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.Read more
On the concert stage, Ms. Bryce-Davis recently sang Elgar’s Sea Pictures at the Musikverein in Vienna, the world premiere of Paul Moravec’s Sanctuary Road in her Carnegie Hall debut with Oratorio Society of New York, and Verdi’s Requiem with both the Orquesta Sinfónica Nacional de Costa Rica and the Greenwich Village Orchestra. She also joined the Aspen Music Festival for John Corigliano’s Of Rage and Remembrance, Mahler’s Symphony No. 2 with Maestro Kent Tritle in a world premiere organ transcription at the Cathedral Church of Saint John the Divine, Verdi’s Requiem with Marywood University, Prokofiev’s Alexander Nevsky with Maestro Philippe Entremont and the Manhattan School of Music Symphony, Durufle’s Requiem with Maestro David Thye, and Handel’s Messiah with Maestro Phillip Nuzzo and the Metro Chamber Orchestra. Also an ardent proponent of contemporary music, she premiered composer Kyle Werner’s Psalm 42, and sang the world premiere of Four Songs for Mezzo Soprano and Orchestra by Jacob A. Greenberg.
Ms. Bryce-Davis is a 2018 recipient of the prestigious George London Award, the 2017 1st Place and Audience Prize-winner of the Concorso Lirico Internazionale di Portofino competition, a Prize Winner of the 2016 International Hans Gabor Belvedere Singing Competition and Winner of the 2016 Richard F. Gold Career Grant, the 2015 9th International Hilde Zadek Competition at the Musikverein in Vienna, the 2015 Metropolitan Opera National Council Pittsburgh District, and the 2015 Sedat Gürel – Güzin Gürel International Voice Competition in Istanbul. In addition to winning the Zadek competition in Vienna, she also walked away with the Supporters and Sponsors Prize, the Media Jury prize, a master class with Christa Ludwig, and a gala concert at Badisches Staatstheater Karlsruhe in Germany. 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.
“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).”