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 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, 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
  • Soprano Janai Brugger, in her debut, was a standout, communicating warmth and velvety tone and beautiful expression.
    Janelle Gelfand, Cincinnati.com
  • Janai Brugger, whose supple and luminous soprano delivered one gloriously floated high note after another.
    Los Angeles News
  • A former winner in 2012 of Placido Domingo’s prestigious Operalia competition and of the Metropolitan Opera National Council Auditions, American soprano, Janai Brugger, begins the 2014-15 season with her return to the Metropolitan Opera for the role of Pamina (cover) Die Zauberflöte before travelling to London to sing the role at the Royal Opera House Covent Garden.

    Recent highlights include her appearance as Liu Turandot at Hawaii Opera Theatre, a role she previously sang at the MET, and Pamina Die Zauberflöte  at Los Angeles Opera where she was a member of the young artist program for two seasons. She joined the roster of the Metropolitan Opera to sing the role of Helena The Enchanted Island, made her debut as Michaela Carmen with Opera Colorado and joined Los Angeles Philharmonic and Gustavo Dudamel as High Priestess Aida in performances at the Hollywood Bowl.

    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.

    • Carmen, Opera Colorado
      (May 2014)

      Soprano Janai Brugger, as José's jilted fiancée, the pure and guileless Micaela, had the audience enraptured with the astonishing purity and beauty of her voice.
      Kelly Dean Hansen, The Daily Camera
      I also thoroughly enjoyed the passionate performance and vocals of Janai Brugger as Michaela.
      Michael Mulhern, Broadway World
    • 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