Janai Brugger


American soprano, Janai Brugger, a 2012 winner of Operalia and of the Metropolitan Opera National Council Auditions, appears this season in several streamed recitals, including those for New York Festival of Song, Collaborative Arts Institute of Chicago and for Los Angeles Opera’s ‘At Home With’ series.  She makes her television debut on October 11 when she sings a specially-written requiem composed by Laura Karpman for an episode of HBO’s renowned ‘Lovecraft Country.’ Miss Brugger returns to Mahler’s Fourth Symphony, this time with The Philadelphia Orchestra and Yannick Nézet-Séguin, and revisits a favourite role, Pamina Die Zauberflote for performances at Palm Beach Opera’s first Outdoor Opera Festival.

Last season, the artist returned to 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. She traveled to St Petersburg to record Beethoven’s Ninth Symphony with MusicAEterna under the baton of Teodor Currentzis, and to Michigan for performances of Mahler’s Fourth Symphony with Detroit Symphony Orchestra before joining the American Symphony Orchestra at Carnegie Hall to sing Elgar’s The Kingdom. With the Cincinnati Symphony Orchestra she performed in Beethoven’s Choral Fantasy and Mass in C with Louis Langree.

“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)
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
MOZART Requiem
MOZART C Minor Mass