Asmik Grigorian

Engagements this season and beyond include Iolanta at Oper Frankfurt, Madama Butterfly with the Royal Swedish Opera, Die tote Stadt at La Scala, Rusalka at the Teatro Real Madrid and debuts at the Metropolitan Opera, Royal Opera House Covent Garden, and Wiener Staatsoper.

© P Gasiunas


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).


Performance Schedule



  • 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

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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

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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

    “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, 

    “(…) 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,, 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,, 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

  • 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,, 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
    text with great expressive effects. The brilliance to her powerful
    conquered the Concertgebouw – See more at:

    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



BARTOK Bluebeard (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)
LEONCAVALLO Pagliacci (Nedda, in preparation)
MASCAGNI Cavalleria rusticana (Santuzza, in preparation)
PUCCINI Butterfly (Cio-Cio San)
PUCCINI Suor Angelica (title role)
PUCCINI La rondine (Magda)
PUCCINI Manon Lescaut (title role)
STRAUSS Elektra (Chrysothemis)
TCHAIKOVSKY Eugene Onegin (Tatiana)
TCHAIKOVSKY The Enchantress (Kuma)
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)


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


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