Leslie Ann Bradley



Leslie Ann Bradley


American/Canadian Citizen

Canadian soprano Leslie Ann Bradley “brings the stage to life whenever she sets foot into the spotlight” (Toronto Star). Her busy 2018/2019 season began with a recital at the Gustin House in Sasakatoon where she sang a diverse program spanning Brahms’ Lieder to Sondheim’s more recent works. With the Victoria Symphony, she was featured as a soloist in Berg’s Seven Early Songs and Mahler’s Symphony No. 4. She was been heard this season on three occasions with l’Orchestre symphonique de Montréal…in Villa-Lobos’ Bachianas Brasileiras No. 5, Brahms’ Deutsches Requiem and Verdi’s Requiem for the OSM’s Virée Classique Festival at Stade Olympique.  Further engagements included Mendelssohn’s Elijah with the Calgary Philharmonic and the title role of Kalman’s Countess Maritza for Pacific Opera Victoria. Next season is highlighted by Deutsches Requiem for Edmonton’s Richard Eaton Singers and a recital for the Songmasters Series at the Royal Conservatory’s Mazzoleni Hall. 

Last season, she was featured with the Toronto Symphony in music by Schubert and Mozart, conducted by Christoph Atlstaedt. Also included in her season were Carmina Burana with Prieto for the Louisiana Philharmonic and Beethoven’s Symphony No. 9 with Symphony Nova Scotia. Further credits include Opéra de Montréal, Opéra de Québec, Orchesta sinfonica nacional de Mexico, Vancouver Opera, Rochester Philharmonic, The Berkshire Choral Festival, Sacramento Philharmonic, and the Vancouver Symphony in repertoire ranging from the title role in The Merry Widow to Micaela in Carmen to the works of Poulenc, Beethoven, Haydn, Dvorak, Britten, Mozart and Charpentier. 

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, where she received the Prix du chant Pierre Bernac. Ms. Bradley is a recipient of the U of T Faculty of Music Tecumseh Sherman Rogers Graduating Award and is also a winner in the Czech and Slovak International Competition, Jeunes Ambassadeurs Lyriques competition, Journée de la Musique Française Competition (Montreal) and has received awards from the Jacqueline Desmarais Foundation. 

September 2019


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 deployed her large, warm voice with grace and elegance in ‘Song to the Moon,’ as well as in a dramatic concert aria by a 21-year-old Wolfgang Amadeus Mozart telling us of the doomed love between Perseus and Andromeda.”
[Toronto Symphony Orchestra, Water Music] 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

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

“Soprano Leslie Ann Bradley is a fine Desdemona. Her rendition of the familiar Willow Song was lovely, perhaps even the night’s high point, with Bradley revealing a lush, sweet timbre. Yet her Desdemona is no pushover. When Otello accuses of her being a prostitute, she passionately rejects his denunciation. Here, Bradley’s voice took on a thrilling huskiness.”
[Pacific Opera Victoria, Otello] Victoria Times Colonist, Adrian Chamberlain

“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



Back on the opera stage, Leslie Ann Bradley stars as the leading lady in Pacific Opera Victoria’s production of Countess Maritza from April 25 to May 5, 2019. pov.bc.ca


L’Orchestre symphonique de Montréal’s concert “South America According to the OSM” features Leslie singing Villa-Lobos’ Bachianas Brasileiras No. 5 on February 23, 2019. osm.ca


Leslie Ann Bradley joins the Victoria Symphony for a concert of Mahler No. 4 and Berg’s Seven Early Songs on September 17, 2018. victoriasymphony.ca

Soprano Leslie Ann Bradley will be in Saskatoon to sing at Gustin House’s Lyell Gustin Recital Series. Joined by pianist Rachel Andrist, Leslie will sing a wide range of songs in this summer concert. August 21, 2018. gustinhouse.ca

Leslie Ann Bradley received full-hearted applause from the crowd in the Toronto Symphony Orchestra concert “Water Music” after singing a diverse selection of works by Schubert, Dvořák, and Mozart. Shows on June 2 and 3, 2018. tso.ca

Covington and New Orleans, Louisiana warmed up to Leslie Ann Bradley as she sang the magnificent Carmina Burana with Louisiana Philharmonic from May 17 through 19, 2018. lpomusic.com


Leslie Ann Bradley: A Profile


“On mighty pens” from The Creation by Haydn

“Hear Ye Israel” from Elijah by Mendelssohn

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