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Thomas Meglioranza

  • Baritone

Reviews

Thomas Meglioranza press reviews

"This is surely one of the finest recordings of Schubert Lieder you will find. Meglioranza’s handsome light baritone is perfect for the repertoire. He uses head tones often and most attractively. Only occasionally does he remind us of Fischer-Dieskau in this register. His German is perfect, showing almost the ease and clarity of a native singer. Ms. Uchida, playing an unusual restored Pleyel, which has just the right combination of harp-like clarity and richness for Schubert’s music and Meglioranza’s voice, combines lucid articulation, expressive color, and a balance of discretion and assertiveness. His lyrical, but richly colored and thoughtfully expressive performance of Das Lied im Grünen will stand with the greats. The recording is superb, providing just the right presence and balance of voice and piano with a lively sense of the warm acoustic ambiance of the American Academy of Arts and Letters in New York, a favorite venue for chamber recordings. You will also notice that Mr. Meglioranza is a very active singer, as his voice floats discreetly around in the clearly defined acoustic space. This recording is an absolute must for Schubertians and pretty much anyone." Michael Miller —Berkshire Review for the Arts, July 16, 2008

With Playful Wit, Thomas Meglioranza Shares His Old Favorites “A free concert on a Monday evening, an auditorium off the beaten path — it was a perfect opportunity for the bright young baritone Thomas Meglioranza to shake off the conventional solemnity of the lieder recital, and simply indulge in a few of his favorites from the repertory he has performed with the pianist Reiko Uchida during the last few years. Although he was not aiming for a particular theme, he said from the stage of the Schimmel Center for the Arts at Pace University, unbidden threads linked the six Schubert lieder that opened his recital. Four were based on texts dealing with aquatic themes — fisherman and boatman, river and whirlpool — and all featured persistently rippling accompaniment. The introductory remarks established a relaxed, conversational tone that lingered throughout the concert, part of the River to River Festival. Communicativeness was clearly the goal not only of Mr. Meglioranza’s affable running commentary but also of his singing. He projected Schubert’s finely honed vignettes vividly, deploying his burnished voice with exacting diction and dramatic flair. More obvious connections surfaced in four songs by Debussy and three by Fauré. Most were based on poetry by Paul Verlaine, including settings of “En Sourdine” and “Mandoline” by each composer. To suggest that the sunny lyricism of the Fauré songs better suited Mr. Meglioranza’s temperament is not meant to imply any shortcoming in his delivery of the more rarefied Debussy settings. Ms. Uchida’s playing in both sets was refined and exquisite. Evidence of Mr. Meglioranza’s playful intelligence came in three American works performed between the Debussy and Fauré groups. Each played against type. The prickly serialist composer Milton Babbitt was represented by “The Widow’s Lament in Springtime,” an achingly lovely William Carlos Williams setting, and “The Pregnant Dream” by Aaron Jay Kernis, a composer known for ecstatic instrumental scores, was an athletic unaccompanied setting of a labyrinthine interior monologue. Cathy Berberian’s “Stripsody,” a manic catalog of cartoon noises, illustrated the cheekier side of the avant-garde, and even as Mr. Meglioranza read from a score, he reveled in the work’s broad humor. After the Fauré group, he returned to American music with “Nature Calls,” three innovative miniatures by the eclectic young composer Derek Bermel. Mr. Meglioranza closed the program with “The New Suit,” Marc Blitzstein’s stylishly absurd paean to haute couture. His encore was an unembellished, heartfelt rendition of Carrie Jacobs-Bond’s Tin Pan Alley chestnut “I Love You Truly.” Getting a collection of songs this disparate to stick together must have been tricky, but Mr. Meglioranza’s handsome sound and congenial manner provided the necessary glue.” Steve Smith —New York Times, July 26, 2006

“... All excelled. Thomas Meglioranza was touchingly affable as Prior...” -Opera “….impressive performances emerged from…Thomas Meglioranza, who sang the pivotal role of Prior Walter with humanity, deep sensitivity, and stellar instincts.” -Opera News “Thomas Meglioranza, a New York-based baritone well known for his acumen in both early and contemporary music, was altogether exceptional as Prior, vividly projecting self-pity, terror, rage and hope….” -MusicalAmerica.com “Cast performs the musical challenges with assuredness and grace, and most handle the acting assignments well. Baritone Thomas Meglioranza has the presence, passion and voice to sustain the central character of Prior Walter.” - Variety.com “…And as Prior Walter, afraid of death and eager to live, Thomas Meglioranza was immensely touching, and even suggested Prior's mordant, all-seeing wit.” -The Boston Globe “This is not easy music. Principals sang with confidence, and…Thomas Meglioranza was touching as Prior Walter, who is as close to a hero as Mr. Kushner has chosen to give us.” -The New York Times “Thomas Meglioranza, the impressive Chou En-lai in Nixon in China, excels again as the betrayed and visionary Prior.” -Boston Phoenix —Angels in America US Premiere Reviews