Deborah Sanders

Arts Management

Janai Brugger

Soprano

Janai Brugger’s recent season engagements include her highly successful role debut in the title role of Carlisle Floyd’s Susannah at Opera Theatre of St Louis, performances as Servillia La Clemenza di Tito, Zerlina Don Giovanni  and Pamina The Magic Flute at Ravinia Festival–a role she previously sang at the Royal Opera House Covent Garden, London and at the Metropolitan Opera of New York—and her outstanding success as Mary Jane Bower in Houston Grand Opera’s world premiere of Jake Heggie’s Intelligence. The artist sang the role of Glauce in Cherubini’s Medea at the Metropolitan Opera and at Canadian Opera Company, Susanna Le Nozze di Figaro at Los Angeles Opera, Liu Turandot at Lyric Opera of Chicago and she travelled to Poland to sing Mahler’s Second Symphony under the baton of Marin Alsop.  She also made her Glyndebourne Festival debut and her BBC Proms debut as Michaela Carmen.

Current season contracts include several symphonic engagements, notably composer Aaron Zigman’s Émigré conducted by Long Yu which Janai sings with Deutsches Symphonie-Orchester Berlin and with Hong Kong Philharmonic, along with her return to the Metropolitan Opera for the role of Pip Moby-Dick.

“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

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