Deborah Sanders

Arts Management

Janai Brugger


American soprano, Janai Brugger, the 2012 winner of Operalia and of the Metropolitan Opera National Council Auditions, made her television debut last season when she sang a specially-written requiem composed by Laura Karpman for an episode of HBO’s renowned ‘Lovecraft Country.’ She returned to Mahler’s Fourth Symphony with Yannick Nézet-Séguin and The Philadelphia Orchestra, and revived a favourite role, Pamina Die Zauberflote for performances at Palm Beach Opera’s first Outdoor Opera Festival. More recently she appeared as Michaela Carmen at Cincinnati Opera and returned to Dutch National Opera for their acclaimed Missa in tempore Belli (Haydn) conducted by Lorenzo Viotti and directed by Barbora Horáková.

In a recent season, the artist appeared at the Metropolitan Opera in the role of Clara in their celebrated new production of Porgy and Bess in which she’d previously appeared at Dutch National Opera. At Lyric Opera of Chicago she sang the role of Ilia Idomeneo and at Cincinnati Opera she appeared as Susanna Le nozze di Figaro. In her artistic home at Los Angeles Opera, she sang the role of Servilia La Clemenza di Tito, a role she previously sang at Dutch National Opera.  Miss Brugger travelled to the Royal Opera House Covent Garden for revival performances of Pamina Die Zauberflöte and sang the role of Liù Turandot at Lyric Opera of Chicago.


“As Susanna, soprano Janai Brugger was utterly charming, fierce when needed, vocally splendid, and a savvy survivor.”

Seen and Heard International, Rafael de Acha, 14 June 2019

“Janai Brugger displayed an opulent soprano voice as Servilia…”

Richard S Ginell, Los Angeles Times, 3 March 2019

“If Polenzani dominated the production, Brugger was not far behind. Her sweet, shiny soubrette and engaging theatricality previously lit up the stage in PBO productions of The Marriage of Figaro and Don Pasquale. Yet she also brought dramatic weight when required. “Ach, ich fühl’s” was heartbreaking, so emotionally expressive was Brugger’s projection of Pamina’s sadness when she thinks her lover has abandoned her. She stood up to the advances of the evil Monastatos with spunk, her textual clarity matched by adding grit to her attractive sound.”

Lawrence Budmen, South Florida Classical Review, 22 February, 2021

BEETHOVEN Fidelio (Marzelline)
BIZET Carmen (Michaela)
BRITTEN The Turn of the Screw (Governess)
CATAN Il Postino (Neruda)
DONIZETTI L’Elisir d’Amore (Adina)
Don Pasquale (Norina)
GERSHWIN Porgy & Bess (Clara)
GOUNOD Romeo et Juliette (Juliette)
GRETRY Zemire et Azor (title)
HANDEL, VIVALDI, RAMEAU The Enchanted Island (Helena)
MOZART Die Zauberflöte (Pamina)
Le nozze di Figaro (Suzanna)
Idomeneo (Ilia)
La clemenza di Tito (Servilia)

Don Giovanni (Zerlina)

PUCCINI La Bohème (Musetta)
Turandot (Liu)
VERDI Rigoletto (The Page)
Falstaff (Nanetta)
Aida (High Priestess)
TCHAIKOVSKY Eugene Onegin (Tatiana)
JS BACH Magnificat
BRAHMS Requiem
HANDEL Messiah
MAHLER Fourth Symphony, Second Symphony
MOZART Requiem
MOZART C Minor Mass