in Franken (DE)

“Da konnte Measha Brueggergosman mit großer innerer Ruhe und Souveränität die enorme Bandbreite ihrer Stimme ausspielen, da sang sie mit einem Augenzwinkern und betätigte sich als pünktliche Perkussionistin”

In English:

“With great inner peace and control, Measha Brueggergosman was able to show to its fullest extent the enormous range of her voice, and sang with a twinkle in her eye and proved also that she can play percussion. ” Thomas Ahnert, in Franken, July 2017

La Times

The stand out comment is ‘“Playthings” is a plaything for the Canadian soprano Measha Brueggergosman, who really can reproduce the sultry intensity of [Sarah] Vaughan and the luminosity of [Leontyne] Price. Tilson Thomas uses her to give layers of ironic meaning to Sandburg’s text, which can be bluesy one moment, operatically ecstatic the next, and then turn into disco with terrific backups.’ Mark Swed, LA Times, June 2017

La Clemenza di Tito

“Brueggergosman at first presents Vitellia simply as a seductress and villain, but as the opera continues she grows in emotional complexity — fear and regret completing with menace and anger — until by her final astounding aria she almost becomes a tragic figure.”
Christopher Hoile, Eye Weekly, April 2011

“Brueggergosman rose to the occasion – not just vocally, but dramatically as well. Anyone who doubts that she can really get inside an operatic role should drop by the Elgin Theatre to see her sing daunting leaps and embellishments while madly flailing about the stage. No less impressively, by the end of Act II, Brueggergosman’s Vitellia is a transformed woman, inward looking and sincerely penitent for all the grief she has caused everyone else.”
Colin Eatock, Globe & Mail, April 2011

The Rise and Fall of the City of Mahagonny

“The star(s) of the night was Canadian soprano Measha Brueggergosman whose performance as the prostitute Jenny combined keen musical instincts and education with an impressive stage presence.”
Roberto Herrscher, Opera News, December 2010

“…the young and extraordinarily talented Measha Brueggergosman, who could be considered the new Jessye Norman.”, October 2010


“As Elettra, Brueggergosman worked completely as part of a team, but when her time to shine arrived, as in the terrifying final aria “D’Oreste, d’Aiace,” she unleashed the full power of her voice to phenomenal effect.”
Christopher Hoile, Opera News, June 2008

“Much pre-production hype has centred on Brueggergosman in one of her rare operatic appearances… The part of Elettra is blessed with a couple of ripsnorter, show-stopping arias, one of them the famous mad scene, and Brueggergosman tears through them. Elettra requires a soprano with dramatic heft to her voice and the singer takes all kinds of chances. She has a commanding, lush, fruity sound that she makes thrilling by deliberately producing ugly, distorted notes to underlie Elettra’s anger and frustration. Brueggergosman plays easily with Pynkoski’s over-the-top, melodramatic treatment of her character, and by the time her Elettra has covered the waterfront in both fierce movement and singing, she has well-earned the cheers and bravi of the adoring crowd.”
Paula Citron, Globe and Mail, April 28, 2008

“Toronto soprano Measha Brueggergosman is stellar as Elettra, whose thwarted love for Idamante has a tragic end. The young diva doesn’t sing opera often, but the role’s an ideal match for her talents.”
John Terauds, Toronto Star, April 28, 2008

Dead Man Walking

“Measha Brueggergosman’s glowing soprano and spunky acting enriched her portrayal of Sister Rose.”
William Albright, Opera, June, 2011

“The vivacious soprano Measha Brueggergosman, making her company debut, found more pith in the small part of Sister Rose than had any performer heard previously.”
Steve Smith, New York Times, February 9, 2011

Aeneas in Kartago

“Measha Brueggergosman showed a bright, well-nourished soprano as Juno.”
Horst Koegler, Opera, September 2006

Dialogues of the Carmelites

“At the opening of her career, Measha Brueggergosman, essaying the role of Madame Lidoine, lived up to the high expectations surrounding her West Coast début. Her fresh voice is a beautiful instrument, the chest tones particularly creamy. An assured stage presence, even at this early stage, one sees why a meteoric rise hovers on the near horizon.”
J.H. Stape,

“The radiant soprano Measha Brueggergosman, as Madame Lidoine, was another larger-than-life presence, her lustrous, strong, glory-bound voice giving us moments of Wagnerian splendour without compromising the feline grace of Poulenc’s wonderful lyricism.”
Elissa Poole, The Globe and Mail, November 28, 2005


“… The evening’s most complete performance came from Measha Brueggergosman, who as the slave Liù, was touchingly sympathetic and sang with color and pathos. Her two scenes were deeply emotional; her phrasing and seamless acting were truly extraordinary.”
Janelle Gelfand, The Cincinnati Enquirer, June 22, 2003

“… Cincinnati audiences adored Measha Brueggergosman in last year’s production of Dead Man Walking. This season she returns as the servant girl Liù. The casting of Brueggergosman in this particular role at first seems an odd choice: Her power-packed stage presence brings something new to the role of the long-suffering servant girl. But the formula works. With Liù, Brueggergosman shows herself to be truly capable of a wide range of roles, and her singing is exquisite. When she opens her throat, it is as though her soul pours out. For the audience, the experience is at the same time thrilling, intimate and deliciously tragic. …”
Kate Brauer-Bell, CityBeat, June 20, 2003


Wesendonck-Lieder (Deutsche Grammophon recording)

“As electrifying on disc as she was in person, Canadian soprano Measha Brueggergosman is the ideal medium, wielding a forceful, radiant voice equally capable of nuance and intimacy.”
Zachary Lewis, The Plain Dealer, August 8, 2010

“Canadian soprano Measha Brueggergosman gives a sensitively inflected performance of the Wesendonck Lieder.”
Rupert Christiansen, The Telegraph, August 6, 2010

“Measha Brueggergosman’s rich, creamy voice, with its solid core and ringing top notes perfectly suits Wagner’s Wesendonck Lieder. Her deeply felt, finely nuanced singing captures the longing and tenderness embedded in these Tristan-esque songs. Franz Welser-Möst leads sensitive accompaniments with the Cleveland Orchestra.”
Victor Carr Jr.,, August 2010

Night and Dreams (Deutsche Grammophon recording)

“This is a recital to treasure, one that I’ve been playing repeatedly… Everything she sings is radiated by an instinctive musicality, breadth of phrasing and generosity of spirit: here is someone evidently singing for love not money and she has the gift of making the music glow.”
Rupert Christiansen, The Telegraph, April 23, 2010

Surprise (Deutsche Grammophon recording)

“Measha Brueggergosman has a way with words. It’s not just her marvelous diction, which makes the words hit the ear as clearly as if they were spoken. The connection with human speech is even more vital; her singing seems to spring from the same impulse as conversation. We hear not just what is being said but who is saying it. Her lush lyric soprano is clearly suited to the concert platform and opera stage, but she has the strengths of a musical-theater singer… Through the whole set, the soprano draws on a vein of winning sentiment, its sweet flavor heightened, if anything, by a subtle hint of camp.”
Fred Cohn, Opera News, January 2008

“The soprano’s larger-than-life personality bears down on a collection of cabaret-style songs by William Bolcom, Arnold Schoenberg and Erik Satie. It’s all fun listening, with fabulously expressive singing and first-rate accompaniment thanks to the BBC Symphony led by David Robertson.”
John Terauds, The Toronto Star, November 20, 2007

“For her first release on Deutsche Grammophon, the fascinating Canadian soprano Measha Brueggergosman opts for a program of high-end cabaret songs – a surprising and interesting choice, but one that yields only mixed results. This repertoire underscores some of her most beguiling gifts, including an earthy charisma, a sense of theatricality and keen attention to words. The disc’s real gem is at the end, with a set of Satie songs – the best ever written in this genre – with Bolcom at the piano and Brueggergosman working the music for every bit of tenderness and wry sentiment.”
Joshua Kosman, San Francisco Chronicle, November 4, 2007

Concerts and Recitals

“The concert’s final, crowning moment came courtesy of soprano Measha Brueggergosman. The New Brunswick native is the closest thing that Canada has to a big classical music star. With the help of expressive accompanist Christopher Mokrzewski, she wasted no time in showing off a magnetic artistry in the French art song, “Le temps des lilas” (Lilac Time) by Ernest Chausson.”
John Terauds, Toronto Star, March 22, 2011

“Measha was a wonder to behold. Her voice had a roundness and supple texture, inviting the listener into the deep pools of expression and emotional resonance. Her delivery had the distinct feeling that every syllable, consonant, vowel and phrase was being uttered as if it were her last, a pleasure from start to finish. Her range from the giddy and playful “pride” to the remorseful “lust” were engaging and masterfully entertaining.”
Stephen Preece, The Record, February 27, 2011

“The soprano Measha Brueggergosman understandably commanded a greater share of attention than did her colleagues in Schoenberg’s faithful reduction of Mahler’s “Songs of a Wayfarer,” and not just for a slinky, strapless black gown that exploded into sea-foam tulle around her ankles. A vibrant, expressive singer, Ms. Brueggergosman conjured childlike innocence and haunting dread.”
Steve Smith, New York Times, December 6, 2010

“Fresh off her appearance in the opening ceremony of the Vancouver Olympics, Canadian soprano Measha Brueggergosman again proved a master interpreter of this [Wesendonck Lieder] score, melding to her radiant voice a profound dramatic sensibility. The singer applied a distinctive vocal character to each piece, taking cues from the text to evoke specific physical and emotional states with stunning likeness. Clearly in his operatic element, Welser-Möst and the orchestra ensured their guest the richest, most colorful support.”
Zachary Lewis, The Plain Dealer, February 23, 2010

“The charismatic Canadian soprano Measha Brueggergosman sang the Strauss songs with an alluring and supple freshness that balanced plush textures with a bright core that allowed her voice to melt into Strauss’ rich orchestration while comfortably projecting over it. She caressed these songs rather than beat them into submission…”
Mark Stryker, Detroit Free Press, June 5, 2009

“Hennes röst skimrar som regnbågen, kvillrar sig fram ur strupen så oförskämt lätt, är stark som
Niagarafallet och har på höjden en skoningslös silverklinga som får en lyssnares kropp att vibrera
av välbefinnande. Varje ton vårdar hon och ger den en egen tolkningsvalör…Aldrig att hon slutar att gestalta med hela sig, aldrig att hon släpper sin publik med blicken. Det känns som om man aldrig vill lämna hennes sällskap.”

“Her voice sparkles like a rainbow, exits her throat so unashamedly easy, is strong as the Niagara
Falls and has highs like a merciless silver sword that makes the listener shiver with pleasure. She
cares about every note and gives them each their own interpretation…She never stops interpreting with her whole body, never looses eye contact with the crowd. It feels like you never want to part ways with her.”
Susanne Holmlund, Sundsvalls Tidning, May 15, 2009

“It would be superfluous to say that the Canadian Measha Brueggergosman is the most fantastic singer in the world today. I cannot think of anything she cannot do—and in John Cage’s Aria she did it all.”
Harry Rolnick,, April 17, 2009

“One indisputable triumph was the simultaneous performance of two works by John Cage, “Aria” and “Renga” – the former featuring soprano Measha Brueggergosman, the latter being an orchestral piece.
While most of the concert featured excerpts from larger works, the Cage pieces were performed in their entirety and hit upon the perfect marriage of music and multimedia: Amusing projections of Cage’s nontraditionally notated score gently floated on the ceiling, providing the audience with the blueprint to Brueggergosman’s dazzling vocal acrobatics.”
Ben Finane, San Francisco Chronicle, April 17, 2009

“…the soprano Measha Brueggergosman demonstrating her expertise at unconventional modern music vocalizing in an experimental collage of two piece by John Cage.”
Anthony Tommasini, The New York Times, April 17, 2009

“The highlight of the concert came in three song cycles Mr. Thibaudet performed with Measha Brueggergosman, a charismatic, personable soprano. She was charming and seductive by turns in Poulenc’s “Banalités,” and she reveled in the absurdist quirk of Satie’s “Ludions.” In between, Ms. Brueggergosman brought a ravishing sound and smoldering intensity to Prokofiev’s “Five Poems of Konstantin Balmont.””
Steve Smith, The New York Times, March 9, 2009

“Ms. Brueggergosman’s delicate voice emerged from the orchestra, but never soared over it, which seemed to be the goal. Even in the more restless songs, like “Stehe Still,” with its bolts of rising figures in the violins, her singing was gently urgent and understated, with throbbing vibrato in sustained high notes. The overall performance was glowing and tender.”
Anthony Tommasini, The New York Times, February 6, 2009

“Brueggergosman’s sense of the long line and her sensitivity to word painting consistently illuminated the texts, as with the seamless segue from gentle pleading to ecstatic swell in Stehe Still. The soprano was at her finest in the two last settings, where her glowing vocalism and expression of the songs’ impassioned ardor and regret were precisely echoed by the shimmering delicacy of the Cleveland players under Welser-Most’s attentive accompaniment.”
Lawrence A. Johnson, Miami Herald, January 31, 2009

“Like a world-class actress, Brueggergosman dissolves completely in the role, singing Wagner’s setting of swooning poems by one-time flame Mathilde Wesendock as if she’d penned them herself. Fresh nuances await as the soprano negotiates each new emotional and verbal contour. But the orchestra is the key to her success. Tracking Bruggergosman’s every move from fierce declamation down to the faintest whisper, Welser-Most and crew nudge the singer’s performance into the musical heavens. One can hardly wait for the CD.”
Zachary Lewis, The Cleveland Plain Dealer, January 9, 2009