Chou En-Lai in Nixon in China
"Baritone Thomas Meglioranza delivers Chou En-lai's interior music with quiet rapture."
--Richard Dyer, The Boston Globe
"As Nixon and Chinese Premier Chou En-lai, Andrew Schroeder and Thomas Meglioranza matched the celebrated achievements of Boston favorites James Maddalena and Sanford Sylvan in the original."
"Thomas Meglioranza's Chou looked too young, but his plush voice and rapt concentration made his final pronouncements chilling."
"The singers were excellent. Thomas Meglioranza (Chou) used his voice to maximum advantage."
Shoe Salesman in Postcard from Morocco
Sam in Trouble in Tahiti
Peter Maxwell Davies:
Eight Songs for a Mad King
"The fine baritone Thomas Meglioranza fully inhabited this daunting role, in which the king must convey both hints of his former dignity, while prowling the stage (here in white pajamas) screeching in falsetto about God and kingdom and cabbages."
--The Boston Globe"
"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)
"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
"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
"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.
Prior Walter in Angels in America
"as Prior Walter, afraid of death and eager to live, Thomas Meglioranza was immensely touching, and even suggested Prior's mordant, all-seeing wit."
--Richard Dyer, The Boston Globe
"Thomas Meglioranza sang the pivotal role of Prior Walter with humanity, deep sensitivity, and stellar instincts."
--Wayman Chin, Opera News
"Thomas Meglioranza was touching as Prior Walter."
--Bernard Holland, The New York Times
"baritone Thomas Meglioranza has the presence, passion and voice to sustain the central character of Prior Walter."
--Frank Rizzo, Variety
"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, and comfortably sashaying in fuschia drag during one spectral appearance."
--Steve Smith, Musical America
"Thomas Meglioranza, the impressive Chou Enlai in Nixon in China, excels again as the betrayed and visionary Prior."
George Friedrich Handel:
Polyphemus in Acis and Galatea
Celestus in Romulus
Saint John in Jane Eyre
Lord Henry Wotton in The Picture of Dorian Gray
*Orfeo in L'Orfeo
Wolfgang Amadeus Mozart:
Count Almaviva in Le nozze di Figaro
*Figaro in Le nozze di Figaro
Don Giovanni in Don Giovanni
"Baritone Thomas Meglioranza took on the title role and triumphed. His saturnine good looks and athletic performance projected a Don of vigor and daring. There is no brooding in this outlook, only a search for anotherr adventure."
--The Denver Post
"Slim and athletic, with saturnine features, Thomas Meglioranza took on Giovanni with a dark, masculine timbre. Even Aspen's notorious altitude and the physical demands of the role didn't faze the singer."
*Guglielmo in Cosí fan tutte
Papageno in Die Zauberflöte
Aeneas in Dido and Aeneas
"The cast was excellent. Thomas Meglioranza, as Aeneas, looked smarmy with a slicked-back ponytail, and his baritone was seductive."
--The Atlanta Journal-Constitution
"NTB's Aeneas, Thomas Meglioranza, gives a thoughtful and sympathetic performance that sends a breath of fresh air blowing gently through the opera. His voice and confiding manner suggests from the start a soft hearted hero who really could win the heart of a widowed queen. And he shows considerable understanding of Purcellian declamations."
--Early Music (Oxford University Press)
"Thomas Meglioranza's Aeneas, sung in a warm baritone, is consistently vivid."
All baritone roles in King Arthur
Thesée in Hippolyte et Aricie