Interview: J'Nai Bridges of INTELLIGENCE at Houston Grand Opera

Intelligence, the new world premiere opera composed by Jake Heggie with a Libretto by Gene Scheer and directed by Jawole Willa Jo Zollar, blazes a trail on the Houston Grand Opera stage from October 20 through November 3, 2023! 

Intelligence Synopsis:

The Civil War is raging, and the country is burning. Men are slaughtering each other on the battlefield, but it is two women who possess the deadliest weapon of all: Intelligence, made more powerful by its invisibility. Who would guess that Elizabeth Van Lew, from a prominent Confederate family, is running a secret pro-Union spy ring? That Mary Jane Bowser, born into slavery in the Van Lew household, not only has been taught to read and write, but is also possessed of a photographic memory? The HGO-commissioned world-premiere opera Intelligence, inspired by the little-known true story of these two unlikely spies, unfolds as Elizabeth sends Mary Jane to live in the Confederate White House. As Mary Jane uncovers the secrets of the Confederacy to share with Union military commanders, she also uncovers the secrets of her own history and identity. Shared through a fusion of music, words, and dance, this new American epic is the creation of a powerhouse trio: composer Jake Heggie, librettist Gene Scheer, and director/choreographer Jawole Willa Jo Zollar. 

J’NAI BRIDGES stars as LUCINDA in the new opera Intelligence. Other recent highlights include the 2022 Grammy® Award-winning Metropolitan Opera production of Akhnaten  and 2021 Grammy® Award-winning recording of Richard Danielpour’s oratorio The Passion of Yeshua with the Buffalo Philharmonic Orchestra, performing at the National Library of Congress to honor legendary fashion designer Diane von Furstenburg as she received the 2022 Ruth Bader Ginsburg Woman of Leadership Award, her sold-out Carnegie Hall Recital debut, her role debut of Kasturbai in Satyagraha at LA Opera, and her debuts at Dutch National Opera and the Gran Teatre del Liceu in Barcelona. Bridges is a recipient of the prestigious 2018 Sphinx Medal of Excellence Award, a 2016 Richard Tucker Career Grant, first prize winner at the 2016 Francisco Viñas International Competition, first prize winner at the 2015 Gerda Lissner Competition, a recipient of the 2013 Sullivan Foundation Award and a 2012 Marian Anderson award winner.

J’Nai Bridges (JB) sits down with interviewer Alric Davis (AD) to discuss her inspirations behind her character in Intelligence, the Opera She-roes she looks up to, and her newfound love for Houston!

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AD: So this is the day before the opening of Intelligence,  are you ready? Are you "Nervcited"? - my word for being equal parts nervous AND excited. 

JB: Ooh you know I’m stealing that right? So I’m definitely "nervcited"! We had our final dress rehearsal yesterday and I’m telling you, we were on fire. The whole cast, the orchestra. It is such an incredible show we have birthed. I am just so excited to share our baby because it has been a labor of love and it is such an important piece. I’m excited and nervous and I can’t wait to share this .

AD: I was reading the synopsis and said whoa! This is based on a true story. These two women from different backgrounds, leaning into their feminine wiles and their Intelligence, one literally the owner of the other, coming together to be spies to aid the Union Army in the Civil War. That premise alone inspired me and intrigued me. How did you get involved with the work? 

JB: Jake Heggie, the Composer, is a friend of mine. I’ll never forget I was making my debut at the San Francisco Opera in 2019, it doesn’t seem that long ago but everything since COVID  feels like so long ago but wasn’t. I was singing Carmen-

AD: I saw those clips and you sounded and looked  gorgeous by the way-

JB: Thank you! I was singing Carmen and Jake asked me if I was interested in playing the role of Lucinda in Intelligence in Houston Grand Opera. And I said ‘Oh my God’. He told me a brief synopsis and the story and I just immediately said yes. I didn’t have to look at the music, I didn't need any more information. This composer, plus this story-it was a wrap! And at the Houston Grand Opera! It’s my debut here and this is a venue I’ve wanted to sing at for many years. I can’t think of a better way and better role to make my debut. 

AD: Houston is really incredible, there’s so much talent here and tons of drive and a passion for the arts-

JB: It’s incredible. I’ve fallen in love with this city and I’d never thought I’d say that! 

AD: People think we are riding our horses to rehearsal! 

JB: There’s definitely that misconception, but it’s a diverse, metropolitan, forward thinking city which surprised me in many ways but it’s been such a joy being here. 

AD: I want to hear more about the role of Lucinda, who is she and how does she service the story? What was your process in creating her?

JB: There are alot of non-fictional characters within the opera, but Lucinda is fictional. She is incredibly integral in connecting the stories. She is the moral compass and conscience of Mary Jane (played by Janai Brugger) and also serves as the conscience of America. 

AD: No pressure!

JB: Right, no pressure! (laughs) It’s quite a heavy role but I connected with her so deeply. This role is me. She is my mother. My grandmother. My ancestors. They didn’t have the freedom to have their voices heard. So I know when my family comes, I'll hear tons of “mm's" and “amen”s! We had so much of that at the dress rehearsal, hearing those audience members engaged helps us feel empowered. We felt inspired because we put so much into the work. And you never know because it is brand new.  

We are in Texas, so I just didn’t know how it would be received. But people are going there with us. And it’s such a necessary work. For me, I sing a lot of new opera. I take on works that are challenging, for me artistically, also for the audience. This topic is not easy material. America is troubled in many ways. This opera highlights that but it also has so much hope and there’s joy within it as well. 

My character reveals how healing and the truth will set everyone free. It is as easy as that. So it’s very timely because when schools are trying to take out the truth, and dealing with what we are dealing with, not only in this country but all over the word, this opera is timely and timeless. It’s something that needs to continue to be told because history cannot repeat itself because that’s what it seems like it’s trying to do. So we have to tell the truth. My role is the Spirit of Truth.

AD: You mentioned you’ve done so many new works, we live in an age of new operas taking the world by storm. Terence Blanchard’s Champion and Fire Shut Up in My Bones, Dead Man Walking opera. We are seeing so many new operas blend styles of music and genres. There’s some significant pushback from opera purists who argue that the traditional form of opera should not be altered. What is your take on this?

JB: To those who don’t see new works as legitimate, this type of thinking is so limited. I put my energy toward putting forth these new works and new stories that not only need to be told, but they bring such opportunity to young singers. I love singing traditional works, they brought me to opera and I continue to sing them. But I think there’s something so necessary, fictional or nonfictional, to explore non fictional works. Opera and music in general is such a beautiful way to communicate. Music is just so powerful. 

AD: You catch more flies with honey. 

JB: Yes! For me, also, the audience matters. I eventually want to be able to look out and see a rainbow of people. It’s slowly starting to happen and I believe that’s because they are seeing themselves, hearing their stories, and feeling seen onstage. And that’s access. Accessibility is so important. When people feel heard and seen, they come. Then it opens a whole new world for them to experience what all of opera has to offer. Especially in America, opera is historically a European tradition. Americans are learning how to do it anyway, so why not make our own rules?

AD:  I have to mention the representation you’ve offered in your previous performances such as Carmen, Nefertiti and so many of the amazing works you’ve worked on. Even NPR’s Tiny Desk! Reading the comments for that Tiny Desk video, you have inspired countless black girls all over the world by even just being in the room. I’m sure you’re aware of that, and that value of how important that you and your artistry is but I think it bears repeating. 

JB: Thank you, I’m grateful and I needed to hear that! Sometimes I’m just going and going, and this is my normal. But the power and effect I have on young lives, specifically young Black people, it really is something that keeps me going. It’s one of the reasons I got into opera as well. I feel very blessed to be in the position I’m in and to inspire. 

AD: My last serious question before we get into some fun Rapid Fire questions: I wanna know about your influences. Who are the people that inspire you? Artists or not!

JB: One of the first voices I heard was Jessye Norman. I was like 'what is that?' 'Who is this larger than life queen?' The power, the beauty, the honesty. Along with Leontyne Price, Grace Brumby-

AD: We just lost her-

JB: We did, such a big loss. And Whitney Houston too. She breathed musicality. She could’ve been an opera singer. As far as I was concerned, she was. I also go back to her for an example of easy, free singing. Renee Fleming and Denyse Graves. They have been very helpful when I have questions or need advice, which is really amazing. I have some sports players too! I grew up on the tail end of Micheal Jordan and Kobe Bryant. I was in love with Kobe. His focus and determination and excellence. Serena Williams too! I saw myself in her. When I was in college, she inspired me to be great and not worry about what anyone else had to say. In terms of trying to bring me  down, because we all know that she really had it rough! 

AD: I instantly see the Serena focus and discipline in your artistry in the clips I’ve seen! Again, no pressure! 

~RAPID FIRE QUESTION TIME!~

AD: Morning person or evening person? 

JB: Oooh lawd, EVENING! 

AD:Favorite Mid-Show Snack? 

JB: I love boiled eggs! I just do them with no salt, no pepper. Perfect protein, mid-show snack. Trust me, I love me some Salt and Pepper. But the salt dries my voice out and pepper messes up my acid reflux. 

AD: Guilty Pleasure TV/Film viewing? 

JB: Basketball Wives! 

AD: Have you started the new Franchise Basketball Wives Orlando? Highly recommend! 

JB: No I’m super behind on everything. I know I want to binge it. 

AD: Why? It’s not like you’ve been busy!

JB: (laughs) 

AD: Kathleen Battle or Grace Bumbry? 

JB: Oh my God that is so rude! I gotta go with my mezzo, though, Grace! 

AD: Barefoot or House Shoes? 

JB: I’m a Barefoot person! I’m from Washington State so I’m a little Granola sometimes! I love feeling the ground, I feel grounded when I do that. As long as the floors are clean. And my floors are always clean!

AD: Camping or Glamping or Staying Inside?

JB: I like to Glamp! I went to a private high school where we were required to camp. And I have trauma from that! Glamping all day! 

AD: Dream Role? 

JB: Amneris in Aida!

AD: I’m stoked we could have this time together!

JB: Me too! 

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Two-Time Grammy-Award winning J’Nai Bridges talked about having access to opera for all walks of life and ages. Over a decade ago, I was lucky enough to be a part of a program in my high school that bussed us to Opera in the Heights many years ago. It opened up a whole new avenue for me as far as storytelling and sparked my interest in it. Operas like Intelligence, that bristles with boldness and beauty and stacked with a cast delivering their best and brightest performances, is sure to leave an indelible print on the next generation of opera lovers.

Don’t hesitate to head to the Houston Grand Opera to see what all the fuss is about! Be sure to wear your Sunday’s best, show the illustrious, world-renowned artists like Ms. Bridges that Texans can get all gussied up too! 

 

 

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