Jamie Groote
Praised for her rich sound and captivating finesse, soprano Jamie Groote is immensely dedicated to her artistry and is creating a reputation for herself as a young singer to watch.
Jamie’s 2022/23 season comprised of her role and house debut of Fiordiligi (Così fan tutte) with Manitoba Opera, a chamber collaboration with the Toronto Symphony Orchestra, and a return to the Canadian Opera Company for cover assignments. Ms. Groote was engaged by the Dorset Opera Festival in both summer 2022 and 2023 where she performed the roles of Countess (Le Nozze di Figaro), and Pamina (Die Zauberflöte). Upcoming, Jamie makes her Edmonton Opera and role debut as Micaëla in Bizet’s Carmen.
Additional concert repertoire includes Schubert’s Der Hirt auf dem Felsen, Mahler’s Symphony No. 2 and 4, Strauss’ Vier Letzte Lieder, Brahms’ Ein Deutsches Requiem, Ravel’s Sheherezade, Handel’s Messiah, and Mozart's Requiem, and has performed under the batons of Keri-Lynn Wilson, Uri Mayer, Jader Bignamini, Johannes Debus, Patrick Lange, Roberto Kalb, Andrei Fehrer, and Rosemary Thomson. Roles in her current repertoire include Donna Anna, Donna Elvira, Countess, Pamina, Fiordiligi, Micaela, Marguerite, Governess, Ellen Orford, and Mathilde.
Recent engagements include; Micaela in Carmen (Edmonton Opera); Erste Dame (Die Zauberflöte), 2nd Wood Nymph (Rusalka), La Ciesca (Gianni Schicchi), Flora (La Traviata), Kate Pinkerton (Madama Butterfly), and the lead role of Lea in the world premiere of Ian Cusson’s Fantasma with the company; a series of Holiday Concerts (Edmonton Opera and Edmonton Symphony); Soprano Soloist in the Chamber Soloist Series (Toronto Symphony Orchestra); and covers the Countess in Le nozze di Figaro (Canadian Opera Company).
Jamie is an alumna of the Ensemble Studio (Canadian Opera Company); Gerdine Young Artist Program (Opera Theater of Saint Louis); Bonfils-Stanton Foundation Artist Training Program (Central City Opera); YAVA (Houston Grand Opera); and the Banff Centre for Arts and Creativity.
January 2024
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“Groote brought a palpable stage presence to the role, and her singing was the best of the evening... there is real, and justified, self-confidence in her voice, an attractive warm tone, and happily secure high notes.”
