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Debut album Lieder/Canciones - sTem
"Brus’s performance overflows with emotion from her opening line to her final portamento..."
Fairy Tales, Songs of the Dandelion Woman (World Premiere), SoBe Arts Institute
"Brus ... was remarkable as the Dandelion Woman. ... much of her part contains a treacherous amount of sudden leaps into the vocal stratosphere and jagged, spiky lines to sing. ... Brus’s performance was a tour de force in every way, with fresh, fierce power in abundant supply, a rock-solid command of an exceedingly difficult part, and an ability to hold onto her audience through some thorny terrain. She has a large, pretty, exciting voice that is well-suited for dramatic parts, and that she is a fine exponent of contemporary music should give her some strong career momentum. She is also a good actress, believable as an ambitious job-seeker in the first scene, cheerily Stepford-like in the fake sitcom scene at the end, and compellingly lost in her own world as she drifts further away from reality."
Palm Beach Arts Paper, Greg Stepanich
June 1, 2014
"In the title role, Meagan Brus dominates the stage with a frightening emotional intensity. Her brilliant flights of coloratura dazzle the ear but the strength of her middle voice evokes the woman's pathos and helplessness. A vocal and dramatic tour de force, her performance is a singular triumph."
Miami Herald, Lawrence Budman
May 9, 2014
Experiments in Opera New Shorts, Hotel Elefant
"Leaha Maria Villarreal’s A Window to a Door, austerely scored for violin, contrabass, and electronic playback, explores music at the edge of silence. Her voice delicate, her presence poignant, Meagan Brus portrayed its sole character, a young woman who is held hostage—in jail? an asylum? a prison of her own making?"
New Music Box, Marion Lignana Rosenberg
March 13, 2013
Hamlet (World Premiere), SoBe Arts Institute
"Meagan Brus nearly stole the show as Ophelia with her flawless coloratura and compelling portrait of emotional disintegration."
South Florida Classical Review, Lawrence Budman
March 3, 2012
The Three Germans, Bourbon Baroque
"Miss Brus flawlessly executed the lilting phrases... The recitative and the concluding aria were performed with the same musicality and precision. ... Ms. Brus has a glorious instrument and it is well suited to the music of this period. Her performance of these arias was impeccable."
The Arts Louisville, Carol Larson
July 22, 2011
The Magic Flute, Opera Theater of Weston
"I have saved my favorite for last. Meagan Brus, who played Pamina, sings in a clear, honey-rich soprano with incredible emotion. I was startled every time she sang. I felt as though I was hearing her for the first time, every time… She consistently sang and acted with a maturity that was beyond her years."
Music for Mankind, Kelly Moore
February 16, 2011
"Equal in presence was soprano Meagan Amelia Brus, who sang lyrically and expressively and was convincing as the opera’s most dimensional character, Pamina."
The Rutland Herald, Jim Lowe
January 9, 2011
L'Elisir d'Amore, Green Mountain Opera Festival
"It was unfortunate that soprano Meagan Brus had such a small part as Gianetta, one of the village girls and the narrator. Brus sang with vocal warmth, and an even line and natural expressiveness. She was pretty funny too."
Times Argus, Jim Lowe
June 14, 2009
le Nozze di Figaro, coópera: Project Opera of Manhattan
"Every conductor’s dream: Totally prepared, musical and artistic decisions very clear, always in tune and on time – no dragging or pushing ahead, secure but flexible."
"Every director’s dream: Intelligent, wonderful dramatic instincts, great grasp of dramatic beats and how to connect them. Personality to burn, emotionally available, honest and natural – she makes it impossible for us not to LOVE Susanna. We can’t wait for her to come on stage!"
Karen Holvik, Professor of Voice at the New England Conservatory
August 25, 2006
Honors Concert, Oberlin Conservatory
"Brus completely embodied the spirit of Alte Weisen, changing her mannerisms almost every phrase to match the spirit of that individual line of poetry."
The Oberlin Review, Alanna Dancis
April 22, 2005