Leslie Ann Bradley



Leslie Ann Bradley



Soprano Leslie Ann Bradley “brings the stage to life whenever she sets foot into the spotlight” (TORONTO STAR). Her 2015/16 season opened with an acclaimed role debut as Desdemona in Pacific Opera Victoria’s OTELLO. Her season continues with various concert projects including Beethoven’s Mass in C (Naples Philharmonic), Bruckner’s Te Deum (Chorus Niagara/Niagara Symphony), Messiah(Grand Philharmonic Choir, Hamilton), Beethoven Ninth Symphony (Calgary Philharmonic/Victoria Symphony) and Haydn Creation (Toronto Mendelssohn Choir).

Other recent highlights include her role debuts in Charpentier’s rare operatic gem LOUISE with Opera in Concert (Toronto), and as Missia Palmieri in Lehar’s most well-known operetta THE MERRY WIDOW. Bradley has demonstrated her love and command of Mozart repertoire, from her Toronto Symphony Orchestra debut (Coronation Mass) to Donna Elvira with Vancouver Opera (DON GIOVANNI) to Countess with Pacific Opera Victoria (LE NOZZE DI FIGARO). Further highlights include her debuts with Vancouver Symphony (Poulenc’s GLORIA), Kitchener-Waterloo Symphony (Britten’s WAR REQUIEM), and the Orquest Sinfónica Nacinal de México (Bach’s MASS IN B MINOR), and performing the role of Micaëla in Pacific Opera Victoria’s CARMEN.

She was a winner in the New England Metropolitan Opera competition and was invited to join previous Met Regional Finalists in a concert marking the opening of the Concord Performing Arts Centre.
Ms. Bradley holds a Master’s Degree from the University of Toronto, a Diploma from the University of Toronto’s Opera Division and she is also an alumna of the Orford Festival. She attended Tanglewood and the Académie International de musique Maurice Ravel in France, studying with the renowned Françoise Pollet. Her success there was marked by receiving the Prix du chant Pierre Bernac as winner of the Academy’s voice competition.

She appeared on BRAVO television in “Love Story” and has also recorded two episodes of “Opera Easy” for Bravo, singing excerpts from ROMÉO ET JULIETTE and ORFEO ED EURIDICE. Ms. Bradley is recipient of the U of T Faculty of Music Tecumseh Sherman Rogers Graduating Award and is a winner in the Czech and Slovak International Competition, Jeunes Ambassadeurs Lyriques competition, Journée de la Musique Française Competition (Montreal) and has received support from the Jacqueline Desmarais Foundation.

February 2016


Bizet Micaëla CARMEN
Donizetti Norina
Charpentier Louise LOUISE
Meyerbeer Valentine LES HUGUENOTS
Mozart Contessa
Donna Anna/ Donna Elvira
Pamina/First Lady
Puccini La converse SUOR ANGELICA
Strauss, J. Rosalinde DIE FLEDERMAUS
Tchaikovsky Tatiana EUGENE ONEGIN
Verdi Desdemona OTELLO



Bach B minor Mass
  Matthaus Passion
Beethoven Missa Solemnis
  Symphony No. 9
Brahms Ein Deutsches Requiem
Britten War Requiem
Bruckner Te Deum
Fauré Requiem
Handel Messiah
Haydn Die Schöpfung
Holst Symphony #1, Opus 41
Mahler Symphony #2, 4
McCartney, P. Ecce cor meum
Mendelssohn Elijah
Mozart Krönungsmesse
Orff Carmina Burana
Poulenc Stabat Mater
Rachmaninoff Vocalise
Rossini Petite Messe Solennelle
Rutter Magnificat
Strauss, R. Vier Letzte Lieder
Verdi Requiem
Villa-Lobos Bachianas brasilieras – No. 5


“Bradley commands a rich vocal palette and brought great subtlety and nuance to “Vilja”. [Opéra de Québec, La veuve joyeuse] Opera Canada, Irène, Brisson

“Inhabiting the title role of Louise, soprano Leslie Ann Bradley gave a performance of sweeping virtuosity and radiance. Her sparkle and brightness dazzled, her mid to lower range open-hearted and warm. Bradley is an elegant artist gifted with a fluid instrument wielded with great assurance and superb technique. Her show stopping rendition of Charpentier’s magnificent Depuis le jour (“Since the day”), frequently extracted as a stand alone concert aria, was quite simply gorgeous.” [Louise, Voicebox: Opera in Concert] Opera Going Toronto, Ian Ritchie

“Soprano Leslie Ann Bradley gives a moving, rich-hued, beautifully nuanced reading of the Countess’s aria Dove sono”
Victoria Times Colonist, Kevin Bazzana

“In The Merry Widow’s title role, lyric soprano, Leslie Ann Bradley, is a model of poise and sophistication. Lehar demands a lot from his Anna. The tessitura tends to be relatively low for all singers in his cast but the Widow Galawari must also have at least one strong, solid top B in her vocal kitbag. Bradley has several. Her rendition of Act II’s spectacular “Vilja” is utterly triumphant in its high, soaring close. Heft and pitch are perfect, the voice lustrous and refined. This is an unmistakably self-assured young talent, stylish and elegant.”
Opera Going Toronto

“While the company was certainly dotted with bright stars, Leslie Ann Bradley sparkled in the title role. The delicacy with which she realized both action and voice had the entire audience hypnotized, especially by her singing of “Vilja” which brought the house down with thunderous applause and echoes of “Brava!” over tears.”
Mooney on Theatre, Brian Kerr

“Soprano Leslie Ann Bradley brings the stage to life whenever she sets foot into the spotlight, and sings her catchy melodies with total conviction and verve.”
Toronto Star, John Terauds

“Leslie Ann Bradley as Norina not only looked the part and had effortlessly natural gestures and comedic timing, but her equally effortless vocal facility, both in her coloratura and lyricism, possessed a mature, brightly mellow tone quality that was neither wobbly nor tinny — beautiful enough to listen to in all registers for the duration of a Donizetti ingénue marathon that one never tired of her. She would make a glorious Rosina.”
classical-scene.com, Janine Wanee

“As Norina, Leslie Ann Bradley looked glamorous and played the part for laughs. A supple soprano, she tossed off vocal ornaments with ease.”
BerkshireFineArts.com, David Bonetti

“Soprano Leslie Ann Bradley, as the long-suffering Micaëla, already affecting in Act 1, emerges as a vocal and dramatic powerhouse in her big Act 3 air, one of this production’s high points (it earned the lustiest ovation on opening night).”
Victoria Times Colonist, Kevin Bazanna

“Soprano Leslie Ann Bradley as Valentine is continuing to show her promise. I lauded her for her German Requiem awhile back. Her soaring voice is beautifully expressive.”
Classical 96.3 FM, Paula Citron

“In the Requiem [Brahms], soprano Leslie Ann Bradley displayed a bright clear sound that soared over the orchestra. She is a talent to watch.”
Classical 96.3 FM, Paula Citron

“Leslie Ann Bradley’s pure, true voice soared easily over the massed sound.”
Winnipeg Free Press, Gwenda Nemerofsky

“Leslie Ann Bradley is simply wonderful. She owns a spectacular voice, particularly on the top end, with beautiful clarity. Bradley’s acting matches her singing, as she joyfully tackles the big role of Rosalinde.”
Saskatoon Sun, Joanne Paulson

“Leslie Ann Bradley (Norina) played her role to perfection, with impeccable singing and timing.”
Opera Canada, Richard Ewan

“Bradley and Enns Modolo were simply brilliant together and left me wanting to hear more…it was well worth the wait. Bradley was powerful without being heavy…stunning evenness of tone throughout her range…spectacular at full volume.”
The Record, Marcia Adair


Leslie Ann Bradley: A Profile



“Hear Ye Israel” from Elijah by Mendelssohn


“Ihr habt nun Traurigkeit” from Ein Deutsches Requiem by Brahms



Leslie Ann Bradley appears as the soprano soloist in Haydn’s Creation with the Richard Eaton Singers. She can be heard, alongside baritone Alexander Hajek, on March 31.