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Reviews - Opera
As Ariadne at the Wiener Staatsoper, 11/2017
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As Ariadne, the slim Meagan Miller, who jumped in on short notice, succeeds in the opera. Her technically flawless, youthfully-dramatic voice possesses the required Strauss brilliance and is equally well-formed from the low tones of the Totenreich to the height of Hermes.
-Johann Schwarz, NEUE MERKER
As Ariadne at the Vienna State Opera
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"Un’ottima compagnia di canto, dove spiccano la Primadonna della Miller e il Compositore della Koch....
Il resoconto sulla compagnia di canto è innanzitutto un invito a tenere d’occhio il soprano Meagan Miller, eccellente Primadonna....È una protagonista immacolata come di rado se ne ascoltano: timbro luminoso, corpo importante, articolazione fluida, espressione accurata, recitazione sorridente. Magnifica, infine, è la metamorfosi della sua voce e del suo temperamento, di calibro in sé lirico, verso un peso più drammatico e un trasporto più esaltato nell’oneroso duetto finale con Bacchus."A great company of singers, outstanding the Primadonna of Miller and Composer of Koch....
The report on the company of singers is first and foremost an invitation to keep an eye on soprano Meagan Miller, the excellent Primadonna.... She is a protagonist as immaculate as one rarely hears: luminous timbre, important body, fluid articulation, accurate expression, smiling acting. Magnificent, finally, is the metamorphosis of her voice and her temperament, calibrating the lyrical quality itself, toward a more dramatic weight and a more exalted transport in the demanding final duet with Bacchus.See full review: -
"Meagan Miller hält bei ihrem Debüt als Ariadne mit philharmonischen Kantilenen mühelos bis in höchste Höhen mit: Der Sopran fließt makellos, leuchtkräftig in allen Registern."
Meagan Miller makes her [house role] debut as Ariadne with philharmonic cantilenas effortlessly up to the highest tones: Her soprano flows flawlessly, shining and strong in all registers.
See full review: -
"Meagan Miller macht die Ariadne mit kraftvoll und frei strömendem Soprano zum emotionalen Kraftzentrum des Abends"
Meagan Miller performs Ariadne with a strong and free-flowing soprano, to form the emotional power center of the evening.
As Ariadne in Richard Strauss' Ariadne auf Naxos Vienna Volksoper
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The quality of the protagonistsis is miraculous: Meagan Miller's Ariadne is a vocal sensation.
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The young American soprano Meagan Miller surprised as Ariadne with a beautiful Strauss-timbered soprano, strongly expressive, which grew to fulfill all the requirements of the part. That Miller looks good, is surely no disadvantage for an Ariadne.
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Although celebrated in her homeland, but as of yet unknown in our spheres US-American soprano Meagan Miller, together with Volksoper ensemble member Adrineh Simonian were two more singers who gave performances on the highest level, was truly a surprise.
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Perfectly cast singers were [Maestro Axel Kober's] ideal partners . . . Meagan Miller inspired with her large warm-timbered and many-layered colorful voice.
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The smooth production also benefited from a good cast of singers, very skilled in presenting the drama . . . La Miller posesses a legato, dark and expressive soprano.
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And with the first monologue of Ariadne one already knew: Here a completely large singing gift was discovered. . . She gave her European [Operatic] Debut with this Ariadne on June 7 and proved to be a large talent: a large voice with a radiant high range, and with the “Totenreich” passage positioned just between lyric and Hoch-Dramatik. One will certainly hear much more of this also visually attractive singer.
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An even bigger surprise was offered in the Ariadne of Meagan Miller. The American captivated by her seamless voice with bright shining highs and a darkly grounded foundation. In addition, she presented an attractive appearance with diction that many of the German-speaking ensemble would be happy to have.
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The Volksoper triumphed with even more ideally cast roles . . . The American Meagan Miller supplies a multilayered portrait of the heroine with great volume.
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The final premiere of this season can be called a triumph. There are many reasons for that. At the forefront: Meagan Miller in the title role. The American soprano is a marvelous Ariadne, she posesses the long arching phrases so essential to Strauss. Miller's voice is outstandingly guided, and has radiance and intimacy; in addition to all this Miller is an excellent actress. Fantastic.
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The tragedians also carried their roles: Meagan Miller transformed from the thundered-up Primadonna, negotiated not only the deathly serious opera seria sections, but also has the ability to bring about the wonderful apotheosis of this work: When Ariadne finally yields to Bacchus . . . this opera in an opera transforms into direct music hall -- a captivating, great sound event.
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Amazing Voice:
So the Viennese must let an American show them how one sings German roles: Meagan Miller equipped her Ariadne - now we are already in the second part, in the actual opera - not only with all of the splendor of her inexhaustable beautiful soprano in all ranges of her voice, but also sang so clearly, that one really didn't need the very palely projected supertitles at all. -
Meagan Miller sings Ariadne with dramatic expression.
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New Wondervoice:
Meagan Miller sang Ariadne . . . she convinced with cutting strength in the thick Strauss textures . . . her bright soprano shone and gleamed.
As Ariadne at the Bayerische Staatsoper Munich
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Meagan Miller -vocally jumping in for Anja Kampe, who acted onstage - sang an astonishingly solid and good Ariadne
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Meagan Miller supplied the soundtrack from the orchestra pit - radiantly done
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While [the sick Ariadne] acted the scenes, the quickly-flown-here-from-Vienna colleague Meagan Miller lent her emphatic Stauss soprano. Despite her acoustically not completely ideal location in the orchestra pit, the Soprano Savior delivered both the death longing and the intoxication of the transformation with warm luminosity.
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Meagan Miller lent her bright jubilant soprano from the orchestra pit.
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Meagan Miller sang the part, who arrived shortly before the performance from Vienna. And here was the major star of the evening, not only for her beautifully resonant, full and technically excellent soprano, but also in applause where she led all her colleagues.
