_{Artist of the Week} 16 Qs for Jeremy Scinocca

Drink of choice?
Beer: Great Lakes Brewery, Sunny Side Session IPA. Cocktail: Negroni.

Favourite city that you’ve worked in?
I feel incredibly fortunate that singing has taken me to so many remarkable places across Canada, but my personal favourite is Whitehorse and Dawson City in the Yukon. I had the opportunity to visit both as an Emerging Artist with Edmonton Opera, performing the role of Spoletta in Tosca, the first fully staged opera with orchestra in Whitehorse in over 50 years, and presenting a recital in Dawson City.

What’s your favourite thing about singing with an orchestra?
If singing with piano is the sketch, singing with orchestra is the full-colour painting come to life. There’s nothing wrong with a brilliant sketch, but the colours and textures of the orchestra, brought to life by so many different instruments, expand the imagination of a piece in a way that feels vivid and complete.

What’s the best thing about being an opera artist?
The supportive community that surrounds opera and their shared passion for bringing forth these incredible pieces of art. I have been so lucky to collaborate with some of the best in the business, and their kindness and passion has continued to inspire me.

In all the time I’ve worked in opera, I’ve never once felt like it was a “job.” Even during tense or frustrating rehearsals, I still find myself excited to walk back into the room the next day and get to work.

What’s your favourite non-classical band?
It’s always hard to single out one band but recently I would have to say Radiohead.

What was your childhood dream job?
I have a kindergarten school art project where I poorly painted myself on a stage with the caption “I will be a rock star when I am big” (with multiple spelling mistakes). I think being an opera singer fulfills that dream of mine.

Do you sing in the shower?
Almost always.

What is the best advice you have ever been given?
“You never sound as bad as you think, and you never sound as good as you think.” It’s simple advice, but it’s been invaluable in helping me stay level-headed. I’ve had moments where I’ve been disappointed in how I thought I sang, only to hear a recording and feel differently and others where I thought something was perfect, only to notice flaws later. That perspective keeps me grounded and focused on what’s ahead, rather than dwelling on the notes I’ve already sung.

What’s your favourite mind-calming practice?
Golf, hockey and some slo-pitch softball depending on the season have all been great outlets to keep my grounded and not always thinking about singing.

What is one thing that you cannot live without?
Loved ones and friends.

Do you approach singing and/or upcoming projects differently today than you did at the beginning of your career?
Yes, early on, my preparation was often driven by a fear of being unprepared and a desire to prove myself. Now, my approach comes from a place of excitement and curiosity. I find myself asking: What strengths can I bring to this character? Which parts of my voice can really shine in this music? That shift has made the process more creative and ultimately more fulfilling.

What’s the most important lesson you learned from childhood?
I played a lot of team sports growing up, which taught me many lessons about team work and being a team player. In a rehearsal room, understanding the goals of the room and my contribution to them has been vital to my career.

What’s the downside of being an opera artist?
While the travel and the fully immersive nature of rehearsals and performances are aspects of the career I truly enjoy, they can also come with a cost. Being away often means missing important moments in the lives of the people around you – funerals, weddings and milestone celebrations. I’m incredibly fortunate to have friends and family who are so supportive and understanding, but there are times when I wish I could be there for them, and the commitments of the profession simply don’t allow it.

Favourite Place?
My family has been renting a cottage just north of Grand Bend in the summer for many years now and that area has grown to be one of my favourite places for downtime. The sunsets are some of the best in the country.

Who is a singer you admire who is currently working?
Matthew White is a singer I greatly admire. I had the honour of working with him when I performed Remendado in Vancouver Opera’s Carmen, where he sang Don José. He has one of the most incredible voices I’ve heard on stage, and he’s also an exceptionally kind and generous colleague. I’m looking forward to sharing the stage with him again in Opéra de Montréal’s Rigoletto, where I’ll be singing Borsa and he’ll be performing the Duke.

What’s the biggest risk you’ve taken for a production?
The biggest risk I’ve taken was stepping into a production of Tosca with the National Arts Centre Orchestra on just 24 hours’ notice, having never sung Spoletta before. It was certainly daunting at first, but I was surrounded by an incredibly supportive team who helped me get up to speed in the days that followed. Six days after getting the call, I was onstage for opening night, a challenge that turned into one of the most rewarding experiences of my career.