The MCR Interview
Necessary: J’Nai Bridges on Art, Opening Minds, and the Responsibility of Voice
In this in-depth conversation (embedded below) mezzo-soprano J’Nai Bridges discusses her upcoming performance with the Nashville Symphony in Reflections and Hope, featuring Brian Field’s new composition Everything Hurts, inspired by *Amanda Gorman’s “Hymn for the Hurting.” The discussion explores how Gorman’s words and Field’s music intertwine, how poetry and melody share the same emotional DNA, and how the work resonates with the urgent social and political climate of today.
Bridges reflects on the innate musicality of Amanda Gorman’s poetry, recalling the melodic tone and cadence that first captivated her during the 2021 presidential inauguration. For Bridges, setting Gorman’s words to music feels natural and seamless. She describes Field’s compositions as flowing effortlessly with the poetry—melodic, expressive, and emotionally clear. Their collaboration, she says, “just makes sense.”
The conversation delves into the deeper themes of the work. Everything Hurts channels the pain and resilience of a world in turmoil, speaking to both beauty and ugliness in equal measure. Bridges addresses the irony of censorship efforts aimed at Gorman’s writing, calling such actions “ridiculous and evil.” She insists that artists must continue to create and reflect the times, especially during periods of unrest. Her goal, she emphasizes, is “to change hearts and open minds” through art that heals and uplifts.
She connects this mission to her broader artistic and social engagement. The proceeds from Everything Hurts benefit Everytown for Gun Safety, aligning her work with ongoing efforts to reduce gun violence. Bridges also recounts her leadership in organizing the L.A. Opera panel on race and inequality, which she moderated during the early days of the pandemic. That conversation replaced a planned virtual recital shortly after the murder of George Floyd. She describes being unable to sing, choosing instead to hold space for Black classical musicians to speak openly about their experiences, vulnerability, and fear. It was, she says, both “scary and healing,” and it helped spark dialogue and change within the classical music community.
The interview also revisits Bridges’ powerful performance of Tulsa 1921: Pity the Ashes, Pity This Dust, commemorating the centennial of the Tulsa Race Massacre. She recalls being “out of her body,” channeling ancestral voices and emotions that transcended the stage. Discussing her expressive style, Bridges embraces movement as an essential part of storytelling—rejecting outdated traditions of stillness in opera. For her, physical expression is both natural and necessary, breaking the wall between artist and audience.
Bridges situates her artistry within a larger continuum of progress. Earlier generations of Black classical artists, she notes, often felt they “couldn’t” move or fully express themselves on stage. Each new generation, she believes, should break barriers further. As an artist, she strives to bring her whole self—voice, body, and spirit—to her performances.
The conversation turns to her advice for aspiring musicians. Bridges emphasizes self-trust, discipline, and the belief that each artist’s voice is worthy of being heard. She reminds young performers that even in classical music’s long journey, persistence and self-belief are essential. “We already have a Leontyne Price and a Denyce Graves,” she says; what matters is discovering one’s own voice while honoring those who came before. She also underscores the importance of practice and of surrounding oneself with peers and mentors who inspire dedication and excellence.
Looking ahead, Bridges shares details of her upcoming projects: a recital at the Morgan Library in New York, her Spanish debut as Carmen in Madrid, a concert in Lisbon of French repertoire, the U.S. premiere of Damien Geter’s Cotton in San Diego, and a performance in Washington, D.C., in an opera based on The Crucible.
Throughout, Bridges’ reflections return to purpose and responsibility. She speaks of her duty to honor her gift through hard work, to use her platform to open doors for others, and to represent her community truthfully on the world’s stages. The discussion closes with a vision of artistic collaboration: an interdisciplinary dream project combining classical music, dance, and spoken word—with figures like Misty Copeland, Stevie Wonder, and Amanda Gorman sharing one stage. (Summary: MCR Staff)
Recorded in conversation ahead of the Nashville Symphony’s “Reflections and Hope” concert, this interview captures J’Nai Bridges’ deep sense of artistic mission—merging beauty, activism, and truth in sound.
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Y Kendall is a Stanford-educated musicologist, specializing in dance history who recently earned an MFA in Creative Nonfiction at Columbia University, studying nonfiction writing with Ben Ratliff and Margo Jefferson. Kendall’s diverse works have been published in Alchemy: Journal of Translation, Columbia Journal, Mitos Magazín, The Hunger Mountain Review, and The Salt Collective, among others. Born and raised in Tennessee, Kendall now lives near Nashville, freelancing as a flutist and writer, while caregiving for relatives.
