photo Kathy Wittman
PETER MAXWELL DAVIES' EIGHT SONGS FOR A MAD KING
"The fine baritone Thomas Meglioranza fully inhabited this daunting role, in which the king must both convey hints of his former dignity while prowling the stage and screeching in falsetto about God and kingdom and cabbages."--The Boston Globe
"Davies’ 1969 tour de force lends the lead role to a necessarily game, flexible baritone. This performance had one in Thomas Meglioranza. His virtuosic part, teetering between primal sounds, Modernist gestures and Baroque swipes, ranges from abstraction to lamentation to personal implosion and requires him to steal and then smash a violin (belonging to the gamely befuddled Bing Wang). Meglioranza embedded a fine madness."--The Los Angeles Times Feb 3, 2010
"I've never seen an audience give a standing ovation like that at a modern music concert."
"The performance of “Eight Songs” was astounding, and especially the baritone, Thomas Meglioranza. The audience gave him five standing ovations."--Roger Bourland Writes About Music and Life
"This was very much a concert presentation, but it had all the requisite comedy and thrills of something more elaborate, primarily because of the stunning performance of baritone Thomas Meglioranza. Everyone in the audience lept to their feet after he finished, myself included. Much deserved!"--Frank's Wild Lunch
"The evening’s clear standout was Peter Maxwell Davies’ “Eight Songs for a Mad King.” Taking the instrumental configuration of Schoenberg’s “Pierrot” as a starting point, this work is a theatrical tour de force, both musically compelling and dramatically devastating. Baritone Thomas Meglioranza bent, coaxed and contorted his voice into the most versatile of instruments as he impersonated a demented King George III."--Ivory Dreams
"Last Tuesday, Green Umbrella did Eight Songs for a Mad King, and it’s hard to imagine a more enthusiastic audience response to such ferociously thorny music. People cheered themselves hoarse. Thomas Meglioranza, who played the afflicted monarch, had a lot to do with it: singing, shrieking, speaking, squeaking and crawling around stage and interfering with the sextet (at one point snatching Ms. Wang’s violin and smashing it to bits). The moments when he was permitted to sing, the loveliness came as a jolt--there was one moment when he tried to speak to a bird."--Silverlake Blvd.
"a moving, dynamic performance"--The New York Times
"Maybe the most remarkable individual achievement belonged to Thomas Meglioranza, who bellowed, shrieked, wailed, and recited his way through Peter Maxwell Davies’ seminal Eight Songs for a Mad King. . . [His] account of it was also spiked with pathos: when, at the end of the fourth movement, Meglioranza (as George) offered “I am weary of this feint. I am alone,” the affect was heartbreaking more than anything else. . . What Meglioranza’s full-throated performance did best was to humanize this, on these shores, much-maligned monarch. After all, behind the caricature and myth lived a disturbed, broken human being, and to be able to bring him to life as potently and compassionately as Meglioranza did is a significant artistic accomplishment."
--The Arts Fuse (Boston)
MILTON BABBITT'S TWO SONNETS
"Mr. Babbitt's world demands esoteric performing skills. Conservatory solfege was, I suspect, of little use to the baritone Thomas Meglioranza's stunning negotiation of Two Sonnets. One's jaw dropped..."
--Bernard Holland, The New York Times
"As sung by the robust baritone, Thomas Meglioranza, the animated and rigorous vocal part sounded almost conversational."
--Anthony Tommasini, The New York Times
"baritone Thomas Meglioranza, whose rich voice gratefully found the lyric impetuousness within the Two Sonnets."
"His 1955 Two Sonnets was given an unusually coherent and warm performance by baritone Thomas Meglioranza, with cellist Fred Sherry, violist Michael Ouzounian and clarinettist Anthony McGill accompanying. The key, it seems, is to understand the way Babbitt chops up syllables and words, broadcasting them up and down the scale with the dependable rhythm of a lawn sprinkler, as a bumpy kind of legato. At least this is what Meglioranza did, and it worked quite well."
--The Star Ledger
NEW SETTINGS OF POEMS BY PAUL AUSTER AT THE GUGGENHEIM MUSEUM
"baritone Thomas Meglioranza sang with characteristic warmth and eloquence."
--The New York Times
"Thomas Meglioranza, with his excellent diction and innate sense of drama, gave the song as much shape as he could. He did even better when, joined by the superb violist Misha Amory, he essayed Lee Hyla's Quarry, perhaps the finest song."
--New York Newsday
SAMUEL BARBER'S DOVER BEACH WITH THE ENSO QUARTET
"A further bonus to the afternoon concert was the inclusion of the gifted baritone Thomas Meglioranza. The velvet richness of his voice as he sang was indeed most gratifying. There is no doubt why he is much in demand, just the clarity of his diction is a joy to hear. Then to relish the roundness of his tones...Ah, this is a young man who can bring spectators to their feet to affirm his talent with their ovations."--The Newtown Bee
"I would very much like to hear more of this singer, for his voice was warm in tone and clear in enunciation."
"His voice is like velvet. Very sexy. If he continues to sing the way he does, he will never require my services."
--Dr. Ruth Westheimer, Sex Therapist, author of Sex for Dummies
VIRGIL THOMSON'S FEAST OF LOVE AND FIVE SONGS FROM WILLIAM BLAKE
"The baritone Thomas Meglioranza, singing with hale voice and crisp diction, gives a compelling account of The Feast of Love...also strong in Five Songs from William Blake."
--The New York Times
"Meglioranza's light, clear voice is ideal for the mildly erotic The Feast of Love, and the simple and affecting Five Songs from William Blake."
--BBC Music Magazine
"Meglioranza’s most unusual songs were a series of unaccompanied Holderlin settings by the contemporary Hungarian composer Gyorgy Kurtag. The singer managed to make his delivery of its complex details, unaided by a score, seem a spontaneous revelation of his innermost personal thoughts." --Sydney Morning Herald