J’Nai Bridges, mezzo-soprano; Rachael Kerr, piano: Sheila Jaffé, viola; Koerner Corridor, July 27, 2023

A spotlight of the annual Toronto Summer season Music Pageant each July is a mainstage vocal recital given by a big-name worldwide artist. This yr, the introduced singer was Sondra Radvanovsky, who sadly was indisposed and needed to cancel. Whereas Toronto voice followers have been unhappy about her absence, they have been rewarded with a worthy alternative in American mezzo J’Nai Bridges, who wowed the TSM viewers with an pleasing program of Brahms, Ravel, John Carter, and Spirituals.

Toronto opera lovers might have heard her as a hanging Carmen on the COC final season, which was effectively acquired by audiences and critics. I attended opening night time final October sixteenth and wrote in my assessment, “…American mezzo J’Nai Bridges mixed a darkish mezzo of ample quantity with the requisite stage attract, giving a riveting portrayal of the Gypsy… (collectively along with her Don Jose tenor Marcelo Puente) they burned up the stage.”

Final night, we noticed one other facet of J’Nai Bridges’ artistry. As an alternative of the blood-and-guts Carmen, now we have the American mezzo singing Johannes Brahms Lieder, in addition to the intoxicating Scheherazade by Maurice Ravel, and a track cycle by American composer John Carter. On the piano was Rachael Kerr, a well known collaborative pianist/coach in Toronto.

The second Ms. Bridges got here onto the stage in a blinding silver lamé ground size robe, we knew we have been in for one thing particular, musically in addition to visually. Frankly, I don’t recall the final time a prima donna showing in such a stunningly flamboyant robe in a staid Lieder recital, however then Bridges isn’t any bizarre recitalist! She opened the proceedings with a shock — a vocal rendition of The Lord’s Prayer. One was instantly struck by her wealthy, opulent tone and charismatic stage persona.

The primary merchandise within the formal a part of this system was Brahms’s “Dein blaues Auge,” delivered in a gradual tempo, sung with luxurious tone. It was adopted by “Von ewiger Liebe” and “Die Mainacht” from Vier Gesänge, certainly one of Brahms’ most impressed creations. These songs sit effectively in her mezzo vary, and he or she sang with wealthy tone and sensitivity. The tempi general have been on the gradual facet, even often sounding tentative, notably earlier on, comprehensible given the quick time they needed to put together for this live performance.

Some observations — I used to be struck by how immediately recognizable her timbre is, not like so lots of the youthful singers right this moment, nevertheless lovely the voice. Her center register has a moderately veiled high quality, with the vocal manufacturing fairly far again. Along with the wealthy, darkish timbre, the textual content — particularly the German consonants — weren’t at all times ideally clear. A spotlight of the primary half was the chamber model of Zwei Gesänge, Op. 91, with glorious contributions by violist Sheila Jaffé and Rachael Kerr on the keyboard.

The second half opened with the beautiful Scheherazade by Ravel, which Bridges sang fantastically. Within the climactic moments, reminiscent of within the excessive observe in “La flute enchantée,” her supply was triple forte, bordering on the operatic. Whereas I favored each the Brahms and the Ravel, if I had to decide on, I would favor her Ravel, which sounds extra idiomatic to my ears.

The formal program ended with Cantata by American composer John Carter, a cycle made well-known by the nice Jessye Norman. These 5 songs are trendy settings of very acquainted Spirituals the likes of “Generally I Really feel Like a Motherless Youngster” and “Trip On King Jesus.” Bridges delivered these with nice feeling and beautiful tone — Brava!

At numerous factors in the course of the night, Bridges took to the mike and spoke graciously to the viewers, introducing the much less acquainted Carter track cycle for instance, a lot appreciated by everybody. The recital was on the quick facet, however the environment was heat and ingratiating, the viewers exceptionally appreciative. She encored with “Habanera” from Carmen, a lot to the delight of everybody, plus a closing “You’ll By no means Stroll Alone,” ecstatically acquired by the viewers. It’s secure to say everybody went residence glad.

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Joseph So is Professor Emeritus at Trent College and Affiliate Editor of Opera Canada.He’s additionally a long-time contributor to La Scena Musicale and Opera (London, UK). His curiosity in music journalism focuses on voice, opera in addition to symphonic and piano repertoires. He seems commonly as a panel member of the Huge COC Podcast.He has co-edited a guide, Opera in a Multicultural World: Coloniality, Tradition, Efficiency, printed by Routledge (Taylor & Francis Group).

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