Raehann Bryce-Davis has been hailed by The New York Times as a “striking mezzo soprano” and by the San Francisco Chronicle for her “electrifying sense of fearlessness.” In the 2021-2022 season, Ms. Bryce-Davis makes notable house debuts at Teatro alla Scala as Ulrica in Un ballo in maschera in a new production conducted by Riccardo Chailly, at La Monnaie, Brussels, as La Zia Principessa in Suor Angelica, and at Theater St. Gallen as Joan of Arc in Tchaikovsky’s The Maid of Orleans conducted by Dmitri Jurowski. Additionally, she returns to both Los Angeles Opera and the Staatstheater Nürnberg as Azucena in Il trovatore, and to Opera Ballet Vlaanderen as Der Komponist in Ariadne auf Naxos. On the concert stage, she joins the Chautauqua Institution for a performance of Paul Moravec’s Sanctuary Road, and sings solo recitals at both the Tuesday Musical Club in San Antonio, TX, with pianist Heeyoung Choi, and for the Merola Opera Program with pianist Jeanne-Minette Cilliers.
Highlights of recent seasons include her role debut as Eboli in Don Carlos at Opera Ballet Vlaandren, her house debut at Los Angeles Opera as Big Stone in the world premiere of Matthew Aucoin’s Eurydice, and her role debut as Sara in Roberto Devereux also at Los Angeles Opera, opposite Angela Meade and Ramon Vargas and conducted by Eun Sun Kim. She has also sung Léonore in Donizetti’s La Favorite at the Teatro Massimo di Palermo, Marguerite in Berlioz’s La Damnation de Faust conducted by John Nelson with the Orquesta Sinfónica Nacional de Costa Rica, both Ms. Alexander in Satyagraha and Nezhata in Rimsky-Korsakov’s Sadko at Opera Ballet Vlaanderen, Kristina in Janáček’s The Makropulos Affair at the Janáček Brno Festival, Wellgunde in Wagner’s Die Ring-Trilogie at Theater an der Wien, and Madeline Mitchell in Jake Heggie’s Three Decembers at Opera Maine.Read more
Concert highlights include the world premiere of Paul Moravec’s Sanctuary Road at Carnegie Hall, the recording of which won a Grammy Nomination, Verdi’s Messa da Requiem both with conductor Kent Nagano and the Orchestre symphonique de Montréal at the Olympic Stadium and the Oratorio Society of New York at Carnegie Hall, Elgar’s Sea Pictures at the Musikverein in Vienna with the Tonkünstler Orchestra, the world premiere of Anthony Davis’ We Call the Roll with The Lied Society, Martinů’s Julietta with the American Symphony Orchestra at Carnegie Hall, John Corigliano’s Of Rage and Remembrance at the Aspen Music Festival, the world premiere of Come, My Tan-Faced Children by Melissa Dunphy at Lyric Fest, Mahler’s Symphony No. 2 at the Cathedral Church of St. John the Divine, Prokofiev’s Alexander Nevsky with Philippe Entremont at Manhattan School of Music, and Mahler’s Symphony No. 8 with the South Dakota Symphony Orchestra.
As a producer/performer, Ms. Bryce-Davis has released “To the Afflicted,” her first music video, which received widespread critical acclaim and was chosen as an official video for World Opera Day. Her second digital short, “Brown Sounds,” was co-produced with Los Angeles Opera and Aural Compass Projects, and won Best Music Video at film festivals around the globe including the New York International Film Awards, New York Cinematography Awards, Hollywood Boulevard Film Awards, the Anatolian Short Film Festival, and the Silk Road Film Awards – Cannes.
Ms. Bryce-Davis is a 2018 recipient of the prestigious George London Award at the George London Competition; the 2017 1st Place and Audience Prize-winner of the Concorso Lirico Internazionale di Portofino competition, chaired by Dominique Meyer; winner of the 2016 Richard F. Gold Career Grant at the Merola Opera Program; winner of the 2015 Hilde Zadek Competition at the Musikverein in Vienna; and the 2015 Sedat Gürel – Güzin Gürel International Voice Competition in Istanbul. She holds a Master of Music and Professional Studies certificate from the Manhattan School of Music and a Bachelor of Music from the University of Texas at Arlington.
Raehann Bryce-Davis is a co-founder of the Black Opera Alliance and is an advocate for social justice in opera.
“A striking mezzo soprano. …[She] sang and spoke potently and moved vivaciously.”
“[Bryce-Davis] held the stage with admirable intensity and commitment… and didn’t shy away from tapping into notes of lust, rage, and despair.”
“..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.”
“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.”
“..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.”
“…ennobled the Mother Superior Albine with dignity and warm mezzo tone.”
“…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.”
“… 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.”
“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).”