The Unexpected Challenges of Being An Opera Star with J'Nai Bridges

This episode is sponsored by Culligan Water

Have you ever considered the intense physical and emotional demands placed on opera singers? Most people envision the glamorous costumes and powerful vocals, but the dedication, training, and sacrifices required to reach the pinnacle of this art form are often overlooked. In a recent episode of The Adrenaline Zone, hosts Dr. Sandra Magnus and Sandy Winnefeld explored the world of opera with Grammy Award-winning mezzo-soprano, J'Nai Bridges, revealing the surprising athleticism and unwavering commitment required to succeed.

J'Nai's journey into opera was far from conventional. Growing up in a military family, she initially sang in church choirs and dabbled in jazz, never imagining a career in classical music. A high school choir teacher recognized her exceptional vocal resonance and encouraged her to pursue private lessons, sparking a passion that would eventually lead her to the Manhattan School of Music. The decision wasn't easy; she faced an ultimatum between pursuing basketball or singing, ultimately choosing the path that resonated most deeply with her artistic soul.

The demands of opera are incredibly high, requiring singers to master multiple languages, develop exceptional vocal technique, and cultivate a deep understanding of musical styles. J'Nai emphasizes the importance of discipline, diligence, and resilience, drawing parallels between the life of an opera singer and that of a professional athlete. The constant learning, refining, and pushing boundaries are all hallmarks of a career dedicated to perfecting her craft, making her a true "adrenaline junkie" in her own right.

Representation and mentorship played a pivotal role in J'Nai's journey. Initially questioning if opera was a space for Black artists, she was inspired by the examples of other accomplished Black opera singers who paved the way. This realization solidified her belief in her own potential, highlighting the profound impact of seeing oneself reflected in fields where representation has historically been limited. Her journey underscores the importance of diverse role models in encouraging young people to pursue their dreams, regardless of societal expectations.

The life of a professional opera singer involves constant travel and demanding performance schedules, requiring J'Nai to juggle multiple roles and maintain peak physical and vocal condition. She revealed the intense preparation involved in debuting two new, massive roles consecutively, highlighting the financial investment and steadfast dedication required. Her journey emphasizes the need for meticulous planning, disciplined practice, and a deep understanding of her own vocal capabilities to navigate the challenges of a demanding career.

Preparing for a role involves a multifaceted approach, encompassing technical vocal training, stylistic coaching, and emotional exploration. J'Nai emphasizes the collaborative nature of the process, working closely with voice teachers, coaches, and conductors to bring a character to life. While respecting the composer's intentions, she also seeks to inject her own unique interpretation, creating a performance that is both authentic and compelling, showcasing her skills as a true artist.

J'Nai is passionate about connecting opera with modern audiences and expanding the art form's reach. She actively seeks out opportunities to perform in contemporary operas that address relevant social issues and resonate with younger demographics. Her vision is to create a more inclusive and accessible art form, dispelling the myth that opera is dying by embracing new stories, new composers, and cross-genre collaborations, solidifying the art form's role in modern society.

As a testament to her accomplishments, J'Nai won a Grammy for her role as Queen Nefertiti in Philip Glass's "Akhenaten," a milestone that reinforced her dedication to her craft. From singing the national anthem at the Kennedy Center Honors to performing in front of world leaders, she embraces opportunities to share her talent with diverse audiences. This is just the beginning, as J'Nai also has solo albums and more collaborative opportunities on the horizon. She urges aspiring artists to embrace their unique voices, work diligently, and never stop pushing the boundaries of their creativity, inspiring future generations to find their own adrenaline-fueled passions.

If you enjoyed this episode of The Adrenaline Zone, hit the subscribe button so you never miss another thrilling conversation, and be sure to leave a review to help get the word out to fellow adrenaline junkies.

Transcript

J'Nai Bridges: My teacher said, “You have quite a natural gift. Have you ever thought about taking private voice lessons?” I was an athlete. I play basketball. And my coach basically gave me an ultimatum and he said, “You have to choose between this singing thing and your team.”

Sandy Winnefeld: We think of opera as a world of tradition, of grand stages and timeless stories. But one of the greatest performances is the journey just to get there. One of the most powerful voice is the one that breaks the mold.  

Dr. Sandra Magnus: This is The Adrenaline Zone. And today, we’re going behind the curtain into the world of opera with a voice that’s redefining the art form. 

Sandy Winnefeld: When most of us think of opera stars, we visualize an elaborately costumed prima donna standing center stage performing an aria with beauty and talent very few of us can achieve.

Dr. Sandra Magnus: Today, we have J'Nai Bridges. She’s not just an opera singer, she’s a force. A grammy winning mezzo soprano who’s captivating audiences around the world. But this isn’t just about talent, it’s also about resilience and about overcoming obstacles and about finding your voice and using it to inspire. 

J'Nai Bridges: And then I immediately thought, well, is it something that black people do as well? Because when I thought of opera singers, I never thought of black opera singers.

Dr. Sandra Magnus: In this conversation, you’ll discover the surprising ultimatum that launched J’Nai’s opera career. And hint, it involved a basketball court.

Sandy Winnefeld: The unconventional ways she trains for her physically demanding roles and it’s not what you’d expect.  

Dr. Sandra Magnus: The powerful impact of role models and how they change their perception of what was possible. 

Sandy Winnefeld: The secret language of opera and how singers communicate with conductors on stage. 

Dr. Sandra Magnus: Unexpected challenges and sacrifices that come with life in opera. How she’s working to push musical boundaries and expand the art form.

Sandy Winnefeld: Get ready to go behind the scenes of the world where passion meets discipline and where one voice can change everything. This is The Adrenaline Zone.

Dr. Sandra Magnus: But first, many thanks to Culligan for sponsoring this season of The Adrenaline Zone. 

Sandy Winnefeld: With Culligan's drinking water systems, you can get the ultra filtered water you need to fuel your high performance lifestyle, right on tap. Learn more at culligan.com

So, J'Nai Bridges, welcome to The Adrenaline Zone. It's so nice to have you with us today.

J'Nai Bridges: Thank you for having me. Happy to be here.

Dr. Sandra Magnus: Yeah. We're really excited to have this conversation, and we usually start where it all began. So how did you first discover your passion for opera? And I know you grew up in the army. Did that have any influence one way or the other?

J'Nai Bridges: Well, sort of. So my parents have four children. My younger brother and I, we didn't do all of the traveling that my older brother and sister did when my dad was really active in the military. So I grew up in Lakewood, Washington, which is about 45 minutes south of Seattle. And that was his final station and he retired there. I will say that while my dad's military career didn't directly impact my interest for singing, I think it did impact my love for travel, which is what I do, you know, as an opera singer. It's something that not everyone has such a love for, but I love being on the road. And I do have to thank my dad's military career because I do remember traveling. Even though, you know, it was later in his career. I got the travel bug because it was just what we did. So that definitely had an influence on my love for the whole lifestyle of being an opera singer. Now, how I got into the actual art form is kind of funny. I mean, I didn't grow up singing opera at all. I grew up in the church, singing in the choir, gospel choir, and also some jazz and a little bit of pop, but more of popular music. And so I was in the choir. In high school, you had to audition for the choir. And I got in, and my teacher said, “You have quite a natural gift. Have you ever thought about taking private voice lessons?” And so I said, “Well, no, but I do love singing, and I have a background in piano.” I've played classical piano since I was five years old.

Dr. Sandra Magnus: Wow.

J'Nai Bridges: The classical music was always in my ear, just not classical vocal music. So when my high school teacher said, “I think you have something, maybe start studying privately.” I did, and I fell in love with it. So that's kind of how it all started. And then I ended up auditioning for conservatories and music schools around the country and got accepted into the Manhattan School of Music in New York. And the rest is kind of history.

Dr. Sandra Magnus: But what about opera, you know? Because jazz and opera are really different. So what drew you to the opera piece?

J'Nai Bridges: Well, yeah, I mean, my teacher, she recognized that I just had this where my voice would kind of overpower everyone else in the choir. And so as opera singers, we don't use microphones. It's completely unamplified. It's the power of our own diaphragm and the years of training. Yeah. So the fact that my voice just had a natural resonance to it that really stood out. That gave her the idea, okay, maybe you should consider classical singing and opera. And I'll tell a quick story. I was an athlete. I played basketball, and I was going to college to play basketball. But my coach basically gave me an ultimatum. And he said, “You have to choose between the singing thing and your team.” And it was a really traumatic and dramatic very important game that he sat me on the bench for the whole time, and I was a captain. I just remember thinking, this is a sign. I really started singing and loving it. And my coach just– I was so hurt back then, you know, but in hindsight, it was–

Sandy Winnefeld: Seemed to have worked out.

J'Nai Bridges: I think it worked out, you know. And I still play for fun, so that's really nice. But when my choir teacher, you know, suggested that I start studying privately, and I found a local teacher who I'm still very close with today, I went down the rabbit hole, and I loved this art form. I have never been exposed to it. And then I immediately thought, well, is it something that black people do as well? Because when I thought of opera singers, I never thought of black opera singers. And so she introduced me to some of the most incredible opera singers that are also black American. And I just thought, wow, I could do this too. Why? I mean, I just didn't know. So it opened a whole new world and I just really fell in love with it. So I was about 17 going on 18.

Dr. Sandra Magnus: Wow.

Sandy Winnefeld: So you dropped us off at the, oh, I got into some conservatories and the rest is history. But there has to be a lot more to this. I mean, so much you have to do to become an opera singer. Languages, how you present yourself, the vocal challenges. Tell us how did that, you know, from there till you've got your first role on a stage.

J'Nai Bridges: Well, I will say, I mean, this art form, being a musician in general just takes a lot of discipline. I consider us athletes. And having been an athlete, it's a very similar practice in that you have to stay persistent, diligent. You have to deal with bad days and overcome them. So I went to Manhattan School of Music with very little knowledge of opera and the classical voice. And I studied so hard. I mean, New York was my playground. So I was buying the cheap seats at the Metropolitan Opera and Lincoln center and Carnegie hall and just infusing my whole being with classical music to try to catch up, for lack of better terms. And at MSM, Manhattan School of Music, I took languages. Italian, German, French, Spanish, Russian. Because we sing in so many– I think I've sung in 11 languages at this point. And that's what opera singers do. We sing in many different languages because the art form comes from Italy.

Sandy Winnefeld: Those darn composers didn't do it in English, you know. Come on.

J'Nai Bridges: Exactly. Although there are some amazing operas in English that I'm starting to sing.

Sandy Winnefeld: Okay.

J'Nai Bridges: But the majority, yeah. Italian, French, German. So, yeah, I mean, it's constant working–

Sandy Winnefeld: Work in progress. Yeah.

J'Nai Bridges: Yes, work in progress. It never ends. So the goal is to be fluent in all the languages. I'm conversational in many of them. 

Dr. Sandra Magnus: Wow. That's impressive.

J'Nai Bridges: Thank you. Yeah, it's kind of cool. And it's funny because it's just so second nature now. I don't really stand back and think about it and just like actually marvel at all that I have done and have to do for this career. But it really is quite amazing. So the languages and then I still take voice lessons and I have voice coachings, which help with the kind of the style of it .And voice lessons are more technical because, you know, we make this sound. But what you hear as an audience member is very different than what I hear. So we have to go off of feeling. So it's a lifelong study because the voice is also always changing. A singer doesn't really hit their prime until their mid-40s.

Sandy Winnefeld: You got a long way to go.

J'Nai Bridges: Well, I don't know about long, but, yes I do have some time. I have some time. And so it's the long haul. A lot of people, they quit or they just say, I've had enough of this. Because it really is a lot of investment, you know, and it takes a lot of time and a lot of sacrifice as well. I'm at a point now where I feel like I've been doing this professionally for over 10 years, but I feel like I'm now just really hitting my stride, which is exciting because I just feel there's so many doors being unlocked now vocally. And also, just personally, I approach music in a different way, having lived life a little bit.

Dr. Sandra Magnus: So I wanna rewind a bit because I really believe in the power of role models. And you said something that really struck a chord in me, you know, like thinking about, can a young black girl do this? And it's sad that that question even comes to mind. But because when I first went to be an astronaut, there were no women astronauts. You know, when I was a little girl, same thing, right? And you see that role model. Can you talk about these role models you've had and significant mentors you mentioned, your teacher who got you started. Because it's just so powerful, isn't it?

J'Nai Bridges: It is. And I have to say, it is amazing to meet you. You're the first woman astronaut I've ever spoken to. So this is really special.

Dr. Sandra Magnus: So you're my first opera singer that I've ever spoken to.

J'Nai Bridges: It's incredible. So, I mean, there you go. It's about exposure. And there actually are quite a few. And there have been for some time, black opera singers around the world. However, the exposure has just not been there, you know, in the axis. And so I'm so grateful because I had that teacher who just said, look, you are represented here as well. And representation really does matter. I mean, it does. Like, when you feel like you've seen yourself, it just clicks into your mind. You know, there's this shift that happens that says, oh, wow, this is possible for me too. Especially when there are so many forces trying to make you believe that it's not possible.

Sandy Winnefeld: I was thinking about this a few minutes ago. When you think about people auditioning for a role in an orchestra, and my understanding is they do it behind a screen so nobody can see who's playing the instrument. But I don't think they can do that for you. I mean, they know who you are. You're coming in.

J'Nai Bridges: Yeah. I mean, I think that's an interesting practice. I think it's good and maybe also not so good just because certain people and demographics haven't had quite the opportunity. So it's like, at some point, you do have to give somebody a chance, even if the level is a little bit lower, so that they can have the experience and then grow with it, because opportunity is half the battle. Yeah, but I think opera's different. It's never been a blind audition type of situation, technically.

Sandy Winnefeld:

So, J'Nai, we caught you on a break, but it has to be a frenzy life on the road for an opera singer. Given the preparation that's required for every single role, memorization, private and public rehearsal, isn't it difficult to transition between roles so fast and so often while you're traveling?

J'Nai Bridges: It is difficult. And it's funny that you mentioned this, because I probably had the most difficult transition just this past month. I sang two massive roles, both brand new to my repertoire. So they were debut roles. I sang at Seattle Opera, Les Troyens by Berlioz, which is a French opera, and the role of Adidon. And I was singing the whole time. She never shuts up. And it's a great role. It's a great role. But, I mean, I took two years to prepare it, you know.

Dr. Sandra Magnus: Oh, my gosh.

J'Nai Bridges: Directly after that, I didn't even come home to D.C. I flew directly to New York. Rather, I flew directly to D.C. and I debuted another role at the Kennedy Center, Samuel Barber's Vanessa. And I played the role of Erica. And so everyone was asking me, how did you learn both of these huge roles? And it's about preparation. I mean, I just had to, like, literally count all the pages in both operas and make a plan and say, every day I'm going to do this much, either from this opera or that opera or both. And it's a huge investment financially, too. You know, I have to hire my voice coach, my language coach, and my voice technical teacher. So people see the final product on stage, and it's glamorous and it's great, but it is a lot of work behind the scenes that goes into it, and you really have to love this thing, which I do. But, yeah, I would say a lot of preparation and navigation in terms of knowing what you can do. You know, I took on these two roles because I knew that I could do it, and it was just a matter of preparing for it. That also comes with experience. You know, I can't say I would have accomplished it in the same way 10 years ago, but having sung so many roles and had to just, like, know my limits and what I can do, I was able to do it.

Dr. Sandra Magnus: How do you– I mean, you talked about coaches. So to prepare vocally, then you have a coach sort of helping you hit, get the right notes. And then emotionally, how do you even prepare for that?

J'Nai Bridges: Exactly.

Dr. Sandra Magnus: It sounds complicated.

J'Nai Bridges: Yeah, There's a lot of aspects to it. I mean, technically. So my private voice teacher, I'll sing through it, and she'll, you know, critique me or just advise on, like, placement in the body and the mask. We call the face the mask. So, you know, there's a way to sing, but there's a way to sing well. So that's why I go to her. I can learn all the notes, and I learn all the notes, and I sing it well. But to have an outside pair of ears saying, no, I don't think that that vowel is quite in the right spot for it to really project or don't push, or you're singing under pitch. So that's the technical teacher. And then the stylistic coach helps me with phrasing, and then also the actual rhythms, like singing the correct notes and delivering it stylistically so that it's appropriate for the character and for, like, the style of whatever composer I'm singing. Every composer has a different style. You have Mozart, you have Bellini, who was born Bel Canto. Then you have Verdi, which is dramatic. So there are different ways in which you approach singing, but the technique is always the same, if that makes sense. It's just the style that changes. Yeah.

Sandy Winnefeld: So a couple questions on the practitioner. They talk about athletes and how critically important it is to have quality practice, because you can wear yourself out if you just don't do it right. I would imagine it's twice as important for a voice that you have to be so careful and everything has to be done so carefully or you'll wear yourself out. And then I would assume you listen to tapes of yourself after so reviewing the film as an athlete would. So there's a lot of analogies there, right?

J'Nai Bridges: Oh, so many. Yeah, definitely. Reviewing the film, which is, like, always so difficult. It's, like, hard to give myself. But it's a necessity. Yeah. I mean, it's very similar to being an athlete. Reviewing the film sometimes, like, I haven't quite reviewed the film from my last performance because I just need a day to enjoy what I did because I'm so critical.

Dr. Sandra Magnus: You know, we're always our worst critics.

J'Nai Bridges: Exactly. Which is a great thing. But it really takes a team, you know? And it's also similar to being an athlete. It's like you need a team not only for the actual delivery of, you know, the music, but emotionally and mentally, too. Because we're constantly being critiqued. I don't really read reviews so much anymore. Because they just–

Sandy Winnefeld: Yeah, they all have to find something. They have to all find something negative to say or they lose their credibility.

J'Nai Bridges: Yeah, exactly. So I'm just like, okay, that sounds like a personal problem that I don't even need to be a part of.

Sandy Winnefeld: Yeah, that's their problem, not mine.

J'Nai Bridges: Exactly.

Dr. Sandra Magnus: I like that.

J'Nai Bridges: But yeah, it's quite the life. My family follows me all around the world. And it's kind of like giving them a new life as well because they're like, wow, this is–

Dr. Sandra Magnus: That's fun.

J'Nai Bridges: Yeah, it's a cool aspect of life that we never expected for any of us.

Dr. Sandra Magnus: So coming back into the preparation, you know, as you talk, each composer has a different kind of motif. How much room do you have to interpret the characters then as you go to these different roles, do you have any freedom? Or do you have to kind of stay in the box?

J'Nai Bridges: Freedom within a box, if that makes sense. Because these composers that I sing, and I sing a lot of new music as well. They were so brilliant in writing for the voice and also communicating ideas. So it's all reflected in the vocal line. So you want to respect what they've written and add your own twist on it. So naturally, because we all have, you know, no singer sounds the same so that's already something that differentiates me. Like, I have my timbre of my voice. And the size and the sound of my voice is different than anyone else's. So that's already kind of an automatic, I guess, liberty. But then on top of that, it's like, okay, the conductor wants it. And there's a conducting aspect because they have ideas as well. So the composer wrote this and the conductor wants it like this, but what he's asking for might not feel right for my instrument and my body. So sometimes I might say, “Do you mind if we take this just a little bit slower or a little bit faster so that I can make it through the phrase?” And so there is room. And the conductor would be considered the head coach. And so the coach calls the plays. At the same time, I'm the one who has to deliver. So if the play doesn't really feel–I mean, I don't know how football works actually, but music, if it doesn't quite feel right for me, then we have to talk about it.

Dr. Sandra Magnus: You can change it.

J'Nai Bridges: Yeah, exactly. There's room, especially if you're working with a flexible team.

Sandy Winnefeld: Well, and I imagine, you know, you're working with your teacher, your coach and all that to kind of prepare this. And then you walk into day one rehearsal and the composer or the conductor has a different idea. You've got a negotiation here, right?

J'Nai Bridges: Absolutely.

Sandy Winnefeld: And as you said, it's probably a great thing when you can work together. And it's a tough thing when it's like my way or the highway, right? I hope that doesn't happen.

J'Nai Bridges: It doesn't happen much, but it does happen. And that's when you just have to, like, take some deep breaths. Because as an artist, I mean, I have something to say, you know, so it's like we're not just puppets. And I feel that when you're working with the greatest conductors, they understand that and they're very amenable, they're happy to be flexible. And also singers, you know, like, I prepare months in advance and I have something in my body a certain way, but I'm not so wedded to that idea because I have to be open to another interpretation, you know.

Sandy Winnefeld: You live to embrace risk in the air, on the slopes, and anywhere your determination takes you. But when it comes to the drinking water that fuels your adventures, you're not looking to take chances. 

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Sandy Winnefeld: Get started by scheduling your free water test at culligan.com. So, J'Nai, your first big role, somebody had to believe in you and give you that opportunity. And then you went out. What was it like the first opening night when you go out there and you're not an extra, you know, you're not in the back, you are the thing, you are the gal? What was that like?

Dr. Sandra Magnus: Wow.

Sandy Winnefeld: You may not even remember it.

J'Nai Bridges: I'm trying to remember my very first professional cake. Yeah. I mean, I do remember feeling like, wow.

Sandy Winnefeld: I mean, lights are on.

J'Nai Bridges: Yeah. It was so little money, but back then, it just felt like, oh, my gosh, I'm making money to sing and someone's believing me and cast me in one of the most amazing roles. It was Knoxville Opera. I'll never forget that. Norma was the opera. I just remember feeling like I hit the jackpot, you know, and the jackpot was doing what I love and someone giving me a chance and believing me and actually getting paid for it. That was really awesome. Again, going to this idea of opportunity, Knoxville Opera believed in me, along with all of my teachers, you know, preparing me for that moment. That's, I think, half the battle, you know, just like, not only believing in yourself, but having others also lift you up and believe in you.

Dr. Sandra Magnus: Speaking of roles, you've had so many. Which one do you think has been the most personally transformative for you? That's a hard question. I know. 

J'Nai Bridges: Yeah, that's great. That's a good one.

Dr. Sandra Magnus: So pick our favorite child, you know? I mean, do you have one that you like the most or that's really made an impact?

J'Nai Bridges: Yes, I will, but not– Okay. So the role that I sing most is Carmen, and that's made an impact on me just in terms of, like, owning my instrument and myself. I mean, I think I've done 11 or 12 productions of Carmen. Like, there's nothing like the feeling of knowing you're going to walk on stage and just nail it, because this is something that you feel so comfortable with. So that's been a really great role because I feel most confident singing that role. Most transformative. Whew. There's a few, actually. The recent role that I sang, Les Troyens, barely owes. She's a queen. Queen Didon that I sang. And she is so dignified, and she does everything right. She's a widow, and she decides she's not going to get married again. But then her sister convinces her because she's so young and so beautiful that, you know, everyone will understand if she wants to be remarried, she doesn't have to be alone. And so she is vulnerable in a way, and she says, okay, I'm vulnerable. And she falls in love with this guy. He ends up leaving and her heart breaks. So I bring this up because that was the most vulnerable role I think I've ever sung. And it allowed me to just, like, tap into a very vulnerable place that has a very realistic and human journey that I could really access, I think, differently. So that was really special and informative of the way that I was going to approach every role. I really had to dig deep for that one and just feel. 

Sandy Winnefeld: So sort of a different question, but related. What has been the most difficult role? And I would imagine that at the end of one of those performances, you are physically exhausted. And I don't mean only because of the emotions and the stress of having to get this perfectly right. I mean, physically exhausted, right? So tell us about that a little bit. What's the hardest thing?

J'Nai Bridges: Well, it's funny because I know I've mentioned Carmen a lot. It's a role that is easy and most difficult. And it's easy because vocally, I can just, like, roll out of the bed singing her, but physically, she is running around the stage the whole time. I will say, after I finish a performance of Carmen, I'm like, whew, all right, I need a massage, you know. Because she's just so active. She's dancing, she's fighting. I have to be in my best physical shape to sing that role. And so I train for that role differently because it's just physical. Beyond the actual singing physicality of it, I'm moving literally the whole time. So I run and sing when I'm training for it or walk on an incline. And that's how I know that I'm, like, ready. Because it's just so physically demanding. I'm being thrown around. And like I said, I have to dance, I have to fight. Yeah, it's just a very physical role.

Dr. Sandra Magnus: The cardio training for opera, that's what it sounds like. Well, you won a Grammy for Akhnaten. Did I pronounce that correctly?

J'Nai Bridges: Yes. You did.

Dr. Sandra Magnus: So a Grammy's a big deal, and that's a huge milestone. That must have been wonderful. Can you tell us what you were thinking when that all happened and what that was like?

J'Nai Bridges: Thank you. Yeah, I mean, I still feel like it's so surreal. So I sang the role of Queen Nefertiti and Akhnaten by Philip Glass in 2019 at the Metropolitan Opera, and it was just such an amazing experience. Philip Glass, who is still with us, it was just so great to work with him. He's a legend in the opera world and beyond. His music is in movies, and there's nothing like working with a living composer. So that was the first, really just treat, delving into that opera, and it's not only an audible, but a visual treat. I just was so happy to be a part of it. And then it was my Met debut, and singing an African Queen, I just felt like, wow, all of these stars aligned. It was really, really cool. So when we won the Grammy, I was just like, oh, my goodness. It's still very surreal when I look at my Grammy. 

Dr. Sandra Magnus: Nice. 

J'Nai Bridges: Yeah. No, it also just inspired me, you know, to keep going. I try not to really rely on awards and outside accomplishment, but it’s–

Dr. Sandra Magnus: It's a Grammy.

J'Nai Bridges: It's the Grammy. And it's also just like, kind of a nod in the right direction. It's like, okay, we see you. Keep going. You're doing well. So amazing. 

Dr. Sandra Magnus: Oh, congratulations. That's awesome.

Sandy Winnefeld: So I think you ought to get a Grammy for when I first saw you, which was at the Kennedy Center Honors, and, you know, it was very simple. You were singing the national anthem with the Marine Corps band backing you up, which had to be pretty cool, I would think.

J'Nai Bridges: Very cool.

Sandy Winnefeld: Now, you're singing in front of the president and the first lady and a whole host of other, you know, really, really famous people. That was way different from doing an opera, right?

J'Nai Bridges: Oh, that was way different. I was so nervous. Oh, my gosh. I don't usually get so nervous. And I was like, there's President Biden and Vice President Kamala here. But I remember just thinking, I'm here for a reason. This is my moment. It was exhilarating. I said, I'm going to channel this nervous energy and just bring it down–

Sandy Winnefeld: It was wonderful.

J'Nai Bridges: Thank you. It was really just such an honor, you know, to sing on that stage with the band.

Sandy Winnefeld: And I have to tell you, I sat next to that woman at dinner last night, and, you know, she's like a perfectly normal, wonderful person, and, man, she just killed this thing. So that was great. That was fun to watch.

J'Nai Bridges: Thank you. Yeah, it was really fun. You know, I hope it won't be the last.

Dr. Sandra Magnus: So we, you know, we're talking a lot about some of the operas, you know, started in Italy. A lot of them are in French and German. And so shifting forward and trying to connect with modern audiences, what kind of contemporary messages can opera communicate to modern audiences? Because a lot of it's 1700s, 1800s, even early 1900s. But you mentioned you were doing some modern opera as well. So do you think that can attract more young people to the art?

J'Nai Bridges: Absolutely, yeah. I mean, yes,  I've been singing a lot of modern or new opera and I already witnessed, you know, the audiences that come are younger, more diverse in every way. And so I think, you know, when people hear their stories and feel seen, they come out. And so there are so many amazing stories, you know, especially American stories that we don't know about. And I'm excited because we're in a time where these stories are being told more. And yeah, I think it's going to continue to expand opera because there's this thing that people say, like opera's dying and it's not going to last, but it's not true. I don't believe that, first of all, because the art form is so beautiful. I feel like with the traditional pieces as we know them, they're just so gorgeous and timeless. And then when you add on the new stories and the new composers and the new conductors and the new singers, it just is only gonna expand. In my opinion. That's one of my biggest goals and something that really kind of inspires and motivates me is to collaborate with new artists and new stories. You know, I think it's a really exciting time for that. So I want to do it all.

Sandy Winnefeld: I would imagine. You know, classical opera is a very, very tradition bound genre where, you know, it's so cool and so impressive and so old that, you know, it kind of has to be done. You talked earlier about freedom in a box, but with some of these newer pieces, and even with some of the older pieces, do you find that you're able to stretch the art a little bit, particularly with the newer ones where you can inject your own style even more forcefully?

J'Nai Bridges: Absolutely.

Sandy Winnefeld: And so are you tempted to do other, you know, maybe outside opera a little bit?

J'Nai Bridges: Yeah, totally. I mean, the cool thing about working with living composers and a bit younger composers, I'll say, is that I am creating with them. So they'll send me something and I'll be like, this is cool. But what do you think about this idea? And usually they're open to it. So really, you know, like creating something just a little bit different. And for me, I'm really into cross genre collaboration. You know, there are artists outside of opera that I really want to work with. I love Coldplay, I love Chris Martin, and I'm like, “Chris, let's do something.’ So I have these–

Sandy Winnefeld: That would be fun.

Dr. Sandra Magnus:Yeah.

J'Nai Bridges: I have these desires to combine hip hop and opera or rock and opera and kind of like what Beyonce's doing. I mean, she's, you know, doing like country and I just think that there is a way to do it. Of course, there are opera purists that don't consider it opera, but that's fine. I mean, I think that there's just space for it all. It doesn't mean that the traditional opera has to go away. It's. There's just room for it all. And I'm really excited about just expanding outside of opera, especially because I grew up on non classical music, so why not bring all of me into it? I'm definitely delving into that more. For sure.

Dr. Sandra Magnus: You know, the traditional opera comes with those very elaborate costumes that are– They must weigh a ton.

J'Nai Bridges: Oh, yes.

Dr. Sandra Magnus: But the new operas, I guess, have a little bit more modern take. Do you have some favorite costume? I mean, it's kind of a silly question, but I'm just curious. They look like it's like sweeping around a stage in a dress.

J'Nai Bridges: Yes. Sometimes they are fun. So heavy. So the Queen Nefertiti costume that I wore, oh, that was just so cool. The colors and the fabric. I think it weighed about 50 pounds.

Dr. Sandra Magnus: It's like walking around in a spacesuit.

J'Nai Bridges: Oh, wow. Is that what they feel like? Oh, my gosh. That's hilarious. So, yeah, you know, but then there are sometimes some really modern ones. Like, I was singing in Hamburg, Germany, last summer, and I wanted to take every costume home. They were so cute and a little bit retro. So it depends on the production. You know, if the director has a more modern take, I could be wearing a miniskirt or something like that, or a ball gown, like, you know, a more traditional gown, which is just so fun to sing in. You really transform into another world. That's one of my favorite parts, is just getting to dress up in all of these different costumes. I mean, I've played boys where I've been in trousers and I've been in a bald cap before where they have to, like pin my hair up real tight. And so it's really cool just to delve into all of these different worlds and characters.

Dr. Sandra Magnus: It's fun. But, you know, that says a lot about just how versatile the genre is because everybody I know, when they hear opera, they're thinking of the big ball gowns, right? Not dressed up like a baseball player or in a miniskirt or any of these other things. So it really, more than anything, speaks to how broad it is.

J'Nai Bridges: Exactly. Very broad. And, I mean, I think there was a time, like, ‘90s and before where it was just very traditional. But now it's like, you don't know what they're going to want. So we go in as the artists, and, you know, we just are kind of like, we got to go for it.

Sandy Winnefeld: So. J'Nai, one of the things we do talk about on The Adrenaline Zone is risk. And I'm just curious, are there any risks that an opera singer experiences that the average listener might not really be aware of? You know, what gets you nervous? What do you have to deal with in terms of risk? Maybe you get sick before the performance.

J'Nai Bridges: Oh, yes, yes, yes.

Sandy Winnefeld: Or I can't imagine you forget your lines or anything like that. But what–

J'Nai Bridges: Oh, now that happens all the time.

Sandy Winnefeld: So you just make it up, right?

J'Nai Bridges: Yeah, but nobody knows. The conductor knows. But that's why we're professionals, because it's like, hey, that happened. Yeah. No, but health for sure. I mean, being a singer is a little stressful because if I don't have my voice, I can't perform, you know, and so staying healthy is just at the top of my to-dos, especially with traveling. And it's really difficult, you know, but I've found my regimen that I sometimes even be able to sing sick, depending. But that's definitely a risk, you know, the health factor. And what else? I mean, I don't know if it's a risk, but it's definitely a sacrifice. I've missed so many holidays and birthdays and relationships aren't the easiest, you know, because you're traveling on the road all the time. So those aren't necessarily risks, but definitely not an easy aspect of the thing.

Dr. Sandra Magnus: Yeah, it's the other side of it. So what happened during COVID? Did you guys kind of do online opera? 

J'Nai Bridges: Yeah, because, you know, we couldn't gather. We couldn't be in groups, so all of my operas were canceled. Some of the companies paid us, some of them didn't, and just kind of kind of had to reconfigure. So I did a lot of online performances. I did a lot of panels. A couple of companies, LA Philharmonic, that was really cool. They flew me out to sing at the Hollywood Bowl to an empty stadium, and they simulcast that performance, that was special, actually. It was really special to do that because I'd never sung for an empty audience before, especially the Hollywood Bowl, which seats however many. 20,000, I don't know. So that was cool. And then I just got really creative. You know, I went to Washington, D.C. when we were allowed to travel, and I did this project called Monuments of Hope. And a friend and I, because we were outside, we went to different monuments and we paired songs with it. And he did the video work, so that's really cool. It's on YouTube. You can see that. And we paired songs with the different monuments, which was really powerful. I did this panel. It was also a difficult time because George Floyd, I remember 2020, that was tough. There was just a lot going on. I moderated this panel because LA Opera wanted me to sing a virtual recital. And I was so heartbroken, I couldn't sing, I couldn't make music. But I said, I'm open to moderating a panel so we can just talk. And so I gathered some of my closest colleagues and we spoke about what we go through as African American opera singers. And it was very informative and transformative in the classical music world because people see us on stage, you know, and we're being applauded and all of that stuff, but it's not always so pretty. That was a moment that was very, like I said, transformative in the classical music world because we spoke our truth and then it catapulted a whole initiative in the classical music world. 

Dr. Sandra Magnus: Wow. That's powerful. 

J'Nai Bridges: Yeah. And it's also on YouTube, if you just search LA Opera Panel J'Nai Bridges, Diversity. Yeah. And so it just kind of sparked this international reckoning, actually, in the classical music world and how diversity was just more necessary. So, yeah, I did a lot of things during COVID. 

Dr. Sandra Magnus: Given that, what advice would you give to young artists who aren't in classical music? What should they focus on? What should they think about?

J'Nai Bridges: I mean, oh, there's so much. I think, most importantly, like, you have enough to say, like, you are enough. I think a lot of times as musicians, we're comparing ourselves to others. I want to be like this singer or this musician or this instrumentalist, and knowing that your voice and your instrument is enough to be heard, you know, there's no one like it. We each have our own personal story and voice to be heard. So that's one thing. And then also, like, if you really want a career in it, you got to put the work in. It doesn't just happen.

Sandy Winnefeld: It doesn't happen. You know, that's really good advice.

Dr. Sandra Magnus: I think you're treating it like an athletic endeavor like you have.

J'Nai Bridges: Absolutely. You know, it's like the dream is the first step. You got to really want it and love it, and you have to put the work into it. Because I think some people think, oh, it's just going to happen. Luck is, you know, a part of the equation, you know, maybe. But controlling what you can is the most important aspect. And you can control your practice. You can control the effort that you put in. You can't necessarily control who's going to take interest in you or hire you or give you an opportunity. But if you get the opportunity and you're not ready, none of it matters.

Sandy Winnefeld: So, J'Nai, we're pretty close to the end of the time we have, but what I really am curious about is what is the best way for our listeners to experience your art? If they don't live in an area where you perform live, obviously, it'd be great for them to go see you live. Is there a YouTube of Carmen or something like that where they can actually look at the whole thing?

J'Nai Bridges: I don't know if there's a whole thing of Carmen out online, but you can certainly YouTube my name, J'Nai Bridges, and lots of different performances will come up. And, yeah, my Instagram, I'm pretty active on that, @J'NaiBMezzo. And my website, jnaibridges.com has all of my upcoming performances. I am finally working on my solo album. I've been on so many other people's albums, it's time for me. So there will be that coming soon. And then also–

Sandy Winnefeld: Will that be a selection of solo pieces from operas or completely different?

J'Nai Bridges: Yeah, it's gonna be that, but I'm still deciding. I'm still curating it, because I think it will be a bit of everything.

Dr. Sandra Magnus: Push the box then, huh?

J'Nai Bridges:

Yeah, push the envelope a little bit. I always got to do that.

Dr. Sandra Magnus: Oh, cool. That's awesome.

Sandy Winnefeld: Yeah, that's great. Well, look, thank you so much for joining us. From the moment I met you at the State Department dinner there, I said, I have to get J'Nai on the podcast. Because we love– You know, there are lots of different people, the types of people in the world who take risks and who achieve excellence as you have. And it's been a real treat to be able to talk to you.

J'Nai Bridges: Thank you, Sandy and Sandra, this has been wonderful, and I'm just so grateful to join you and, you know, tell my story a little bit.

Dr. Sandra Magnus: I've really enjoyed the conversation. Just like, I'm going to go look up all of your videos and thank you.

J'Nai Bridges: Yeah, next time I'm in D.C. I'll definitely let you all know.

Sandy Winnefeld: Fantastic.

Dr. Sandra Magnus: That was Grammy Award opera singer J'Nai Bridges. I'm Sandra Magnus.

Sandy Winnefeld: And I'm Sandy Winnefeld. Thanks again to Culligan for sponsoring this episode. Get exceptional water for exceptional performance. Learn more at culligan.com

Dr. Sandra Magnus: And please pass our podcast around to your friends. And we'll see you soon with another fun episode of The Adrenaline Zone.