_{Artist of the Week} 20 Qs for Jaclyn Grossman

When was your first singing lesson (and with whom)?
I was painfully shy as a kid, so when I was four, my parents signed me up for after-school drama classes to help me come out of my shell – little did they know what they were starting! But my actual first voice lesson didn’t happen until I was 16, with Irene Ilic in Toronto. She was the one who suggested I try classical singing, but let me indulge my full-blown obsessions with Wicked and Les Misérables. 

Drink of choice?
Iced coffee and/or Diet Coke.

If you weren’t a singer, you’d be..?
Many of the things I’d be doing instead of singing are things I already get to explore alongside it, one of my favourite parts of my multifaceted career. I currently enjoy (and would still pursue) facilitating professional development training (I’m a total leadership nerd), working with youth and in educational spaces, producing, artistic/logistical planning, creating across disciplines (opera, theatre, and beyond) and project management. 

Which opera role do you want to be singing right now?
Brünnhilde! (I genuinely feel like I won the lottery!) 

Which opera role do you want to be singing in 10 years?
Can I say Brünnhilde again? But also Isolde, Lady Macbeth (among many others), and hopefully roles in operas that haven’t been written yet. I love exploring new music, collaborating with creators, and telling stories that reflect my community. 

Who is a singer you admired from the past?
Birgit Nilsson is one of my all-time favourites. Her voice and artistry were out of this world, and she was a total powerhouse: self-managed, business-savvy, hilarious, and took the work seriously, but didn’t take herself too seriously (based on what I’ve heard/read!). 

What’s your favourite thing about singing with an orchestra?
Singing with orchestra is one of my favourite things in the world. The colours they create, the cushion of sound, the sheer energy—they can make singing feel effortless, or like you’re strapped to a rocket ship. I love collaboration, and in something like Wagner, where the voice is woven into the fabric of the ensemble, it’s pure magic. 

What is one surprising thing that you have learned in becoming an opera singer?
It’s amazing to me how many skills artists need to develop, and that the learning never stops! Beyond developing vocal technique and exploring our artistry, we also juggle language learning, developing musical skills, embodying different characters, exploring stage combat, etc. On top of that, artists are essentially running a small business. We need skills in financial management, project and time management, marketing and logistics, all of which allow us to manage the day-to-day elements of our careers. 

Are there more musicians in your family? If yes, who and what do they play/sing?
My wonderful parents were actually reluctant to put me in music classes – my dad never learned to tune his guitar after five years, and my mom was asked to lip-sync in choir. But looking further back, my great-great-grandmother was an opera singer in Poland, and my great-great-uncles were cantors in synagogues. Cantorial singing has deep ties to classical music and opera, so maybe it’s in my blood after all! 

What’s your favourite mind-calming practice?
Lately, I’ve gotten back into knitting – something my Bubbie taught me. It’s creative but totally separate from my artistic practice, which makes it feel restorative. I even say I’m a “bad knitter” on purpose – there’s something really freeing (and calming) about doing something creative without any pressure to be good at it. 

What’s the best thing about being an opera artist?
The people, hands down! I love meeting new collaborators and building opera families wherever I go. I also love experiencing new places and cultures along the way. 

Are you a cat person or dog person?
I love all animals, but I have to say dogs—mostly because I’m very allergic to cats (though that doesn’t stop me from petting them anyway). 

Which actress/actor would be cast as you in a film about your life?
Amy Poehler, but as Leslie Knope in Parks and Rec. I’ve been told more than once that I’m way too much like her—super eager, endlessly enthusiastic, and way too excited about nerdy things. 

What’s a big investment for an opera artist, but totally worth it?
Building a multi-faceted skill set that supports both your passion and your livelihood. That, plus an excellent voice teacher, a trusted “personal board of directors” (aka your ride-or-die community), and GeloRevoice lozenges. 

Do you have a funny joke for us?
What do you call a bear with no teeth? A gummy bear! (My mom and Zaidie provide an endless supply of jokes!)

Are you superstitious? If yes, can you share what it’s about?
Absolutely! I grew up doing theatre and would never dare say the name of the Scottish play – or opera – in a theatre. My mom’s also superstitious, so I was raised with all kinds of little habits, like tossing salt over your left shoulder if you spill some. 

What is the best advice you have ever been given?
I’ve collected a few mantras over the years that stuck with me: You can’t always control how you sing, but you can always be kind. Feel the fear and do it anyway. And maybe most important – trust your voice, which to me really means trusting and believing in yourself. 

The music industry is tough, and filled with rejection. How do you cope? Does it get easier?
It doesn’t necessarily get easier, but I think we learn to manage it better. For me, that means building community and finding joy and fulfillment in many different places. Things shifted when I found creative outlets outside traditional opera, like concert work and creating new works with my duo, Likht Ensemble, and collaborative projects with groups like Opera 5 and the Association for Opera in Canada. Finding purpose in community and creativity has made all the difference. 

What is the ultimate goal of opera?
For me, the ultimate goal of opera is to build community and understanding – and to make everyone feel welcome. It’s about sharing beautiful art, telling stories that resonate or entertain (we love a comedy too!), and even shifting or expanding the way we see the world. 

When was the first time you cried at the opera?
When I was 19, I saw Die Walküre at the Metropolitan Opera – one of the first live operas I ever experienced. As the Valkyries stormed the stage at the top of Act Three, I was completely overcome with emotion and excitement. In that moment, I knew my dream was to one day be one of those fierce, powerful women in sisterhood onstage.