An interview with Opera Singer and Brooklyn Native, Imani Mchunu Grosvenor

Interview by Gabby Chen.

Hi, Imani, how are you doing? How have the last 9 months been for you? 

Hey Gabby, I’m doing alright. I was living in Brooklyn, NY for most of this year and recently moved to the midwest for grad school. The pandemic has been a rollercoaster to say the least, which I know has been the case for all of us in different ways. I’ve found joy in picking up a few new hobbies. 

Imani Mchunu Grosvenor is an opera singer from Brooklyn, New York. She is currently getting her currently a masters from the University of Michigan and will perform the role of Amore in the School of Music’s spring production of Orfeo ed Euridice.

On your website, you quote Mariam Williamson: “As we let our own light shine, we unconsciously give others permission to do the same”. Tell me more about this quote and what it means to you. 

Yes! You’ve done your homework haha. Well it’s a quote from the speech “Our Deepest Fear” by Marianne Williamson, which is an ode to the greatness that lies within me and in all of us. It reminds me to show up authentically and unapologetically.

I saw you had couple shows coming up in Montclair and Portland during the summer. How did they go? Have you been able to perform during quarantine? 

I was scheduled to perform two of my dream roles this summer, which unfortunately were cancelled due to the pandemic. Covid-19 has been especially challenging for performing artists like myself because venues have had to close to keep people safe. We’ve had to get creative by moving online, or in my case, outdoors. 

Yeah, I saw the video of you and Paul performing Summertime and Votre Toast at the St. James Joy event! It was so great to watch! What was that performance experience like for you? How did the idea for that come about? 

Thanks! Honestly it was one of the best experiences of my life. My husband and I lived on St. James Place, and we grew close to our neighbors through the St. James Joy Block Parties. What I loved about the performance was how at home I felt on my block performing for the community. As I sang, I felt my surroundings welcome me like it was completely natural to be singing opera outside with the trees, brownstones and a crowd of people at my feet. I felt at home because I was home. 

Let’s take a walk down memory lane real quick. How did your love of music start and opera start? Is your family musical in any way, and are there any particular childhood memories that solidified your passion for music? 

I grew up in a very musical home. My parents were academics with a great appreciation for creative things. My mother took me to the West End to see Singing in the Rain while we were living in England and then to several Broadway shows when we moved to New York. My sister and I were always attending performances, concerts and festivals as children which showed me the importance of music from an early age. The first time I fell in love with classical singing was attending a Kathleen Battle (soprano) concert at Carnegie Hall. She was in this gorgeous dress singing spirituals, which are traditional songs sung by african americans originating during the time of slavery. The presence of an african american woman on a major stage singing african american music made clear that I too have a voice in the field of classical music. 

As someone who gets nervous in public, I marvel at singers and performers who seem to have nerves of steel. I know I never could do that kind of stuff. Did you ever get stage-fright? If so, did you do anything to overcome your fears? 

Stage fright is a very common response when it comes to performing of any kind! I had my worst stage fright giving presentations while working in management operations. There are many ways to manage performance anxiety and I’ve found success with any activity that involves deep breathing to calm my heartrate down. There is also something to be said about the power of preparation whether it be adequate rehearsal time or doing any necessary research ahead of time. Currently, I’m also starting to embrace the rush that comes with performing; how might I use my adrenaline to enhance my performance? 

When you were a young artist starting out, what was the best piece of advice given to you? Are there any mentors who really had an impact on you? 

“Do what you love” - best advice ever :) 

I was so inspired by my colleagues in high school and college. It was there that I started to believe that the impossible was possible. There are so many friends, family members, and teachers that have helped along this journey, I hope to show my thanks by continuing to perform.  

Who were some of your musical influences growing up? What’s your favorite opera aria?

So many to choose from! My favorite aria is probably “Sempre Libera” from Verdi’s La Traviata. It’s the quintessential soprano aria in which Violetta sings about love and the desire for pleasure and freedom. 

What do you enjoy most about Opera? What are the hardest things about being an Opera singer?

Opera, the production arm of classical where singers dress up in costumes and play characters, is fun for me because I get to bring the audience into another world, much like what Disney movies did for us as children. It’s in this realm, anything is possible, and we can examine our existence perhaps even challenge the way we live, in a more comfortable setting. As far as singing opera, I’m fascinated by the drama of it all; the long phrases, the soaring high notes, and all of the components necessary to make the show happen smoothly. I’m at home in theatres. 

Fast forward to 50:28 for Imani Mchunu’s performance as Cunégonde in “Make Our Garden Grow” from Candide, Leonard Bernstein.

University Symphony Orchestra & Members of the U-M Chamber Choir conducted by Kenneth Kiesler.

You’ve performed in a range of operas and musicals such as Ragtime, Die Zauberflote, and L’Eilisir D’Amore. Of the bunch you’ve done, do you have a favorite? 

I have shows I like less, but none of the above, and I wouldn’t say I have a favorite show just yet. Other than the music, the people and the experience are what makes a show great for me. 

You’ve lived in South Africa, New York City, the Midwest, and Germany. Not to mention, you’ve also worked outside the music industry — in non-profits and management operations. How has your worldview and values changed over time — both as a person and a musician? 

I was fortunate that my parents cultured a worldview for my sister and I from a very young age and I suppose that never left as I became an adult. It  has allowed me to explore and celebrate all of what makes me unique as a working professional and in my personal life. I’ve noticed over this time, that the relationships I’ve cultivated have been the most important and most memorable aspect of my experiences. Nowadays, establishing good relationships with people remains front of mind. 

Jessye Norman sings “Deep River” at Carnegie Mellon (Spirituals in Concert, March 18, 1990).

In a 2019 interview, the late opera-singer, Jessye Norman was asked to comment on her experience as an African-American woman working in opera, a field that’s dominated by White Europeans. In light of the Black Lives Matter civil rights protests of last Spring and Summer, I wanted to also bring up the topic of racial justice as it relates to the Opera world and get your perspective on this. 

This is a deep question that I’m exploring as a graduate student; the relevance of black contributions to classical music. The fact is that black people around the world have contributed significantly to this field and I am making it a purpose of mine to uplift, reintroduce, and celebrate our place in classical music not only with my voice and presence as an african american woman, but by using my platform to sing music written by African American composers and poets. As an artist, I believe it’s my responsibility to reflect the times in a creative way and to use the performing arts to show the world why black lives matter. The United States would not be what it is without black people from our economy to our music. For instance, when we think about the music that is native to the US, we think about negro spirituals, Jazz, and hip-hop all of which were created by African Americans. 

What advice you have for young artists coming up — for any young artists, but also artists of color?

At the risk of sounding cliche; always do your best, control what you can control, and go where you’re appreciated. 

Last question, are you listening to anything good lately? And what are your plans for this summer/year? 

I’m a huge fan of the South African soprano Pretty Yende. Currently, I’m on the hunt for more classical singers from my home country and I’ve found a few artists whose careers I’ve recently started following: 

1) Soprano Vuvu Mpofu singing “Caro nome” from Verdi’s Rigoletto, and 2) Tenor Levy Sekgapane singing “Languir per una bella” from Rossini’s Cavatina.

As far as summer / year plans, we’re still very much in the midst of the pandemic which means plans are quite uncertain. I do have another year or so left in graduate school so I’ll be enrolled again in the fall.

“Caro nome” from Verdi’s Rigoletto

Tenor Levy Sekgapane singing “Languir per una bella” from Rossini’s Cavatina.