PRESS

 

Rigoletto- Eugene Opera:

“The standout of the evening was the soprano Megan Monaghan, and she is the best reason to see the opera today. Her coloratura voice is both bright and creamy, and her acting is convincing. In "Caro nome," Monaghan captured the giddiness of a young woman's first love and was especially able to infuse the roulades and fioriture of the aria with meaning rather than mere showmanship. She also was capable of hitting with ease the murderous high notes. She has the rare ability to act vocally as well as dramatically.”

The Register-Guard

 

Rigoletto- Dayton Opera:

“...A voice of pure silver, easily negotiating coloratura flights of fancy with exquisite musicianship...”

Opera News

 

“As Gilda, soprano Megan Monaghan returned to Dayton Opera with a voice and stage presence which sent her innocence and love soaring into every corner of the Schuster Center. She joined with [Lester] Lynch's energy to create an expressive and haunting duo.”

Oakwood Register

 

“Megan Monaghan's sweet Gilda is more than a misguided patsy sacrificing her life to save a man who is oblivious to her actions.  There is nobility in the purity of her actions.” 

Dayton Daily News

 

“There are some strong performances worth special note in this production...Noteworthy is Gilda (up-and-coming soprano Megan Monaghan) whose lyric approach is multi-textural and dynamic, with a dramatic performance that is equally stunning.”

Cincinnati City Beat

 

Rigoletto- Madison Opera:

“LeBron's duets with Megan Monaghan, a most appealing Gilda, were never less than touching, and often riveting. Monaghan combined a technically secure approach with such a sweet sound- tight vibrato, beautifully delicate trills, assured top notes- that it should have brought tears to the eyes of listeners.”

Wisconsin State Journal 

 

“As Gilda, Monaghan's soprano ranged from light and airy to rich and full, reaching to coloratura heights as the score warranted. The soprano's superb delivery joined with the rest of the voices in an ensemble performance that uniformly raised the bar compared to many past Madison Opera productions.”

The Capital Times

 

“Soprano Megan Monaghan as the ill-fated Gilda's high coloratura range was supported by a full-bodied tone. (Her cadenza in the showpiece, "Caro nome," was particularly stunning.”

Isthmus

 

Rigoletto- Bob Jones University Opera:

“Verdi's magnificent opera "Rigoletto"...was full of passion and sparkling vocal fireworks. Megan Monaghan as Gilda proved to be a top-tier performer both in singing and acting. Her character was intensely feminine, warm, and charmingly girlish. Her "Caro Nome" was a coloratura showpiece, as were her four duets and her quartet, unleashing a torrent of shimmering notes time and time again.” 

The Greenville News  


Roméo et Juliette- Anchorage Opera:
“It's worth the price of a ticket and three hours to see and hear soprano Megan Monaghan as Juliette. She gives the love-struck woman vigor, depth, maturity and conviction, and sings with a voice as rich as real maple syrup. Indeed, it's hard to imagine the production without her vitality.”

Anchorage Daily News

 

Roméo et Juliette- Wichita Grand Opera:
“The starring singers excelled vocally and dramatically. Monaghan beamed with a voice conveying a vitality and grace that hints at star power.” 

The Wichita Eagle

 

The Pirates of Penzance- Glimmerglass Opera:

“Megan Monaghan’s Mabel was first class, unafraid of heights and coloratura and utterly charming.” 

Classics Today
 

“As Mabel, Megan Monaghan’s bright soprano provided the other component in this star-crossed love affair.”

The New York Times 


“When [Chad Johnson] paired with the excellent soprano Megan Monaghan as Mabel, whose big voice rolled out the coloratura lines with ringing ease, the duo was both charming and electric. Her "Poor Wandering One" was beautifully projected and her duet with the solo flutist stopped the show.”
Sunday Gazette

“The music at Glimmerglass is consistently outstanding, and so it was on opening night. Soprano Megan Monaghan as Mabel opened up her lovely lyric voice to the role's vocal challenges while projecting an astonishing variety of emotions...performed with superb accuracy and flexibility - no small feat for opening night. Her comic sense and timing were just about perfect. Both [Megan Monaghan and Chad A. Johnson] have beautiful voices, and their parting duet was especially moving.”   

Ithaca Times   

 

“Chad A. Johnson and Megan Monaghan were a spirited Frederic and Mabel.”                   

Opera News

                                                                                                                                                          
“Gorgeous soprano Megan Monaghan as Mabel has a voice big enough to conquer Wagner. Monaghan's Mabel gets into a lyrical contest with a woodwind in the pit...a bravura, range-climbing trill... In other words, everything that makes Pirates attractive to opera-goers is served magnificently.”  

Syracuse New Times


“Megan Monaghan's Mabel is also adept at parody and possesses the technically polished and sweet vocal resources that allow her to josh grand opera conventions from a position of strength...If you're after laughs and fine musical values, especially the strong singing of the two young romantic leads, let your next voyage be with these Pirates.”              

The Post-Standard (by Chuck Klaus)
 

“The cast scarcely could be better, from the heartthrob-handsome Frederic of Chad A. Johnson and the sparkling soprano trills and flirtations of Megan Monaghan's Mabel to the comic antics of Dorothy Byrne's Ruth.”                                                                 

The Post-Standard (by Joan E. Vadeboncoeur)

“When Mabel (beautifully sung by soprano Megan Monaghan) made her Act 1 entrance from an ornate theater box overlooking the Penzance beach, the lovely coloratura of her opening song (“Poor wandering one”) was punctuated by a flute solo that flirted briefly with her extended trills, then segued seamlessly into several bars of music from the mad scene of Donizetti's Lucia di Lammermoor.” 

Ithaca Journal

 

“Chad A. Johnson and Megan Monaghan were well-coupled as the young lovers Frederic and Mabel. Their duet, "Ah, leave me not to pine" from "Stay, Fred'ric, stay" was a winning one.”
Oneida Dispatch

 

Bernstein Memories- Madison Symphony:

“An evening highlight was the stunning rendition of "Glitter and Be Gay" from Candide (1950) by soprano Megan Monaghan. The work demonstrates Bernstein's musical wit, and Monaghan gave a delightful performance, capturing the song's humor with a soaring voice capable of taking the roof off the Overture Center.” 

The Capitol Times    

 

“Megan Monaghan, with a rich coloratura soprano voice, did justice to the satirical-balladic-comedic song "Glitter and Be Gay," from Candide, hitting the demanding top notes securely. A great hit, justifiably, with the audience.”     

The Wisconsin State Journal

 

L'Orfeo- Glimmerglass Opera:
“The vulnerable Eurydice, taped to the wall as if crucified, was Megan Monaghan, in lovely voice.” 

Financial Times


“Managing to score musical and dramatic points with dignity, several youthful cast members stood out including the vocally vibrant Megan Monaghan as Euridice/La Speranza.”

Gay City News 


“The performances were solid vocally. Monaghan's voice was bewitching...this Orfeo-Euridice pairing is a steamy one.”

Oneida Dispatch

“The performers that sang the most naturally fared the best, notably the lyric soprano Megan Monghan as Euridice.”

The New York Times 

 

“Monaghan’s voice was bewitching.”

Life and Times of Utica

 

“He [Michael Slattery] was well supported by some spirited and effective singing from the rest of the cast, of note Megan Monaghan as Eurydice/Speranza.”
                                                                                                                                      Opera Today
“Soprano Megan Monaghan, as Euridice, and bass Chris Temporelli as Pluto were excellent.”

The Daily Gazette

 

“Soprano Megan Monaghan was a fine Euridice and an even finer Speranza in Act 3 — her “Ecco l'altra palude” was gorgeously sung.”

Ithaca Journal 


“Euridice was played by soprano Megan Monaghan, who has a lovely clear and sweet voice.”

Ithaca Times
 

“A young, immensely talented cast gives fresh life to Monteverdi's 1607 work. The cast, with clear, expressive voices, constitutes an attractive acting ensemble, moving seamlessly as was done in Monteverdi's day from principal roles to chorus...Megan Monaghan is a lively, lovely Euridice.”

Post Standard

 

Zazá- Teatro Grattacielo (Alice Tully Hall):

“Standouts among the others in the cast included soprano Megan Monaghan as Floriana, brightly voicing a breezy, saucy music hall number and never at a loss for a catty remark about her stellar sister artist, Zazà, (Aprile Millo).”

Theater Scene

 

Carmen- Dayton Opera:

“Soprano Megan Monaghan enters into this picturesque scene with a cherub-like visage. A bona fide crowd-pleaser was Monaghan (Micaëla), whose soprano voice was one of the most luminous of the performance. Her innocent stage presence was fitting considering that she recently performed Gilda- an equally endearing role for the young soprano.”

  Dayton City Paper

 

“Megan Monaghan, the marvelous Gilda of the 2004 Rigoletto, made the hapless Micaëla into a sensitive and beautiful rejected true love of the hero.”        

Oakwood Register


 

Imeneo- Glimmerglass Opera:

“Rosmene and her sister Clomiri were sung by lovely, light-voiced sopranos, Amanda Pabyan and Megan Monaghan.”

Financial Times

 

“As Clomiri, soprano, Megan Monaghan, had a full, rich sound and admirable diction; she acted well, expressing strong passion.”    

Ithaca Times 

 

“Soprano Megan Monaghan, portrays her with petulant but ever polite intensity.”

Times Union

 

“Superbly sung Clomiri of soprano Megan Monaghan, accusing her naiveté, was delivered with great vocal agility.”  

Ithaca Journal

 

“Megan Monaghan played Clomiri as the ignored, unfortunate, sour sister, but she sang with passion and tonal beauty; why doesn't someone love her?”

Classics Today

 

The Marriage of Figaro- Cincinnati Opera:

“Megan Monaghan (a fine Susanna in the making) was a graceful Barbarina.”   Opera

 

The Marriage of Figaro- Opera Pacific:

“The cast sings and acts with the aplomb of veterans…Megan Monaghan stands out as a most engaging Barbarina.  Remember the name.”

Los Angeles Times

Concert with Lee Hoiby- Grandin Music Festival, Cincinnati:

 “The audience winning monologs were pertly sung by the personable Megan Monaghan.”

American Record Guide November

Il Grillo del Focolare- Teatro Grattacielo

"What draws audiences to Teatro Grattacielo, besides the eccentric charm of so many of these scores, is the opportunity to hear some striking young singers bring them to life. Megan Monaghan, the adorable, has a velvety luxurious soprano and a radiant way of presenting herself." 

Parterre Box

 

The Crucible- Lyric Opera Cleveland:

“Megan Monaghan makes a radiant-voiced and utterly devious Abigail Williams…deserves credit for making this “Crucible” such a bracing experience.”      

The Cleveland Plain Dealer