Soprano

Asmik Grigorian

Winner – International Opera Awards 2019 Female Singer of the Year 

Winner – Austrian Theatre Awards 2019 Best Leading Role

Winner – Opernwelt Critic’s Choice Awards 2019 Singer of the Year 

© P Gasiunas

Introduction

Lithuanian soprano Asmik Grigorian was born in Vilnius and studied at the Lithuanian Music and Theatre Academy. She was a founding member of Vilnius City Opera and has twice been awarded the Golden Stage Cross (the highest award for singers in Lithuania), in 2005 for her debut as Violetta and in 2010 for her performance as Mrs. Lovett Sweeney Todd. In 2016 she was honoured with the Young Female Singer award at the International Opera Awards, followed by Female Singer of the Year in 2019. She has recently won Best Leading Role at the Austrian Music Theatre Awards 2019 for her part in Salome at the Salzburg Festival.

The 2018/19 season saw Asmik’s house and role debut in Die tote Stadt at Teatro alla Scala, her title role debut in Iolanta at Oper Frankfurt, Madama Butterfly at the Royal Swedish Opera, and Shostakovich 14 with Ensemble Resonanz at the Elbphilharmonie.

Asmik closed the season with a return to the Salzburg Festival in a revival of Romeo Castellucci’s Salome and in concert performances of Shostakovich 14, all under Franz Welser-Möst. She also made her triumphant Edinburgh International Festival debut with the Komische Oper in August 2019 as Tatyana in Barrie Kosky’s Eugene Onegin.

The 19/20 season opens with a return to Oper Frankfurt for Manon Lescaut, followed by her house and role debut at Royal Opera House Covent Garden as Jenufa under Vladimir Jurowski. Asmik will also make her role debut as Norma at Theater an der Wien. Later, she debuts at Metropolitan Opera, Opéra de Paris, and Wiener Staatsoper.


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Video & Audio

Performance Schedule

 
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    19:30 15 Nov 2019 Frankfurt Opera, FRANKFURT

    GIACOMO PUCCINI Manon Lescaut

    Conductor: Takeshi Moriuchi
    Director: Alex Ollé
    Manon Lescaut: Asmik Grigorian
    Lescaut: Iurii Samoilov
    Chevalier Renato des Grieux: Joshua Guerrero
    Geronte de Ravoir: Donato Di Stefano
    Edmondo: Michael Porter
    The Landlord: Magnús Baldvinsson
    The Musician: Bianca Andrew
    The Dancing Master: Jaeil Kim
    The Sargeant: Božidar Smiljanić

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    19:30 23 Nov 2019 Frankfurt Opera, FRANKFURT

    GIACOMO PUCCINI Manon Lescaut

    Conductor: Takeshi Moriuchi
    Director: Alex Ollé
    Manon Lescaut: Asmik Grigorian
    Lescaut: Iurii Samoilov
    Chevalier Renato des Grieux: Joshua Guerrero
    Geronte de Ravoir: Donato Di Stefano
    Edmondo: Michael Porter
    The Landlord: Magnús Baldvinsson
    The Musician: Bianca Andrew
    The Dancing Master: Jaeil Kim
    The Sargeant: Božidar Smiljanić

From The Green Room

Discography

 
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    War, Peace, Love and Sorrow

    Label: Delos

    Release Date: 12 Aug 16

    Conductor: Constantine Orbelian

    Dmitri Hvorostovsky
    Asmik Grigorian
    Irina Shishkova
    Mikhail Guzhov
    Igor Morozov
    Vadim Volkov

    State Academic Symphony Orchestra of Russia
    Helikon Opera Chorus

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    06 Oct 19 PUCCINI Manon Lescaut
    Frankfurt Opera

    “Die Kunst der Asmik Grigorian ist allerdings so “vollkommen-vollendet” wie derzeit die keiner Kollegin ihrer Generation. Was für ein violett-samtenes Stimmtimbre hat diese Frau aus dem schönen Litauen doch, mit welcher pikanten Note in höheren Regionen! Asmik Grigorian weiß ihren Sopran dynamisch fulminant auszusteuern, sich dabei alle Natürlichkeit der Welt zu bewahren – als wär’s ein Kinderspiel. Dazu kommt eine Bühnenpräsenz sondergleichen, ihre Freude an der Balance zwischen einem totalen Sich-gehen-lassen einerseits und Kontrolle über jede Faser des Körpers andererseits.”
    [Translated] “The art of Asmik Grigorian, however, is as “perfectly-completed” as no other colleague of her generation. What a violet-velvety tune voice does this woman from beautiful Lithuania have, with her spicy touch in higher regions! Asmik Grigorian knows how to control her soprano dynamically, to preserve all the naturalness of the world – as if it were a breeze. In addition, there is a stage presence beyond compare, their joy in the balance between a total letting go on the one hand and control of each fiber of the body on the other hand.”
    Volkmar Fischer, BR Klassik, 07 October 

    “Ungemein ergreifend kämpft die litauische Sopranistin Asmik Grigorian in der Titelpartie um ihr Leben, sucht die Kraft dafür in der Liebe, klammert sich an den ihr freiwillig gefolgten Geliebten und bäumt sich auf gegen den Tod. Schlank und strahlklar führt sie dabei ihren großen lyrisch-dramatischen Sopran durch alle Register…In ihrer berührenden Sterbeszene kann Grigorian, die 2018 ihren Durchbruch als Salome in Salzburg feierte, ihrem Verständnis von Manon als großer Liebender auch ihrer eigenen Einschätzung nach besonders starken Ausdruck geben.
    [Translated] “The Lithuanian soprano Asmik Grigorian struggles for her life in the title role, seeking strength in love, clinging to her lover who voluntarily follows her, and rearing herself against death. Slim and bright, she leads her great lyrical-dramatic soprano through all registers…In her touching death scene, Grigorian, who celebrated her breakthrough as Salome in Salzburg in 2018, expresses her understanding of Manon as a great lover in her own estimation.”
    Kirsten Liese, Deutschlandfunk, 07 October 2019

    “Die Titelheldin ist Asmik Grigorian…ist sie die zarteste, quicklebendigste…Manon, der man jemals begegnet sein wird.”
    [Translated] “The title heroine, Asmik Grigorian…is the most tender, vibrant… Manon you’ll ever meet.”
    Judith v. Sternburg, Frankfurter Rundschau, 07 October 2019

    “So inszeniert scheint ihr auch Puccinis Manon auf den Leib UND in die Kehle geschrieben worden zu sein… Stimmlich vermag sie dabei mit leicht verruchtem (im besten Sinne) Timbre zu glänzen, bleibt den dramatischen, leidenschaftlichen Aufschwüngen, aber auch den verhaltenen, nach innen gewandten Passage…”
    [Translated] “So staged, Puccini’s Manon also seems to have been written on her body AND written in her voice…Vocally, she is able to shine with slightly wicked (in the best sense of the word) timbre, perfecting the dramatic, passionate upheavals, but also the restrained, inward-looking passages…”
    Kaspar Sannemann, Opera Akutell, 06 October 2019

    “Die litauische Sopranistin Asmik Grigorian dürfte am Anfang einer vielversprechenden Karriere stehen. Ihre Stimme, eher auf klare Linie angelegt als auf ein fülliges Farbspektrum, hat Potenzial auf der lyrischen wie auf der dramatischen Seite. Mit diesem Talent schafft Grigorian ein klug differenziertes Klang-Psychogramm ihrer Manon. Vom Publikum wird sie enthusiastisch gefeiert wie auch der amerikanische Sänger Joshua Guerrero bei seinem ersten Auftritt in Deutschland…”
    [Translated] “The Lithuanian soprano Asmik Grigorian is expected to be at the beginning of a promising career. Her voice, more focused on a clear line than on a full color spectrum, has potential on the lyrical as well as the dramatic side. With this talent Grigorian creates a cleverly differentiated sound psychogram of her Manon. The audience enthusiastically celebrates her as well as the American singer Joshua Guerrero on his first appearance in Germany…”
    Johannes Breckner, Wiesbadener Kurier, 08 October 2019

    “Für die Titelrolle wurde eine ausgezeichnete Sängerin besetzt. Die junge Lettin Asmik Grigorian, schon mit Preisen überhäuft, scheint für die Inszenierung wie geschaffen, da sie wie ein heutiges blondes It-Girl auftritt und die Hin- und Hergerissenheit zwischen Luxusleben und wahrer Liebe verkörpert. Dazu bringt sie eine große Sopranstimme mit enormem Umfang ein…”
    [Translated] “An excellent singer was cast for the title role. The young Latvian Asmik Grigorian, already overflowing with prizes, seems to be made for the production because she appears like a blonde It Girl and embodies the tantra between luxury life and true love. For this she brings in a great soprano voice with enormous scope….”
    Friedeon Rosén, Online Merker, 06 October 2019

    “Mit der Sopranistin Asmik Grigorian als Manon und dem Tenor Joshua Guerrero (Rollendebütant und Deutschlanddebüt) als Chevalier Renato des Grieux standen zwei Shooting Stars auf der Bühne, die sich nur mit den Kategorien der Superlative beschreiben lassen. Ein Paar, das hervorragend harmonierte seine Vielfalt und die sehr realistisch auf die Bühne projizierten modernen Beziehungen … Manons oder Grigorians Arie “Sola perduta, abandonata” (einsam, verloren, verlassen) war … die beeindruckendste der Oper.”
    [Translated] “With the soprano Asmik Grigorian as Manon and the tenor Joshua Guerrero (role debutant and Germany debut) as Chevalier Renato des Grieux, two shooting stars were on stage, which can only be described with the categories of superlatives. A couple that harmonized splendidly in its diversity and projected modern relationships very realistically onto the stage…Manon’s or Grigorian’s aria “Sola perduta, abandonata” (lonely, lost, abandoned) was…the most impressive of the opera.”
    H. Boscaiolo, 07 October 2019

    “Der vierte Akt war auch der Höhepunkt der faszinierenden Interpretation von Asmik Grigorian. Ohne das samtige Timbre, das in den meisten Puccini-Heldinnen theoretisch eine Grundvoraussetzung ist, aber mit einem persönlichen und durchdringenden Timbre, hat die litauische Sopranistin erneut bewiesen, dass sie ein echtes Szenenbeast ist…”
    [Translated] “The fourth act was also the culmination of the fascinating interpretation of Asmik Grigorian . Without the velvety timbre that, in theory, is a basic requirement in most Puccini heroines, but with a personal and penetrating timbre, the Lithuanian soprano again proved that she is a real scene beast…”
    Xavier Cester, Opera Actual, 07 October 2019

     

     

     

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    15 Aug 19 TCHAIKOVSKY Eugene Onegin
    Edinburgh International Festival

    ” But the focus is on the journey of Tatyana, presented here in a performance of extraordinary intensity by the Lithuanian soprano Asmik Grigorian. Her voice has wine-dark plangency, produced in marvellously even and expressive tone, but her genius doesn’t lie only in the quality of her singing – seldom have I seen the poignancy of adolescent infatuation, its agonies and uncertainties, so sensitively conveyed. This is love that hurts: a pain like no other. (…). But its was Grigorian’s night, and the audience duly thundered her an enormous ovation.”

    Rupert Christiansen, The Telegraph, 16 August 2019

    “(…) the psychodrama really belongs to its heroine. Tatyana is present on stage almost throughout, even at moments where she would not normally be involved in the action. In Edinburgh, this interpretation was strengthened by an astonishing central performance from Lithuanian soprano Asmik Grigorian0. She captures the vulnerability and impetuosity of the young Tatyana, developing from initial awkwardness to throbbing, chest-beating emotionality in the letter scene. Allied with a voice that combines power and beauty, this is an utterly riveting performance, completed by her metamorphosis into self-possessed society beauty in the final act.”

    Rowena Smith, The Guardian, 16 August 2019

    “Finest of all, however, is the way Asmik Grigorian grows into the role of Tatyana. She’s astounding. Not only does she sing the role with power, lyricism and immense heart, but she embodies every part of the character’s emotional journey beautifully, from the awkward teenager of the opening to the graceful princess of the conclusion. The emotional impact of her inner conflict is written all over her acting, but Kosky reinforces this with some subtle but powerful touches, most especially having her sing the entire letter scene in a spotlight on a pitch black stage. In a situation like that there’s nowhere to hide, but Grigorian is riveting to watch, as well as to listen to. That scene on its own is incredibly powerful. Viewing it in the context of the whole evening makes it overwhelming.”

    Simon Thompson, Seen and Heard, 16 August 2019

    “Owning this production on opening night was award-winning soprano Asmik Grigorian as Tatyana, a singer who can completely inhabit a role. Barely leaving the stage for the first two acts, it was hard to watch anyone else as we saw her escape rural drudgery by reading, and witness the kindling of her girlish infatuation with Onegin in a message in a jam jar. Her Letter Scene, delivered on a darkened stage in a single spotlight, was unforgettable, her mercurial change of facial expressions expressing the joy of first love, her writhing hands telling a different story as she turned away from us. Grigorian’s strong bright soprano opened out at the top thrillingly, but her lower register was golden and smouldering, devastating as Onegin passed her over when she literally throws herself at him. Married to Gremin, her mature Tatyana, in a flowing scarlet velvet dress, was initially haughty, then riveting when confronted by Onegin with his own jam jar letter, emotions and memories playing across her face as she laid the ghost of what might have happened if those hazy summery pastoral feelings had been reciprocated. Tatyana’s wisdom and loyalty to Gremin leaves Onegin prostrate and devastated, but as she stands over him and the rain arrives, it’s clear that she’s made the correct choice.”

    David Smythe, Bachtrack, 16 August 2019

    “(…) it was Grigorian who compelled attention every moment she was onstage. Her anguished version of the Letter Song – some of the most memorable moments sung with her back to the audience, her forearms twisting in torment – was in a class of its own, and her overall encapsulation of Tatyana’s development from bookish girl to womanhood mesmeric.”

    Keith Bruce, Herald Scotland, 16 August 2019

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    10 Jul 19 Gala Performance
    Yerevan Opera Theatre

    “The repertoire that Hasmik chose for the first half of the program – the songs of Richard Strauss showed us a deep understanding of this remarkable music which obviously Asmik has a very strong connection. (…) The vocally impeccable, emotionally captivating performance was met with ovations and screams of numerous “bravo!” and “encore!” from the audience of the sold out Yerevan Opera House. Grigorian’s Signature aria – Dvorak’s Song to the Moon from Rusalka was performed in an idiomatic manner with all of the beautiful nuance of this glorious aria which have made it a favorite of audiences”

    Gourgen James Khazhakian, The Noyan Tapan, 15 July 2019

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    28 May 19 KORNGOLD Die tote Stadt
    Teatro alla Scala

    “Equally memorable was Asmik Grigorian in the gruelling and taxing role of Marietta. Luminous timbre, stable volume and perfect legato came together with a surprising stage presence: the attractive Lithuanian soprano demonstrated that she is both an excellent actress and a capable dancer.”

    Renato Verga, Bachtrack, 30 May 2019

    “Splendida protagonista Asmik Grigorian. La parte di Maria/Marietta è di rara scomodità, con una tessitura spesso molto ampia e alquanto impegnativa e un canto chiamato a dipanarsi su un tessuto orchestrale densissimo. La Grigorian regge con sicurezza la tessitura e grazie a una proiezione ammirevole supera di slancio l’orchestra pur mantenendo sempre una tipologia vocale giustamente più lirica che drammatica. Se ragguardevole è la musicista ancor superiore è l’interprete. Un fraseggio vario, ricco, curatissimo, un accento sempre cangiante trasmette un personaggio pieno di slancio, di vita, di sensualità – quanta energia nel Lied della danza! – un essere vivo e palpitante totalmente in contrasto con l’idea agiografica che Paul si è costruito della defunta moglie che anche nei momenti di ripensamento lirico – infinita è la dolcezza nel Lied del liuto – mantiene sempre un senso di vita che non potrebbe essere più coinvolgente. La presenza scenica è strepitosa, di un magnetismo irresistibile unito a un fascino e a una carica di sensualità invero non comuni.”

    [Translated] “The splendid protagonist Asmik Grigorian. The role of Maria / Marietta is of rare discomfort, with an often wide and somewhat demanding texture, and a song called to unravel on a very dense orchestral fabric. Grigorian holds up the weaving with certainty and thanks to an admirable projection, it surpasses the orchestra while still maintaining a vocal style that is rightly more lyrical than dramatic. If the voice is great, the performer is even greater. A varied, rich, well-kept phrasing, and an ever-changing accent conveys a character full of enthusiasm, of life, of sensuality – how much energy in the Lied dance! – a living and throbbing being, totally in contrast with the saintly idea that Paul built for his late wife that even in moments of lyrical rethinking – infinite is the sweetness in the Lied of the lute – she always maintains a sense of life that could not be more addictive. Her stage presence is amazing, of an irresistible magnetism combined with a charm and a charge of indeed uncommon sensuality.”

    GB Opera Magazine, 31 May 2019

    “Perché Asmik Grigorian può contare su una voce incantevole, sicurissima nei momenti più ardui, e un’assoluta e disinvolta padronanza della scena. La sua Marietta è perfetta nei panni di femme fatale, di pantera seduttiva, esperta entraîneuse, spogliarellista, anche di donna innamorata.”

    [Translated] “Because Asmik Grigorian can count on an enchanting voice, very safe in the most difficult moments, and an absolute and casual mastery of the scene. Her Marietta is perfect in the role of a femme fatale, a seductive panther, an expert inneuse, a stripper, even a woman in love.”

    from Successo alla Scala per Die tote Stadt con una straordinaria Asmik Grigorian come protagonista, Il giornale della musica, 29 May 2019

    “Debuttante nel teatro meneghino e trionfatrice della serata è Asmik Grigorian, impostasi all’attenzione internazionale con le sue magnetiche interpretazioni al Salzburger Festspiele di Marie (Wozzeck) nel 2017 e della straussiana Salome nel 2018. Il trentottenne soprano lituano, in possesso di una vocalità ricca di armonici che ha il suo punto di forza in un registro acuto torrenziale e tagliente, a tratti graffiante nella sua penetranza, veste con disinvoltura (…) i panni di Marietta, ballerina e voltiva femme fatale. Vero e proprio animale da palcoscenico, presenza altamente carismatica, (…) la Grigorian recita con pregnanza e cocente umanità, prestando attenzione alla mimica facciale e rendendo l’immagine di una donna estremamente ferina, che grondo fascino ed erotismo. Molto er l’attesa per il celebre Lautenlied di Marietta, cantata assieme a Vogt con un tocco delicato, di consistenza madreperlacea.”

    [Translated] “Debuting at the triumphant Milanese theatre is Asmik Grigorian, who came to international attention with her magnetic interpretation of Marie Wozzeck at the Salzburger Festspiele in 2017 followed by the Strauss heronie Salome in 2018. The thirty-eight year old Lithuanian Soprano, who is in possession of a rich vocal harmonic style, which shows its strengths in the sharp treble and cutting register, at times scratchy in its penetrance, (…) takes on with ease the role of Marietta, a dancer and a long-standing femme fatale. A true stage animal with highly charismatic presence (…) Grigorian acts Marietta’s pregnancy with scorching humanity, paying attention to facial expressions and creating the image of an extremely feral woman, full of charm and eroticism. There was much anticipation for Marietta’s famous Lautenlied, sung together with Vogt with a delicate touch, of a pearly consistency.”

    Stefano Balbiani, Connessi all’Opera, 29 May 2019

    “E poi c’è lei, anzi Lei. Negli ultimi anni, forse solo Anna Netrebko aveva fatto un debutto altrettanto clamoroso alla Scala. Asmik Grigorian vale da sola il prezzo del biglietto. La cantante, vabbé, è ottima, con un buon volume, acuti solidi, un timbro scuro non eccezionalmente bello ma screziato di mille colori e insomma tutta la parte vocale a posto. Però basta che questa donna entri in scena e sembra che ci sia solo lei. Non riesci a staccarle gli occhi di dosso. Ottima attrice, certo, e benissimo diretta da Vick. Ma in realtà fa nulla di eccezionale: semplicemente c’è, sensuale, magnetica, carnale, straordinariamente coinvolgente. Non riempie la scena, la satura. E ci ricorda che, alla fine, l’opera è questo: una grande artista che si svela e ti svela perché, ancora e sempre, credi a quella favola assurda che si chiama teatro.”

    [Translated] “And then there is her, indeed you. In recent years, perhaps only Anna Netrebko had made an equally sensational debut at the Scala. Asmik Grigorian alone is worth the ticket price. The singer, okay, is excellent, with a good volume, solid treble, a dark tone (…) mottled with a thousand colors and in short all the vocal part in place. But as long as this woman enters the scene, it seems that there is only her. You can’t take your eyes off her. An excellent actress, of course, and very well directed by Vick. But in reality she does nothing exceptional: there is simply a sensual, magnetic, carnal, extraordinarily engagement. She does not fill the scene, but saturates it. And it reminds us that, in the end, the work is this: a great artist who reveals herself and reveals to you why, still and always, you believe in that absurd fable called theatre.”

    Alberto Mattioli, La Stampa Spettacoli, 1 June 2019

    “Impressionante l’immedesimazione nel personaggio da parte del soprano lituano Asmik Grigorian che, dotata di una vocalità duttile e di una presenza scenica dinamica, ha saputo incarnare perfettamente il carattere di Marietta.”

    [Translated] “Asmik Grigorian made an impressive identification with the character, who, with a versatile vocality and a dynamic stage presence, was able to perfectly embody the character of Marietta.”

    Le Salon Musical, June 2019

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    01 Mar 19 PUCCINI Madama Butterfly
    Nationaltheater Mannheim

    “Die Königin dieser Stunden jedoch bleibt Asmik Grigorian. Weil sie ihre Madama Butterfly nicht naiv und eindimensional in Liebe verfallen lässt, sondern eine werdende Dame von Anmut und dann aufrichtiger Agonie zeichnet, deren Fatum man sich unweigerlich aussetzt. Die technische Brillanz, mit der diese Ausnahmesängerin selbst lichteste Arien-Höhen („Un bel di, vedremo“) noch souverän mit Koloraturen verziert, ist das eine – die ungebremste Wucht, mit der sich die stolze Sehnsüchtige vom Lebenssockel stürzt, das andere, was hier beeindruckt. Ihr Ende ist ein Schnitt, der schauerlich-schön wie selten in Erinnerung bleibt. Ein liebender Stern – verglüht in Verzweiflung. Und Hunderte, die tief bewegt in die Nacht entfliehen.”

    (Translated) “However, the queen of the hour remains Asmik Grigorian. Because she does not let the naïve and one -dimensional Madama Butterfly fall into love, but instead creates an expectant lady of grace and then in sincere agony, whose fate one inevitably exposes. The technical brilliance with which this exceptional singer still elegantly adorns even the lightest aria heights (“Un bel di, vedremo”) with coloratura, is one thing – the unchained force with which the proud longing plunges from the lifeblood, the other, what impressed here. The end is a cut that remains horribly beautiful and rare. A loving star – burned up in despair. And hundreds who are deeply moved to escape the night.” 

    Markus Mertens, Mannheimer Morgen, 4 March 2019

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    20 Nov 18 PUCCINI Madama Butterfly
    Royal Swedish Opera

    “[Asmik Grigorian] made Cio-Cio-San come alive. Her voice was full of sweetness, love, rage, desperation and, at times, humour. Her high notes were shiny blades of steel without a hint of ruggedness, her emission never forced, her filati unbearably soft and still rich in harmonics. She proved that she understood Butterfly’s characters completely, in every nuance.”

    Laura Servidei, Bachtrack, 21 November 2018

    “Med all respekt för övriga sångare så är den främsta anledningen till att se den här uppsättningen den litauiska sopranen Asmik Grigorian som verkligen äger scenen.(…) Asmik Grigorian tolkar detta mästerligt och spelar ut hela sitt vokala register, såväl vacker som kraftfull i sin stämma.

    (Translated) “With all due respect for the other singers, the main reason for seeing this production is Lithuania Soprano Asmik Grigorian who owns the scene. (…) Asmik Grigorian interprets this masterfully and plays out the entire vocal record, beauty and power in her voice.”

    Per Nylén, Capriccio.se, November 2019

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    28 Oct 18 TCHAIKOVSKY Iolanta
    Oper Frankfurt

    ” Es ist Asmik Grigorian, die diese fordernde Rollenzeichnung zu einem packenden und glaubwürdigen Porträt gestaltet. Die litauische Sopranistin, die bei den Salzburger Festspielen als Salome Maßstäbe setzte, zeigt in allen Nuancen die allmähliche Emanzipation vom geknechteten Kind bis zur selbstbestimmten Frau. Am Ende sind Grigorians fulminante Spitzentöne Schreie gegen den übergriffigen Vater.”

    (Translated) “It is Asmik Grigorian who turns this demanding role into a gripping and believable portrait. The Lithuanian Soprano, who set standards at the Salzburg Festival as Salome, shows in all its nuances the gradual emancipation – from the enslaved child to the self-determined woman. (…) In the end, Grigorian’s brilliant high notes are screams against the overriding father.”

    Georg Rudiger, Die Deutsche Bühne, 29 October 2018

    ” das ganze Haus durchglutenden Intensität von Asmik Grigorian: mädchenhafte Lyrik, schüchterner Zauber, aufleuchtende Sehnsucht, brennende Begeisterung, lodernde Freude – alles wurde unangestrengter, faszinierender Sopran-Klang.”

    (Translated) “Asmik Grigorian’s full-bodied intensity: girlish lyricism, shy magic, lightning, longing, burning enthusiasm, blazing joy – everything became effortless, a fascinating Soprano sound.”

    Wolf-Dieter Peter, Neue Musikzeitung, 29 October 2018

    “Schon mit ihren ersten Tönen zeigt Asmik Grigorianin der Titelrolle der Iolanta, warum sie aktuell zu den begehrtesten Sopranistinnen weltweit gehört. Ihre reiche, dabei jugendlich frische Stimme ergießt sich in vollen Strömen in den Zuschauerraum. Momente der Trauer teilen sich unmittelbar mit, in Momenten der Leidenschaft entwickelt sie atemberaubende Glut. Man badet im Strom dieser Stimme. Daß sie die übrige Besetzung nicht völlig an die Wand singt, zeugt von deren bemerkenswerter Qualität.”

    (Translated) “With her first notes, Asmik Grigorian shows in the title role of the Iolanta, why she is currently one of the most sought-after sopranos in the world. Her rich, youthful, fresh voice pours into the auditorium in full flow. Moments of grief share immediately, in moments of passion as she develops breathtaking embers. One bathes in the stream of this voice. The fact that she does not sing the rest of the cast to the wall is testimony to her remarkable quality.”

    Michael Demel, Der Opernfreund, 30 October 2018

    “Molto meglio la protagonista dell’opera di Čajkovskij, Asmik Grigorian, che, dopo la straordinaria prova nella Salome salisburghese, confermava le doti non comuni di interprete capace di piegare uno strumento vocale superbo alle esigenze del personaggio ma anche uno spiccatissimo e accattivante istinto scenico.”

    (Translated) “Tchaikovsky’s protagonist is Asmik Grigorian, (..) after the extraordinary performances in Salome at the Salzburg Festival, confirming the uncommon qualities of an interpreter capable of manipulating a superb vocal instrument to the needs of the character, but also a very striking and captivating artistic instinct.”

    Stefano Nardelli, Giornale della Musica, 19 November 2018

    “Doch eine Sensation ist Asmik Grigorian: Die in Salzburg als Salome gefeierte litauische Sopranistin singt und spielt die Iolanta mit unglaublicher Intensität. Die Stimme hat eine ganz leichte Schärfe, einen festen Sitz, ist hell und klar. Überzeugender kann man Tschaikowskys desillusionierende Emanzipationsgeschichte kaum singen.”

    (Translated) “But one sensation is Asmik Grigorian: The Lithuanian soprano, celebrated for Salome in Salzburg, performs Iolanta with incredible intensity. The voice has a very slight sharpness, a tight fit, and is bright and clear. Tchaikovsky’s disillusioning emancipation story can hardly be sung more convincingly.”

    Volker Oesterreich, Rhein-Neckar-Zeitung, 21 November 2018

    “Vocalmente la gran triunfadora fue Asmik Grigorian, Iolanta, quien hizo una interpretación maravillosa de su papel.”

    (Translated) “Vocally the great winner was Asmik Grigorian, Iolanta, who had a wonderful interpretation of this role.”

    Maruxa Baliñas y Xoán M. Carreira, Mundoclasico, 31 December 2018

     

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    28 Jul 18 STRAUSS Salome
    Salzburg Festival

    Asmik Grigorian era la straordinaria protagonista, perfettamente aderente alla complessa natura del personaggio, infantile e perversa, eppure capace di mantenere una disperata purezza. La sua interpretazione, anche e soprattutto vocale, era di quelle destinate a lasciare un segno. E volava così alto da ridurre tutti gli altri interpreti a un livello di comprimari, pur con ottime qualità.”

    Il giornale della Musica, September 2019

    “The sine non qua of the Castellucci production is its protagonist, Lithuanian soprano Asmik Grigorian. Diminutive, lithe, of fresh and beautiful voice to her death and dramatically expansive in her movements this extraordinary artist was as real and vivid a presence in Strauss’ account of an adolescent awakening as was the black stallion that was Jochanaan.”

    Michael Milenski, Opera Today, 15 August 2018

    (Translated) “The Lithuanian soprano is being hailed unanimously and euphorically for her performance and vocal performance in Richard Strauss’ opera Salome at the Salzburg Festival. (…) Asmik Grigorian… left behind an audience overwhelmed by her expressive power (…) for an emotionally powerful and harrowing actress who uses her vocal skills to completely embody the characters that she plays on stage, sometimes special things happen. Grigorian has now made such a turn with her Salzburg Salome; in front of her is a career as a star.”

    Rita Argauer, Suddeutsche Zeitung, 30 July 2018

    (Translated) “The most anticipated show of the Salzburg summer, this new Salome offers the revelation of an exceptional performer in the volcanic Asmik Grigorian (…)”

    Yannick Millon, Alta Musica, 27 August 2018

    “In this world of voids and absences, Asmik Grigorian’s Salome is all presence. In Castellucci’s bleak, hard, mineral cosmos, she is pure animal; in a world of illegible symbols, she is shockingly explicit. If this Salome succeeds — and it does — it has everything to do with Grigorian. Hers is a Salome to end all Salomes. She stands, a slight figure in a white dress, alone on the vast, empty stage, and the entire audience breathes with her. No longer the spoilt brat, more collateral damage than victim, she embodies all the hurt and yearning that comes with being the last shred of humanity in an unfeeling world.”

    Shirley Apthorp, Financial Times, 30 July 2018

    (Translated) “During the final applause, the director fell to his knees in front of her. And rightly so. In just under two hours, Asmik had performed a fascinating title-heroine in the acclaimed Salzburg reinterpretation of Richard Strauss’ Salome by the Italian scenic magician Romeo Castellucci: half-mischeivous girl, half devouring avenging angel.”

    Stephen Hilpold, Der Standard, 29 July 2018

    “In the final monologue, Salome — sung with shocking ferocity by the Lithuanian soprano Asmik Gregorian — delivers her cri de coeur while standing in a shallow pool of milk.”

    Joshua Barone, New York Times, 3 August 2018, 

    “Ms. Grigorian sang Salome with a plaintive radiance that few sopranos summon.(…) the more extreme Salome, in Asmik Grigorian’s intense performance, came across as a woman coolly exploring the reach of her power in a rigidly patriarchal society.”

    Anthony Tommasini, New York Times, 17 August 2018

    (Translated) “Salome…sung, embodied, and even absorbed by Asmik Grigorian. You become witness to one of those very rare, and high-risk, moments, in which a singer totally merges with her role, surrenders to self-abandonment and still retains control.”

    Manuel Brug, Welt.de, 30 July 2018

    (Translated)“…the masterful stage and sound direction of Castellucci and Welser-Möst is joined by a soloist ensemble rarely seen in such concentrated form and with such quality down to the supporting roles, especially the Lithuanian soprano Asmik Grigorian as Salome.”

    Christoph Schmitz, Deutschlandfunk.de, 29 July 2018

    (Translated)”Asmik Grigorian must have appeared to Richard Strauss in his dreams when he once designed his world-wide success. The Lithuanian, last year Salzburg’s Marie (Wozzeck) is especially ideal as Salome. Fragility, unconditioniality, a harsh, borderline beauty, …a sheer superhuman will of creativity – all that conveyed through her singing and acting.”

    Markus Thiel, Merkur, 30 July 2018

    (Translated) “Vocally she captivates with beautiful phrasing, wonderful tone, clear top notes, (…) she is an ideal Salome who creates every nuance, without every yelling – and is nothing short of a stage sensation.”

    Kurier, 29 July 2018

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    23 Apr 18 RUBINSTEIN The Demon
    Gran Teatre del Liceu

    “Die armenisch-litauische Sängerin Asmik Grigorian demonstriert als Tamara mit wunderbar leuchtendem, farbgesättigtem Sopran vielleicht am eindrücklichsten, mit welchen Finessen die Gesangspartien ausgestattet sind, die an den besten Stellen ‘Eugen Onegin’, das Meisterwerk des Rubinstein-Schülers Peter Tschaikowsky, vorausahnen lassen.”

    Von Josef Oehrlein, faz.net, 28 April 2018

    “La soprano lituana Asmik Gregorian confirmó todas sus pregonadas virtudes. Transparencia y belleza de su bien proyectado timbre, rutilante expresividad  y una cautivadora presencia escénica.”

    César López Rosell, elPeriódico, 24 April 2018

    “La sorpresa del reparto es la soprano lituana Asmik Grigorian, quien, en su debút liceista, da vida a una Tamara esplendorosa, de voz bella y bien proyectada e imponente presencia escénica; enamoró al diablo y a todos los presentes con una interpretación de suaves acentos líricos y sincero dramatismo en su escena final, cuando, aunque solo por un instante, triunfa el amor antes de que un Ángel, que también nos muestra su lado más oscuro, ponga fin a los anhelos de redención del demonio.”

    Javier Pérez Senz, El País, 26 April 2018

    “Lithuanian soprano Asmik Grigorian maintained a consistent purity of tone with plenty of metal when required. The coloratura demands of the Aragva scene were effortless with floating high notes…”

    Jonathan Sutherland, Operawire, 30 April 2018

    “И вынянченная ею Тамара – совсем не та буколическая девочка, невинно резвящаяся с подружками. В эмоциональном исполнении Асмик Григорян это наивность, замершая в жарком ожидании соблазна, и постигшее девушку горе – смерть жениха – лишь пауза в роковом путешествии.”

    RgRU, 29 April 2018

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    20 Sep 17 PUCCINI Manon Lescaut
    Royal Swedish Opera

    “Her strong, well-set voice is perfectly suited to Manon, and her beautiful timbre did justice to the sweet melodies that Puccini wrote for his heroine. “In quelle trine morbide” was delivered with extreme ease and melancholy, and powerful, perfect high notes. But it was the ending, the death scene, which proved to be the highlight of the evening. Grigorian’s musical and acting skills came together to portray the dying girl in one of the most realistic deaths ever set to music: not the sublimation of the passing of a Romantic heroine, not a transmigration of a hopeful soul to heaven, but the horrible, physical death of a young girl still desperately attached to life.”
    Laura Servidei, BachTrack, 22 September 2017

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    08 Aug 17 BERG Wozzeck
    Salzburg Festival

    (On the DVD) “Goerne’s thunder, however, is soon topped by the fiercely emotional Marie of Asmik Grigorian. She wrenches our heart as the wife and mother in wretched circumstances who transgresses, repents, but never reaches salvation.”

    Geoff Brown, The Times, 31 August 2018

    “From within a strong cast, Asmik Grigorian as Marie is the discovery of the evening. Her voice is rich, bright and possesses enough steely edge to communicate this gritty personality. Hers is a diabolical, grimly erotic Marie who, far from guilty about her unfaithfulness to Wozzeck, relishes her part in bringing about the protagonist’s demise.”
    James Imam, Bach Track, 9 August 2017

    “Likewise Asmik Grigorian’s pathetic, desperate Marie, who knows that she shouldn’t cheat on Wozzeck but can’t resist the chance of a moment’s pleasure. Both singers are superb musicians, with deep understanding of Bergian vocal style.”
    Rupert Christiansen, Telegraph, 9 August 2017

    “… die litauische Sopranistin Asmik Grigorian findet starken Ausdruck für das Arme-Leut’-Mädchen in ständiger Sorge um sein Kind – eine Puppe mit Gasmaskenaugen.”
    Michael Tschida, Kleine Zeitung, 11 August 2017

    “Exzellent als verzweifeltes Mädchen im Kampf um Würde ist Asmik Grigorian als klar und eindringlich singende Marie.”
    Ljubiša Tošić, Der Standard, 9 August 2017

    “Verantwortlich dafür sind neben Matthias Goerne und Asmik Grigorian als zentrales Paar, die sich stimmlich wie darstellerisch auf der Höhe zeigten, auch die Wiener Philharmoniker unter Vladimir Jurowski, die der Schroffheit wie der Schönheit der Partitur adäquaten Ausdruck verliehen.”
    Salzburger Nachrichten, 8 August 2017

    “Besonders die leidenschaftliche Marie von Asmik Gregorian und der grandiose Gerhard Siegel als ein Hauptmann im Bismarcklook.”
    Joachim Lange, Die Deutsche Buehne, 8 August 2017

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    05 Feb 17 BERG Wozzeck
    New World Symphony

    “Making her American debut, Lithuanian soprano Asmik Grigorian brought a darkly radiant lyric timbre to Marie’s lullaby to her son. Her vocal production was even and full throughout a vast range. In Marie’s bible reading scene, Grigorian’s pitched spoken lines and sudden outbursts in the high register were emotionally overpowering. She sang the child’s lines in the music of the concluding scene when Wozzeck has killed Marie for her adultery and accidentally drowned while disposing of her body in a lake.

    Grigorian is an impressive singer with an operatic repertoire that encompasses Puccini, Tchaikovsky, Verdi and Janacek. One looks forward to hearing more from this gifted artist.”
    Lawrence Budmen, South Florida Classical Review, 5 February 2017

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    11 Dec 16 GIORDANO Fedora
    Royal Swedish Opera

    “The two leads, both making their role debuts, came through with flying colours. Fedora was sung by young Lithuanian soprano Asmik Grigorian. She has a very powerful voice, with confident high notes and a strong middle, with plenty of metal. Her instrument is always very well set, and it comes out strongly with great projection. Her high C, in the love duet, was perfectly in tune…Grigorian is a very good actress, and her interpretation turned out to be emotional and heartfelt.”
    Laura Servidei, Bach Track, 12 December 2016

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    04 Jun 16 BERG Wozzeck
    Concertgebouw Amsterdam

    “Grigorian…sang gloriously, with full, shiny top notes. It was immensely gratifying to hear such an unblemished, youthful voice in this part.”
    Jenny Camilleri, Back Track, 5 June 2016

    “En toch: mijn aandacht werd opgeëist door zijn geliefde Marie. Het was de eerste keer dat ik Asmik Grigorian live hoorde en ze heeft niet alleen mijn hart gestolen, maar ook mijn kijk op de opera veranderd. Opeens was het niet meer Wozzeck met wie ik meevoelde, maar de door hem vermoorde geliefde.  Het slaapliedje, bijvoorbeeld, dat ze in de eerste akte zingt: zo mooi en zo ontroerend.”
    Basia Jaworski, Opera Magazine, 6 June 2016

    “Vocally the stage belonged to Asmik Grigorian. A superlative performance in which she revealed her great range bending from rarified high notes in loving and honest moments, to darker low tones for her cynically phrased Sprechgesang. Her silver-plated voice dynamically phrased Berg’s text with great expressive effects. The brilliance to her powerful volume conquered the Concertgebouw.”

    Vocally the stage belonged to Asmik Grigorian. A superlative performance in
    which she revealed her great range bending from rarified high notes in loving
    and honest moments, to darker low tones for her cynically phrased
    Sprechgesang. Her silver-plated voice dynamically phrased
    Berg’s
    text with great expressive effects. The brilliance to her powerful
    volume
    conquered the Concertgebouw – See more at:
    http://www.operatoday.com/content/2016/06/holland_festiva.php#sthash.HeKqefjJ.CLM40le8.dpuf

    David Pinedo, Opera Today, 16 June 2016

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    22 Apr 16 PUCCINI Il trittico
    Opera di Roma

    “Asmik Grigorian dopo l’urlo finale del Tabarro si è tramutata in una Suor Angelica ancor più credibile; l’attenzione del pubblico era tutta su di lei, grazie alla sua sicurezza vocale e alla sua incredibile forza espressiva.”

    “Sul podio va sicuramente Asmik Grigorian: una Giorgetta espressiva ai massimi livelli; il suo tormento fulminava l’orecchio dell’ascoltatore che rimaneva scioccato da quel cuore lacerato al pari di un’Isolde dalla wagneriana memoria.”
    Chiara Marani, Nel fiero anelito, 19 April 2016

    “…Asmik Grigorian… con il grande carisma e la capacità di tenere il palco. Acuti potenti e ben proiettati, fraseggio intelligentissimo, voce dal bel timbro a tratti scuro che dona un fascino insolito…”
    Michelangelo Pecoraro, Opera Click, 24 April 2016

    “…la scoperta più grande è stata il soprano lituano Asmik Grigorian, che ha vestito i panni di Giorgetta e di Suor Angelica. .  La sua voce potente ma molto versatile, dotata di ottima tecnica, con un suono limpido, chiaro e ben puntato le ha permesso di interpretare magistralmente i due impegnativi ruoli assegnati, sostenuta da una evidente capacità attoriale e interpretativa, che gli ha dato la possibilità di passare in pochi secondi e sulla scena (!!) dal personaggio di Giorgetta e quello di Angelica, suscitando entusiasmo e meritati applausi da parte del pubblico.”
    Quinteparallele, 20 April 2016

    “Il soprano lituano ha tratteggiato una Giorgetta convincente, con sfumature azzeccate e ricchezze di armonici, cimentandosi poi con uguale successo nel ruolo di Suor Angelica: la patina drammatica era quella richiesta da un personaggio spesso sottovalutato, una maturazione vocale che ha permesso di approfondirne gli aspetti più intimi.”
    Simone Ricci, Opera Libera, April 2016

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    01 Feb 16 TCHAIKOVSKY Eugene Onegin
    Komsiche Oper Berlin

    “Sängerisch und darstellerisch überragend die lettische Sopranistin Asmik Grigorian als betörend intonierende, faszinierend sinnliche Tatjana”
    Peter P. Pachl, Neue Musikzeitung online, 1 February 2016

    “Die litauische Sopranistin überzeugt durch ihre streng geführte Stimme, der zwar Schwermut, aber keine Anstrengung anhaftet.”
    Julia Kaiser, Berliner Morgenpost, 2 February 2016

    “…eine überirdisch strahlende Asmik Grigorian als Tatjana.”
    Berliner Morgenpost, 1 February 2016

    “Aber was für eine Stimme setzt sie dagegen! Kraftvoll, schlank und makellos strömt das dunkle Timbre ihres dramatischen Soprans.”
    Julia Spinola, Deutschlandfunk, 2 February 2016

    “…in the final scene it was the wonderful control in her quiet sustained notes that gave the meeting its mood of inevitability.”
    Jesse Simon, Mundoclasico, 18 February 2016

    “Lithuanian soprano Asmik Grigorian gave us an exquisite Tatyana.”
    Karen Hunter, Bach Track, 8 February 2016

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    16 Sep 15 PUCCINI Madama Butterfly
    Royal Swedish Opera

    “It helped that Asmik Grigorian was such a mesmerising and musical Butterfly… with richly elegant lyric tones and that slight, effecting edge to the voice. Grigorian gave a performance of great musicality…”
    Robert Hugill, Planet Hugill, 18 October 2015

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    06 Jul 15 PUCCINI Madame Butterfly
    Opera di Roma

    “Asmik Grigorian surprised us with a lecture that seemed to be new in a lot of moments: heart-breaking intervals and a voice with indescribable possibilities allowed Grigorian to become the queen of the vocal cast. But we should not skip commenting on Grigorian’s theatrical qualities: a real actress, a beast of the scene, a tragic soul who could soon become the next Anna Netrebko.”
    Andreas Selander, Opera World, 26 August 2015

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    05 Nov 14 PUCCINI Madama Butterfly
    Royal Swedish Opera

    “… [she] has the dramatic heft to do justice to Cio-Cio-San’s intense outbreaks but also the beauty of tone and breath-control to spin a slender pianissimo-phrase.”
    Göran Forsling, Seen and Heard, 15 November 2014

Repertoire

OPERA:

BARTOK Bluebeard’s Castle (Judith)
BERG Wozzeck (Marie)
BELLINI Norma (title role, in preparation)
CILEA Adriana Lecouvreur (title role, in preparation)
DARGOMYZHSKY Rusalka (title role)
DVORAK Rusalka (title role)
GIORDANO Fedora (title role)
JANACEK The Makropoulos Case (Emilia Marty, in preparation)
JANACEK Jenufa (title role, in preparation)
JANACEK Cunning Little Vixen (title role)
JANACEK Kátya Kabanová (title role, in preparation)
KORNGOLD Die tote Stadt (Marietta)
PROKOFIEV The Gambler
PUCCINI Madama Butterfly (Cio-Cio San)
PUCCINI Suor Angelica (title role)
PUCCINI La rondine (Magda)
PUCCINI Manon Lescaut (title role)
RUBENSTEIN The Demon
STRAUSS Elektra (Chrysothemis)
STRAUSS Salome
TCHAIKOVSKY Eugene Onegin (Tatiana)
TCHAIKOVSKY The Enchantress (Kuma)
TCHAIKOVSKY Mazeppa (Maria)
TCHAIKOVSKY Queen of Spades (Lisa)
VERDI Otello (Desdemona)
VERDI Don Carlo (Elisabetta, in preparation)
VERDI Il Trovatore (Leonora)
VERDI Simon Boccanegra (Amelia, in preparation)
VERDI Un ballo in Maschera (Amelia, in preparation)

CONCERT:

BEETHOVEN Symphony No. 9
BERG Seven Early Songs
BRAHMS Requiem
BRITTEN War Requiem
DVORAK Stabat Mater
MAHLER Symphony No. 4
SHOSTAKOVICH Symphony No. 14
STRAUSS Four Last Songs
VERDI Requiem

Interviews

READ Asmik’s interview with Stefano Nardelli of ‘giornale della muisca’ ahead of her Teatro alla Scala double debut in Die tote Stadt.

READ Asmik’s interview with Markus Mertens of Mannheimer Morgen ahead of her performance as Cio-Cio-San in Nationaltheater Mannheim’s Madama Butterfly.

READ Asmik Grigorian’s recent interveiw with Teresa Roelecke during her performances of Iolanta in Frankfurt.

WATCH Asmik Grigorian’s August 2018 interview with TTT on ARD, Germany’s largest public-broadcast network

READ Asmik Grigorian’s October 2018 interview with Frankfurter Runschau journalist Judith von Sternburg