Reviews - Concerts

Strauss' Vier letzte Lieder - Brabants Orkest

  • Beautifully sung by the young soprano Meagan Miller in a green dress that was entirely consistent with the idyllic poems by Hermann Hesse and Joseph Eichendorf to the underlying composition.


Beethoven’s Missa Solemnis - The Minnesota Orchestra

  • Soprano Meagan Miller rose effortlessly to a high B, hitting it squarely on pitch in the Sanctus.

    The Minneapolis Star Tribune

Beethoven's Symphony No. 9 - The Cleveland Orchestra - Christoph von Dohnányi

  • And oh what singers we had to witness tonight. The principles were: Meagan Miller, soprano; Tamara Mumford, mezzo-soprano; Eric Cutler, Tenor; and Iain Paterson, bass-baritone. These amazing soloists brought Beethoven to life singularly and as a solo quartet.

    The Examiner
  • Stepping forward after a dynamic orchestral introduction, bass-baritone Iain Paterson roused his colleagues -- including soprano Meagan Miller, mezzo-soprano Tamara Mumford and tenor Eric Cutler -- with an emphatic call to action.

    Together, they and the Chorus went on to prove a formidable, cohesive crew, relishing the music's sheer athleticism and bursting at the seams with the spirit of Beethoven's inspiring, consoling message. Transcendence was the goal, and it was met.

    The Plain Dealer

Beethoven's Missa Solemnis and Symphony No. 9 - The Rotterdam Philharmonic

  • The Dutch Concert Choir and four soloists make a strong contribution, with soprano Meagan Miller sleekly navigating her round high notes

    De Volkskrant

L’Opera de Montreal Gala

  • It was an evening dominated by sopranos, notably Meagan Miller in Mozart

    Montreal La Presse
  • Meagan Miller, the American novice lately seen in La Bohème, brought a softer but agreeably focused voice to Dove sono from Mozart’s Marriage of Figaro.

    The Montreal Gazette

Annapolis Opera Gala

  • Prima donna status might be accorded soprano Meagan Miller, who dazzled the audience in an exquisite ‘Depuis le jour’ from Gustav Charpentier’s ‘Louise,’ delivering a seemingly effortless interpretation. Miller seems capable of holding notes indefinitely, her large voice filling the hall, while barely testing her vocal reserves. She moved easily from Charpentier’s aria to a stunning Jewel Song.

    The Baltimore Sun
  • [Meagan Miller] sang the ‘jewel song’ from ‘Faust’ with great beauty and delicacy. Later, in the quartet from ‘La Boheme’ and the sextets, her voice could be heard soaring gloriously above the orchestra.

    The Annapolis Capital

Beethoven’s Ninth Symphony

  • [Meagan Miller] was unfazed by the high-lying difficulties here posed

    The Los Angeles Times
  • Meagan Miller delivered some of the evening’s most ravishing counterpoint.

    Rochester Democrat and Chronicle
  • [The soloists] formed an admirable quartet that navigated the difficult vocal lines with admirable ease.

    Sarasota Herald-Tribune

Merola Opera Grand Finale

  • An Arabella excerpt, with the remarkably talented Meagan Miller in the title role. The 24-year-old soprano from Pennsylvania sang an Arabella that was superior to many a "post-apprentice" performance I have heard.

    San Francisco Classical Voice

Metropolitan Opera National Grand Finals

  • Meagan Miller, also a soprano, chose a tough nut in ‘Martern aller Arten’ from Die Entführung’ and chose to do it her own way, with moments of staccato phrasing that proved her agility, thrust and command of intonation. Her voice is strong and brilliant. It can be forceful, as in the Mozart, or touching, as in a number from ‘Susannah.

    The New York Times