Lynn Isnar is a soprano with a wonderful voice and stage presence who appears regularly in the Toronto, area. Lynn will be singing with the Toronto Concert Orchestra in July in a program titled “Romeo & Juliet” both as Gounod’s operatic Juliette and Maria in Leonard Bernstein’s adaptation of Shakespeare, West Side Story.

Lynn is a versatile crossover artist, as comfortable in something modern as in classics.

I was delighted to discover more about her thoughts about life and art in this interview.

BB: Are you more like your father or mother?

Lynn Isnar: I would say I’m a good mix of both. I definitely act more like my father. We are both stubborn, out-of-the-box creative thinkers and always believe anything and everything is possible as long as you put your mind to it. I have my mother’s patience, maternal nature and grace. People always say I remind them of my mother when I’m on stage, and my father when I’m talking business. Neither of them are musicians, however huge supporters of the career path I’ve chosen. 

BB: What is the best or worst thing about what you do?

Lynn Isnar: There are so many amazing things about what I do. I get to share music and connect with an audience on such a personal level. I’m constantly learning through music, whether it’s about history, languages, compositional techniques and the list goes on. I meet so many interesting people from all walks of the world, such as new artists, composers, directors, writers, anyone and everyone involved in a concert or show. It’s never a dull moment. 

The most challenging part is how sensitive singing is to both your physical and mental state. It can be something small, like a cold or stomach bug, which can make breathing low and sustaining notes difficult, or bigger challenges like recovering from a car accident or pregnancy. I gave birth in the last year and singing during and after that journey was incredibly difficult—nausea, breath control, rebuilding core muscles—it all affected my voice. Of course, everyone’s experience is different, but there’s so much behind-the-scenes work that goes into making singing look effortless.

Mentally, you have to be present 100% of the time, which can be hard if you’re having an ‘off’ day or going through something traumatic in your personal life. Singers juggle so much—notes, phrasing, lyrics, acting, staging, even tricky costumes or shoes. The voice is so exposed and emotionally driven. 

BB: Who do you like to listen to or watch?

Lynn Isnar: I grew up listening to a little bit of everything. When I’m learning something classical, I usually listen to Anna Moffo or Elisabeth Schwarzkopf. Diana Damrau is another powerhouse I love to study. I often fall into rabbit holes when researching a piece, discovering new voices and interpretations—so I don’t really have one go-to favourite.

I adore Ella Fitzgerald and Louis Armstrong – they’re a fabulous duo. They’ve really inspired some of my recent performances. I also love Latin American music—it lifts my mood instantly. The rhythms, melodies, and language make me want to dance 99% of the time. 

BB: What ability or skill do you wish you had, that you don’t have?

Lynn Isnar: I wish I were a better cook. Thankfully, I married someone who is a semi-competent chef (his words, not mine). Our fridge is empty, just wine.

BB: Haha, sounds like fun! So when you’re just relaxing and not working, what is your favourite thing to do?

Lynn Isnar: Spending time with my family, painting, and browsing auction sites.

BB: What was your first experience of music?

Lynn Isnar: My mom enrolled me in group classes at the Royal Conservatory of Music when I was about 4 or 5, and that led to piano lessons. I joined the Canadian Children’s Opera Company and also sang in my church choir (Holy Trinity Armenian Church).

The CCOC would give us dress rehearsal tickets at the Canadian Opera Company, and I vividly remember falling in love with opera during a performance of Carmen. I was also completely mesmerized by Die Walküre, which is nearly five hours long. I was only 10, and my mom was amazed I sat through the entire opera, totally captivated.

My decision to pursue music came after my final performance with the CCOC. I played Mrs. Cratchit in A Dickens of a Christmas. I remember thinking, this is it—this is what I want to do forever.

My love for music and teaching all stems from those early experiences and my incredible parents.

BB: The CCOC can be such an important experience, I’m not surprised you’re an alumna. So tell me, what’s your favourite song?

Lynn Isnar: Currently, my favourite song is “Love Me Tender” by Elvis, because it’s the first song that I used to soothe my daughter to sleep when she was born. Here we are, 10 months later, and we’re still singing and loving the song. I wonder if it will ever get old…

BB: In July Toronto Concert Orchestra presents a program titled Romeo & Juliet. What will you perform in the concert?

Lynn Isnar: I’ll be singing “Je veux vivre” from Romeo and Juliet (Gounod), “Quando m’en vo” from La Boheme (Puccini) and “Reaching for the Moon” (Irving Berlin) as solos. I will sing a few duets with Colin Ainsworth including “Tonight” West Side Story (Bernstein), “Tornami a dir che m’ami” Don Pasquale (Donizetti) and “Parigi o cara” La Traviata (Verdi). 

Je veux vivre is an aria I’ve been singing for over 10 years. It’s joyful and youthful, but technically demanding with some vocal “booby traps”—tricky passages that take years to master. I love its lighthearted energy in contrast to the confident flair of Quando m’en vo, and the sultry elegance of Reaching for the Moon.

Other pieces in the program include Freddie Mercury: Bohemian Rhapsody, Jules Massenet: “Pourquoi me réveiller” (Werther), Tchaikovsky: Romeo and Juliet, Taylor Swift and Post Malone: Fortnight, Leonard Bernstein: “Maria” West Side Story, Lyn: My Destiny, from My Love from the Star, Des’ree: I’m Kissing You, from Romeo + Juliet, and The Cardigans: Lovefool, from Romeo + Juliet.

What makes this program so unique is the variety of genres presented. You’re going from classical and opera to pop to jazz to musical theatre. There’s something in this concert for everyone!

BB: Could you comment on the light music in Toronto Concert Orchestra’s popular programming? 

Lynn Isnar: The Toronto Concert Orchestra has a large variety of programming in this summer concert series. They do an amazing job of making their events so versatile and inclusive. They start off each event by inviting guests to a beautiful cocktail hour, filled with drinks and appetizers right on the water at the Palais Royale. Followed by a close and personal interactive experience with the orchestra and singers. 

The TCO’s programming is curated in a very tasteful manner. There is a new showcase every week for 5 weeks on Tuesday evenings and each show has a variety of genres, filled with something different and interesting for the public. For example, they have one concert that is filled with Canadian female artists including Joni Mitchell, Alanis Morissette, and Sarah McLachlan. Then another filled with pieces sung by Edith Piaf alongside pieces by Satie, Poulenc, Ravel and Saint-Saëns. Additionally, each week has a suggested dress-up theme, which can make it very fun for the audience and orchestra members. The fourth concert in the series is called “Beethoven’s Secrets” and promises to spill the tea on Ludwig, with a suggested costume theme of ‘tea party best’. 

BB: Do you have any ideas about reforming/modernizing classical music culture to better align with modern audiences?

Lynn Isnar: We can continue to adapt to social media and digital platforms while promoting our work. We can modernize how we present and perform: by incorporating visuals, technology, and storytelling. Artists now also need to be content creators. Social media, videos, live streams—these are essential for visibility. If an artist doesn’t have a presence on Instagram, Facebook, YouTube, or Spotify, people may not be inclined to buy tickets. It’s exhausting, but it’s the reality. The job now includes marketing, content creation, and constant online engagement—in addition to practicing, performing, and managing.

Can you describe your most recent concert “Rêves Divins” in Montreal? 

Lynn Isnar: “Rêves Divins”, also known as “Divine Dreams” is a concert program I curated alongside my husband, Garbis Gary Sahsuvar, who is a jazz musician and plays tenor saxophone and dear friend and phenomenal pianist, Artun Miskciyan.

We first performed this concert in November 2023 at the Aga Khan Theatre. We created a unique program filled with pieces made up of different languages and genres, centred around the theme of dreaming specifically for voice, tenor saxophone and piano. There is a mix of jazz, pop, musical theatre, classical, Armenian, Spanish, songs sung by Edith Piaf, and more. All arrangements are made by Garbis and Artun, unless otherwise stated, and have been curated to fit our little trio. They have even created arrangements for solo piano and saxophone works, such as La Boheme (Aznavour), Elegy (Babajanian), and more – which hasn’t been done before. It is a unique blend of everything and has given us the opportunity to explore different repertoire. This is the third time we’ve presented the program and hope that with each time, there will be new improvements and song selections added to this concert.

I encourage any artist to take control and create art that brings them happiness.

BB: Your words of advice are so brilliant.

Lynn Isnar: Don’t wait for the opportunities to find you – make them. Have fun, be yourself, perform pieces that inspire you, and share the inspiration with others. Do what makes you happy. Audiences appreciate authenticity and can feel when something comes from the heart. Whether you are performing in a theatre, a pub, a church or busking on the street, allow your creativity to flow and blossom. It’s a lot of work, but it’s very rewarding. 

BB: You appear to be part of the vibrant Armenian musical community, a relationship that seems to nurture your work. 

Lynn Isnar: Yes! I grew up in the Armenian community here in Toronto, and the support I’ve received from this beautiful community has been amazing. It has shaped who I am as a performer, as I started performing at various events within the different Armenian Community Centres and churches when I was in high school. It helped me build confidence, and gain experience and flexibility as a performer.

I do feel a special connection to Armenian pieces and composers. I love to include these works in my recitals and concert programs and have always received positive feedback from all audiences. It is a part of who I am and I am proud to share my heritage.

My next performance within the Armenian Community is this upcoming weekend at the Hamazkayin Theatre. I’ll be performing a couple of pieces with the Kousan Choir. 

BB: Do you have any influences / teachers you want to acknowledge

Lynn Isnar: I’d like to acknowledge Jean MacPhail, Jennifer Tung, Rachel Andrist, Joan Dornamann, Mignon Dunn and Ruth Falcon. I’m also incredibly grateful to all of my professors and teachers at the University of Toronto and the Glenn Gould School. Their support, encouragement and wisdom have played an integral role in who I am as a musician today. 

Thank you so much! I’m filled with gratitude for the people, communities, and experiences that have made this life in music possible. Here’s to more music, connection, and creation.

On July 29th at  8:00PM in a program titled Romeo and Juliet Lynn Isnar will be making her debut with the Toronto Concert Orchestra in their summer concert series, singing various genres including classical, opera, musical theatre and jazz at this intimate event at the Palais Royale. Tickets