be the best voice to become the next great Elizabeth, jumped aboard with next to no time to prepare. She had, by coincidence, just eight days earlier been starring in Bellini’s “Norma” at Teatro di San Carlo, the very house in Naples, Italy, where “Devereux” had its cholera-scare premiere. It also turns out that 11 years ago, Meade, then an emerging soprano, had sung Elizabeth in Lawless’ then-new production at Dallas Opera, in an alternate cast for runout performances at schools. Now, as one of the finest bel canto voices, she will star in the Met’s revival of its “Devereux” production in the fall. Meade arrived in L.A. on Tuesday, and with little time to prepare, she sang Saturday standing at the side of the stage at a music stand with a score. The production’s choreographer, Nicola Bowie, acted the role onstage. This meant there was some exceptionally fine singing. Meade’s voice has lustrous body and brilliant volume. There is dark richness that holds the potential for exceptional expressivity when that weight of sound is moved with graceful ease.” Los Angeles Times – Mark Swed

“Meade’s voice is a powerful instrument: resonant and refined… it was a thrilling reading of Elizabeth I. Meade has a true trill and easy coloratura, but it is really the range of vocal color she is able to convey which makes for a powerful dramatic experience. This served the vengeful monarch well. Meade was generous with her voice given the circumstances, offering thrilling interpolated high notes. If Meade continues with the remaining performances, bel canto fans should run, not walk, to snatch up tickets.” Bachtrack – Matthew Richard Martinez

“Donizetti’s opera, including the arias and recitatives written for Elizabeth’s role, is written in the bel canto technique, the most challenging style of operatic singing which demands clear articulation, projected enunciation, and incredible vocal agility. The demanding nature of the role made a quick replacement seem like a dream,… but soprano Angela Meade was able to step in and take over the role. Returning to the Los Angeles Opera five years after her titular performance in their 2015 production of Norma, Meade was able to rely on her vast repertoire, which included all of Donizetti’s pieces for Elizabeth. Due to her late arrival to the production, Meade sung Elizabeth’s role on the side of the stage, downstage left, while the production’s choreographer, Nicola Bowie acted the role in costume. Despite this, Meade’s performance left the audience in awe whilst immersing us into the inner world of Queen Elizabeth I….The star performance of the night is that of Angela Meade as Queen Elizabeth I. Although she only sings the part from the side, her performance is the most captivating and exciting of the night. Elizabeth’s incredibly technical arias meet their match in the form of the bel canto superstar as Meade effortlessly weaves between scales and trills, as well as singing the highest notes out of the performers. Her performance is that of a well-seasoned singer as she channels the power and vulnerabilities that made up Elizabeth. When she is betrayed, Meade’s performance becomes one of hurt, loss, and anger, wishing for her lost friendship, struggling to hide her tears, and finally reaching out to England on the map, a country she has completely given herself to. At the end of the opera you are hit with a sadness at her passing, but that is immediately taken over by a greater feeling of awe, a feeling which LA Opera’s production beautifully encapsulates as Queen Elizabeth I steps into her own box of memorialization, of legend, to be looked upon as a powerful figure in history. Regardless of the last-minute changes in casting, the Los Angeles Opera skillfully celebrates Donizetti’s Roberto Devereux with exceptional visual storytelling, creative production, and sung performances that bring the house down.” Flaunt – Armine Gulyan

“Taking the place…on exceedingly short notice is American soprano Angela Meade, whose classic vocals charge with trills, a coloratura-ripened vigor and an affecting vehemence as in when her character longs for Robert in the heart-stricken “Vivi ingrato, a lei d’accanto” (“Live, ungrateful man, at her side”). This number and the crushing fragility in “Quel sangue versato” (“That spilled blood / rises to heaven”) feel like an impressive pivot by the versatile Meade who just earlier sings the comparatively sanguine proclamation of love for Robert in “L’amor suo mi fe’ beata” (”His love was a blessing to me”). Elizabeth’s changing feelings and transformation, from adoration to vengeance and then ruefulness, is a wonder to behold and also delineates how the self-assurance and control that Elizabeth wields begins to dramatically wilt. It’s amazing to see Meade curl her vocal fist into an authoritative hammer that, on command, suitably softens and opens to reveal a beautifully tragic dove. On opening night (Saturday, February 22nd), Meade, who is set to again reprise Elizabeth in the Metropolitan Opera’s production of “Roberto Devereux” in September, didn’t quite know the blocking yet for this version, but was assisted by choreographer Nicola Bowie who acted as the pantomiming physical stand-in, in full regalia and all, while Meade, standing to the side, complemented Bowie’s graceful movements with an equally breathtaking voice to match. That being said, only five days later, for the second performance on Thursday, February 27th, Meade was not only ready to assume all responsibilities, but she carried them out like a seasoned and consummate professional.” LA Excites – Imaan Jalali

“Securing Angela Meade’s return to the Los Angeles Opera – where she had been stunning in the role of Norma was a major coup. As the Queen, Meade displayed the vocal power and brilliant technique that the role requires. Meade’s rich, superbly controlled vibrato and impressive coloratura was at it most resplendent for the opera’s final scene – one of the most powerful operatic scenes in all of Donizetti’s 70 operas. In Vivi ingrato Meade’s Elisabeth woefully sings of her despair at having signed the death warrant that led to her lover Roberto’s beheading. That chilling cabaletta that follows – Quel sangue versato al cielo – foretells the end of her reign and with it the Tudor dynasty. At the conclusion of Meade’s performance, the Los Angeles Opera audience erupted in a sustained ovation.” Opera Warhorses – William Burnett

“Among the many highlights were… Angela Meade’s rendition of Elizabeth’s famous cavatina, ‘L’amor suo me fe’ beata’… Angela Meade conferred the dignity due to the role of Elizabeth, but also imbued the part with a queenly imperiousness. In a sense, Elizabeth seems to fall victim to her own faults. This was especially evident in the final act in what is one of the opera’s most difficult and demanding arias, ‘Quel sangue versato’.” Seen and Heard International – Douglas Dutton

“But the true star of the evening was soprano, Angela Meade (Don Giovanni, Norma) who stepped in as the ”voice” of Elizabeth. Miss Meade, from a dark side of the stage, sung with poignant beauty and electrified the audience, receiving the biggest standing ovation of the evening. This tale of love, lust and betrayal in the Tudor royal court strays a long way from history, but makes a sensational plot. Add Donizetti’s evocative music, dramatic lyrics by librettist Salvatore Cammarano, and the brilliant cast, and it becomes timeless.” Indulge Magazine – Victor Riobo

“Stepping in with little time to rehearse, American soprano Angela Meade, who is a bel canto specialist brought her best game to a very difficult situation as the powerful, yet tormented Elizabeth….Showing vocal strength, projection and clarity of voice, her talent was apparent in the first few minutes. As the story progressed she got even stronger, if that is even possible, culminating in the famous and difficult aria “Vivi ingrato, a lei d’accanto” which showed off her command of the coloratura repertoire.” Living Out Loud Los Angeles – Humberto Capiro

Rossini’s Ermione at Teatro San Carlo

“The role of Ermione is very demanding, requiring a soprano with excellent technique, versatility and the ability to infuse her singing with dramatic meaning. Angela Meade is such a soprano, and she put on a commanding display. It was the dramatic intensity with which she was able to infuse her singing which made her performance so powerful. Agility and intelligence alongside the raw power she can employ created a formidable, but not necessarily an always delicate performance. Every phrase was enriched with a variety of dynamic and a colorful accents, in which dark and light contrasts were used to promote expressiveness, and promote a psychological interpretation…Her coloratura and trilling were finely rendered. Her voice resounded with quality…she was able weave a delicate filigree of sound at the upper end…in what was an excellent performance.” Operawire – Alan Neilson

“With Angela Meade, it is a higher degree that we reach: the American singer gives a lesson in singing and in particular in the second act, which is the one where the airs and the imprecations follow one another. First of all, the voice is homogeneous from low to high, always correct, always technically mastered. Then, as an exemplary product of the American school, it has a diction of rare clarity, and real Italian phrasing. Finally, it is an inhabited, colorful, interpreted song, with the desired pianissimi with the treble held, with an impressive breath.
She is undoubtedly one of the indisputable figures in this repertoire, and Naples was happy to have her celebrate the bicentenary of the work…she knows how to show the psychological folds of the character, sometimes lyrical, sometimes terrible, sometimes torn. She knows how to convey the complexity of a role that is not all of a block, only that of the villain as we see too often Hermione in the original Racinian. Rossini and his librettist have succeeded in delving into the character, revealing its contradictions and cracks: the music that accompanies his arias is astounding in finesse, variety, color, energy, it manages to convey both the tension and despair. And Meade manages to translate it all, with an unusual vocal presence and energy (ah his great final aria – che feci? Dove son? – which opens the final scene (and doesn’t conclude it) is a magnificent example of singing embodied. It is a great opera moment that we witnessed there.” Wanderer – Guy Cherqui

“This kaleidoscope where anger turns into pain, where tenderness competes with resentment, where the call without an echo turns into an insult, it is up to the performer to deploy it and train us in it. A challenge brilliantly held by Angela Meade, whose voice complies with all the requirements of the role, thanks to its very homogeneous range where the highs are brilliant and the lows are sound, and to its jumps, bounces and sustained sounds. In the second act, where the character’s mental and emotional disorder precedes a hallucinatory introspection followed by a cruel return to lucidity, the expressive palette leaves nothing to be desired.” Forum Opera – Maurice Salles

“the American super soprano Angela Meade triumphs….And here the San Carlo has dropped the ace of Angela Meade, American soprano with an equally impressive voice and physique. However, Meade is not just a joint: she can sing, her plans are very beautiful and her agility works too. Although little aided by direction, Meade is an interpreter, perhaps a little one-dimensional in her perpetual fury but often enthralling when she articulates incendiary and furious phrases such as: “And so dare a leftover of Troy? ” … the sumptuous, dark, full voice fills the great hall of the San Carlo with torrential authority.” La Stampa – Alberto Mattioli

Rossini’s Semiramide at the Metropolitan Opera

“In the title role of the queen who murders her husband and unwittingly tries to marry her son, the soprano Angela Meade gives her gutsiest Met performance since “Norma” in 2013, her coloratura fireworks amplifying her pride, guilt and fear. Even with 45 minutes cut from the score, this is a long opera — the conductor Maurizio Benini led a crisp, clear rendition that nevertheless struggled to find variety in the 105-minute first act — and a long part. But if Semiramide seems to tire Ms. Meade no more than it did when she coolly dazzled in it at Caramoor in 2009, her tone has shed the overly pearled sheen it had then; its silver is now warmer.” NY Times – Zachary Woolfe

“The reason for this third appearance in three consecutive centuries is simple: Angela Meade, the soprano whose high-horsepower voice and hummingbird nimbleness is a rare match for Semiramide’s semiquavers… Abdrazakov’s dark-alley baritone sets off Meade’s opalescent highlights….Each aria and duet is the vocal equivalent of an Olympic figure-skating routine. We ordinary mortals could no more sing along than we could levitate, twirl four times, and land on a speeding blade. And yet we sit in judgment not just of the feat itself but of the grace, fluidity, and passion with which it’s executed. Meade glides through one musical triple lutz after another as if she could keep going all night, and it hardly matters that her character is a homicidal manipulator and monster mom.” VULTURE – Justin Davidson

“Soprano Angela Meade anchored the cast with a fearless performance in the title role of the morally compromised and lovestruck queen, issuing a blizzard of sixteenth and thirty-second notes and dizzying leaps with expressive power to back them up. Her ode to love “Bel raggio lusinghier” bubbled and soared with little apparent effort… Rossini stirred the general’s fealty to the queen and her passionate desire for him together in the radiant quasi-love duet “Serbami ognor,” which Meade and DeShong turned into a memorable efflorescence of trills and scales Monday night.” NEW YORK CLASSICAL REVIEW – David Wright

“Angela Meade marchent sur leurs pas également. Si l’on peut lui adresser un reproche ce serait de parfois (trop) chambouler la rythmique. Autrement, la soprano américaine propose une Semiramide qui possède les qualités pyrotechniques de Jessica Pratt et l’intelligence coloriste de Joyce DiDonato. La voix possède en live un timbre plus épais que ce que les captations aisément consultables en ligne laissent entendre. « Dolce pensiero » se conclut par un mi stratosphérique alors que ses variations de nuances et de couleurs dans les tutti du finale du premier acte (« Giuri ognuno… ») font regretter que celui-ci ait été tant amputé. En tout plus d’une demi-heure de musique passe à la trappe. Les coupes concernent en priorité les reprises des airs, des duos et même les canons de la fin du premier acte. Par voie de conséquence, tout ce qui permet aux interprètes de rendre justice à Rossini et d’exprimer leur personnalité propre se voit aussi restreint. Pourtant, cela n’empêche pas Angela Meade d’accèder au trône de l’art rossinien, si exigeant et subtil.” Forum Opera – Yannick Boussaert

“Angela Meade is a vocal powerhouse as the repentant Babylonian queen Semiramide, who schemed with Prince Assur to murder her regal husband, Nino. Semiramide has a falling-out with Assur in a scene that has some of her most intense utterances, and Meade handles them with aplomb.” Financial Times – George Loomis

“And this production is damn well sung, lead by the vocally beautiful Angela Meade… Heading an impressive cast, Meade lives as comfortably in her voice as most any singer could. Like those around her, the passage work is squeaky clean. And it’s rich and thrilling. Her comfortable, warm sound has weight you can hold, throughout her range. Her top is big and secure. Meade, with the help of a succinct libretto, is in every way exciting as this tortured and most interesting queen.” Zeal NYC – Mark McLaren

“Meade debuted the role at the Caramoor Festival several years ago and she’s fulfilling a dream of doing this production since she first saw a video of it. She did herself proud. If the role of the Babylonian queen has “simply too many notes” (as HRE Joseph II commented to Mozart in AMADEUS about ABDUCTION FROM THE SERAGLIO), Meade took them in stride. She was a force of nature, with gorgeous singing, superb articulation and the feeling that she could do anything.” BWW

Bellini’s Il Pirata in Concert at Caramoor (Imogene)

“During the most vehement outbursts of the mad scene for the character of Imogene that concludes Bellini’s opera “Il Pirata,” the soprano Angela Meade, singing in a concert performance here at the Caramoor festival on Saturday night, really cut loose. She tore into fraught phrases, one moment leaping to high notes that blazed with steely sound and power, then the next dipping down to smoky, throbbing low tones. I was excited to hear elements of raw vocal intensity in her singing. This is just what many of her fans have been waiting for.

Ever since Ms. Meade made her professional opera debut in 2008, stepping in at the last minute for a performance of Verdi’s “Ernani” at the Metropolitan Opera, it has been clear that a remarkable new soprano has arrived. Her plush voice had enormous yet utterly unforced power. Her top notes could soar over a combined orchestra and chorus; yet her pianissimo high tones were even more impressive. Her technical agility and lyrical refinement were ideal for the florid bel canto repertory. All those qualities came through in her performance as Imogene on Saturday at Caramoor’s open-air Venetian Theater.

In recent years, though, she has been taking more chances dramatically. An acclaimed run in the title role of Bellini’s “Norma” at the Met in 2013 seemed a breakthrough. And her Caramoor “Pirata” was even more exciting. Here was a soprano so secure in the technique and style of bel canto that she seemed to know she could push herself out of her comfort zone into risky emotional terrain without undermining the beauty of her singing.

Ms. Meade will be busy at the Met this season, singing the title roles in “Norma” (later in the run of this new production) and Rossini’s “Semiramide.” Based on this performance, she seems ready.”

New York Times, Anthony Tommasini

“Angela Meade had a rousing success in the prima donna role of Imogene. She is a Caramoor stalwart, and the audience greeted her as a favorite daughter; in return, she offered a generous display of her remarkable vocal gifts. The large scale and solidity of her voice were no surprise; neither was the agility with which she maneuvered it through rapid passagework. But she demonstrated a wider range of vocal colors than ever before: in particular, a tangy frontal resonance that lent a newfound authority to declamatory passages. The decisiveness of her vocal gestures attested to meticulous preparation, but there was nothing studied in Meade’s presentation; instead, she performed with the freedom of a prima donna set loose in her natural environment.”

Opera News, Fred Cohn

Metropolitan Opera 50th Anniversary Gala

“Angela Meade gave the finest performance of the night in the trio “Qual volutta trascorrere (What wondrous pleasure I feel)” from Verdi’s “I Lombardi,” a gleaming soprano that teamed with tenor Michael Fabiano and bass-baritone Gunther Groissbock.”

Washington Post

“And while that was excellent on its own, things only got better when Angela Meade, Michael Fabiano, and Günther Groissböck came onstage. The trio of singers were perfectly matched, their voices soaring throughout Verdi’s glorious melody. Levine from the pit brought excellent balance from the voices and the orchestra, Chan’s violin an ever-present force. According to the program, Meade and Fabiano are slated to sing this opera in the future.”

WQXR Operawire, David Salazar

“Especially notable were Angela Meade and Michael Fabiano in a white-hot duet from Verdi’s I Lombardi alla Prima Crociata, which they are scheduled to star in in the future.”

WQXR Operavore, Fred Plotkin

“The evening offers real nuggets…Angela Meade electrifies in the trio of I Lombardi.”

Forum Opera, Jean Michel Pennetier

“The performers on Sunday included cherished veterans like Plácido Domingo, Renée Fleming and James Morris; artists at the peaks of their careers, like Anna Netrebko and Joyce DiDonato; and younger singers on the brink of greatness, like Vittorio Grigolo, Pretty Yende and Angela Meade.”

New York Times, Anthony Tommasini