“The judicious but effective orchestration was admirably performed, especially by the cellist, Meaghan Burke, whose recurring frantic arpeggios created a sense of constant motion.” -New Criterion, on Experiments in Opera’s Sisyphus, February 2015 (full review at

“But over the course of a long evening, Mundry’s contemplative sobriety complemented Cendo’s charismatic din. Meaghan Burke’s …..
of the first part from “Le Corps des Cordes,” for unaccompanied cello, provided more evidence of Mundry’s estimable knack for soliloquy…

“…Arrestingly voiced for flutes, bass clarinet, and cello, the piece was voluptuously conveyed by Binkowski, Burke, and clarinetist Camila Barrientos Ossio…

“…Cendo’s Rokh,” which ended the

, employed amplification, a clanging, buzzing prepared piano, and a bevy of unorthodox instrumental techniques to evoke a fabled bird of prey whose plumage, on this evidence, was as prismatic as its talons were lacerating. The performers — Binkowski, Burke, Lin, and violinist Karen Kim — played with slashing aplomb.” – Steve Smith, The Boston Globe, on ECCE Ensemble’s December 2014 performance at the Goethe Institute Boston (full review at

“Back to Meaghan: It doesn’t happen often that I lapse into devotional awe in the very first song: vocals and cello – and the masterpiece is complete.  The decisive point here is not just the intensity of text and music, but most of all the plasticity of presentation: songs which don’t hide behind an image, but stand, first and foremost, for themselves.  The approach is pretty old-school – and that’s a good thing. ‘And did you know, and did you know, how much I thought I loved you?!’ – you don’t often see such a beautiful wink.” -Hubert Weinheimer, The Gap, December 2014 (in translation; full German review at

“…given a gripping performance” -New York Classical Review, on a performance of Giacinto Scelsi’s Dharana for cello and bass with Ghost Ensemble (full review at

“A work delivered with alarming tour-de-force intensity by Cadillac Moon cellist Meaghan Burke, who played, narrated, and sang in what is a true concert opera. Her readings were insinuating and darkly dramatic, with a noir theatricality very much a distillation of the composer’s ideals and fascinations, of uncovering the rot beneath the shiny and plastic, only to discover there’s something not quite right about the truth that set us free, either.” -The Examiner, on Alex Temple’s Switch: A Science Fiction Micro-Opera for Cadillac Moon Ensemble, December 2013 (Full review at:

“Als das Subterrarium zu Beginn diesen Sommers seine Kellerpforte geschlossen hat, haben viele zum ersten Mal davon gehört – wenn überhaupt. Sieben Jahre lang wurde dort jeden Freitag Abend an der Zukunft geschraubt. Musiker und Musikerinnen von überallher machten hier Zwischenstopp, um in Sachen Musik neue Wege aufzuzeigen. Eine von ihnen war Meaghan Burke.

And we all fall in love …

Meaghan Burke ist New Yorkerin, hat aber in Wien ihr Cello-Studium abgeschlossen. Zwischen 2009 und 2013 hat sie hier sehr viele Konzerte gegeben. Solo, im Duo Cheating On New York, im Trio mit Bernd Klug und David Schweighart als Le Cowboy sowie als Teil des Kollektivs Loose Lips Sink Ships….

Zurück zu Meaghan: Es passiert nicht oft, dass ich schon während des ersten Lieds in andächtiges Staunen verfalle: Stimme und Cello – fertig ist das Meisterwerk. Entscheidend sind hier nicht nur die Intensität von Text und Musik, sondern vor allem die Plastizität der Darbietung: Lieder, die sich nicht hinter einem Image verstecken, sondern in erster Linie für sich selbst stehen. Ja, genau: Der Ansatz ist ziemlich old school – und das ist auch gut so. ‘And did you know, and did you know, how much I thought I loved you?!’ – selten wird so schön gezwinkert.” – The Gap (