Raehann Bryce-Davis

Mezzo-soprano

Biography

Hailed by the New York Times as a “striking mezzo soprano” and by the San Francisco Chronicle for her “electrifying sense of fearlessness,” Raehann Bryce-Davis opens the 2019/20 season singing Verdi’s Requiem with conductor Kent Nagano and the Orchestre symphonique de Montréal at the Olympic Stadium. She then returns to Opera Vlaanderen for her role debut as Eboli in Verdi’s Don Carlos and makes her LA Opera debut in the World Premiere of Aucoin and Ruhl’s Eurydice, a coproduction with The Metropolitan Opera, and sings Sara in Roberto Devereux opposite Angela Meade and Ramon Vargas. Further performances of the season include: Unknown, I Live With You at the Kurt Weill Festival Dessau, A Nation of Others at Carnegie Hall with the Oratorio Society New York, Nathaniel Dett’s The Ordering of Moses with the Harlem Chamber Players, Mendelssohn’s Elijah with St. George’s Choral Society, and a recital series for the Art Song Preservation Society in New York with pianist Mark Markham.

Last season she made her role debuts as Leonor in Donizetti’s La Favorite at the Teatro Massimo di Palermo, Marguerite in Berlioz’s La Damnation de Faust conducted by Maestro John Nelson with the Orquesta Sinfónica Nacional de Costa Rica, Ms. Alexander in Satyagraha at Opera Vlaanderen, Kristina in The Makropulos Affair at the Janáček Brno Festival, Verdi’s Requiem with the Oratorio Society of New York at Carnegie Hall, Martinů’s Julietta with the American Symphony Orchestra at Carnegie Hall, and Mahler’s Symphony No. 8 with the South Dakota Symphony Orchestra.

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Reviews

 “A striking mezzo soprano. …[She] sang and spoke potently and moved vivaciously.” 

Steve Smith

The New York Times

“[Bryce-Davis] held the stage with admirable intensity and commitment… and didn’t shy away from tapping into notes of lust, rage, and despair.”

Opera News

More Reviews

“..mezzo soprano Raehann Bryce-Davis… She sang a few lines as the maid in La Traviata, and was finally given an aria, O Don Fatale, at the end of the Don Carlo excerpt, where she essentially stole the evening. The sound ranged from a rich, deep, contralto to a creamy, hall-ringing high soprano, and everything in between. This was a voice I could happily hear sing just about anything, with its hints of Ewa Podles, Shirley Verrett, and other great mezzo-sopranos. She also invested the character with real passion, sending the audience out buzzing.”

SAN FRANCISCO CIVIC CENTER BLOGSPOT

“It was mezzo-soprano Raehann Bryce-Davis who demonstrated her multi-accented talent, playing the “high-middle Polish-speaking” Old Lady in Bernstein’s “I Am Easily Assimilated,” as followed by her obsessing Spanish señores — Jared A. Guest, Sammy Huh, Jeremy Johnson and Brian James Myer. With Walker, Bryce-Davis humored the audience as Mrs. Lovett in Sondheim’s “A Little Priest” from Sweeney Todd, finishing the set with a rolling pin in her hand, Walker with a cleaver.”

CHAUTAUQUA DAILY

“Chief among them is mezzo soprano Raehann Bryce-Davis as Zita who takes charge both vocally and dramatically until Schicchi arrives.  She also interpolates the funniest musical joke of the proceedings.”

ASPEN TIMES

“..mezzo soprano Raehann Bryce-Davis… She sang a few lines as the maid in La Traviata, and was finally given an aria, O Don Fatale, at the end of the Don Carlo excerpt, where she essentially stole the evening. The sound ranged from a rich, deep, contralto to a creamy, hall-ringing high soprano, and everything in between. This was a voice I could happily hear sing just about anything, with its hints of Ewa Podles, Shirley Verrett and other great mezzo-sopranos. She also invested the character with real passion, sending the audience out buzzing.”

SAN FRANCISCO CIVIC CENTER BLOGSPOT

“…brought life to her arias. Her rich, throaty vocals, reminiscent of opera great Grace Bumbury, worked well for But Who May Abide, O Thou That Tellest Good Tidings to Zion. Her experience and training served her well.”

JAMAICA OBSERVER

“…ennobled the Mother Superior Albine with dignity and warm mezzo tone.”

MIAMI HERALD

 “…fast-emerging opera starlet was in her element (glorious pipes all ablaze!) this past Sunday at the UWI Mona Chapel, giving a magical rendition of excerpts from Handel’s masterful oratorio The Messiah.”

TALLAWAH MAGAZINE

“… the richly colored mezzo of Raehann Bryce-Davis.” 

THE NEW YORK POST

“Several soloists, in particular the bass James Ioelu and the mezzo-soprano Raehann Bryce-Davis, were outstanding.”

BROOKLYN BUGLE

“Un aplauso especial para Raehann Bryce-Davis en el breve papel de Albine.”

EL NUEVO HERALD

“A fine mezzo-soprano Raehann Bryce-Davis played Albine (Mother Superior).”

MIAMIARTZINE

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