Widely praised for her musical intelligence and “expressive virtuosity” (San Francisco Chronicle), Meg Bragle has earned an international reputation as one of today’s most gifted mezzo-sopranos. As an accomplished early music specialist, she has sung in North America and Europe with the English Baroque Soloists, Philharmonia Baroque Orchestra, Bavarian Radio Symphony, Netherlands Bach Society, Tafelmusik Baroque Orchestra, Orchestra of the Age of Enlightenment, St. Paul Chamber Orchestra, Les Violons du Roy, Orpheus Chamber Orchestra, Orchestra of St. Luke’s, Orchestre Révolutionnaire et Romantique, American Bach Soloists, Apollo’s Fire, Arion Baroque and the Dunedin Consort.

A leading interpreter of Baroque and Classical repertoire, Ms. Bragle has appeared with many symphony orchestras in the U.S. and Canada including the Philadelphia, Houston, Seattle, Toronto, Atlanta, National, Detroit, Cincinnati and Colorado Symphonies; the National Arts Center Orchestra, Victoria Symphony and Calgary Philharmonic among others.

Ms. Bragle is an accomplished recording artist with over a dozen recordings to her credit. Her discography includes four recordings with Sir John Eliot Gardiner and the English Baroque Soloists, including Bach’s Easter and Ascension Oratorios – the vehicle for her BBC Proms debut − and Bach’s Mass in B Minor. She has made several recordings with Apollo’s Fire - Mozart’s Requiem, Handel’s Dixit Dominus and Ode for the Birthday of Queen Anne, Monteverdi’s Vespro della Beata Vergine, and L’Orfeo. Other recordings include Bach’s St. John Passion, the complete works of Chiara Margarita Cozzolani, Pergolesi’s Stabat Mater, Toby Twining's Chrysalid Requiem, Anthony Newman's Requiem, Copland's In the Beginning and the Five Borough Songbook. The world premiere recording of Daron Hagen’s Art of Song was released in the autumn of 2023 and a recording of Copland’s In the Beginning with the Carmel Bach Festival Chorale will be released this season.

Ms. Bragle is the Co-Founder and Director of the highly anticipated Bach Festival Society of Winter Park Oratorio Competition for young American singers. The inaugural competition is scheduled for February 2025.

She is the afternoon classical host on WRTI 90.1 FM in Philadelphia and is an Artist in Residence at the University of Pennsylvania where she directs the Collegium Musicum and Opera and Musical Theater Workshop.

BACH | The Ascension Oratorio | Calgary Philharmonic | Nicholas McGegan, cond. 

“Bragle…which gave the audience the opportunity to savour just why she has been chosen by conductor John Elliot Gardiner to be part of his monumental Bach project. Her German enunciation was perhaps the best I have heard live, and her warm, rich sound always fell gratefully on the ear. An expressive, intelligent singer, she is naturally well suited to this repertoire — a true professional in the best sense.”

—Kenneth DeLong, Calgary Herald

BACH | B Minor Mass | Seattle Symphony | Ludovic Morlot, cond.

“…she delivered one of the truest moments of emotional depth in the poignant “Agnus Dei” aria that comes near the end of the work. Bragle’s conviction was palpable and the effect was very moving as a culmination of all that had come before.” — John Carroll, Opera Wire

BACH | B Minor Mass | The English Baroque Soloists | Sir John Eliot Gardiner, cond. | Soli Deo Gloria

“Bragle veers naturally between the sparsely vibrated clarity associated with HIPsters and a gorgeously rich tone, vibrato full-on, as if she were channeling Janet Baker. Bragle is an inspired choice; her easy fluency in, and unification of, both stylistic spheres perfectly complements Gardiner’s aesthetic, and her traversal of the dynamic spectrum, including the most exquisite pianissimo, is matched by Gardiner’s shaping of the strings’ countermelody.” —Marc Medwin, Fanfare Magazine

| Cantatas No. 54 and 170 | Arion Baroque Orchestra | Jaap ter Linden, cond.
"Meg Bragle, an American mezzo-soprano with a handsome, focused tone and a natural sense of line. What a pleasure to hear a baroque singer use vibrato positively (if discreetly) as an expressive device rather than emit hollow sound. She was equally gifted at communicating the devout essence of the texts. A particular highlight was Wie jammern mich, the solemn and minimal second Air of the Cantata No. 170." 

— Arthur Kaptainis, Montreal Gazette

| St. Matthew Passion | Mercury Houston | Antoine Plante, cond.

“…she sang with a poise that gave the music dignity, and her fluency suited the passages that reached for consolation.” — Steven Brown, Texas Classical Review

BOCCHERINI | Stabat Mater | Connecticut Early Music Festival | Judson Griffin, cond.
“Bragle made the tour de force seem effortless...[she] sang the score, both the arching long lines...and the more decorated, concert aria display sections, with a warm and expansive glow.” 

— Milton Moore, The (New London) Day 

COPLAND | In the Beginning | Oratorio Chamber Singers of the Charlotte Symphony | David Tang, cond.

"The most significant musical moment of the season. Bragle was the key to this performance's success. She brought a Dawn Upshaw-like freshness that perfectly met Copland's request to 'tell a familiar story'.  So honest." — Dean Smith, The Charlotte Observer 

COZZOLANI |  Mass and Vespers | 

"Although the singers were all superb, special mention should be made of Bragle, whose dynamic and eloquent account of the solo motet 'Concinant linguae' was one of the evening's many high points....Some of the solo turns boasted a degree of expressive virtuosity that must have rivaled those of Cozzolani's own colleagues - Bragle's extraordinarily vibrant account of the motet 'O Maria, tu dulcis', for instance." 

— Joshua Kosman, San Francisco Chronicle 

"Stunning...Bragle brought each word vividly to life." — Lawrence Toppman, The Charlotte Observer 

HANDEL     | Messiah | Calgary Philharmonic | Ivars Taurins, cond.
"Mezzo-soprano Meg Bragle was sure of tone from top to bottom, her voice quality appealing, as was her moving account of 'He Was Despised'." — Kenneth Delong, The Calgary Herald

    | Messiah | Dallas Bach Society | James Richman, cond.
"Meg Bragle supplied a mezzo clear and true, dipping seamlessly into a finely finished chest voice"

— Scott Cantrell, The Dallas Morning News 

    | Theodora | "Irene" | Theatre of Early Music | Daniel Taylor, conductor
"...the loveliest...was Irene's 'As with Rosy Steps the Morn," from Theodora, music of wonderful rhythmic subtlety, which was sung with a powerful range of emotion by Meg Bragle." 

— Bernard Jacobson, Seen and Heard International

MENDELSSOHN | Elijah | Colorado Symphony Orchestra | Matthew Halls, cond.

“she has an enormous voice and excellent diction which is so important in a work like Elijah. She has enormous worldwide experience as well, but she and Nathan Berg shared one outstanding characteristic: both of them have the ability to change the quality of their voice to emphasize the drama and the emotion of the particular verse they are singing. Both of them had seemingly infinite control over dynamics.” 

— Robin McNeil, Opus Colorado

PURCELL | Dido and Aeneas | "Dido" | Dallas Bach Society | James Richman, cond.
"Meg Bragle's Dido had a beautifully even and enameled mezzo, and she sang most expressively." 

— Scott Cantrell, Dallas Morning News 

| Dido and Aeneas | "Sorceress" | Bach Sinfonia | Daniel Abraham, cond.
"The production was not staged, but the uniformly excellent cast did enough acting to underline their characters' motives and foibles, as with mezzo-soprano Margaret Bragle's imperious, spiteful Sorceress." 

— Andrew Lindemann Malone, The Washington Post