Janai Brugger is represented by Rayfield Allied worldwide.

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Janai Brugger

Soprano

  • There was more vocal personality to Brugger, who supplied an intriguing poignancy to the often superficially treated Musetta.
    Mark Swed, LA Times
  • Janai Brugger, whose supple and luminous soprano delivered one gloriously floated high note after another.
    Los Angeles News
  • Janai Brugger sang another selection from La del manojo de rosas with sterling silver tones. Hers is a truly beautiful soprano.
    Maria Nockin, Opera Today
  • Soprano Janai Brugger, in her debut, was a standout, communicating warmth and velvety tone and beautiful expression.
    Janelle Gelfand, Cincinnati.com
  • Soprano Janai Brugger, a crowd favorite, is clearly someone to watch.
    Greg Moomjy, Opera Today
  • As Liu, Janai Brugger brought the house to its feet. She has a warm, clear brandywine tone with a tight vibrato that makes her voice shimmer — an absolute delight to hear, and her singing tugs at our heartstrings.
    Ruth o. Bingham, Honolulu Pulse
  • A former winner of Placido Domingo’s prestigious Operalia vocal competition and of the Metropolitan Opera National Council Auditions, both in 2012, American soprano, Janai Brugger, begins the 2013-14 season as Liu Turandot at Hawaii Opera Theatre. She returns to Los Angeles Opera to make her debut as Pamina Die Zauberflote and in the Spring she continues to the Metropolitan Opera to sing the role of Helena The Enchanted Island. Later in Denver Miss Brugger makes her debut as Michaela Carmen with Opera Colorado.

    Last season the artist’s appearances included Liu at the Metropolitan Opera in the Zefferelli production of Turandot; she travelled to Prague to appear in concert at the Peter Dvorsky Festival, she appeared in the May Festival with the Cincinnati Symphony Orchestra under the baton of James Conlon and joined Los Angeles Philharmonic and Gustavo Dudamel as High Priestess Aida in performances at the Hollywood Bowl. A favourite on the concert platform, she also sang at Grant Park Festival’s Fourth of July open air concert in front of 10,000 people, and also sang with Philadelphia Orchestra in their 2013 gala concert performance.

    Recent successes include the artist’s appearance at Ravinia Festival with Chicago Symphony Orchestra under the baton of James Conlon as First Lady Die Zauberflöte. As a member of the Domingo-Thornton Young Artist Program, Ms Brugger’s Los Angeles Opera appearances include Barbarina Le Nozze di Figaro under the baton of Placido Domingo, Page Rigoletto with James Conlon, and Musetta La Bohème with Patrick Summers. Cover assignments included the roles of Mrs Neruda Il Postino, Governess The Turn of the Screw, and Juliette Roméo et Juliette, a role in which she made her debut in a special appearance at Palm Beach Opera in 2010.

    Other roles in the artist’s repertoire include Ilia Idomeneo and Tatiana Eugene Onegin.

    A native of Chicago, the artist obtained a Master’s degree from the University of Michigan, where she studied with the late Shirley Verrett.  She won her Bachelor’s degree from DePaul University where she studied with Elsa Charlston. In 2007, she appeared with Marilyn Horne at Carnegie Hall in “The Song Continues”.  Ms Brugger appeared as Adina Elixir of Love with the Lyric Opera of Chicago in their ‘Opera in the Neighborhoods’ program and in 2010, she participated in The Merola Opera Program of San Francisco Opera, performing scenes from Massenet’s Werther and Nicolai’s Merry Wives of Windsor.

    Her future engagements include Pamina Die Zauberflöte at Los Angeles Opera and Michaela Carmen at Opera Colorado.

    • The Enchanted Island, The Metropolitan Opera
      February 2014

      Standouts among the quartet of refugee lovers from A Midsummer Night’s Dream were […] the warm, mezzo-sounding soprano Janai Brugger
      Eric Myers, New York Classical Review
    • Die Zauberflöte, LA Opera
      November 2013

      Janai Brugger is a perfect Pamina. Her arias are as clear as a mountain stream.
      Jim Farber, Press-Telegram
      Janai Brugger is a rapturous Pamina ready for prime time.
      Mark Swed, LA Times
      Janai Brugger let loose a shimmering soprano. When she sings of her loss of love’s happiness in her Act Two aria, she caresses each line with tenderness, and the effect is exquisitely heartbreaking.
      Jane Rosenberg, Seen and Heard International
      The rising soprano Janai Brugger, tone creamy and phrasing elegant, found feeling within the constraints of the production’s stylization, her hair in an Expressionist-era Louise Brooks bob and her body flinching eloquently under the burden of Pamina’s suffering.
      Zachary Woolfe, The New York Times
      ...every exquisite second of singing by rising L.A. Opera star Janai Brugger -- her solo inside a cartoon snowglobe was the heartrending high point of the evening.
      Tim Appelo, The Hollywood repporter
      As Pamina in Los Angeles Opera’s silent-film-inspired production of Mozart’s “The Magic Flute” last month, the elegant, creamy-toned soprano Janai Brugger, 30, embraced the production’s constraints — all movements had to be synchronized with stage-filling animations — without compromising the tender force of her personality. It was a performance... that was the apotheosis of the 30-something, with both the freshness of youth and the depth of age.
      Zachary Woolfe, The New York Times
    • Zarzuela Gala, LA Opera
      June 2013

      Janai Brugger, whose supple and luminous soprano delivered one gloriously floated high note after another.
      Los Angeles News
      Former Domingo Thornton Program member, Met Auditions, and Operalia winner Janai Brugger sang another selection from La del manojo de rosas, “No corte más que una rosa” (Don’t cut more than one rose) with sterling silver tones. Hers is a truly beautiful soprano. She looked vivacious in her bright red silk gown when she rendered another solo, the rousing “De España vengo” (I come from Spain) from Pablo Luna’s El niño judio. (The Jewish boy) An expressive artist from whom we can expect a major career, she sang duets with both Domingo and Guerrero.
      Maria Nockin, Opera Today
    • Mozart Requiem, Cincinnati May Festival
      May 2013

      The soloists were well-matched and provided some exceptional solos. One of the most memorable moments was their “Benedictus,” which unfolded with pastoral beauty. Soprano Janai Brugger, in her debut, was a standout, communicating warmth and velvety tone and beautiful expression.
      Janelle Gelfand, Cincinnati.com
    • Operalia Competition, Beijing
      June 2012

      The winners of the 20th edition of Plácido Domingo’s Operalia – The World Opera Competition have been announced. Held in Beijing from June 4-10, the competition awarded First Prize for a female singer to American soprano Janai Brugger, who is currently enrolled in LA Opera’s Domingo-Thornton Young Artist Program. Brugger also received the Pepita Embil Domingo Zarzuela Prize and the Audience Prize.
      Gramophone
    • La Boheme, Los Angeles Opera
      May 2012

      There was more vocal personality to Brugger, who supplied an intriguing poignancy to the often superficially treated Musetta.
      Mark Swed, LA Times
    • Met Opera competition, New York
      March 2012

      Only one singer inspired me to look forward to a full performance. Janai Brugger sang two lyric soprano standards with poise and style, quiet intensity and superb phrasing... Her physical performance was reserved in both "Depuis le jour," from Charpentier’s "Louise," and "Ach, ich fühl’s," from Mozart’s "Zauberflöte." The emotion was in her sound, which projected, with silvery ease, first relaxed but focused bliss in "Depuis le jour" and then haunting melancholy in the Mozart. She met the challenge of the Charpentier, which is to be simultaneously languid and light. Her top notes were clear and secure; she descended from the high A near the end of "Depuis le jour" with lucid beauty.
      Zachary Woolfe, New York Times
      Soprano Janai Brugger, a crowd favorite, is clearly someone to watch. In both her arias, the famous "Depuis le jour," from Louise, and Die Zauberflote’s "Ach, ich fuhl’s," demonstrated warm tone and command of legato and ornamentation.
      Greg Moomjy, Opera Today
    • Met Opera competition, New York
      March 2012

      Only one singer inspired me to look forward to a full performance. Janai Brugger sang two lyric soprano standards with poise and style, quiet intensity and superb phrasing... Her physical performance was reserved in both "Depuis le jour," from Charpentier’s "Louise," and "Ach, ich fühl’s," from Mozart’s "Zauberflöte." The emotion was in her sound, which projected, with silvery ease, first relaxed but focused bliss in "Depuis le jour" and then haunting melancholy in the Mozart. She met the challenge of the Charpentier, which is to be simultaneously languid and light. Her top notes were clear and secure; she descended from the high A near the end of "Depuis le jour" with lucid beauty.
      Zachary Woolfe, New York Times
      Soprano Janai Brugger, a crowd favorite, is clearly someone to watch. In both her arias, the famous "Depuis le jour," from Louise, and Die Zauberflote’s "Ach, ich fuhl’s," demonstrated warm tone and command of legato and ornamentation.
      Greg Moomjy, Opera Today
  • Photos