soprano  Home Biographie Agenda Répertoire Vidéos Galerie Presse Contact News PROCHAINEMENT 14, 17, 21, 26, 28 mai 2017 DON CARLO Elisabeth de Valois Direction : Massimo ZANETTI Metteur en scène: Philipp HIMMELMANN STAATSOPER BERLIN   VIDEOS
Les Vêpres Siciliennes ( The Royal Opera House) Erwin Schrott, Bryan Hymel, Lianna Haroutounian: Sort fatale! Members of the cast and creative team introduce Les Vêpres siciliennes (The Royal Opera House) Disponible maintenant en DVD et BLU-RAY Les Vêpres Siciliennes Lianna Haroutounian dans le rôle d’Hélène à Royal Opera House Ici vous pouvez écouter la diffusion de “Madama Butterfly” à Concertgebouw d’Amsterdam 10, 15, 22, 25, 28 Juin 2017 MADAMA BUTTERFLY Cio-Cio-San Direction : Johannes FRITZSCH Metteur en scène: Vincent BOUSSARD STAATSOPER HAMBOURG   New York, Metropolitan Opera: SIMON BOCCANEGRA NEW YORK CLASSICAL REVIEW ... par George Grella, le 02/04/2016 “...A star of the evening was soprano Lianna Haroutounian, as Amelia. The character has some of the most impressive music in the opera, starting with her Act I aria “Come in quest’ora” and continuing through a series of duets and trios with Adorno and Boccanegra. Haroutounian began with a simple and attractive luminosity and then, throughout the performance, added increasing levels of musical and emotional depth—she guided the dramatic direction of the performance as much as Domingo. Her high notes, sung with as rich, rounded, and clear tone as everything else, were prominent, but the way she shaped her lines, building to the climaxes, was scintillating...” Lianna Haroutounian avec Placido Domingo Bruxelles, La Monnaie: ADRIANA LECOUVREUR Merveilleuse Lianna Haroutounian dans le rôle-titre d'Adriana Lecouvreur à La Monnaie de Bruxelles Par Emmanuel Andrieu , le 23.02.2016 “...Dans le rôle-titre, la sublime soprano aménienne Lianna Haroutounian – à nos yeux la plus belle chanteuse au monde après Netrebko et Yoncheva – apporte toute sa dimension à la soirée grâce à la force de son interprétation. Au-delà de la beauté intrinsèque et du rayonnement phénoménal de la voix, elle captive par l'attention particulière qu'elle accorde au texte, en parant son chant d'accents et d'inflexions admirables, pour mieux servir une partition écrite pour de grandes diseuses : le célèbre Monologue de Phèdre est ici déclamé avec une merveilleuse sobriété. L'art de Lianna Haroutounian est celui d'une immense chanteuse, au timbre généreux, à l'accent sincère, à l'émotion immédiate, éloignée de tout artifice ; il est impossible de ne pas succomber à cette présence vocale franche et directe, et chacune de ses prestations nous emplit d'un bonheur sans partage...” OPERA ONLINE... Lianna Haroutounian avec Evelino Pido Amsterdam, Concertgebouw: MADAMA BUTTERFLY “Lianna Haroutounian Triumphs as Tosca – San Francisco Opera” San Francisco: TOSCA Opera Warhorses... le 23.10.2014  “...Armenian soprano Lianna Haroutounian’s American  debut took place at the San Francisco Opera  in the  title role of Puccini’s “Tosca”. Performing a role she was singing for the first time, her gleaming soprano filled the War Memorial Opera House. Her second act showpiece Vissi d’arte received the great ovation that one expects from San Francisco audiences for a first rank Tosca...” “San Francisco Opera review...  By Joshua Kosman 25.10. 2014 “...One of the great aspects of soprano Lianna Haroutounian’s phenomenal San Francisco Opera debut on Thursday night was the way she turned her musical gifts to the service of that conception. You could listen to her singing Puccini’s music all night long, and marvel at the beauty, precision and power that she packed into every measure of the performance. But Haroutounian’s Tosca, unveiled at the War Memorial Opera House in the course of a traditional but largely effective revival, was more than just a virtuoso display of vocal prowess. It was a dramatic depiction of a woman for whom that artistry was essential to her very character. In Act 1, when Tosca throws a little jealous tantrum at her lover, the painter Cavaradossi, the effect is always a simultaneous combination of staginess and genuine emotion. But the fearless energy of Haroutounian’s delivery — the way she tossed off peals of impeccably shaped notes without seeming to worry about where they would land — fused those two qualities seamlessly. And in Act 3, when Tosca recounts the climactic conclusion of Act 2 — in which she plunged a dagger into the heart of the evil police chief Baron Scarpia — Haroutounian’s narrative was at once gripping and artistic, vaulting to a perfectly placed and sustained high C at the mention of the blade. You just knew that Tosca would never tell a story like this without one eye on her audience. Haroutounian was able to pull off this integration of performer and character largely because her vocal endowments are so prodigious. The voice rings out powerfully, and yet there’s a sheathed quality to it that encompasses even the most piercing high notes in a wealth of color. Her rhythmic control is fluent, her low notes robust and full of life, and her stage presence at once charismatic and vulnerable. And yes, the big Act 2 aria, “Vissi d’arte,” was delivered with sympathetic ardor — but Haroutounian’s entire performance surrounding it was so gripping, from moment to moment and scene to scene, that that number was merely one splendor among many...” Saint Pétersbourg: IOLANTA «Иоланта» завершила фестиваль Владимир Дудин 30.12.2015 “...На сцене петербургской Филармонии дебютировали армянское сопрано с европейской пропиской Лиана Арутюнян в заглавной партии и чешский тенор Павел Чернох в партии Водемона. Оба щедро добавили сочные краски в хорошо известную партитуру. Свободно льющееся, тембрально богатое, полное чувственной красоты сопрано Лианы позволило ей создать образ внешне хрупкой, но внутренне страстной особы, ожидающей своего часа, чтобы, подобно волшебному цветку, расцвести неземным цветом...” “...Исполнительница титульной партии – дебютантка петербургской филармонической сцены Лиана Арутюнян, армянское сопрано с европейским признанием – подтвердила свой статус изумительной ровностью звуковедения во всех регистрах, тембральной красотой и сбалансированной эмоциональностью...” “...Lianna Haroutounian a triomphé en Mimì...” Londres, Royal Opera House: LA BOHEME Par Giuseppe Montemagno le 11.07.2015 “...D’origine arménienne, la chanteuse fait valoir une magnifique voix de soprano lyrique, d’un beau grain et, surtout, d’une incroyable intensité émotionnelle. Ainsi, sa sortita est chantée con semplicità, sans affectation, et con espressione intensa, une expressivité à fleur de peau que l’on retrouve tout au long du troisième tableau et, surtout, dans son dernier solo, « Sono andati ? Fingevo di dormire », magnifiquement bâti et soutenu sur le souffle...” L'Avant-Scène Opéra... Levente Molnár (Marcello), Piotr Beczala (Rodolfo), Lianna Haroutounian (Mimì), Dionysos Sourbis (Schaunard) et Nahuel Di Pierro (Colline).  С.-Петербургские ведомости... Независимая газета “...Maar het was de Armeense sopraan Lianna Haroutounian die in de titelrol de grootste ovaties oogstte. Meesterlijk schakelde ze tussen naïeve onderdanigheid en assertief vertrouwen richting dienstmeisje Suzuki (maximaal sympathieke Marie-Nicole Lemieux). Loepzuiver en overrompelend waren haar ijselijke uithalen in de slotscène...” Lianna Haroutounian schittert als Butterfly  Par Laura Roling le 18.01.2016 “...In het stralende middelpunt stond de Butterfly van rijzende ster Lianna Haroutounian, die het publiek in de tweede akte massaal naar de zakdoeken deed grijpen...” “...Butterfly werd vertolkt door de Armeense sopraan Lianna Haroutounian. Deze sopraan begon haar internationale carrière in 2013 door op het laatste moment als totaal onbekende zangeres de rol van Elisabetta in Don Carlo over te nemen van Anja Harteros. In een sterrencast met onder anderen Jonas Kaufmann wist ze zich meer dan uitstekend te redden; ze deed de afzegging van Harteros volledig vergeten. Sindsdien is de sopraan steeds vaker te zien op de grote internationale tonelen. Haroutounian was vocaal een welhaast perfecte Cio-Cio-San. Haar sopraan heeft een ietwat donkere, warme klank, die ook in de hoogte kan schitteren, zonder aan warmte in te boeten. Alle registers vloeien prachtig in elkaar over en ze kan zachte en tedere zang feilloos afwisselen met luide, geëmotioneerde uithalen. Bovendien hoeft ze haar stem nergens te forceren. Het is te hopen dat De Nationale Opera Haroutounian op korte termijn voor een rol weet te strikken, voordat deze zangeres ‘te groot’ wordt voor Amsterdam. Haroutounian wist de rol van Butterfly behalve uitstekend te zingen ook aangrijpend te acteren op het podium van het Concertgebouw, waardoor het publiek niet anders kon dan volkomen meegesleept te worden in de ontwikkeling van een jong, naïef meisje naar een gebroken maar sterke vrouw. Om mij heen werden er in de loop van de tweede akte steeds meer zakdoekjes getrokken en er werd hoorbaar zachtjes gesnift. Ook uw recensent wist het niet droog te houden...” Place de l'Opera... “...Lianna Haroutounian ha una voce importante e di bellissimo timbro, omogenea su tutta la linea, e con un registro acuto luminoso anche se gestito, a volte, con molta prudenza. Rinuncia, e fa bene a mio avviso, al re acuto a conclusione dell’entrata di Butterlfy e arriva in fondo alla recita con invidiabile freschezza, cosa che, in un ruolo simile, non è certamente poco. Tutti i momenti topici della partitura sono restituiti in modo splendido dal punto di vista puramente vocale...” Par Edoardo Saccenti le 18.01.2016 OperaClick... Par Floris Don le 18.01.2016 NRC.NL... Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw Par Jenny Camilleri, le 21.01.2016 “...The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San..” “...So could Lianna Haroutounian, who gave a world-class performance as the abandoned teenage bride. Her Butterfly was trusting but dignified, and devoid of simpering silliness. With its rich, silk-wrapped vibrato, even focus from top to bottom, and that ductile quality Italians call morbidezza (softness), Ms Haroutounian’s voice is ideal for the young heroine. And she is a true spinto soprano, with enough power and stamina to tackle the onerous third act. Her full top notes are confident and lustrous. She did not take the high D flat at the end of the entrance aria, but the composer-sanctioned lower alternative, and quite beautifully too. “Un bel dì vedremo” (One fine day) was vocal perfection. She effectively built up the  tension during Butterfly’s imagined reunion with Pinkerton and ended  the aria in a stunning high B flat. Visibly emotional in the suicide scene, she veered a little sharp in “Tu, tu, piccolo iddio” (You, you, my little god). Halfway through, she refocused her voice and sailed through to a secure finale. Unsurprisingly, the hall gave her  a clamorous ovation. San Francisco Opera has already announced that Ms Haroutounian will be their Butterfly next season. No doubt she will be invited to sing this role at several other houses. As many Puccini fans as possible need to hear her in it. In fact, opera fans of all types need to hear Ms Haroutounian, in any of her roles—hers is one of the major voices of our time...”  OPERA TODAY...  “...C’est évidemment au rôle titre que reviennent tous les honneurs : la soprano arménienne Lianna Haroutounian, pour qui il s’agit à la fois d’une prise de rôle et d’une première apparition sur  la scène de la Monnaie, a fait forte impression. Ses moyens vocaux sont immenses, particulièrement bien mis en valeur par le rôle, et si on peut penser qu’à certains moments elle en fait trop, le lyrisme naturel de la voix et l’investissement dramatique de l’artiste l’emportent largement...” Par Claude Jottrand, le 17.02.2016 FORUMOPERA.COM... “...De Armeense sopraan Lianna Haroutounian, die we hoorden in Bozar, beleefde perfect haar diva-rol. Ze had er ook haar kledij aan aangepast, met een strak gouden jurk in het eerste deel en een blitse fuchsia jurk in het tweede. Ze acteerde haar verliefdheid, passie, jaloezie, waanzin en vertwijfeling absoluut overtuigd en ook haar vocale vertolking was helemaal in stijl. Zoals haar jurk had haar stem een gouden glans en waar nodig veel volume. Maar in de intiemere passages zong ze ook met pijn haar hoop en verlangen uit. Zelfs haar stukje echt “theater” met de klacht van Phaedra reciteerde ze knap. Een prachtige verschijning...” ... Par Lucrèce Maeckelbergh, le 24.02.2016 KLASSIEK CENTRAAL “...S’identifiant intimement à son personnage, Lianna Haroutounian répond au profil d’Adrienne Lecouvreur, qu’elle incarne, pour la première fois, avec justesse. Voix au grave corsé, au médium onctueux et à l’aigu assuré, la soprano arménienne livre une prestation d’une grande maîtrise et apporte à ce rôle de comédienne valorisant tout à la fois de la passion, de la sensibilité et de la délicatesse. Daniela Barcellona en impose en Princesse de Bouillon, pas uniquement à cause de sa taille: ce contralto à la tessiture remarquable et à la vocalité exemplaire se montre très crédible en grande dame jalouse et vengeresse dont elle n’accuse pas le trait méchant outre mesure...” ... Part Sébastien Foucart “...Den hat der Sopran von Lianna Haroutounian, die die Titelrolle singt, allemal – und noch viel mehr. Die Armenierin singt an großen Häusern wie der MET oder Covent Garden, überzeugt auf ganzer Linie, zeigt Lyrik und Gefühl, Kraft und Furor und beherrscht die Rolle überdies so gut, dass sie sich kaum mit der Partitur befassen muss, sondern frei singt. Das bietet ihr die Möglichkeit, intensiv Mimik einzusetzen, trotz der Konzertform zu agieren, so dass nahezu etwas Halbszenisches entsteht, was den Zuschauer in seinen Bann zieht. Angefangen von der Auftrittsarie „Io son l’umile ancella“ über die Duette mit Maurizio und der Fürstin, einen Fedra-Monolog am Ende des dritten Aktes, der Gänsehaut erzeugt, bis hin zum „Poveri fiori“ mit anschließender Sterbeszene, die einen zu Tränen rührt, ist sie am gestrigen Sonntag die ideale Adriana... DER OPERNFREUND... Par Manfred Langer, 19.12.2013   Soprano’s magnificent 'Tosca’ debut”
“...As a lovely Hélène, Lianna Haroutounian filled in for the previously announced Marina Poplavskaya (who was ill). Ms. Haroutounian is the real deal, a true spinto voice that can meet all the Verdian demands, and boy do we need her now! Her shimmering, golden tone could serve up melting phrases and anguished outbursts alike. The glowing top register was complemented by a middle with good presence, and a ringing chest voice..” London’s Vespers Ring the Right Bells London, Royal Opera House: LES VEPRES SICILIENES Opera Today... by James Sohre, 23.10. 2013 “...When Helene appears, Haroutounian came into her own with a superb solo in which she combined a powerful feel for Verdi's fioriture, with a lovely sense of line. She has a beautiful smoky tone to her voice, and a nice edge which, at times, reminded me of Caballe...” Planet Hugill... by Robert Hugille,2. 11. 2013   Lianna Haroutounian (La Duchesse Hélène) “...I was pleased as punch to see and hear the Hélène of Lianna Haroutounian. She looked ravishing and sang pretty damn well too. I thought the cabaletta in Act I was brilliantly delivered though I know other disagree with my judgment. She has a lovely creamy voice and can really produce a sound of melting fragility with that big voice. I think she is to be one of the great starts of this century...” By John Murphy, 30. 10. 2013 “...The Armenian soprano, based in France, made a spectacular House debut, by all accounts. Hers is certainly a big spinto soprano, at least at the upper end of her range, if a little unwieldy. In the opening Fontainebleu act, her cries of ‘Oh ciel!’ in duet with Don Carlo immediately revealed a powerful instrument, as the B naturals filled the auditorium thrillingly. Dramatically, she progressed from girlish princess of Act I to something more repressed and authoritative later on, the dignity of her ‘Non pianger, mia compagna’, when Philip dismisses the Countess d’Aremberg from court, was touching...” Impressionnant Haroutounian, Peerless Furlanetto “...Into the breach on the second night stepped Lianna Haroutounian, and what a 42nd Street sensation she was. It was the stuff of fairy tales. Simultaneously making role and house débuts a week ahead of her scheduled take-over, the young Armenian turned in a finished performance of extraordinary accomplishment. Her voice has power and expressive bloom yet she is not afraid to shed the beauty when the drama demands it, and her chemistry with opera superstar Jonas Kaufmann (supreme in the title role, his voice impassioned and hair-raising above the stave) brimmed with urgency ...” “..the entire evening was a feast of marvellous music supremely performed – and best of all, on a night when all seemed well with the  Royal Opera’s world, Lianna Haroutounian became a star.” London, Royal Opera House: DON CARLO                                       ,  Antonio Pappano (Conductor),  Lianna Haroutounian (Elisabeth de Valois),  Ferruccio Furlanetto (Philippe II), Dusica Bijelic (Tebaldo), Robert Lloyd (Monk), Béatrice Uria Monzon (Princesse Eboli), Mariusz Kwiecien (Rodrigo), Eric Halfvarson (Grand Inquisiteur), Pablo Bemsch(Coupth of Lerma), Lianna  Haroutounian  (Elisabeth de Valois) The Observer...  By Fiona Maddocks, 12. 05. 2013 “...Armenian soprano made her Royal Opera debut early to thundering applause. Petite and vulnerable in manner, she brought humanity to a part which can seem chilly. If at times her voice seemed confined, by her final outpouringas she bids farewell to her beloved Carlos, he suddenly let rip. This chimes with the demands of text and music: until that point, she is forced to repress her feelings. Haroutounian seemed to pull forth ever-increasing vocal powers until you thought her heart, or yours, would burst...” NewStatesman... Alexandra Coghlan, 21. 05. 2013 “...Don Carlo lives and dies with its cast,and what a cast this current iteration has on offer. Even the absence of soprano Anja Harteros (who pulled out after opening night) doesn’t diminish its attractions, with Lianna Haroutounian bringing a girlishness, a dramatic vulnerability to Elisabetta that Harteros, in her vocal peerlessness, could never quite achieve. Acts IV and V put Haroutounian to a test no less daunting than that the heretics faced a few scenes earlier, and she rises with unobtrusive skill to the occasion, never losing the role among its technical demands...” Jonas Kaufmann (Don Carlos), Whats on stage...  By Mark Valencia, 09. 05. 2013 OPERA Britannia... by  Mark Pullinger, 26. 05. 2013 “...Als Elisabetta konnte man mit Lianna Haroutounian ein Sopranistin verpflichten, die bereits am Royal Opera House Covent Garden und in Frankfurt Triumphe feiern durfte und von der man hoffentlich in Zürich noch mehr zu hören und zu sehen bekommt. Welch grandiose Stimme, welch tief empfundene Ausdruckskraft vermag sie in die lang gezogenen Kantilenen der einsamen Königin am strengen spanischen Hof zu legen. Fantastisch, wie sich ihre fraulichen Bedürfnisse Bahn brechen, der Himmel sich für sie, die Reine, öffnet.Wie kongenial meistert sie die schwierige Stelle im ersten Akt (Abschied von der verstossenen Hofdame), wunderbar legt sich ihr frei schwebender Sopran über die starken Männerstimmen und den (bestechend singenden) Chor am Ende des Autodafés,wie engelsgleich und doch traurig leuchtend klingt ihre grosse Arie Tu che le vanità im Schlussakt. Dass sie auch noch eine wunderschöne Frau ist und wie selbstverständlich bei all den ihr widerfahrenden Widrigkeiten stets ihre königliche Haltung bewahrt, macht das Ganze noch vollkommen!..” Zürich: DON CARLO Für oper-aktuell... Kaspar Sannemann, den 21. 02. 2014 “... Lianna Haroutounian has sung Elisabeth for Pappano at Covent Garden recently; her soprano is pure and she utilises her sweet tone to full advantage. She was dignified in appearance, aided by some dazzling costumes. Originally Marina Poplavskaya was to have sung the role, but Zurich Opera found a wonderful replacement...” Seen and Heard International... By John Rhodes, 25.02. 2014 A Grand Night at the Opera OPERA MAGAZINE... Par José Pons, Avril 2016 “...On sait que le chef-d’œuvre de Francesco Cilea requiert, pour pleinement exister, une interprète superlative pour incarner le rôle-titre. Pour ses débuts en Adriana, Lianna Haroutounian a donné le meilleur d'elle-même, pour le plus grand bonheur d'un public enthousiaste. Les moyens vocaux de cette authentique soprano lirico spinto apparaissent immenses, couronnés par un aigu glorieux. Aucun maniérisme dans son chant, mais un émerveillement permanent devant son investissement sans fard dans le rôle. Son Adriana ardente, passionnée, bouscule les cœurs, avec un "Poveri fiori" de haute école...” “...The soprano Lianna Haroutounian, as Amelia, boasted a big, plush, youthful voice...throbbing intensity filled every phrase...” THE NEW YORK TIMES... Par Anthony Tommasini, le 03/04/2016 “...Lianna Haroutounian soutient une Maria à la voix chaleureuse et pleine de vie, puissante dans l’aigu et à l’aise jusqu’au bas-médium...” ALTAMUSICA.COM... Par Vincent Guillemin, le 16/04/2016 “...In an impressive Melbourne debut, Haroutourian imbues Mimi with multi-dimensional  character and supremely rich voice as she takes flight across the stave in bursts of technical and  expressive power. Her Mimi is at once prim and coy yet alive and determined. Her smiles and  tears, and every tell-tale cough make her ultimate loss our own...” Melbourne, Opera Australia: LA BOHEME HERALD SUN ... par Paul Selar, le 06/05/2016 CLASSIC MELBOURNE ... par Heather Leviston, le 06/05/2016 Two of the biggest draw cards for this remounting of La Bohème are Armenian soprano Lianna Haroutounian (pictured) and tenor Gianluca Terranova. Haroutounian has attracted rave reviews for her recent performances at major houses such as the Metropolitan Opera and the Royal Opera and it was soon plain to see why. When she soared to her first high note in the opening act, the Wow! factor was enough to make the most reluctant opera goers sit up and pay attention, convinced that they had got their money’s worth. Smooth, generous and glowing at the top of the range, clear and attractive in the middle and with enough weight to give the dark passion of “grande come il mare… profunda” its oceanic depth in Mimì’s final aria, her spectacular voice alone merits full houses. The enthusiastic applause and bravos at the end of her first aria came as no surprise...” CONCERTONET.COM ... par Gregory Pritchard, le 03/05/2016 “..As Mimi, Armenian soprano Lianna Haroutourian gave a touching and commanding performance. Her voice is a big instrument and she used it with great variety of effect. In ensemble pieces, she held back but in her solos, most notably in “Si mi chiamano Mimi”, the audience could be in no doubt as to the passion and pathos she feels for this role which she has given in so many other places. Her performance was well-received, attracting sustained applause and calls...” Lianna Haroutounian (Mimi), Gianluca Terranova (Rodolfo)  "...Lianna Haroutounian is a superlative Leonora. Her gorgeous voice is fluid, technically assured, warm and expressive. She has superb breath-control and mastery of dynamics. She’s also brilliant at inflecting the text..." Londres, Royal Opera House: IL TROVATORE CLASSICAL SOURCE ... par Alexander Cambell, le 08/07/2016 "...As Leonora, Lianna Haroutounian reveals the most sumptuous yet sensitive soprano in ‘Di tale amor’ and imbues her pleasingly elegant movement with just the right level of charge..." MUSIC OMH ... par Sam Smith, le 04/07/2016 "...What it does boast (in the first its two casts) are terrific singers: Armenian soprano Lianna Haroutounian as love interest Leonora has a powerful, agile sound melding beautifully in ensembles and with engaging tenor Francesco Meli as her lover Manrico in the title role..." INDIPENDENT ... par Cara Chanteau, le 04/07/2016 THEARTSDESK.COM ... par David Nice, le 06/07/2016 "...Lianna Haroutounian has been a real asset to the Royal Opera since she stepped in after Anja Harteros completed one performance as Elisabetta in Don Carlo. Haroutounian is that rarity, a soprano who can manage both the coloratura and the warm urgency of Leonora's huge, arching phrases..." SUNDAY EXPRESS ... par William Hartston, le 04/07/2016 "...The Armenian soprano Lianna Haroutounian had, by contrast, an exceptionally sweetness of tone that fitted the part of Leonora very well conveying the emotionality and tenderness of Verdi's beautiful music..." Lianna Haroutounian (Leonora) Francesco Meli (Manrico)  “Soprano’s triumphant return in SF Opera ‘Butterfly’ San Francisco Opera, MADAMA BUTTERFLY It’s been two years since soprano Lianna Haroutounian made her superb San Francisco Opera debut in the title role of Puccini’s “Tosca,” and some of us have passed the days since then watching the calendar and waiting for her return to the War Memorial Opera House. “Is it time yet?”  we’d ask, in the plaintive tones of a toddler confined to an overlong car trip. Then, on the afternoon of Sunday, Nov. 6, came the hypnotically fine opening performance of  “Madama Butterfly,” with Haroutounian once again singing the title role. And oh, my sisters and brothers in impatience, it is definitely time. No one could say that the splendor of  Haroutounian’s artistry — the shimmery firmness of her sound, the voluptuous swell and fall of her vocal phrasing, the intensity and grandeur of her stage presence — came as any kind of surprise. As I say, these qualities were amply on display in 2014. Yet it was a joy not only to bask once again in the magnificence of her singing, but to hear it transferred, beautifully intact, to a new  dramatic forum. Where Haroutounian’s Tosca had been knowingly calculating — using her technical prowess to create a fully rounded portrait of a stage animal — her portrait of the ill-fated teenage geisha Cio-Cio-San traced a progression from naivete to fierce determination. Throughout the first act, she seemed to be drifting into her sham marriage with the faithless Pinkerton in a blissful dream, borne along on the billowing strains of Puccini’s music. Not until grim reality set in during the third act did her Cio-Cio-San reach deep within to conjure up  the fortitude to deal with the betrayal of all her hopes. But it worked perfectly for the character of Haroutounian’s singing, with its plush textures and lack of sharp edges. The great Act 2 showpiece “Un bel dì,” in which Cio-Cio-San imagines in detail all the specifics of Pinkerton’s return to Nagasaki, sounded less like an act of will than like a blurry fantasy from which the character had yet to awaken — and the gorgeous attack and sumptuous melodic vigor of Haroutounian’s delivery only underscored that impression. Haroutounian upped the ante in the final act, adding a new layer of fervor to what had already been  a forceful vocal showing. She injected her performance with a new jolt of energy — vaulting to high notes, shaping individual phrases with fierce vitality — and all without sacrificing anything in the way of elegance or gentility of tone. But the drama itself, like the music that embodies it, owes much of its success to the presence of Haroutounian. So let me ask once more: When’s she coming back again?” SAN FRANCISCO CHRONICLE... par Joshua Kosman, le 07/11/2016 THE MERCURY NEWS... par Georgia Rowe, le 07/11/2016 The reason is Lianna Haroutounian, whose impassioned, stunningly beautiful vocal performance in  the title role breathes new life into Puccini’s melodrama. Sunday afternoon at the War Memorial Opera House, the Armenian soprano created a “Butterfly” for the ages. Haroutounian, whose only previous company assignment was in the title role of “Tosca,” makes this “Butterfly” her own. As Cio-Cio-San, the lovestruck Japanese teen whose sham marriage to an American serviceman ends in tragedy, the soprano inhabits the role completely and decisively, tracing the character’s arc from shy hopefulness to utter despair. The role’s gleaming high notes and poignant utterances are hers to command, and she made the most of them throughout this revival. Mining the deep vein of emotionalism in Puccini’s soaring score, her voluptuous, artfully shaded vocalism and delicately nuanced characterization added up to a gripping portrayal, and her expressive singing in the role’s great set pieces, including the timeless Act II aria, “Un bel di,” was nothing short of brilliant. At the end, though, this was Haroutounian’s show. Until Sunday, she had only sung this role in concert; amazingly, this is her first fully staged “Butterfly.” Get a ticket if you can – this is the company’s final fall revival, and it’s one that opera lovers are likely to be talking about for a long, long time. 5, 9, 13, 18 aout 2017 MADAMA BUTTERFLY Cio-Cio-San Direction : Carlo MONTANARO Metteur en scène: Kate CHERRY SEATTLE OPERA   USA