This interview was originally recorded on June 14th, 2022.
The Oral History Project is supported by the Arthur F. and Alice E. Adams Charitable Foundation.

Raehann Bryce-Davis, mezzo soprano

Raehann Bryce-Davis has been hailed by The New York Times as a “striking mezzo-soprano” and by the San Francisco Chronicle for her “electrifying sense of fearlessness.” In the 2021–2022 season, Bryce-Davis makes house debuts at the Metropolitan Opera as Baba the Turk in The Rake’s Progress, La Monnaie as La Zia Principessa in Suor Angelica, and The Glimmerglass Festival as Azucena in Il trovatore. Additionally, she returns to both LA Opera and the Staatstheater Nürnberg as Azucena and to Opera Ballet Vlaanderen as Der Komponist in Ariadne auf Naxos.

As a producer/performer, Bryce-Davis released her critically acclaimed first music video, "To the Afflicted,” which was chosen as an official video for World Opera Day. Her second digital short, “Brown Sounds,” co-produced with LA Opera and Aural Compass Projects, won Best Music Video at festivals including the New York International Film Awards, New York Cinematography Awards, and Hollywood Boulevard Film Festival. Bryce-Davis is a co-founder of the Black Opera Alliance.

Transcript

Marc A. Scorca: Good evening, friends. Welcome to the National Opera Center. I'm Marc Scorca, president of OPERA America, and it's a pleasure to be here in the Opera Center this evening. Please join me in welcoming Raehann Bryce-Davis. I guess you already know what my first question's going to be. Who brought you to your first opera?

Raehann Bryce-Davis: My first opera; it didn't go well.

Marc A. Scorca: I hear that a lot; sometimes it doesn't. What was it?

Raehann Bryce-Davis: Oh my goodness. I was already a music major and I had fallen in love with this classical sound, a journey from musicals to this crossover, like opera with a beat underneath it. And then the sound of Olga Borodina was the first sound that was like, "Yes, this is what it's about". But my first official opera, I went to as a freshman at the University of Texas at Arlington. So my voice teacher, Soo Hong Kim took us to La Bohème, and from the time the wonderful Mimì walked on stage, she was like (affecting despondent coughing). I was like, "Oh my gosh, will she die already?" And it was all downhill from there. But the opera that brought me back was Turandot.

Marc A. Scorca: Where?

Raehann Bryce-Davis: It was a DVD, actually. It was the old-school Zeffirelli production, but there I saw a woman who could be powerful on stage and command those in front of her. And I was like, "Okay, women can also be strong in opera, then I can still do this".

Marc A. Scorca: So interesting. So it wasn't just the overdramatization of Mimì, but it was about a woman who has strength.

Raehann Bryce-Davis: Yeah. Yeah.

Marc A. Scorca: And you've been playing some great roles of that. So, you went to college as a music major? Singing?

Raehann Bryce-Davis: Singing. I started off in business and then I started taking voice lessons and my teacher was like, "What? What are you studying again? You need to come here, darling".

Marc A. Scorca: In high school, did you have any experience singing in chorus?

Raehann Bryce-Davis: Absolutely. Well, my whole life I was always in choirs. I was in orchestra; I played violin, I played clarinet. My mom forced us into piano lessons. My mom is a singer, so that's where classical music came into my life. It was always involved in my life, but not quite opera. A few times she would play opera recordings - the Kathleen Battle and Jessye Norman spiritual CD, now that was a mainstay. That was a classic; that was always around. But I didn't really get into opera until much later.

Marc A. Scorca: So you started taking voice lessons in college, thinking maybe a business major, maybe be a music major, and your voice teacher said, "Come here".

Raehann Bryce-Davis: Yeah. And I wasn't about it at the beginning. I had no desire to be a starving artist. I was planning on running companies and just being a girlboss, and I made her swear to me. I was like, "If I decide to do this, do you swear that I can make it?" And she was like, "You can do this". So I was like, "Okay; here we go".

Marc A. Scorca: Isn't that something? So freshman year, "Come here dear, you've got a voice". When did you decide "I'm gonna go for it?" Still in college?

Raehann Bryce-Davis: Still in college. I was about 19.

Marc A. Scorca: And was your voice teacher at your Met debut?

Raehann Bryce-Davis: Unfortunately not. She has to be at home with her mom in South Korea.

Marc A. Scorca: But she knows about it?

Raehann Bryce-Davis: But she knows about it.

Marc A. Scorca: Oh, that's just fantastic. And then you went from Texas, where you were born and brought up?

Raehann Bryce-Davis: Well, my family's actually from Jamaica, and my parents were studying in Mexico when I was born. So I popped out in Mexico, my sisters were born in Canada, we're just Team North America in general.

Marc A. Scorca: Then to New York for Manhattan School of Music. Was that a big change of scene? Had you been to New York before?

Raehann Bryce-Davis: When we were little, I had been to New York, but, of course, that's with your family. That's a totally different experience. It was a small town in Texas that I was from, Keene, and so I saw that I was really a big fish in a small pond, and I didn't really see any other big opera singers having the kind of careers that I wanted. So I was like, "Okay, but the people who are the big stars, like, what are they doing outside of my small surroundings?" And so, I found a summer program at Manhattan School of Music. And so I went and did that for two months, and that was my first introduction to the City. So therefore, when I came for grad school, it was already something I was acclimated to, which was nice.

Marc A. Scorca: But not an easy transition.

Raehann Bryce-Davis: Not an easy transition.

Marc A. Scorca: What about young artist programs in your career? 'Cause you are noted for having an incredible stage magnetism, and you really just take to the spotlight and take to the stage. Did you participate in any young artist programs where you sort of built that talent?

Raehann Bryce-Davis: Certainly at Manhattan School of Music. I'll start even further back. So at UT Arlington, there wasn't a huge budget for the productions necessarily. And so you had to bring your own costumes. And so, we were doing a scene from Chicago, and I was playing Velma, and so everybody came and they brought whatever was in their closets, and I decided for my costume, I would get red fishnet stockings, and I bought a black wig, and I got this halter that was like (indicates shapely). I was like, "Let's go". Only one costume. So, it was always a little bit extra, but then in Manhattan School of Music, then I got introduced to some wonderful directors. Nic (Nicholas) Muni was one of the first ones, and he really encouraged me as an actor to play against the music, to not do the (indicates flowing gestures) that we see a lot of times, but to really be a real person on the stage. And Richard Gammon was another one that was really instrumental. He had this exercise that you would stomp on the floor, but he would have you sing or speak your text, while stomping. And something about the stomping, the aggression of it, like really connects to your heart. And then you can connect to your text and to your music, in a more powerful and grounded way. This term 'grounded' keeps showing up, and that's something that's so important to me. And certainly as a Verdi mezzo, it's pretty darn important; we need a lot of grounding to get that sound out. So those two and Dona Vaughn were very important for my stagecraft. I would say those were the most influential ones. Then I went to Florida Grand Opera; I did the Young Artist program. I did Merola, I did Opera Theatre of St. Louis. I did the circuit before heading over to Europe for my first ensemble contract. And then I got real stage experience doing roles. I think I had about seven roles that first year and they just let me play. Before then, I even did a tour of Porgy and Bess singing Lily, which is this tiny little role. But we had about 55 performances in Europe, which is a whole lot of performances.

Marc A. Scorca: But stage time is stage time.

Raehann Bryce-Davis: Stage time is stage time. And to entertain myself, I gave Lily a different backstory every night. I was like, "Today she is in mourning because her mother has...", you know, whatever it was. So, every day it was a different drama on stage and nobody cares about Lily, so I just had the freedom to do whatever it was that I wanted to do.

Marc A. Scorca: I'm so interested, 'cause I didn't realize that you had done that many young artist programs, and then off to Europe. So the young artist programs, you just named several of the best in the country. Again, they're doing ensemble, covering some roles probably, having some small roles, so beginning to get that professional experience. What propelled you to Europe? Who said, "Let's get you to Europe and audition?"

Raehann Bryce-Davis: Well, I should say also my darling opera mom, Jane A. Gross is here. Chautauqua was also one of the places that I had a wonderful experience. Who got me over to Europe? The Porgy and Bess tour is what got me to Europe. So that was for about six weeks, and I saved every dollar that I made during that tour, and while everybody was off doing their sightseeing and such, I went to the grocery store. I bought peanut butter and bread. That was my food for the whole trip, so I could save money and just stayed on YAP Tracker. I lived on YAP Tracker, looking for every competition that was happening, while I was there. And I had three months that I just stayed in Europe, and stayed on couches or really cheap hostels, or whatever it was, and sang for every single person who would hear me. On Operabase, I just wrote to everyone in every city where I was, like, "Hi, can I please sing for you?"

Marc A. Scorca: But it's so important for young singers to hear that, that it doesn't come to you. And there you were just doing everything you could to pound the pavement.

Raehann Bryce-Davis: Absolutely. It was well-pounded.

Marc A. Scorca: Well, you had learned that in the studio. Which company brought you on as a singer, in which European city?

Raehann Bryce-Davis: In Antwerp. Opera Ballet Vlaanderen, and that connection was beautiful because, I had sung for a competition in Istanbul. Who knew anything would come from Istanbul? I sang for a competition there and fortunately won, and one of the people on the jury was the casting director in Antwerp. Also, it was a small world because the pianist that played for me was my coach when I was at Manhattan School of Music. So it was just this intersection of meant to be. And from the stage almost, I was invited to come, with the support of Jeanne-Minette (Cilliers). At first, the artistic director was like, "Well, she's lovely, but I'm not sure if she's quite..." And Jeanne-Minette, the pianist vouched for me. I know this because I went back to my dressing room and I turned up the speakers so I could (eavesdrop). So, I heard the whole conversation.

Marc A. Scorca: Oh, it's another good bit of career advice.

Raehann Bryce-Davis: Be nosy.

Marc A. Scorca: How different was it joining a company in Europe, from being with young artist programs? Because the young artist programs have a certain intensity. What was it like then joining a company and having six, seven different roles?

Raehann Bryce-Davis: Well, I mean, it's now on you to make sure that you are doing the work. When you're in young artist programs, they provide you with the coachings and with the guidance and all of that. Whereas, when you're in an ensemble, you need to make sure that on day one, you know your music; you've done your acting, you've made your choices, so that when you step in the room, you can have conversations with directors, etc. I think that's always the big difference being a professional, is that now you have to equip yourself to do the job.

Marc A. Scorca: Another just gem of advice. And so it's not that you are showing up as a blank slate for the director to do something to you, but you have come in at least prepared to have a discussion about how you see it.

Raehann Bryce-Davis: Ideally, ideally, because not all the directors will have ideas.

Marc A. Scorca: Gem after gem. What were some of the roles you sang in Antwerp?

Raehann Bryce-Davis: Oh my goodness. I sang Third Lady. I sang Amelia's Maid, this tiny role in Simon Boccanegra, that I literally went, (sings la la la), and then I closed the window, and that was it. I also got like a juicy one, Nezhata in Sadko. And I don't know if some of you have known me or have followed me for long enough, around Christmas, there's a video that comes out of 'We Wish You a Merry Christmas'. That's as the ladies, we were these like water nymphs, water creatures. So, look out for it at Christmas. You'll see the resurgence of the three ladies.

Marc A. Scorca: You are young, so young, and yet already, repertoire that includes Verdi and Donizetti, as well as Matt (Matthew) Aucoin and Paul Moravec and Anthony Davis. So, really some of this wonderful blood-and-guts-inherited-19th century Italian repertoire, and new work. Do you approach those differently? New work from inherited repertoire?

Raehann Bryce-Davis: No. I would say different things are difficult about them. Learning contemporary music that's very complex, of course, takes longer. But the positive is that once you learn it, it's usually memorized. Whereas, the more traditional repertoire, then you have to invest the time in memorizing it, because it's so easy to learn. Therefore, you have to be more intentional about that. But I would say the process is the same. I did a lot of contemporary music in school. I did this contemporary opera ensemble that Miriam Charney did it at Manhattan School, and her process of learning music was always, you start with the rhythm, and the text. Of course, your translations and your speaking your text in rhythm. And then you'd learn the notes separately, and then you put it all together, which you would think takes longer, but actually everything's just learned cleaner, and then when you put it together, it's really together.

Marc A. Scorca: Of course, when you're doing a new opera and you're creating the role, there are no records to listen to, there are no CDs to listen to. There isn't a video of "Oh, that's the way she played it". So, you're really inventing it. When you're learning something from the inherited repertoire, do you listen to recordings? Do you watch videos to see how others did it?

Raehann Bryce-Davis: I don't watch that many, but I definitely listen to a lot of them. And I think that's what's most important: it's not the danger of listening, it's the danger if you only listen to one person, because then you may steal some of their a) wrong notes, or b) their mannerisms and things. But if you listen to lots of different mezzos singing it, then you have a) an idea of the scope, what's been done before, and I don't think that it necessarily changes my interpretation, because at the end of the day, when I stand up to sing it, it's what comes out of my soul, that is how I'm gonna sing it. And I would say that's the same in contemporary music. Very often we just have like a MIDI that's like (imitates sound), but I love MIDIs because the correct things are ingrained in a very mechanical way, but then you just breathe life into it. And there is no possibility of inheriting anything negative from anybody else.

Marc A. Scorca: Or stylistically, somehow.

Raehann Bryce-Davis: Or stylistically, yeah. So, it's even more free.

Marc A. Scorca: Now, the song literature and the recital is also a part of your work. So different: you are not costumed, you are not playing anyone. You're you, up on stage. How does that challenge you, or enrich your work as an artist?

Raehann Bryce-Davis: I love recitals. And from the earliest time, we talked about young artist programs, one of the first ones I did was the Franz-Schubert-Institut, just outside of Vienna. And I got to study with Elly Ameling, Julius Drake, Barbara Bonney, Roger Vignoles, like all these greats came through. Every three days, it was a different master teacher, done by the wonderful dearly, recently departed Deen Larsen - a wonderful program. But, so Lieder and art song were always a part of my life, and I love it so much because you get to make all the choices. There's no director you have to fight with there, and I love the nakedness that is required to do a good recital.

Marc A. Scorca: In a conversation, Stephanie Blythe said almost the same thing. She said, "You become an autonomous artist, because no costumer's telling you what to wear, no director's telling you where to move. And it really is you being the producer.

Raehann Bryce-Davis: Absolutely, and I adore it.

Marc A. Scorca: So, new music, Donizetti, Verdi, recital work. Do you have a role model vocally, or role models, people you really admire and hold up as "I wanna do it that way".

Raehann Bryce-Davis: Yeah. I mean, Christa Ludwig will always be a huge one.

Marc A. Scorca: It doesn't get better.

Raehann Bryce-Davis: It doesn't get better. And I had the opportunity, when I did a competition in Vienna, when I sang the finals at the Musikverein, Christa was sitting like right there (indicates front row, right in front of her) and beside her was Hilde (Hildegard) Zadek, whose competition it was. And at the end, I sang 'Ô ma lyre immortelle', and Christa was like, "Brava" (towards Raehann) and I was like, "Brava" (towards Christa). Like, that was just my reaction, and so there's a picture on the internet of me (mimics posture). Because she was just so wonderful and because she had this half recital/half opera, she had done the dream that I was looking to create. And one of the prizes that I won from that competition was a masterclass with her in Karlsruhe, a few weeks later. And so at the masterclass when I arrived, the organizer was like, "Hey, make sure that you see Christa at the end". I was like, "Oh, okay, okay. I'll make sure". Then I went up to sing, and when I walked by Christa, she was like, "Hey, make sure you come see me at the end". I was like, "Okay. What's gonna happen here at the end?" And so after the program was over, then the organizer grabbed me. She's like, "Okay, we're going". I was like, "Whoa, okay, here we go". I have no idea where we're going. We get in the car, she and Christa are in the front seats, and then they just start gabbing about life. And she's like, "You, my dear...", and she said lots of wonderful things, which I will treasure forever. And she was like, "But, there's one thing you must do". I was like, "Okay, what is it? Dearest Maestro Ludwig, please tell me, tell me what is it that I must do". "You must get a breast reduction. Then you'll be set. You can sing at The Met, you can sing anywhere. You just must get a breast reduction". And she went off and she talked about all her famous friends, and all the ones who had gotten breast reductions, how they're so happy. Like, you too can have this glorious existence, if you just lose your boobs".

Marc A. Scorca: Oh my word. Talk about unexpected.

Raehann Bryce-Davis: Unexpected, unexpected. But anyway, so finally we arrive at this glorious hotel, and she's like, "Okay, let's go". Like, "Okay, here we go". So, we go up to her hotel room, and she leads me into the closet. She's like, "This is for you". "Oh, thank you so much". And so I open it, and as soon as I see the fabric, I recognize it, because it's the dress that she's wearing for her farewell recital at the MusikvereinssaalI. It's what's at the back of her autobiography. So my whole life, I've looked at that book and treasured that book. And now she was giving me this dress to wear.

Marc A. Scorca: That's just breathtaking.

Raehann Bryce-Davis: And so for the rest of my life, I will treasure this as a gift from my biggest icon. For me, it felt like a passing of the mantle.

Marc A. Scorca: Yes.

Raehann Bryce-Davis: And something I will treasure forever.

Marc A. Scorca: Oh my word. What an incredible story; thank you so much for sharing that. I can't imagine, given the status she had in your life, being someone you idolized, to then sing in a masterclass. And yes, you have nerves of steel, you've sung at The Metropolitan Opera and elsewhere, but it must have been just a nerve-wracking experience as a young singer to have Christa Ludwig your idol, listening to you.

Raehann Bryce-Davis: Absolutely. Especially because she destroyed so many people before.

Marc A. Scorca: Wow, absolutely remarkable. I did wanna talk about media. Because you are an artist, I think, who is inventing opera for the 21st century. Even as you interpret opera from the 19th century, you're inventing opera for the 20th century. We used to talk about records and CDs, that's how artists became known. But you're producing music videos and digital shorts. They've won prizes at film festivals. I'm curious to know whether this is just an integrated part of your artistry; is this another part of your artistic persona? How does this media fit into you, as an opera artist?

Raehann Bryce-Davis: I think it's something that's always been a part of me, especially in the recital work that we were talking about, like looking for this freedom. But I was creating it all in my imagination. And then during the pandemic, when everything was shut down, I needed to create something. And so, I had this opportunity to create visually what's in my head when I think about various songs. And so the first one was 'To the afflicted'. I had just sung Sara in Roberto Devereux at LA Opera, and I lost my last show, of course, because of the pandemic. So, that song was still resonating in me. And so, I took that song and placed it in the middle of where I was as an artist, which was right after the murder of George Floyd, and she's singing 'All'afflitto è dolce il pianto' (To the afflicted one, tears are sweet). It's the only thing that I can do. And that was the only thing that I could do in that moment, was just weep in agony, in anger, in just frustration of all of the changes that we needed to see. And so, I took that music and put it in the middle of that story, and I was able to just create something that I felt very, very passionately. And I had a shoestring budget, 'cause I didn't know when my next paycheck was gonna be. I found a space on Airbnb. I hired the team on Craigslist. You know, it was all very...

Marc A. Scorca: Organic.

Raehann Bryce-Davis: Very organic. That's a nice word for it. But it ended up being something really beautiful and meaningful, and then it kind of shot around the industry, because we were all going through the same thing. I don't think I will ever be able to give up now that creative power that I've seen that's now possible. Brown Sounds was the next video that I created, and now my third one is in the works.

Marc A. Scorca: Fabulous.

Raehann Bryce-Davis: I'm very excited. We're still looking for producers, if anyone is interested.

Marc A. Scorca: And it is certainly something that I say in so many of my presentations, is that in mid-March 2020, when everything went silent, the first creativity was out of the individual artists. It wasn't the companies; they followed. But it was the individual artists who thought, "What am I going to do now that speaks to my need to express?" And you did it.

Raehann Bryce-Davis: Absolutely.

Marc A. Scorca: Do you see this kind of media work as a central part of opera going forward? Not just you, but do you think this must be a part of what we do?

Raehann Bryce-Davis: If we wanna survive, yes. If we're happy staying irrelevant, then no. I'm pushing myself now. You had said that albums and CDs are no longer part of the thing. I wanna take them, and make them into something more relevant, and that's part of my next project that I'm doing, connecting with museums, creating installations, and working continually with these lighting designers, visual artists. That's all the work that I'm doing now, and I'm very excited to do. And I can do. And it's very easy as an artist to approach other artists, because we all like, love to create and want to create. And I'm able to connect with just some amazing people. And the goals that I see the world asking opera for, I'm tired of waiting for that. I just want to make it now, and that's another thing that is so freeing about creating your own works.

Marc A. Scorca: And of course, as a singer, and here you are at The Metropolitan Opera, but once rehearsals are over, you do have some time to be a creative artist outside of the fact that you're doing these performances on stage every few nights.

Raehann Bryce-Davis: I mean that's not always the case, and that's not usually the case. I'm supposed to be in Switzerland right now doing a Russian opera, but of course, you know, in these times, that got shut down. So I have the gift of time, 'cause the time is quite a gift. And now that I have it, I can do this, but it's not always easy to wear two hats at the same time.

Marc A. Scorca: Well, you seem to be doing a pretty good job of trying that way. You're a co-founder of the Black Opera Alliance, and it was launched during Covid, early on in, I guess, like fall of 2020. How did you do this? Had it been under discussion for months or years before? Was it also just energized by Covid? Certainly by the murder of George Floyd, for sure. May 25th was the second anniversary. How did it come about?

Raehann Bryce-Davis: Some famous singers kept being asked to do the same panels; we had lots of panels last year. And so, they were like, "You know what, let's talk to our community. Let's see what they wanna do". And so, we had what was called the cookout, which was just a big conversation. But then, out of this conversation was so much energy and so much passion. People from Europe were staying up til three in the morning to be involved in all of this. And people here in America were like, "We would love to see these changes and if opera companies did this, then our families would feel welcome in opera". And it was just all of these ideas just germinating together, and then out of all of that energy came the Black Opera Alliance.

Marc A. Scorca: And now, closing in on two years, year and a half, and like the yellow brick road that starts and just keeps going. One can never describe the journey as done. Do you feel that you've gotten something started in a direction you wanted to? Do you feel some gratification that the needle is moving as a result of your effort?

Raehann Bryce-Davis: Well, I have to say, when we were in those beginning phases, I was warned by everyone, "Do not get involved in this. You are at a point in your career that things are going well. You have potential to really be something. Do not get involved in this". And I made the decision that my community is important to me, and I'm willing to make sacrifices for my community. And so, I continued that work, which was not a popular work necessarily, but that's a decision that a lot of singers before me have made as well, and they've paid dire consequences. And the fact that I'm here, still being successful, I think says something about the industry, that now people are willing to listen, are now willing to start having these really important conversations. And that's something that's really important. And that's why the Alliance is there to make sure that these keep happening. That it's not just a flash in a pan that we're like really excited about it now, and next year nobody cares anymore. That's the work that needs to continue. And one of the beautiful things that we've seen, is the programming of black composers. That we've seen lots of new productions, these past few months and into next season. And that I find very exciting, which, of course, creates roles for lots of black artists. Of course, there's lots of other work we need to do in the boardrooms, in the administration, librettists, really integrating and making opera houses welcome spaces for everyone, and that's just a cultural change, and that takes a lot of work. So, there's still lots of work to do, but I feel like people now at least are listening, and I just hope that we continue all working together to make those changes.

Marc A. Scorca: Well, it is very courageous of you and your colleagues and early on, when so much of the Black Opera Alliance was anonymous, I came to understand that people were scared about the repercussions of being identified, and that to stand up and say, "No, I'm a singer and I also am involved with the Black Opera Alliance, and I also do media, and I also...". People are complicated, and a great act of courage to stand up and be identified, and I think you've led the way for many other people to feel more comfortable in saying, "I'm absolutely part of it". Congratulations.

Raehann Bryce-Davis: Thanks.

Marc A. Scorca: So, even though your career's just taking off, young artists must ask you for advice. And I think given your success, you need to get used to being asked for advice. So, what are some of the questions you're asked and how do you respond to them? What's the core of Raehann's advice?

Raehann Bryce-Davis: The core is "Take the reins into your own hands". That's the core, in terms of making sure that you're ready, making sure that you're equipping yourself that when the opportunity comes, that you're ready. In terms of strategizing, because we like to talk about these magical moments that just happen, but if I had not made myself go to Istanbul to do that competition, that magic wouldn't have happened. And so, really making sure that they're strategizing for success. We just had a session yesterday, strategizing for a performance career. So, that's a big passionate passion of mine. And also just making sure that people are living full lives, because at the end of the day, we're artists and our characters are real people, and if you've never been in love, how do you portray love that your character is experiencing? You know, if you haven't had a fight...

Marc A. Scorca: ...with the person you love...

Raehann Bryce-Davis: ...how are you gonna... So, making sure that you don't just be a student, making sure everything is correct. Because also you have to live, you have to fill your art with love and with passion. So, doing the work, really strategizing and living fully.

Marc A. Scorca: For anyone, what great advice that is. Where's home these days?

Raehann Bryce-Davis: My suitcase.

Marc A. Scorca: I was scared you were gonna say that to me.

Raehann Bryce-Davis: I mean, I have a dog named Gora Petrushka. So, wherever she and my suitcases are, is home. I'm going now to see my boyfriend in California. I have a sister here in New York, and my parents are in Texas, so when I have time off, I go hang out with one of them.

Marc A. Scorca: It's not an easy life to be a great opera singer.

Raehann Bryce-Davis: I don't know. I mean, I think it's pretty fantastic. I love seeing new places, and I'm not tired of the road yet. I don't like missing the people that I love, but I still am in love with the excitement of it all.

Marc A. Scorca: And audiences in love with you. It's just fabulous; what a wonderful story. Now before we end, any questions from the audience.

Audience Member #1: You're getting to do all of these amazing roles. What is the next role that you are just dying to do?

Raehann Bryce-Davis: I've been so lucky. My first ever lead role was Leonora in La Favorite. 'O mio Fernando' is like the mezzo anthem. So, that was my first one. My second one was Eboli, 'O don fatale', the other mezzo (anthem). And then next season, I have my first Amneris, so I'm super-excited about that. So, I feel like the gifts are coming. I was supposed to do a Joan of Arc this summer, and that's been taken away. So, when the world is right again - will it ever be? - I would love to take up that heroine again.

Marc A. Scorca: All those roles you describe, because you were talking about Mimì fading away, those are all strong characters. It doesn't necessarily end well for them, but they are nonetheless really, really strong characters. Verdi, and Donizetti before him, just created these three dimensional, wonderful characters.

Raehann Bryce-Davis: I agree. I would say, I think Janáček also creates some beautiful women characters. Kundry, Venus, I'm waiting for those ladies also.

Marc A. Scorca: Have you looked at the music at all for some of those?

Raehann Bryce-Davis: No, there's so much music that I have to learn, that I can't get to the dream ones yet.

Marc A. Scorca: Oh, how wonderful.

Audience Member #2: So, your performances at The Met (in Rake's Progress) were quite the breakthrough, and for anyone who saw them, we also got to see you break a lot of things. So I would love for you to tell us about what was the rehearsal process like to learn to break that many busts.

Raehann Bryce-Davis: Well, during the rehearsals I had these metal trays, which was impossible, because of course when you break something it shatters, and then that's the end of the sound. When it's a metal container. I was like, (sings) "Scorn", (makes clattering sounds), (sings) 'Abused' (more clattering), so by the time we got to the stage when things were breaking, I was like, "Thank God". So I had one chance, they gave me one good trial bust. And so, I was like, "All right". And I was quite surprised, 'cause it was actually very heavy, so it doesn't take much dropping to break it, which I found out very clearly on opening night, because in all of the excitement, I went for the base and I was like (mimes lifting it high), and the head of it flew off and whacked me in the head. And I was like (acts dizzy), and the next words that my character sings are 'Wretched me'. So, I was just like, (sings, holding head) 'Wretched me'. So, it all just kind of worked out. But mind you, as soon as I came off stage, stage managers were flying at me. "Are you okay? Do I need to call an ambulance?" I got back to my dressing room, my phone is ringing. I look at it, it says Peter Gelb. I'm like, "I got a personal call from Peter Gelb". He was like, "Are you okay? Can you finish the show?" So everybody was super-concerned. I was like, "I don't know. I can't see if there's blood under the wig". But fortunately, everything was fine and the show must go on.

Marc A. Scorca: And it's uphill from there.

Raehann Bryce-Davis: It's uphill from there. I was like, "You can't stop Baba that easy. Here we go".

Marc A. Scorca: How wonderful.

Audience Member #3: Who was that bust that attacked you?

Raehann Bryce-Davis: Oh, I don't know. That's a good question.

Marc A. Scorca: A research question for us. I'm just so grateful for your taking the time to be with us today. It is just marvelous to get to know you better, to hear how grounded you are, not only vocally, but as a human being. What a privilege. Thank you.