“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).” [Carmen, Pacific Opera Victoria, 2012]
Soprano Leslie Ann Bradley’s voice has been described as warm, voluptuous and beautifully expressive. Opera Canada has described her as “a stylish singer that recalled a young Renée Fleming.”
Leslie Ann’s 2011-12 season was a balance of debuts in opera, concert and recital. She was the soprano soloist with the Calgary Philharmonic in Carmina Burana, sang a debut recital for the Elora Festival, followed by Brahms Ein Deutsches Requiem with the Toronto Mendelssohn Choir. For this performance, Paula Citron of Classical 96.3, called her “a talent to watch.”
In November, Leslie Ann sang the role of Valentine for Opera In Concert’s Les Huguenots, receiving praise for her ease with French repertoire. The following January, Leslie Ann received unanimous acclaim for her debut role of Micaëla in Pacific Opera Victoria’s production of Carmen. "Bradley got the loudest ovation on opening night. A beautiful, pure soprano that filled the hall. The other 3 principals were solid and very good, but she just took it to another level and the audience responded by giving her a standing ovation." (CBC.ca)
Other notable debuts of the season were Strauss’ Vier Letzte Lieder for Brott Summer Music, a recital with the Aldeburgh Connection and the Elora Festival’s opening night concert of Elijah. Most recently Leslie Ann sang the role of Norina in Don Pasquale for Boston Midsummer Opera receiving unanimous rave reviews. “Bradley, (who recently, won the Met auditions for the New England region) is not only gorgeous but a great comedienne. Ms. Bradley sang gloriously, hitting high C after high C with every note on the way up beautiful.” (Artsfuze Boston)
Upcoming highlights for the 2012-13 season include a Mozart Requiem with the Grand Philharmonic Choir, the title role in The Merry Widow for Toronto Operetta Theatre and a recital with the Aldeburgh Connection.
Leslie Ann Bradley earned her Masters Degree from the University of Toronto in 2011, receiving the faculty’s highest award, The Tecumseh Sherman Rogers Graduating Award, which is given annually to the student deemed to have the greatest potential to make an important contribution to the field of music. Leslie Ann is also the inaugural winner of the Jim and Charlotte Norcop Song Prize. Further training includes a 2011 Fellowship at the Tanglewood Music Festival and in 2009 Leslie Ann was chosen to be a Stean’s Young Artist at the Ravinia Festival in Chicago. She also studied at the Académie International de musique Maurice Ravel in France, 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. Leslie Ann was the first non-native French speaker to win the award.
Further credits include Contessa in Le Nozze di Figaro, Donna Anna in Don Giovanni, Fiordiligi in Cosi Fan Tutte and Adina in L’Elisir d’Amore. As Rosalinde in Die Fledermaus for Saskatoon Opera, she was acclaimed in the press as ‘simply wonderful, possessing a spectacular voice’. 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 (Massachusetts). Ms. Bradley appeared on BRAVO television in “Love Story” and has also recorded two episodes of “Opera Easy” for Bravo, singing excerpts from Romeo et Juliette and Orfeo e Euridice. She 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.
January 2013
“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.”
Money 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
“…soprano Leslie Ann Bradley as Norina played up her character’s multiple guises, and nimbly negotiated Donizetti’s geyser-like roulades.”
The Boston Globe – Jeremy Eichler
“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).” [Carmen, Pacific Opera Victoria, 2012]
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.” [Les Huguenots, Opera in Concert, fall 2011]
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.” [Toronto Mendelssohn Choir, fall 2011]
Classical 96.3 FM – Paula Citron
"Canadian soprano 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.” (Rossini Petite Mess Solonnelle February 2008)
The Record – Marcia Adair
