Deborah Sanders

Arts Management

Janai Brugger


American soprano Janai Brugger’s recent engagements include her Vienna debut at Musikverein in Brahms Requiemwith CBSO and Mirga Gražinytė-Tyla; Mahler’s Second Symphony also with CBSO in Birmingham UK; Zerlina Don Giovanni  at Tanglewood Festival under Andris Nelsons; Servillia La Clemenza di Tito and Zerlina Don Giovanni at Ravinia Festival under the baton of James Conlon alongside Kaddish with Marin Alsop.  She sang Beethoven’s Ninth Symphony with Chicago Symphony Orchestra under Ricardo Muti, and Mahler’s Fourth Symphony with Yannick Nézet-Séguin and The Philadelphia Orchestra. She appeared at Dutch National Opera in their acclaimed Missa in tempore Belli (Haydn) conducted by Lorenzo Viotti and directed by Barbora Horáková. She returned to the Metropolitan Opera of New York for further performances of Clara Porgy and Bess, a role she established in their new production in 2019.

Future engagements include the role of Glauce in Cherubini’s Medea at the Metropolitan Opera of New York, Susanna Le Nozze di Figaro at Los Angeles Opera, Liu Turandot at Opera Colorado and her role debut in the title role of Carlisle Floyd’s Susannah at Opera Theater of St Louis; she travels to Munich to sing Beethoven’s Ninth Symphony with Munich Philharmonic under Maxim Emelyanychev, sings Poulenc’s Gloria with Bozeman Symphony Orchestra and returns to Detroit Symphony Orchestra for Mahler’s Second Symphony under the baton of Jader Bignamini.

“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