Kristina Mkhitaryan

Engagements this season and beyond include debuts at the Netherlands Opera for Eliogabalo and Bayerische Staatsoper for La traviata, Il Corsaro at the Palau de les Arts Valencia conducted by Fabio Biondi, a return to Glyndebourne and her debut at the Royal Opera House in Carmen. She will also make her Metropolitan Opera debut.


A graduate of the Galina Vishnevskaya Theatre Studio, Moscow, Kristina went on to join the Young Artist Programme at the Bolshoi Theatre where she remains a studio artist. She has won first prize at the Queen Sonja International Competition in Oslo (2013), third prize at the Neue Stimmen Competition (2013) and the Viotti Competition in Vercelli (2014). Kristina won 2nd Prize at the 2017 Operalia Competition.


Video & Audio

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    28 Apr 18 Aids Foundation Opera Gala

    “(…)Kristina Mkhitaryan brilliance and soft and finely chiseled vocal lines that made time stand still. ”

    Rick Fulker,, 29 April 2018

    “Die russische Sopranistin Kristina brachte die Sehnsüchte der Gilda, die die echte Liebe gefunden zu haben glaubt, in einer nuancenreichen Darstellung zur Geltung. Und der instrumentale Zauber aus Flöten un Oboen war beim Beethoven Orchester unter Dirk Kaftan in besten Händen. Mitreißend auch ihr Auftritt im Duett “Parigi o cara” aus Verdis “La Traviata” zusammen mit dem tenor Ivan Magri. Nicht minder eindrucksvoll trumpfte Mkhitaryan als Manon in der Arie “adieu notre petite table” von Jules Massanet auf. Die Zerrissenheit det Titelheldin äußerte sich in ebenso rauschhaften wie zarten, fragilen Klängen. Großes Gefühlskino, von Mkhitaryan phänomenal inszeniert.”

    Mathias Nofze, 29 April 2018

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    29 Mar 18 VERDI Il Corsaro
    Palau les Arts, Valencia

    “As Medora, was the youthful Kristina Mkhitaryan, a recent top prize winner of the Operalia Competition. In her 20s, she has a beautiful voice with a solid technique to give it life. Verdi demands a ton from the soprano, pushing her from lyrical territory into the borders of the spinto world constantly and the soprano handled it all quite well. She has the entire technical package.”

    David Salazar, 2 April 2018, OperaWire

    “There was a gorgeous, limpid quality to Kristina Mkhitaryan‘s Medora which made you wish her character were more than a seconda donna role.”

    Mark Pullinger, 29 March 2018, 

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    06 Feb 18 BIZET Carmen
    Royal Opera House

    “More consistently successful are Smoriginas and Kristina Mkhitaryan as Micaëla … Mkhitaryan, with her warm even tone, sounds glorious.”
    Tim Ashley, The Guardian, 7 February 2017

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    12 Oct 17 CAVALLI Eliogabalo
    Dutch National Opera

    “… is het vooral Kristina Mkhitaryan als Eritea die vocaal indruk maakt met kracht en présence.”
    Mischa Spel, NRC, 13 October 2017

    “…the vocally solid Eritea of soprano Kristina Mkhitaryan.”
    Nicolas Nguyen, Bach Track, 16 October 2017

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    21 May 17 VERDI La traviata
    Glyndebourne Festival Opera

    “The young Russian Kristina Mkhitaryan, groomed by the Bolshoi, has a smooth olive-tinted Slavic timbre not dissimilar to that of her compatriot Anna Netrebko. Slender and beautiful in physique, she handles her voice with disciplined technique – no shrieking or wobbling – and a degree of musical imagination that bodes well for her future. In the first act she sparkles gamely through the diamantine coloratura, in the second she rises to noble moral grandeur, and in the third, she sinks to a poignant dying fall – particularly in an Addio del passato spun on a delicate yet eloquent pianissimo….But Mkhitaryan is without doubt a talent to watch and a name to remember…”
    Rupert Christiansen, Telegraph, 22 May 2017

    “She’s unfazed by the coloratura flourishes of Act I, but more immersed in the text and the draKristina Mkhitaryan is a Russian soprano and a recent graduate of the Bolshoi’s Young Artist Programme, but she is already a Violetta to be reckoned with… The response to Piave’s text and the colour she lavished on Verdi’s music suggested a close study of Maria Callas’s or Renata Scotto’s famous recorded Violettas, spinning unforgettable pianissimo phrases in her final encounter with Alfredo, just before she expires.

    In this revival, one is more conscious than before of Violetta’s isolation in “the populous desert that they call Paris”, as she sings in her first big solo, and her transition from popular courtesan to abandoned consumptive is gut-wrenching…His conducting and Mkhitaryan’s sensational Violetta make this a collectible Traviata.”
    Hugh Canning, The Times, 28 May 2017

    “She sings with dark beauty of tone and a wonderful feel for text and character. Sempre Libera is about emotional veracity rather than display.”
    Tim Ashley, The Guardian, 22 May 2017

    “The revival of Tom Cairns’s production of La traviata with Kristina Mkhitaryan as Violetta is outstanding…This Violetta has an ordinariness which melts the heart, and her delicately-inflected singing, abetted by Richard Farnes’s sensitive direction in the pit, is a delight.”
    Michael Church, Independent, 22 May 2017

    “In her vocal richness, athleticism and vivid colouring, she has everything the role demands.”
    Edward Bhesania, The Stage, 22 May 2017

    “…Kristina Mkhitaryan, who sings Violetta with a Russian diamond of a soprano that cut through the coloratura with precision and traced a fine thread through the death scene.”
    Richard Fairman, Financial Times, 23 May 2017

    “Kristina Mkhitaryan, a stalwart at the Bolshoi Opera, was a new name to me and she gave a tremendous performance as Violetta, compelling both vocally and dramatically. Pale and clear in voice, she moved from plush confidence in the first act to the thinnest of textures in the third. Vocal control was tight; her pianissimi were particularly fine and there was a cheering purity in the higher register that ensured clean coloratura. Mkhitaryan’s devotion to the role was convincing: from her initial interest in Alfredo to her noble renunciation and to the final tragic moment when she briefly revives, there was a physicality to her performance that provided that extra charge, aided by an obvious understanding of the libretto. Glyndebourne may well have had a preview of a singer who will go on to be one of Verdi’s finest interpreters.”
    Dominic Lowe, Bachtrack, 23 May 2017

    “More than anything, we watch Kristina Mkhitaryan’s magnificently sung Violetta languish into delirium and death. The closing moments are beautifully conceived and extraordinarily moving.”
    Mark Valencia, Whats On Stage, 22 May 2017

    “The Russian soprano Kristina Mkhitaryan makes her debut at Glyndebourne Festival Opera in a revival of Tom Cairns’s 2014 production of Verdi’s La Traviata. And she brings to the role of the courtesan Violetta, who gives up the party life for love, a spellbinding range of vocal colour enriched by a giddying technique that takes the voice into the furthest corners of experience and emotion.”
    Claudia Pritchard, Culture Whisper, 22 May 2017

    “The unequalled star, however, was Kristina Mkhitaryan as Violetta. Combining a luscious, slightly covered soprano with an enviable legato, Mkhitaryan’s performance was a tour de force. Not for a moment did her Violetta sound fragile. But in place of such explicit vocal realism, Mkhitaryan brought moments of ectreme stillness, clearing space amid the production’s realist geastures and symbolic clutter to focus, fleetingly, on the heroine’s expression of devastatingly human emotion.”

    Flora Wilson, Opera Magazine, July 2017

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    15 Dec 16 CAVALLI Il giasone
    Grand Theatre de Geneve

    “De son côté, la voix est bien servie. Avec la jolie découverte de Kristina Mkhitaryan, rayonnante dans le rôle d’Isifile qu’elle endosse avec grâce.”

    “For its concern, the voice is being very well served. With the beautiful discovering of Kristina Mkhitaryan, quite radiant in the part of Isifile, which she performs most gracefully.”
    Sylvie Bonier, Le Temps, 26 January 2017

    “Alors que les commentateurs d’Il Giasone ont tendance à se focaliser sur son antihéros, le spectacle à l’affiche du Grand Théâtre de Genève révèle sa véritable héroïne, non pas Médée, mais Hypsipyle, la reine de Lemnos, dont Kristina Mkhitaryan – retenez ce nom, car c’est l’autre révélation du jour – dévoile la stature et une complexité qui en fait la protagoniste la plus intéressante de l’ouvrage.”
    Bernard Schreuders, Forum Opera, 25 January 2017

    “Hypsipyle un rien brutale dans ses premières interventions, Kristina Mkhitaryan réunit justesse, force et abandon pour livrer dans son monologue final le seul moment de magie de la soirée.”
    Luca Dupont-Spirio, Diapason, 27 January 2017

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    02 Dec 16 BELLINI I Capuletti e i Montecchi
    Bergen National Opera

    “With succulent tone that underpinned a diamond-etched line, Kristina Mkhitaryan’s Giulietta combined contrasting characteristics of two famous predecessors, Anna Netrebko and Edita Gruberova.”
    Yehuda Shapiro, Opera Magazine, February 2017

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    03 Dec 15 PUCCINI Il trittico
    Royal Danish Opera

    “…impressed by Kristina Mkhitaryan who delivered Lauretta’s aria with an easy line and impressive warmth of tone.”
    Opera Traveller, 22 November 2015

    “… alors que Kristina Mkhitaryan exprimera la détermination du personnage avec une netteté gracieuse dont « O mio babbino caro est la délicieuse expression.”
    Maurice Salles, Forum Opera, 17 January 2016


BELLINI I Capuleti e i Montecchi (Giulietta)
BELLINI I Puritani (Elvira)
BELLINI La Sonnambula (Amina)
BIZET Carmen (Michaëla)
CAVALLI Il giasone (Isifile)
CAVALLI Eliogabalo
DONIZETTI L’elisir d’Amore (Adina)
DONIZETTI Don Pasquale (Norina)
DONIZETTI Lucia di Lammermoor
DONIZETTI Maria Stuarda (Maria Stuarda)
GLINKA Ruslan y Lyudmila
GLUCK Orfeo ed Euridice (Euridice)
HANDEL Rodelinda
HANDEL Rinaldo
HANDEL Giulio Cesare (Cleopatra)
HANDEL Ariodante (Ginevra)
HANDEL Trionfo del Tempo e della Verita’ (Bellezza)
MONTEVERDI L’incoronazione di Poppea (Poppea)
MOZART La Clemenza di Tito (Servilia or Vitellia)
MOZART Le nozze di Figaro (Countess)
MOZART Don Giovanni (Donna Anna)
MOZART Idomeno (Ilia)
MOZART Die Zauberflote (Pamina)
MOZART Lucio Silla (Giunia)
MUSSORGSKY Boris Godunov (Xenia)
OFFENBACH Tales of Hoffmann (Antonia)
PUCCINI Gianni Schicchi (Lauretta)
RAVEL L’enfants et les sortilèges (Une pastourelle, La chouette, La chauve-souris)
STRAVINSKY Rake’s Progress
VERDI Rigoletto (Gilda)
VERDI La traviata
VERDI Il Corsaro (Medora)

BACH B Minor Mass
BEETHOVEN Missa Solemnis
BRAHMS Requiem
FAURE Requiem
MAHLER Symphony No. 2 & 4
MONTEVERDI Il Vespro della Beata Vergine
MOZART C Minor Mass
MOZART Requiem
MOZART Exultate Jubilate
ORFF Carmina Burana
PERGOLESI Stabat Mater
ROSSINI Petite Messe Solenelle
ROSSINI Stabat Mater
SCHUBERT Mass in A flat