Critical Acclaim
The Merry Widow- Dayton Opera:
"One could not ask for a better Hanna Glawari than that of Megan Monaghan. Petite, graceful, eminently eye-catching, full of charm and personality and singing with a lustrous soprano capped with high notes that sparkled like diamonds, Monaghan was the real deal, and the audience was swept into a frenzy. Their duets [Monaghan and Worth] were highlights of the performance with much subtle by-play, each smile, each tiny gesture adding much to their interpretation.Capping it all off was an added attraction: Monaghan interpolated "Meine Lippen, sie küssen so heiss" (from Lehár's Giuditta) into the Act III party, sung with such ear-ravishing beauty that any man would melt on hearing it."
Opera News
"One would never guess that both Hanna Glawari (The Merry Widow) and her romantic counterpart Count Danilo Danilovitch, sung respectively by Megan Monaghan and Matthew Worth, are making role debuts. The strong chemistry between Hanna and Danilo lends electricity to the production. Monaghan makes hay as the glamorous widow, displaying an attractive voice, an appealing stage presence and uncommonly beautiful upper register that the operetta gives her ample opportunity to display. In addition to Hanna's haunting Act II signature aria, "Vilja" Monaghan interpolates into Act III the hit tune"Meine Lippen sie kuessen so heiss." The transplant works well and the song deserves the outing."
Dayton City Paper
"As the Merry Widow, beautiful Megan Monaghan, returns and creates yet another personal triumph. Teamed with Matthew Worth, the seemingly recalcitrant lovers took every opportunity to make the audience love both of them as well. The famous "Vilja" was superb. It was joined by Megan's versatile vocal gifts in sultry "My Kisses are like Wine."
Oakwood Register
"Soprano Megan Monaghan shone brightly in the role[Hanna], casting a moonlit spell as she sang a fairy tale about Vilja, a woodland sprite.."
Dayton Daily News
Don Giovanni- Cincinnati Chamber Orchestra:
Cincinnati News
“Lush-voiced soprano Megan Monaghan was both an eyeful and an earful as Donna Elvira.”
MusicinCincinnati.com
Rigoletto- Nashville Opera:
"Monaghan has such a lovely lilt in her voice, and from her “È il sol dell’anima” love duet with the Duke until the tragic “Lassù in cielo,” her pure sound is entrancing."
Tennessean News
Broadway World
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 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:
"Soprano Megan Monaghan, like her tenor colleague (Stephen Costello), possesses a fresh, youthful voice of often surprising weight, with a flickering shimmer above the staff; this made for a singularly alluring blend in the pair's Act II duet, and Monaghan's Gilda coursed delightfully through the "Addios." "Caro nome"... was fluidly dispatched with spot-on attack in the display writing."
Opera News
"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
"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
"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
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- 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
“A striking debut was Monaghan In Victor Herbert's "Art is Calling for Me." Clearly on her way to becoming a prima donna, Monaghan showed that Annapolis Opera continues to fulfill its mission of discovering stars.”
Baltimore Sun
La Bohème- Opera Pacific:
"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 (though not for long) love affair."
New York Times
"When [Chad Johnson] paired with the excellent soprano Megan Monaghan as Mabel, whose big voice rolled out the coloratura lines with a 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
"Chad A. Johnson and Megan Monaghan were a spirited Frederic and Mabel."
Opera News
"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
"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
“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 give 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
“Monaghan’s voice was bewitching.”
Utica Times
Zazà - 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 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 sturdy bass-baritone Craig Phillips as Argenio and the lovely soprano Megan Monaghan as the younger sister Clomiri were appealing.”
The New York Times
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
"There was excellent work by Megan Monaghan (Barbarina)."
The Orange County Register
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
Eve’s Odds- University of Cincinnati College-Conservatory of Music:
“Monaghan was a simple, moving Eve...”
Opera News
Rusalka- University of Cincinnati College-Conservatory of Music:
“A charming moment of comic relief came between the Gamekeeper (Andrew Wilkowske) and the Turnspit (Megan Monaghan) in the second act.”
Cincinnati Enquirer
Opera Ball- Opera Pacific Symphony:
“Megan Monaghan sang in Opera Pacific’s Opera Ball 2004, captivating the guests in attendance.”
Newport Beach Columnist
Concert with Lee Hoiby- Grandin Music Festival, Cincinnati:
“The audience winning monologues were pertly sung by the personable Megan Monaghan.”
American Record Guide November