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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) Plus dans Agenda Disponible maintenant en DVD et BLU-RAY Les Vêpres Siciliennes Lianna Haroutounian dans le rôle d’Hélène à Royal Opera House 2, 5, 8, 11, 14, 17 juillet 2016 IL TROVATORE Leonora Direction : Gianandrea NOSEDA Metteur en scène: David BÖSCH ROYAL OPERA HOUSE LONDRES   1, 5, 9, 13, 16 Avril 2016 SIMON BOCCANEGRA Amelia Grimaldi Direction : James LEVINE Metteur en scène: Giancarlo DEL MONACO THE METROPOLITAN OPERA  NEW YORK   17, 21  FEVRIER 2016 ADRIANA LECOUVREUR Adriana Lecouvreur Direction: Evelino PIDO THEATRE DE LA MONNAIE BRUXELLES 3, 5, 10, 12, 14, 17, 19, 21 Mai 2016 LA BOHEME Mimi Direction : Andrea MOLINO Metteur en scène: Gale EDWARDS ARTS CENTRE MELBOURNE AUSTRALIE   Amsterdam, Concertgebouw: MADAMA BUTTERFLY
“...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.” - Don Carlo,Royal Opera House Whats on stage, 9 May 2013, Mark Valencia Don Carlo; Gods and Heroes – review, Royal Opera House, London                                       ,  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) Ferruccio Furlanetto (Philippe II) Lianna Haroutounian (Elisabeth de Valois) & Lianna Haroutounian (La Duchesse Hélène) Les Vêpres Siciliennes , Royal Opera Hause, Novembre 2013 The Observer, Sunday 12 May 2013, Fiona Maddocks “...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...” “.. It’s also luxury casting on the distaff side, not least Lianna Haroutounian  (added to the cast for four performances, and then doing six because of Anja Harteros's indisposition following the first night).To Elizabeth’s burgeoning love with Carlos, then steadfast loyalty to Philip II, Haroutounian brought conviction. Her voice was unflinching, and the final duet with Carlos was touched with resignation...” The Royal Opera – Verdi's Don Carlo [Roberto Aronica & Lianna Haroutounian; Antonio Pappano conducts Nicholas Hytner's production] , 21 May 2013, Kevin Rogers NewStatesman, 21 May 2013, Alexandra Coghlan Reviewed:Don Carlo “...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...” “...And so, to Lianna Haroutounian. I finished my last set of observations wishing her every success. I had no sense at that point that it would be a success of these proportions. She was a vivid and moving Elisabetta, awash with a wealth of little dramatic touches: her nervousness as she awaits Carlo’s approach in the monastery garden of Act 2; the transition from crushed, wronged wife to haughty queen in her dealings with Eboli in Act 4. The latter moment I remarked upon previously with Harteros: though comparisons are invidious, they are far from one-sided. Yes, admittedly,Harteros has that astonishing vocal control and tone that allows for strikingly secure dynamic contrasts from pianissimo to full forte; but Haroutounian arguably conveys a more fully rounded character. Where Harteros is fully formed as the regal Queen from the beginning, Haroutounian makes a beautiful and more believable transition from excited young woman to reluctant but duty-bound Queen.Her voice is impressively controlled, expansive and gleaming: it has more steel glinting from under the velvet than does Harteros,but it is well-deployed and unfailingly gripping. Lianna, welcome to London: we hope to see you back very soon...” Although hard to pick the greatest moment out of so many great moments, the best for me was the final heart-rending farewell duet between Carlo and Elisabetta at the tomb of Carlos V. It was simply ravishing and I cannot imagine I will ever hear it sung so beautifully again. Kaufmann dared to reduce his voice to the merest whisper in places and yet was still clearly audible. Haroutounian joined in this Verdian 'liebestod' until there was barely a dry eye in the house...” ............................................................................................................................................... “...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. Februar 2014 “...Als Königin Elisabetta überraschte uns die für Marina Poplavskaja kurzfristig eingesprungene Armenierin Lianna Haroutounian mit einem wunderbar aufblühenden lyrischen Spinto-Sopran. Diese Sängerin weiss, wie man Phrasen spinnt und die Gesangpartie nicht nur technisch perfekt beherrscht, sondern auch mit Farben und gut gewählter Agogik den Charakter der unglücklichen Königin mit rein stimmlichen Mitteln zum Klingen bringt. Dass Frau Haroutounian auch in Erscheinung und Haltung jeder Zoll die schöne Königin Isabella ist,  darüber war kein Zweifel...” ZÜRICH: DON CARLO. Wiederaufnahme Online Merkel, John H. Mueller ,15.02.2014 “... 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...” A Grand Night at the Opera Seen and Heard International, John Rhodes, February 25, 2014, Michael Volle (Posa) ,Veronica Simeoni (Eboli)  Lianna Haroutounian (Elisabetta) Don Carlo (Fabio Sartori), Conductor (Fabio Luisi), Elizabeth (Lianna Haroutounian), King Philip (René Pape), Rodrigo di Posa (Michael Volle), A monk (Scott Corner) “...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 Opera Today, by James Sohre, 23 Octobre 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...” Verdi - Les Vepres Siciliennes Planet Hugill, by Robert Hugille,2 Novembre 2013  Lianna Haroutounian (Elisabeth de Valois) & Roberto Aronica ( Don Carlo) 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...” Royal Opera: Les Vêpres Siciliennes by John Murphy, 30th Octobre 2013 ................................................................................................................................................... “Lianna Haroutounian Triumphs as Tosca – San Francisco Opera” October 23, 2014 San Francisco: TOSCA Opera Warhorses  “...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: Soprano’s magnificent 'Tosca’ debut” By Joshua Kosman October 25, 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...” Jonas Kaufmann (Don Carlos), Lianna Haroutounian (Floria Tosca ) Mark Delavan (Baron Scarpia ) 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 Ici vous pouvez écouter la difusion de “Madama Butterfly” à Concertgebouw d’Amsterdam .................................................................................................................. 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 6, 9, 12, 15, 18, 22, 26, 29 Novembre et 1, 4 Decembre 2016 MADAMA BUTTERFLY Cio-Cio-San Direction : Yves ABEL et Jordi BERNACER Metteur en scène: Leslie SWACKHAMER SAN FRANCISCO OPERA