AsmikGrigorian

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Soprano
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News

  • 29 April 2024

    14 Askonas Holt artists feature in Wiener Staatsoper’s 2024/25 season

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  • 26 April 2024

    Asmik Grigorian debuts at the Metropolitan Opera

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  • 20 March 2024

    Opéra national de Paris 2024/25 season to feature 15 Askonas Holt artists

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  • 18 March 2024

    Bayerische Staatsoper 2024/25 season to feature 23 Askonas Holt artists

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  • 05 July 2023

    Opus Klassik Award winners: Asmik Grigorian, Julia Bullock, Nathalie Stutzmann and Lars Vogt

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  • 28 September 2021

    Three Askonas Holt artists at the Royal Opera House in Jenůfa

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  • 22 July 2021

    Asmik Grigorian makes debut as Senta at Bayreuth Festival

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  • 04 September 2020

    Asmik Grigorian & Virginie Verrez open Wiener Staatsoper season

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Press

  • Madama Butterfly (Puccini)

    Royal Opera House, London
    Mar 2024 - Apr 2024

    • All in all, this was a thrilling evening, made unforgettable by Grigorian’s astonishing assumption of the title role, which as far as I’m concerned is the finest and most complete to grace this stage in a generation.

    • Asmik Grigorian is beyond question the standout attraction here. Physically and vocally, Grigorian inhabits the part to a degree one does not often experience. This Cio-Cio-San makes a long and horribly believable journey from innocence to devastation. Grigorian’s range of vocal colour and weight, equal to almost all the varied demands that Puccini makes of her, is the chief glory.

    • During the interval I wondered if Grigorian had left room to dig even deeper. Dismayingly for anyone wanting a restful night, she builds the pathos to almost unbearable heights. Her Un bel di — a fantasy vision of how her husband will return to her — is so vividly felt and laceratingly sung it’s almost as if she’s about to will it into being.

    • Her performance in the title-role of Puccini’s Japanese tragedy, however, places her greatness as an operatic performer beyond question: her Cio-Cio-San is one of the most finely realised interpretations of this relentlessly demanding role that one could ever hope to witness.

    • Coming so soon after her debut as Turandot, Puccini’s most dramatic role for soprano, it is not surprising that she has more than enough voice for Butterfly, filling out the vocal lines generously and riding the climaxes with ease.

    • Grigorian will never sing beautifully just for the sake of a lovely sound. This was the most variegated Butterfly assumption I have ever heard. Every shade of Cio-Cio’s ordeal was there in movement and in voice, from an initial fragile vulnerability through unstinting belief in the power of love through unwavering devotion, to the final tragic dénouement. Every phrase was carefully considered, every interchange with other characters thought-through and delivered with sure dramatic awareness.

    • A stunning performance from Lithuanian soprano Asmik Grigorian in the title role [...] Grigorian's performance was heart-rending and along with most of the audience, there were tears in my eyes at the end.

    • Thanks to Lithuanian soprano Asmik Grigorian and a stirringly bravura turn from conductor Kevin John Edusei, we are once again riveted to our seats, despite knowing where this journey ends.

  • Laws of Solitude: Strauss - Four Last Songs

    Feb 2024

    • On her new album, the Lithuanian soprano Asmik Grigorian […] smooths out Strauss’s spectacles of tonal splendor with even-keeled lines. Her gleaming timbre, dark but not weighty, expresses psychic depletion with graceful clarity. […] Other singers light up these songs in a final blaze of glory, a last surge before the dying of the light, but Grigorian tends lovingly to the smoldering remains.

    • Opulent and expressive, versatile and technically flawless, Asmik Grigorian’s voice was seemingly born to sing Richard Strauss’ soaring Four Last Songs

    • On admire une fois de plus dans ce nouvel album la beauté de son chant, son timbre rond et ample de soprano dramatique et sa parfaite intonation, à défaut d’une prononciation idéale des poèmes de Hermann Hesse et de Joseph von Eichendorff. [translated] We admire once again in this new album the beauty of her singing, her round and full timbre of dramatic soprano and her perfect intonation, in the absence of an ideal pronunciation of the poems of Hermann Hesse and Joseph von Eichendorff.

    • Grigorian sings with her customary authority, shaping unbroken arcs of lyrical singing.

    • Soprano à l’abattage extraordinaire, elle émerge d’abord (Frühling) des flots orchestraux comme une sirène aux aigus glaçants puis, dans les volets suivants du cycle, s’impose par un chant dont la fermeté n’est jamais altérée par de permanentes variations de couleur. [translated] A soprano of extraordinary dejection, she first emerges (Frühling) from the orchestral waves like a siren with chilling high notes and then, in the following parts of the cycle, imposes herself with a song whose firmness is never altered by permanent variations of colour.

  • Pique Dame (Tchaikovsky)

    Bayerische Staatsoper
    Feb 2024 - Feb 2024

    • Die Bewunderung für die litauische Sängerin Asmik Grigorian ist hingegen von Anfang an groß, sowohl, was ihre darstellerischen, als auch, was ihre stimmlichen Qualitäten anlangt, und sie wächst stetig. [translated] The admiration for the Lithuanian singer Asmik Grigorian, on the other hand, is great right from the start, both in terms of her acting and her vocal qualities, and it is constantly growing.

    • Sobald diese Lisa am Bühnenrand auftaucht, ist sie Mittelpunkt. Eine Präsenz, ein Bewusstsein für szenische Kraftfelder, mit der die Litauerin mühelos in ein Schauspiel-Ensemble passen würde... Dazu ist da eine immens energiereiche Stimme. Ihr Gesang entfaltet eine natürliche Präsenz, nichts klingt da nach abgetrotzt oder „gemacht“. Vor einigen Wochen noch hat sie sich in Wien Puccinis Soprankiller Turandot hochintelligent für sich zurechtgelegt, nun wechselt die Grigorian mühelos zu Tschaikowsky. Man spürt, dass sie ihre Lisa sehr verfeinert hat, über ein halbes Dutzend Produktionen von „Pique Dame“ hat diese Künstlerin schon dominiert. [translated] As soon as this Lisa appears at the edge of the stage, she is centre stage. A presence, an awareness of scenic force fields with which the Lithuanian would easily fit into an acting ensemble... She also has an immensely energetic voice. Her singing unfolds a natural presence, nothing sounds contrived or "made". Just a few weeks ago in Vienna, she was still making a highly intelligent job of Puccini's soprano killer Turandot, now Grigorian switches effortlessly to Tchaikovsky. One senses that she has refined her Lisa very much; this artist has already dominated over half a dozen productions of "Pique Dame".

  • Turandot (Puccini)

    Wiener Staatsoper
    Dec 2023

    • Grigorian astonished. There was serious blade to ‘In questa reggia’, without bludgeoning the ear, and her high notes glistened [...] Above all, her acting mesmerised. Thanks to her – and Guth – we saw the real woman behind Turandot, more than a ruthless ice princess.

    • As a platinum-blonde Turandot, Grigorian manages to cut through the orchestra with steely brilliance, but her real achievement is to bring Turandot’s stratospheric music back to earth by giving it a haunted, hunted quality... Grigorian makes it clear that Turandot is not motivated by rage, but by fear

    • In Grigorian wiederum hat er ein sensibles Gegenüber, das die störrische Rolle singt, gleißend schön, lustvoll ihre Spitzentöne attackiert und somnambul den Text ausdeutet. Eine ideale Spielpartnerin. [translated] In Grigorian, on the other hand, he [Kaufmann] has a sensitive counterpart who sings the stubborn role, attacks its top notes with gleaming beauty and relish, and interprets the text somnambulistically. An ideal playing partner.

    • Grigorian präsentiert sich als Energiebündel, ist bereit, bis an die Grenzen ihrer Möglichkeiten zu singen. Ein "eisumgürteter" psychisch durch die Kindheit zutiefst beschädigter, nur noch am Männermord Lust empfindender Racheengel. Diese Leidenschaft in subtilen Facetten hervorzukehren, setzt sie alle Registerin fein differenzierten Farben ein… [translated] Grigorian presents herself as a bundle of energy, ready to sing to the limits of her abilities. An "ice-belted" angel of revenge, psychologically deeply damaged by her childhood, who only feels pleasure in murdering men. To bring out this passion in subtle facets, she uses all the registers in finely differentiated colours…

    • Klar war jedenfalls vorab: Wenn Sopranistin Asmik Grigorian eine Rolle verinnerlicht, ist davon aus zugehen, dass es nicht banal-kitschig ausgehen wird. Grigorian geht es in der Regel um dichtestes Durchleben von Bereichen, die tief in die inneren Konfliktherde und Traumata einer Figur hineinragen... dank ihre fulminanten vokalen Möglichkeiten. Der Charme ihrer Stimme rührt von einer überzeugend dramatischen Färbung her, die jederzeit Charakter und Dringlichkeit vermittelt. Auch im Grenzbereich der Beanspruchung, selbst in lichten Höhen des Dramatischen bleibt Präsenz erhalten. [translated] One thing was clear in advance: when soprano Asmik Grigorian internalises a role, it can be assumed that it will not turn out trite and kitschy. As a rule, Grigorian is concerned with living through areas that reach deep into the inner conflicts and traumas of a character... thanks to her brilliant vocal possibilities. The charm of her voice stems from a convincingly dramatic colouring that conveys character and urgency at all times. Presence is maintained even at the limits of stress, even in the light heights of the dramatic.

    • Dass sie eine geborene Singschauspielerin ist, hat Grigorian am Premierenabend, andem Turandot gegeben werden sollte, jedenfalls wieder eindrucksvoll deutlich gemacht. Vom ersten Ton an voll und ganz Herrin über eine notorisch schwierige Partie, in der es vor allem darauf ankommt, die immer wieder geforderten Kraftakte bis hin auf zum hohen C strahlend zu bewältigen, ohne die vielenleisen, intimen Töne, die Puccini auch fordert, zu vernachlässigen. Grigorian gelingt beides, sie wird nicht laut, wenn sie unverrückbar ihre Ansprüche klarmacht. Sie säuselt nicht, wenn sie zuletzt doch zurzärtlich Liebenden wird. Was oft wie eine jähe, unerklärliche Wendung wirkt, entwickelt sich in Grigorians Interpretation stetig: Ihr Gesangentblättert eine Frauenseele. [translated] Grigorian once again made it impressively clear that she is a born singing actress on the opening night of Turandot. From the very first note, she is completely in command of a notoriously difficult role, in which it is particularly important to master the repeatedly demanded feats of strength up to high C with radiance, without neglecting the many quiet, intimate tones that Puccini also demands. Grigorian manages both, she does not become loud when she makes her demands clear. She does not purr when she finally becomes a tender lover. What often seems like a sudden, inexplicable turn of events develops steadily in Grigorian's interpretation: a woman's soul blossoms in her singing.

    • Hier zeigte Asmik Grigorian wieder ihre Klasse... immer elektrisierende Stimme und die kluge Darstellung so spontan überzeugend im Einklang erlebt. [translated] Here Asmik Grigorian showed her class again... always electrifying voice and the clever performance so spontaneously and convincingly experienced in unison.

    • Herausragend an diesem Abend: Asmik Grigorian in der Titelpartie. Egal, welches Rollendebüt sie derzeit anpackt... es wird zu kraftvoll strahlendem Sopran-Gold. Garniert mit der bedingungslosen darstellerischen Klarheit und Identifikation, die Grigorians Darstellungen regelmäßig zu eigen ist. [translated] Outstanding this evening: Asmik Grigorian in the title role. No matter which role debut she tackles at the moment... it becomes powerfully radiant soprano gold. Garnished with the unconditional clarity and identification that is a regular feature of Grigorian's portrayals.

  • Salome (Strauss)

    Hamburgische Staatsoper
    Oct 2023 - Nov 2023

    • Asmik Grigorian has claimed her place as her own. She is wounded and furious, alone and full of longing; she hurls plates and glasses against the wall; she is a time bomb. She sings with every fibre of her being, pushes herself to her outer limits — which have grown in expressive scope and substance over the past half-decade.

    • Asmik Grigorian, die Salome der Salzburger Festspiele, wird als sopranschlank superintensive Interpretin der Titelpartie am Ende bejubelt wie kaum eine Stargast der letzten Staatsopernjahre. Eine sängerisch-darstellerische Sensation. [translated] Asmik Grigorian, the Salzburg Festival's Salome, is ultimately acclaimed as a super-intense interpreter of the title role like no other star guest from the last years of the State Opera. A singing and acting sensation.

    • Mit einer Stimme, die schonungslos bis zum Anschlag geht und danach noch weiter ins Wahre will. Andererseits aber fähig ist, während dieser Raserei in höchsten Tönen auch noch unmittelbar sinnlich mit betörend ungeschützten Piani ein volles Haus zu verzaubern. Und das alles kann Grigorian, wieder und wieder, bis hinein in die Schlussszene, in der sie in der Staatsopern-Premiere alles gibt, was selbst dort noch an Reserven in ihr brennt. [translated] With a voice that goes ruthlessly to the limit and then wants to go even further into the truth. On the other hand, during this frenzy, she is also able to immediately sensually enchant a full house with beguilingly exposed pianos. And Grigorian can do all of this, again and again, right up to the final scene, in which she gives everything in the State Opera premiere that she still has reserves burning in her.

    • Asmik Grigorian triumphiert in der Titelrolle [...] Eine Sängerin mit diesem Ausdrucksvermögen ist in diesem Saal nur selten zu vernehmen. Jedes Gefühl, jede Regung vermittelt die Sopranistin nicht nur schauspielerisch eindringlich, sondern ebenso mittels stimmlicher Gestaltung. Die Stimme spielt mit. Jeder im Publikum spürt das, darf also auch innerlich mitfühlen, mitleiden, mitlieben, mitverzweifeln. [translated] Asmik Grigorian triumphs in the title role [...] A singer with this expressive ability is rarely heard in this hall. The soprano conveys every feeling, every emotion not only through her acting, but also through her vocal design. The voice plays along. Everyone in the audience feels this, so they can also sympathize, sympathize, love, and despair.

    • The big heroine of the evening was Salome herself. Asmik Grigorian was in quite splendid voice [...] Her range of vocal colour throughout was extraordinary, the words pouring from her like streams of molten lava, her anguish carried aloft as if by soaring eagles when she reached the point of maximum resistance from Herod.

  • Vier Letzte Lieder (Strauss)

    Orchestre philharmonique de Radio France Orchestra
    Sep 2023

    • La voix pleine de caractère de la soprano lituanienne noue un beau dialogue avec Mikko Franck dont la direction manifeste une plénitude misant d’abord sur l’intensité du timbre instrumental. [translated] The characterful voice of the Lithuanian soprano enters into a beautiful dialogue with Mikko Franck, whose direction manifests a fullness focusing first on the intensity of the instrumental timbre.

    • On ne fera que rappeler rapidement la plénitude du timbre, la facilité vocale déconcertante, la puissance de projection parfaitement modulée, le large ambitus, la variété de nuances et de couleurs, le sublime legato et le souffle inépuisable, toutes caractéristiques réunies dans une interprétation d’une sensualité prégnante, bouleversante d’émotion [...] [translated] We will only quickly recall the fullness of the timbre, the disconcerting vocal ease, the perfectly modulated power of projection, the wide ambitus, the variety of nuances and colours, the sublime legato and the inexhaustible breath, all characteristics brought together in an interpretation of bursting sensuality, overwhelming with emotion.

  • Recital with Lukas Geniušas

    Wigmore Hall, London
    Sep 2023

    • ***** - a quiet affirmation of spiritual peace, immensely touching [...] The loud climaxes went from impressive to thrilling to alarming – but this was her debut in Wigmore Hall's highly responsive acoustic. Whenever a quiet coda followed such climaxes, her poised transition seemed artless.

    • This was Asmik Grigorian’s Wigmore Hall debut, and what a fine one it was

  • Macbeth (Verdi)

    Salzburg Festival
    Jul 2023

    • Asmik Grigorian funktioniert als Gesamtkunstwerk. [translated] "Asmik Grigorian functions as a total work of art.

    • Vocally, Grigorian is certainly a lighter soprano than the role demands. But, she faces up to that with wittiness. Her voice is more expressive than rounded and based on this her Lady Macbeth works. She pierces the orchestra with the most haunting of cries in the finale of the first act.

    • Asmik Grigorian was – as expected – a mightily impressive Lady Macbeth. Grigorian used her huge vocal range and all the acting skills she had at her command to explore her unhinged character’s moral depravity.

  • Pagliacci (Leoncavallo)

    Wiener Staatsoper
    Jun 2023

    • [...] singt sie Nedda mit warm leuchtendem Sopran, kapriziöser Koketterie. [translated] [...] she sings Nedda with a warm glowing soprano and capricious coquetry.

    • Das stärkste Argument liefert allerdings Asmik Grigorian als Nedda. Atemberaubend intoniertsie das Vogellied, berührt mit ihrem einzigartig schönen Sopran. [translated] The strongest argument delivers, however, Asmik Grigorian as Nedda. She intones the Birdsong aria breathtakingly, touched with her unique beautiful soprano.

    • Ich würde nie eine Rolle annehmen, in die ich mich nicht einfühlen kann, da ich auf der Bühne nicht lügen kann“, hat sie erst kürzlich in einem Interview von sich selbst gesagt. Getreu diesem Motto lässt sie sich auch auf diese Partie kompromisslos ein, jeden Gemütszustand nimmt man ihr vorbehaltlos ab. Ihre technische Souveränität braucht man kaum extra zu erwähnen. [translated] I would never take on a role that I can't empathize with because I can't lie on stage," she recently said of herself in an interview. True to this motto, she also gets involved in this game uncompromisingly, every state of mind is taken from her without reservation. Her technical sovereignty hardly needs to be mentioned.

    • La sua Nedda è espressionistica, nel senso di esprimere al massimo grado i tre poli del personaggio: la commediante sopra le righe, l’amante giovane, la vittima di un marito brutale. [translated] Her Nedda is expressionistic, in the sense of expressing the three poles to the fullest extent of the character: the over-the-top comedian, the young lover, the victim of a brutal husband.