Soloist, Mahler's Das Lied von der Erde
The most glorious moment in the Cincinnati Chamber Orchestra concert on Sunday afternoon came at the coda of Mahler's Das Lied von der Erde, when mezzo Megan Dey-Toth sang the words "Ewig, ewig" - "Forever, forever" - against a glowing ensemble of rippling piano and intimate string sextet...
Dey-Toth and tenor Patrick Marques, both extraordinary singers, brought a gentle, youthful quality to the music, and phrased with intelligence and beauty. The overall effect was quite moving...
Dey-Toth was a warm, appealing singer who captured the poignant quality of "The Lonely Man in Autumn," and the sweetness in "Of Beauty." Her finest moment came in "The Farewell," from her impassioned "O Schönheit" (Oh beauty) to its wistful closing.
Janelle Gelfand, The Cincinnati Inquirer, October 20, 2003
Young Offred, The Handmaid's Tale
As Offred's Double, mezzo Megan Dey-Tóth summoned the beauty Offred yearns for through the haze of memory; she and Bishop spun floating, shimmering lines in their duet. Extended unison singing for two mezzos is a risky proposition, but Ruders's skill, the singers' sensitivity and the heartbreaking presence onstage of little Maeve Moynihan as Offred's confiscated daughter all helped make this the evening's emotional high point.
Joshua Rosenblum, Opera News, August 2003
"Offred and her younger double (Megan Dey-Toth, a winsome lyric soprano) interact with each other musically, climaxing when the two voices converge in an unconventional duet."
Anthony Tommasini, The New York Times, May 14, 2003
"Bishop's finest moment comes in the second act, a tender duet with her Double -- her younger self -- a role sung with equal conviction by Megan Dey-Tóth."
Michael Anthony, Minneapolis Star Tribune, May 12m 2003
Prince Orlovsky, Die Fledermaus
"Prince Orlovsky's trousers are difficult to fill, and Megan Dey-Toth did quite well, especially with the 'Chacun a son gout' aria."
Richard Storm, Florida West Herald Tribune, February 19, 2003
"Megan Dey-Tóth seemed most at home in the relaxed, convivial operetta spirit, as the terminally bored Prince Orlovsky."
Lawrence A. Johnson, South Florida Sun-Sentinel, March 24, 2003
"Megan Dey-Toth as Prince Orlovsky described the wild goings on with a fine 'Chacun a son gout.' She established herself comfortably in this pants role and neatly crossed from singing to the spoken word."
Chip Ludlow, Venice Gondolier Sun, March 5, 2003
"Chistopher Feigum's Dr. Falke was beautifully sung with intelligence and style, as was Megan Dey-Tóth's Prince Orlovsky (she's perfect in a pants part)."
June LeBell, The Long Boat Observer, March 6, 2003
Hansel, Hansel and Gretel
"Dey-Toth's Hansel was convincingly masculine but with that boyish vulnerability that makes him brag, "Boys never get lost!" Dey-Toth's strong mezzo sound was matched by a clarity of diction that was wonderful to behold. Here's a classical singer unafraid of consonants - a big help when you're singing in English."
Kenneth LaFave, The Arizona Republic, Nov. 22, 2002
"Portraying Marguerite's male suitor, Siebel, mezzo-soprano Megan Dey-Toth brought both intensity and lyrical purity to the 'flower song.'"
Keith Marshall, The New Orleans Times-Picayune, October 13, 2001
Cherubino, Le nozze di Figaro
"Megan Dey-Toth, in the trouser role of Cherubino, the page boy just discovering love, was charming as an actor and had some of the few moments of crystalline music in the whole evening."
John Farrell, The Star News (Pasadena, CA), January 28, 2001
Christa Ludwig Song Workshop, Carnegie Hall
Megan Dey-Toth sang Mahler songs with a vibrant voice and mature artistry.
Anthony Tommasini, The New York Times, December 13, 2000
Lucretia, The Rape of Lucretia
"Megan Dey-Toth brought a smooth-toned mezzo and appealing stage presence to Lucretia."
Robert Baxter, Opera News, May 1998