



J’Nai Bridges
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American mezzo-soprano J’Nai Bridges is one of the pre-eminent vocal talents of her generation, renowned for her rich voice and commanding stage presence. She has performed leading roles at many of the world’s major opera houses including Carmen at San Francisco Opera, Arena di Verona, Hamburg Staatsoper, Lyric Opera of Chicago and Wiener Staatsoper. A champion of contemporary music, she has premiered works by John Adams, Jake Heggie, Jimmy López Bellido and, as Nefertiti in Philip Glass’ Akhnaten at the Metropolitan Opera, won the 2022 Grammy Award for Best Opera Recording.
In the 2025/26 season, J’Nai Bridges can be heard on stage as Carmen at Teatro Real Madrid and Seattle Opera, as Maddalena in Rigoletto at San Francisco Opera, as Elisabeth Proctor in Robert Ward’s The Crucible at Washington National Opera, and she sings Lieberson’s Neruda Songs at Grant Park Music Festival, conducted by Giancarlo Guerrero.
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J’Nai Bridges was unanimously acclaimed as Didon in concert performances of Les Troyens at Seattle Opera under Ludovic Morlot, equally for her commanding portrayal as Dalila (Samson et Dalila) at Washington National Opera. She returned to Metropolitan Opera as Maddalena and again in El Niño, conducted by Marin Alsop, and was celebrated for her interpretation of Sister Helen Préjean (Dead Man Walking) at Vancouver Opera, going on to create the role of Lucinda in the world premiere of Heggie’s Intelligence at Houston Grand Opera. She made her role debut as Erika (Vanessa) with National Symphony Orchestra, led by Gianandrea Noseda, and joined San Francisco Symphony Orchestra for Stravinsky’s Oedipus Rex under Esa-Pekka Salonen.
Most recently, she premiered Carlos Simon’s Songs of Separation alongside Berio’s Folk Songs with National Symphony Orchestra, again under Noseda’s direction and has recently debuted with London Symphony Orchestra under Sir Antonio Pappano. Her concert repertoire spans Mahler, Beethoven, Ravel, and Bernstein, and has collaborated with many leading conductors including Gustavo Dudamel and Andris Nelsons.
A Grammy Award winner for her recording of Richard Danielpour’s The Passion of Yeshua, Bridges was named a Kennedy Center NEXT50 cultural leader in 2022. She is a passionate advocate for diversity in the arts and frequently presents recitals across North America. A native of Tacoma, Washington, she studied at the Curtis Institute of Music and Manhattan School of Music.
Contacts
Shirley Thomson Senior Director, VOICE at HarrisonParrott | Head of CSR
European Management
Shirley Thomson Senior Director, VOICE at HarrisonParrott | Head of CSR
Shirley Thomson Senior Director, VOICE at HarrisonParrott | Head of CSR
European Management
Gallery




“As Carmen, Bridges presented herself in the intrusively ingratiating way Calixto Bieito clearly wanted the character to be, imbued with femininity. The mezzo-soprano demonstrated considerable physical commitment and portrayed the part impulsively and erotically. Furthermore, her voice is pleasantly rich and warm, darkly hued, and with the right amount of harshness and conciseness.”
“The mezzo-soprano J’Nai Bridges sang with oracular authority in the somber vocal lines, rising to flashes of intensity…Bridges’ focused tone was just right for Perry’s poignant austerity.”
“She was superb with a fantastic sound, a gorgeous and compelling mix of texture and power.”
“J’Nai Bridges’s mezzo-soprano alternately soared with crystal clarity and cracked with brittle pain, reflecting the trauma of her character, Lucinda.”
“J’Nai Bridges, also making her HGO debut, played the enigmatic Lucinda with an otherworldly presence.”
“The real anchor in the historical fiction is the all-knowing, […] Lucinda (elegant mezzo-soprano J’Nai Bridges), a mysterious figure whom only Mary Jane can see and hear.”
“Brahms’s lush melodic lines were met with Bridges’ vocal warmth and incredible sensitivity; his writing emphasizing the ease with which she sings in her lower register.”
“She applied the many gorgeous facets of her voice, ardently so in the two opening American songs. Her musicality shone through as she maintained rhythmic independence in the fast‘Rossignolet du bois’, and her chest voice resonated in the Sicilian song‘A la femminisca’.”
“Bridges has all the attributes necessary to portray this magnetic femme fatale — the allure, fiery stage presence, and a stunning voice at its prime, with ample power and beautiful, earthy timbres.”
“The irresistible dualities of Bridges’ voice are all but made for Carmen: breezy enough to sound extemporized but unrelenting in its command, radiating heat in every register yet hinting at a knowing reserve.”
“Bridges’ rich, opulent voice illuminated every line of her role, soaring to the high B‑flat in ‘Mon coeur s’ouvre à ta voix’.”
“Hailed as the‘Beyonce of opera,’ Bridges has become one of the leading mezzo-sopranos of her generation.”
“Some singers simply have a voice built for the stage — an instrument whose particular blend of color, vibrancy and volume is best heard live. Mezzo-soprano J’Nai Bridges is one of them.”
“The headline draw was American mezzo-soprano J’Nai Bridges, as Delilah. Her instrument and talent were striking.”