To her credit, in spite of only having one brief solo performance, Miceli continually highlighted
her character with her skillful acting, delivering the most emotive performance of the cast despite
being largely put on the sidelines.
Morgan Alexander, The McGill Tribune
Giannetta, L’elisir d’amore, Opera McGill, 2016
The last singer in the masterclass was soprano Megan Miceli, who sang “Glückes genug” by Strauss, and “Norden” by Sibelius, with Jared Tehse at the piano. Miceli has a bright, pure, well focused high lyric soprano, with admirably steady and evenly produced tone, and capable of a nice high piano. Both the Strauss and the Sibelius are ideal as each requires long, sustained flow of sound, which Miceli did admirably well. The Strauss song ends with the soloist holding the word “Glückes” for eight beats, and Miceli has the steady tone to do it justice, rock steady and without excessive vibrato, drawing praise from Isokoski. Her purity of tone was also ideal in the Sibelius, totally undaunted by its sustained high tessitura. Her singing once again brought praise from Isokoski. It was a lovely end to an afternoon of song.
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Joseph So, Musical Toronto
Toronto Summer Music Festival Art of Song Academy, 2017
Soprano Megan Miceli sparkled in the role of Morgana, a lovesick sorceress and sister to Alcina. Her breathtaking aria “Ama, sospira” – joined by Marie Nadeau-Tremblay’s insolent, agile violin solo – contrasted with the small, dainty steps with which she walked to comedic effect (the audience laughed every time she shuffled offstage).
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Carly Gordan, The McGill Daily
Alcina, Opera McGill, Fall 2016
Megan Miceli was a scene-stealer as Berta, the old governess, who shuffled around the stage with all the attitude of a tired grandmother. Her “Il vecchietto cerca moglie” made use of the whole stage and the props left askew from the previous scene. Her Berta proved to be one of the funnier performances of the evening.
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Isabella Perrone, Opera Canada
Il Barbiere di Siviglia, Opera 5, 2018
Amahl’s widowed mother, played by soprano Megan Miceli, was another bright star of this production. Like Pfeifer, Miceli’s portrayal was honest and nuanced, her round, vibrant tone filling the performance space with ease. Notably, Miceli supports Pfeifer in duet passages well; her rich sound always found a sweet blend with the young treble voice opposite her. The chemistry Miceli has with her young co-star is also convincing, adding a sincerity and grace to her performance.
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Oliver Munar, Schmopera
Amahl and the Night Visitors, Calgary Opera, 2018
