ORCHESTRA/ORATORIO

John Adams: The Wound Dresser
"Thomas Meglioranza sang impressively [in The Wound Dresser.]"
--Alex Ross, The New York Times

"[In The Wound Dresser], Meglioranza was sweet and sympathetic in voice and manner."
--The Boston Globe

"[In The Wound Dresser] Thomas Meglioranza projected a strong and determined baritone voice that effectively brought forth the words of the poet."
--Paris Transatlantic Magazine

J.S. Bach:
St. Matthew Passion
Mass in B minor
Christmas Oratorio
”Lutheran” Mass in A major
"Bass Thomas Meglioranza was suave and thoughtful as Pilate, though he turned prickly when Jesus refused to answer his questions. Like [Paul] Agnew, his voice is flexible and mellow at the edges, which gave his extended arias added impact."
--The Chicago Sun-Times

"Thomas Meglioranza was warmly persuasive in his declamation as Pilate."
--The New York Times

"Thomas Meglioranza uses his eloquent bass to create a sympathetic portrayal of Pilate."
--The Cleveland Plain Dealer

"More pleasure came from the singers, especially Thomas Meglioranza, who managed to sound natural and unaffected."
--The Boston Globe

"The evening's satisfactions came mostly from individual performances, especially that of the bass Thomas Meglioranza, who sang beautifully and warmly as Jesus."
--The New York Times

Ludwig van Beethoven:
Symphony no. 9
Choral Fantasy
Christus am Ölberg
Mass in C

Johannes Brahms: German Requiem

Benjamin Britten: War Requiem

Joseph Cantaloube: Chants d'Auvergne

Jonathan Chenette: Broken Ground

Aaron Copland: Old American Songs

Manuel de Falla: Siete Canciones Populares

Gabriel Fauré: Requiem

Alberto Ginastera: Estancia

Carl Heinrich Graun: Der Tod Jesu

Georg Friedrich Handel:
Alexander's Feast
Apollo e Dafne
Dixit Dominus
Israel in Egypt
Messiah
L’Allegro, il Penseroso, ed il Moderato

John Harbison: Symphony no. 5

Franz Joseph Haydn:
The Creation
"Thomas Meglioranza made a distinguished area debut, inflecting each word with character and projecting a pleasing baritone voice. His descriptive recitative of teeming creatures and the lowly worm elicited chuckles."
--The Cincinnati Inquirer
Paukenmesse
"Meglioranza's solo with principal cellist Stephen Reuss was one of the highlights of the evening."
--Rochester Times Union

Louis Karchin: American Visions

Gustav Mahler:
Kindertotenlieder
Des Knaben Wunderhorn
Rückert-Lieder

Henry Purcell:
Ode for St. Cecilia's Day
King Arthur
Te Deum
Jubilate in D

Jean-Philippe Rameau: In convertendo

Maurice Ravel: Don Quichotte à Dulcinée

Thomas Schnauber: Jabberwocky

Arnold Schoenberg: Ode to Napoleon Buonaparte

Heinrich Schütz: Matthäus-Passion (Evangelist)

Roberto Sierra: Missa Latina (Pro Pax)
"everything about the Missa Latina seemed con gran expresión--from the orchestra's expansive playing to the rich sound of the Houston Symphony Chorus, to the exemplary singing of soloists Heidi Grant Murphy and Thomas Meglioranza."--Houston Chronicle

Georg Philipp Telemann:
Donner-Ode
Siehe, das ist Gottes Lamm
Dich rühmen die Welten

Ralph Vaughn Williams:
Dona Nobis Pacem
Five Mystical Songs