LiannaHaroutounian

Press

• Madama Butterfly

  Royal Opera House, Covent Garden

  Jun 2022 - Sep 2023

  • Lianna Haroutounian is outstanding as Cio-Cio-San as her soprano proves capable of asserting lines with crystal clarity on the one hand, and of producing an extremely full and vibrant sound on the other. Both skills are put to excellent use in the iconic ‘Un bel dì’, in which she reveals how she has spent so many hours building up an image in her head of what that beautiful day when he returns will be like. However, when she describes how she will initially hide from him so as not to die at the first meeting we feel the full weight of her desperation. Throughout the evening Haroutounian delivers an extremely emotional and heartfelt performance, in which her sorrow and vulnerability could not be more palpable, while still imbuing the character with immense dignity.

    • Opera Online
    • 21 September 2021

  • Lianna Haroutounian, in the title role, devastated in her ever more abandoned but skilled performance, broken yet fearless.

    • The Guardian
    • 19 June 2022

  • Her interpretation was less about the big numbers Puccini gifts the opera’s main protagonist, more about the heart-breaking story, present in every action, gesture and sound (an emotional power actively underlined at one point by stunning violin solos from the Royal Opera orchestra’s leader, Sergey Livitin). Both dramatically and musically, Haroutounian was one of the finest Cio-Cio-Sans I have heard.

    • Seen and Heard
    • 21 September 2022

• Il Trittico

  La Monnaie

  Mar 2022 - Apr 2022

  • There was bright, strident lyricism and emotional intensity from Lianna Haroutounian as Giorgetta (when she was a convincing blowsy blonde) and as Suor Angelica when ‘Senza mamma’ – as she prays to be united with her dead child – was as deeply-affecting as it must be.

    • Seen and Heard
    • 30 March 2022

  • The Armenian soprano puts herself at the service of two roles that feed and respond to each other (Giorgetta and Sister Angelique) in a complex interpretation. First inhabited by desire with a powerful, warm and sensual voice, the precise diction tinged with a slight torpor is transfigured into a nun-mother dispossessed of her child: breaking the wall of representation by deploying an absolute tragedy even knowing put the lyrical beauty of his song at the service of animal and divine suffering.

    • Olyrix
    • 17 March 2022

• Pique Dame

  Gran Teatre del Liceu

  Jan 2022 - Feb 2022

  • The addition of soprano Lianna Haroutounian in the role of Lisa gave us the highlights of the night [...] She has a melodious but forceful voice timbre, in addition to the dramatic interpretation and its projection, contrasting well with Yusif Eyvazov as Hermann.

    • Bachtrack
    • 28 January 2022

  • Son aisance vocale lui autorise les plus beaux éclats en même temps que de belles nuances dans les passages plus tendres. Elle conclut la grande scène et le duo du dernier acte d’une note longuement tenue où elle donne à entendre tout le désespoir agonisant de son personnage. [Translated] Her vocal ease allows her the most beautiful outbursts as well as beautiful nuances in the more tender passages. She concludes the big scene and the duet of the last act with a long-held note where she gives voice to all the agonizing despair of her character.

    • Forum Opera
    • 29 January 2022

• Madama Butterfly

  Teatro Carlo Felice Genoa

  Jan 2024 - Feb 2024

  • Lianna Haroutounian campe une Cio-Cio-San très émouvante, qui débute l’acte I piano et presque hésitante dans les graves, avant de prendre toute sa dimension dramatique et vocale dans l’acte II, en crescendo jusqu’à la fin. A une extraordinaire souplesse dans l’aigu s’ajoute l’amplitude des couleurs de la voix et du jeu : à l’acte II, elle alterne entre une certaine suspension aérienne dans le monde du rêve, et le désespoir le plus tranchant et lucide, donnant toutes ces couleurs à ce personnage puccinien de femme artiste, avec Tosca, que la soprane compte aussi à son répertoire. La puissance de son « non voglio » dans la scène avec le prince Yamadori fait ainsi comprendre que s’accrocher aux illusions du mariage avec Pinkerton, pour elle, est aussi une façon de se prémunir des conditions réservées aux épouses japonaises. [Translated] Lianna Haroutounian portrays a very moving Cio-Cio-San, who begins Act I piano and almost hesitant in the bass, before taking on all her dramatic and vocal dimension in Act II, in crescendo until the end. To an extraordinary flexibility in the treble is added the amplitude of the colors of the voice and the playing: in Act II, it alternates between a certain aerial suspension in the world of dreams, and the most cutting and lucid despair , giving all these colors to this Puccinian character of a woman artist, with Tosca, which the soprano also has in her repertoire. The power of her “ non voglio ” in the scene with Prince Yamadori thus makes it clear that clinging to the illusions of marriage with Pinkerton, for her, is also a way of protecting herself from the conditions reserved for Japanese wives.

    • Premier Loge
    • 23 January 2024

  • La protagonista, Cio Cio San , è stata interpretata dal soprano Lianna Haroutounian, cantante dalla voce sicura e dal portamento scenico -drammatico perfetto. Applauditissima più volte a scena aperta ed in particolare nella struggente e immortale aria ”Un bel dì vedremo..." [Translated] The protagonist, Cio Cio San, was played by the soprano Lianna Haroutounian, a singer with a confident voice and perfect stage-dramatic poise. She was applauded several times during the open stage and in particular in the poignant and immortal aria "Un bel dì vedremo...".

    • Corriere dello Spettacolo
    • 21 January 2024

  • Lianna Haroutounian canta con eleganza e intelligenza e il suo personaggio convince per sensibilità e presenza scenica. [Translated] Lianna Haroutounian sings with elegance and intelligence and her character convinces with sensitivity and stage presence.

    • Ansa
    • 20 January 2024