Critical Acclaim
	Ernani  - The Metropolitan Opera “Meade, as Elvira, showed a vibrant voice with nice color and an assured technique. She sang like an old pro from start to finish, combining for moving duets with Marcello Giordani (Ernani). “ - Associated Press Grand Passions: The Monastery Scene from La forza del destino – The Academy of Vocal Arts “Angela Meade’s voice has the amplitude for Verdi, but also has shadings and the flexibility to uncover the emotional range of the writing. She transversed a range of emotion and vocal colors to shape a complex, tortured character.” - The Philadelphia Inquirer “Soprano Angela Meade scored in the Monastery Scene from “La forza del destino.” She found the heartfelt drama in Leonora’s soaring aria, then caught the shifting emotions in the long duet with Padre Guardiano. Meade commands a big, vibrant soprano. Her voice opens with keen control in the climaxes and floats with serene beauty in the more lyrical portions of the scene. - Courier Post “Soprano Angela Meade is already AVA’s pride and joy, and her artistry keeps growing in leaps and bounds. The only thing missing in her Forza Leonora was the great aria from the last act. - Main Line Times Così fan tutte – The Academy of Vocal Arts “Angela Meade sang Fiordiligi’s “Per pieta” with a matchless beauty of tomne and inimitable style. Mozart singing does not come much better than this. - Courier Post “But the superior voice of Meade dominates in her ability to infuse an emotion-laden coloratura into the long passages of song that her role provides. Moreover, she shows how ready she is to play heftier roles in the future.” - Edge Philadelphia Contributor “Meade exhibits plenty of spunk. When she fires off the “tempesta” section of the difficult aria “come scoglio,” the sound she produces really is tempestuous. Especially exciting is the way she drops seamlessly into a lower register with deep, chesty, dramatic tones. Her secure high notes are connected to a rich low voice with no break between the two. Meade easily transverses the elaborate coloratura of her part. More than that, she molds those rapid flights of notes to make dramatic points. This is not just a display of versatility. Hers is a great interpretation of Mozart’s most challenging role.” - Broad Street Review “Fiordiligi’s ‘come scoglio’ with its death-defying leaps from top voice to bottom, gives Meade no problems.” - Main Line Times Metropolitan Opera National Council Auditions Semifinals “Angela Meade powered out a ‘Casta Diva’ from Bellini’s ‘Norma’ that left everyone breathless.”      - The New York Times    Metropolitan Opera National Council Auditions Finals “More energy from the pit, rather than the gentle but leisurely approach of the conductor might have helped. Even for Angela Meade, an impressive soprano, more spark would have benefited ‘Ach, ich liebte’ from Mozart's ‘Entführung aus dem Serail’, a small-scale choice for a strong voice that proceeded to let loose with ease and authority in ‘Casta Diva’ from Bellini's ‘Norma’. She was certainly a deserving winner.”         - The New York Times George London Competition “Soprano, Angela Meade, was simply superb in “Non mi dir” from Don Giovanni. Ms. Meade was recently pressed into service at the Metropolitan Opera for the current run of Ernani and, at the Morgan, dazzled with power and pitch purity. A tough call, but this was probably the best individual performance of the session.” - The New York Sun "Soprano, Angela Meade offered the Czardas from Die Fledermaus in a commanding and nimble voice. Her tone was exceptionally rich and her vocal power extraordinary." - The New York Sun Oregon District Metropolitan Opera National Council Auditions "'I'd hate to be a judge' is the cliche, but this time it applied only to second place on down, for Meade was a clear winner. Her instrument is big and beautiful; her technique is sound and dazzling. "Casta diva" is a double aria with a slow cantabile and a faster cabaletta, and Meade's cadenza capping the cantabile triggered such a roar from the audience that the piano intro to the cabaletta was buried. We saw the hands of accompanist moving and didn't hear a note." - The Oregonian "One powerhouse soprano out-larynxed them all—the supremely angelic Angela Meade. This Washington-born lady's got big pipes, real instincts and a sincerity on stage that seems almost incongruent with her enormous potential for diva status." - Willamette Week Der Freischütz - The Academy of Vocal Arts "Angela Meade gave Agathe the requisite sincerity, singing her music in a clear, gorgeously controlled soprano reminiscent of the young Margaret Price (there are few greater compliments); wonderful promise here. " - Philadelphia City Paper "The youthful cast delivers Weber's music stylishly. The women, in particular, stand out. Weber gives Agathe two superb solo scenes. Soprano Angela Meade scores in both. Her lovely, lyric soprano spins out a smooth legato and flows gracefully through the florid sections of Agathe's Scene and Aria. Meade held the audience breathless in Perelman Theater with the beauty of her singing in the third-act cavatina. Her limpid, pure voice seemed to float magically in the air, cradled by Macatsoris' lovely accompaniment." - Courier Post Il barbiere di Siviglia - The Academy of Vocal Arts "Angela Meade is an unusually strong presence...her aria was a model of subtle modulation from a singer who is destined for leading dramatic soprano roles." - Broad Street Review Seattle Regional Metropolitan Opera National Council Auditions "All the turns, the glissandi, the re-iterations of the A's on top, a true messa di voce tossed in where appropriate. The vocal line is spun seamlessly and effortlessly.  The glorious high C at the end shook even the most uninitated listener to the core; and the foyer and smoking alcove outside were abuzz. This is fine singing, at any level....The crowd thought they'd been wowed by 'Casta Diva' from Bellini's Norma, but they went absolutely bananas after her 'O zittre nicht' from Die Zauberflöte. - trill.com "As Angela Meade stepped onstage to sing the magnificent aria 'Casta Diva' from Bellini's Norma, she must have realized that the audience would automatically compare her to Jane Eaglen, or to Christine Goerke, whose Norma electrified Seattle two seasons ago. A most favorable comparison, it turned out to be. She was honored with bravas from the house." - Cornichon.org Palm Springs of the Desert Opera Competition "Her soaring delivery of 'Casta Diva' from Bellini's Norma was marked by gorgeous trills...¦she navigated all sorts of vocal pitfalls that demanded a vast range, and her glissando ornamentation demonstrated extraordinary breath control. " -  Desert Sun Rossini: Stabat Mater - Academy of Vocal Arts “Angela Meade commanded a warm, round soprano.” - Broad Street Review Hans Gabor Belvedere International Competition “Angela Meade sang ‘Casta Diva’, which gave everyone goose bumps. She also sang ‘Non mi dir’ from Don Giovanni with amazing breath control and impressive coloratura, as well as a technically perfect ‘Czardas’ from Die Fledermaus.” - Der neue merker Beethoven: Symphony No. 9 “The singing of the solo quartet was highly expressive and satisfying.” - The Classical Voice