Soprano

Asmik Grigorian

Engagements this season and beyond include Manon Lescaut at the Royal Swedish Opera, The Demon at the Liceu, Halka at the Theater an der Wien, Chrysothemis Elektra at the Concertgebouw Amsterdam and further appearances at the Salzburg Festival, Royal Opera House and Teatro Real Madrid.

© 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. She won the Young Female Singer prize at the International Opera Awards (2016).


Contact


Performance Schedule

  • 14:15 02 Jun 2018 Concertgebouw Amsterdam, AMSTERDAM More info  

    RICHARD STRAUSS Elektra

    Elektra: Elena Pankratova
    Chrysothemis: Asmik Grigorian
    Clytemnestra: Dalia Schaechter
    Orest: Karolyi Szemeredy
    5th Maid: Kirsten MacKinnon
    Conductor: Markus Stenz

  • 19:30 09 Jun 2018 Basel Opera, BASEL More info  

    SERGEI PROKOFIEV The Gambler

    Musical Director: Modestas Pitrénas
    Director: Vasily Barkhatov
    Der General: Martin Snell
    Polina: Asmik Grigorian
    Alexj Iwanowitsch: Dmitry Golovnin
    Der Marquis: Rolf Romei
    Astley: Pavel Kuban
    Baron Wurmerhelm/Direktor des Casinos: Andrew Murphy

  • 19:30 12 Jun 2018 Basel Opera, BASEL More info  

    SERGEI PROKOFIEV The Gambler

    Musical Director: Modestas Pitrénas
    Director: Vasily Barkhatov
    Der General: Martin Snell
    Polina: Asmik Grigorian
    Alexj Iwanowitsch: Dmitry Golovnin
    Der Marquis: Rolf Romei
    Astley: Pavel Kuban
    Baron Wurmerhelm/Direktor des Casinos: Andrew Murphy

  • 19:30 15 Jun 2018 Basel Opera, BASEL More info  

    SERGEI PROKOFIEV The Gambler

    Musical Director: Modestas Pitrénas
    Director: Vasily Barkhatov
    Der General: Martin Snell
    Polina: Asmik Grigorian
    Alexj Iwanowitsch: Dmitry Golovnin
    Der Marquis: Rolf Romei
    Astley: Pavel Kuban
    Baron Wurmerhelm/Direktor des Casinos: Andrew Murphy

  • 19:30 17 Jun 2018 Basel Opera, BASEL More info  

    PROKOFIEV ‘The Gambler’

    Conductor: Modestas Pitrénas
    Director: Vasily Barkhatov
    Der General: Martin Snell
    Polina: Asmik Grigorian
    Alexej Iwanowitsch: Dmitry Golovnin
    Babulenka: Larissa Diadkova
    Der Marquis: Rolf Romei
    Mr. Astley: Pavel Kuban
    Fürst Nilskij: Karl-heinz Brandt
    Baron Würmerhelm/direktor Des Casinos: Andrew Murphy

  • 20:00 28 Jul 2018 Salzburg Festival, SALZBURG More info  

    RICHARD STRAUSS Salome

    Herodes: John Daszak
    Herodias: Anna Maria Chiuri
    Salome: Asmik Grigorian
    Jochanaan: Gábor Bretz
    Narraboth: Julien Prégardien
    Conductor: Franz Welser-möst
    Director: Romeo Castellucci
    Orchestra: Vienna Philharmonic

Discography

 
  • More info  
    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

  • More info  
    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

  • More info  
    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

  • More info  
    08 Aug 17 BERG Wozzeck
    Salzburg Festival

    “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

  • More info  
    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

  • More info  
    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

  • More info  
    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

  • More info  
    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

  • More info  
    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

  • More info  
    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

  • More info  
    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

  • More info  
    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 (Judith)
BERG Wozzeck (Marie)
CILEA Adriana Lecouvreur (title role)
DARGOMYZHSKY Rusalka (title role)
DVORAK Rusalka (title role)
GIORDANO Fedora (title role)
JANACEK The Makropoulos Case (Emilia Marty)
JANACEK Jenufa (title role)
JANACEK Cunning Little Vixen (title role)
JANACEK Kátya Kabanová (title role)
KORNGOLD Die tote Stadt (Marietta)
MONIUSZKO Halka
OFFENBACH Tales of Hoffmann (Antonia)
PROKOFIEV The Gambler
PUCCINI Butterfly (Cio-Cio San)
PUCCINI Edgar (Fidelia)
PUCCINI Suor Angelica (title role)
PUCCINI La rondine (Magda)
PUCCINI Manon Lescaut (title role)
RUBENSTEIN The Demon
SCHOENBERG Erwartung
STRAUSS Elektra (Chrysothemis)
TCHAIKOVSKY Eugene Onegin (Tatiana)
TCHAIKOVSKY The Enchantress (Kuma)
TCHAIKOVSKY Queen of Spades (Lisa)
VERDI Otello (Desdemona)
VERDI Il Trovatore (Leonora)
VERDI Simon Boccanegra (Amelia)
VERDI Un ballo in Maschera (Amelia)

CONCERT:

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