“In the performance on Friday, July 24, Angela Meade imbued Turandot with a vocal presence of the highest order. She is one of the great voices of our time and tackles the character’s demanding score with confidence and authority. Her high notes are steady, and her tone retains its fullness and brilliance. Over the course of the opera, however, the princess’s composure slowly begins to crack. Behind her initial harshness lies a barely contained fragility, never openly displayed.” In Lucca Veritas – mauro pardini

“Angela Meade’s portrayal of the protagonist is very interesting…she is already a complete Turandot thanks to a robust voice that is effortless and powerful in the high notes and quite resonant even in the low notes. And on that note, one’s mind turns to the curious and “eclectic” circumstance that, just a few days earlier, the singer had even performed the role of Amneris at the Circo Massimo in Rome. But eclecticism is certainly not lacking in this American soprano, who throughout her career has tackled, among others, bel canto roles, Rossini’s serious works, and both Verdi’s early and mature operas. Also impressive is the care and intensity with which Meade tackles the entire final scene composed by Alfano, not merely focusing on the notes but giving meaning to the protagonist’s psychological transformation.” Opera Click – Fabrizio Moschini

“It may well be true that, for the three ministers, Turandot does not exist, but when a singer like Angela Meade brings her to life on stage, one can think of anything but insubstantiality, because her voice is so incisive and decisive, her stage presence so magnetic, her articulation crystal-clear in its intent, and her phrasing carved in white marble and silvery metal—with a vivid timbre refracting a thousand colors—that one would truly have to be a stubborn fool to deny her, and indeed it’s perfectly understandable why Calaf perceives her right away, as if he had heard her sing before anyone else. Meade, in fact, is a consummate vocalist, a bel canto singer of undisputed supreme rank, who manages to delve into Puccini’s score with her exquisite technical and stylistic tools—borrowed from Rossini, Bellini, and Donizetti—establishing once again that Turandot does not live solely on high notes and fiery phrases (which are all there, precise, perfect, shimmering steel), but also of vocal flexibility in bringing dynamism to the sounds (she displays incredible pianissimo and mezza voce), purity across the registers, and clarity in her delivery—always under control—so that each phrase corresponds to a precise intention. “In questa reggia” is a blend of haughtiness, suffering, and impatience, hope mingled with anger, and the final duet confirms her status as the definitive interpreter of the role.  We also hear echoes of the Straussian lesson (her Genoese *Danae* was beautiful) of sweetness within power, and vice versa, which leaves us eagerly anticipating her future Isolde.” Le Salon Musicale – Mattia Marino Merlo