REVIEWS
Jenufa
“Asmik Grigorian eine der gegenwärtig aufregendsten Sängerinnen… Die Sopranistin aus Litauen gehört zu den unerschrockenen Seelensucherinnen auf der Opernbühne… Mit zart strömender Stimme sät sie die Saat des Vermissens. Man vermisst diese junge, unglückliche Frau, obwohl sie doch vor einem steht. Dieser Kunstgriff überstrahlt jeden Farbverlauf auf den Plastebahnen”
(“Asmik Grigorian, one of the most exciting female singers of the moment…The soprano from Lithuania is one of the intrepid soul seekers on the opera stage…With a gently flowing voice, she sows the seeds of missing. You miss this young, unhappy woman, even though she is standing in front of you. This trick outshines every color gradient on the plastic tracks”)
- Der Tagesspiegel, Ulrich Amling
“Für die anspruchsvolle Titelpartie konnte die Wiener Staatsoper Asmik Grigorian gewinnen, die man kaum mehr vorstellen muss. Es ist beeindruckend und fast schon unheimlich, wie sie sich von Erfolg zu Erfolg schwingt, und man kann sich vorstellen, wie viel Arbeit – neben ihrem unbestrittenen Talent – in ihrer Rollengestaltung steckt. Wie sie sich im ersten Akt ihren Geliebten und seine zunehmende Alkoholisierung schönredet, ist naiv und berührend, und die kindliche Unterwürfigkeit gegenüber der Stiefmutter im zweiten Akt wirkt selten so überzeugend. Selbstredend beherrscht sie auch alle anderen geforderten Emotionen, sei es nun ihr eindringlich gesungenes Gebet oder ihre genervte, aber nicht uncharmante Abwehr des zunächst lästigen Verehrers Laca.”
(“For the demanding title role, the Vienna State Opera was able to win Asmik Grigorian, who hardly needs any introduction. It is impressive and almost uncanny how she swings from success to success, and one can imagine how much work - apart from her undisputed talent - has gone into shaping her role. The way she talks herself out of her lover and his increasing alcoholism in Act I is naïve and touching, and the childlike subservience to the stepmother in Act II rarely seems so convincing. Of course, she also masters all the other required emotions, be it her insistently sung prayer or her annoyed but not uncharming defence against Laca's initially annoying suitor.”)
-Bachtrack, Snapdragon
“Die Jenůfa der litauischen Sopranistin Asmik Grigorian lässt es an Anmut, Stimmkraft und leuchtend warmem Timbre nicht mangeln; ein Idealfall diese Besetzung.”
(“The Jenůfa of the Lithuanian soprano Asmik Grigorian is not lacking in grace, vocal power and a radiantly warm timbre; an ideal case this occupation.)”
“Asmik Grigorian dominated this Jenůfa… She is as vocally assured as we have come to expect from her and is fully capable of heart-rending lyricism at the end, even after three acts of full-on singing… she is the leading singing-actor of her soprano generation: Grigorian’s performances are theatrical with little of the mechanics of singing on show.”
“Asmik Grigorian, eine Singschauspielerin ersten Ranges. Sie ist eine grandiose Jenůfa, manchmal lyrisch kindlich, dann wieder als große Verzeihende zu erleben. Und bleibt dabei immer völlig natürlich. Vor allem im Gebet und ihrem Schlussgesang weiß sie intensiv zu berühren.”
“Asmik Grigorian , a first-class singing actress. She is a terrific Jenůfa, sometimes lyrically childlike, then again to be experienced as a great forgiving one. And always stays completely natural. Especially in prayer and her final song, she knows how to move people intensely.”
-Opera Online, Dr. Helmut Christian Mayer
“Erst eine fulminante Lesart der Partitur ermöglicht es Ausnahmesängerinnen wie Asmik Grigorian, alle Nuancen ihrer bestechenden Stimme einzusetzen... Und da wären wir zurück bei Asmik Grigorian, die stimmlich über den Dingen steht. Selten hat man eine so berührende Jenufa erlebt.”
(“Only a brilliant reading of the score enables exceptional singers like Asmik Grigorian to use all the nuances of their captivating voice... And here we are back with Asmik Grigorian, who is vocally impressive above all else. Rarely has one experienced such a touching Jenufa.)”
Lyrik und Expressivität zu strahlender Intensität verdichten.”
“…lyricism and expressivity condense into radiant intensity.”
-Wiener Zeitung, Judith Belfkih
“Ihr Sopran besticht mit dunklen Tönen, einerBrillanz in den Höhen, die ihresgleichen sucht.”
“(Her soprano captivates with dark tones and a brilliance in the high notes that is unparalleled.)”
“Star-Sopranistin Asmik Grigorian brillierte in der Titelpartie.”
“(Star soprano Asmik Grigorian shone in the title role.)”
“Asmik Grigorian gab am Sonntagabend an der Staatsoper erstmals die Titelpartie von Janäceks Erfolgsoper, und sie war berührend und wundervoll. Kaum eine Sängerin agiert auf der Opernbühne natürlicher als die 41-Jährige. Wenn sie sich freute oder ärgerte, wenn sie sich von ihrer ersten Liebe... dann war ihre Jenüfa keine gekünstelte Opernfigur, sondern eine normale junge Frau, wie es sie auch heute geben könnte. Und gesungen hat die Litauerin auch völlig frei und selbstverständlich: agil, variabel.”
“Asmik Grigorian sang the title role in Janäcek's successful opera for the first time at the Wiener Staatsoper on Sunday evening, and it was touching and wonderful. Hardly any singer acts more naturally on the opera stage than the 41-year-old. When she was happy or angry, when she was talking about her first love... her Jenüfa was not a contrived opera figure, but a normal young woman, as she could be today. And the Lithuanian also sang completely freely and naturally: agile, variable.”
-Der Standard, Stefan Ender
“Il soprano Asmik Grigorian è pienamente in controllo del proprio strumento; senza eccessi, ma anzi lavorando per sottrazione…”
“The soprano Asmik Grigorian is fully in control of her instrument; without excess, but rather working by subtraction…”
-L’Ape musicale, Giuliano Danieli
Propůjčila jí křehký vzhled a podmanivý hlas s krásnými oblými výškami a barvou. Její Jenůfa má v sobě od počátku temný tragický stín i jistý chlad, ale je to rozhodně výkon na špičkové úrovni.”
She lent her a fragile appearance and a captivating voice with beautiful rounded pitches and colour. Her Jenůfa has a dark tragic shadow and a certain coldness from the beginning, but it is definitely a performance of the highest caliber level.”
- Novinky, Radmila Hrdinová
Iolanta
“In Asmik Grigorian hat er eine Titelheldin an seiner Seite, die Jolanthes wechselnde Gemütszustände in jeder Sekunde beglaubigt, als Meisterin vokaler Wahrhaftigkeit.”
(“In Asmik Grigorian he has a titular heroine at his side who authenticates Iolanta’s shifting states of mind every second, as a master of vocal truthfulness.”)
- Der Tagesspiegel, Frederik Hanssen
“Grigorian hat sich in den letzten Jahren in die erste Reihe der international gefragten Sopranistinnen gesungen, auch diesmal kann sie mit ihrer schlanken, sicher geführten Stimme überzeugen, die der Königstochter ein stimmlich reizvolles Profil verleiht.”
(“In recent years, Grigorian has sung her way into the front ranks of internationally sought-after sopranos, and this time she can again convince with her slim, solid voice, which gives the king's daughter a vocally attractive profile.”)
- Klassik-begeistert, Peter Sommeregger
“Stellte diese konzertante Aufführung einen absoluten Höhepunkt der Opernspielzeit dar – maßgeblich geprägt durch die litauische Sopranistin Asmik Grigorian: Sie ist eine absolute Ausnahmesängerin und keinem Fach zuzuordnen. Ob als Marie im Wozzeck, der Titelpartie in Jenufa, diversen Puccini-Opern oder nun eben als Jolanthe – Grigorian macht sich in jeder Sprache und Epoche mit minimaler, gleichwohl eindringlicher Gestik und sinnlich-mesmerisierender, metallisch gefärbter Stimme, jede Partie ganz zu eigen.”
(“This concert performance represented an absolute highlight of the opera season - decisively influenced by the Lithuanian soprano Asmik Grigorian : She is an absolutely exceptional singer and cannot be assigned to any fach. Whether as Marie in Wozzeck, the title role in Jenufa, various Puccini operas or just as Jolanthe - Grigorian makes every role her own in every language and epoch with minimal yet haunting gestures and a sensual, mesmerizing, metallically colored voice.)”
Cio-Cio-San
“Grigorian ha regalato al pubblico una Butterfly magnetica, calibrata, scenicamente e vocalmente convincente. All’interno dell’ormai datato e oleografico allestimento di Zeffirelli, il soprano lituano ha disegnato credibilmente la figura di una bambina innamorata, volitiva, decisa, secca nei movimenti, spigliata e sicura nell’utilizzo dello spazio scenico. La voce è di ampio volume, di splendido timbro e sorretta da una tecnica che ha permesso alla Grigorian di attaccare in pianissimo il celebre “Un bel dì vedremo”, meritandosi una valanga di applausi e numerose richieste di bis… Una prova superba e una grande conferma per una voce che ha davanti un futuro notevole.”
(“Grigorian gave the public a magnetic, calibrated, scenically and vocally convincing Butterfly. Within Zeffirelli's now dated and holographic staging, the Lithuanian soprano credibly drew the figure of a little girl in love, strong-willed, determined, dry in her movements, self-confident and confident in her use of the stage space.The voice is large in volume, splendid in timbre and supported by a technique that allowed Grigorian to attack the famous “ Un bel dì visto ” in pianissimo, deserving an avalanche of applause and numerous requests for an encore… A superb performance and a great confirmation for a voice that has a remarkable future ahead of it.”)
-Opera Teatro, Raffaello Malesci
“Segno di un trionfo annunciato per il soprano Asmik Grigorian, protagonista di Madama Butterfly di Giacomo Puccini, al debutto in Arena di Verona… Grigorian porta in dote anche alla fragile Butterfly il carisma di una presenza scenica magnetica e di una vocalità sicura… la voce è davvero areniana per volume e ampiezza, omogenea in tutti i registri, ma pure capace di assottigliarsi per galleggiare su eterei pianissimi che giungono perfettamente udibili nel pur enorme spazio dell’anfiteatro. Grigorian domina ogni singola nota con (apparente) facilità, esibendo uno stupendo legato e una impeccabile musicalità. Il colore della voce… risulta tuttavia perfetto perché piegato esso stesso a finalità espressive da un fraseggio sempre vario, preciso nell’articolazione della lingua italiana, aderente al sentimento e all’emozione del momento. Ci sono, nell’interpretazione di Grigorian, la memoria della lezione di una Callas e di una Scotto nell’attenzione minuziosa a un fraseggio che non scade mai nella leziosità… con un gioco calibratissimo di peso sonoro e un ragguardevole ventaglio di colori… L’emozione, anche quando scivola pericolosamente verso il dramma, è sempre accompagnata da una dignità che è cifra costituiva di un personaggio che si presenta sì giovanissima... Come tale ce la consegna l’intelligenza interpretativa di Grigorian…”
(“A sign of an announced triumph for the soprano Asmik Grigorian, protagonist of Madama Butterfly by Giacomo Puccini , making her debut at the Verona Arena… Grigorian also brings to the fragile Butterfly the charisma of a magnetic stage presence and confident vocality… the voice is truly Arena-like in volume and breadth, homogeneous in all registers, but also capable of thinning out to float on ethereal pianissimi which are perfectly audible in the enormous space of the amphitheatre. Grigorian dominates every single note with (apparent) ease, exhibiting a stupendous legate and impeccable musicianship. The colour of the voice… perfect because it is itself bent to expressive purposes by an always varied phrasing, precise in the articulation of the Italian language, adhering to feeling and emotion of the moment. In Grigorian's interpretation, there is the memory of the lesson of Callas and Scotto in the meticulous attention to a phrasing that never lapses into affectation… with a highly calibrated game of sonic weight and a remarkable range of colours… The emotion, even when it slides dangerously towards drama, is always accompanied by a dignity which is the defining characteristic of a character who appears very young… Grigorian's interpretative intelligence delivers it to us as such...”)
- Conessi all Opera, Roberto Mori
“Il vero motivo d’interesse della ripresa di questa Butterfly risiedeva nel debutto veronese di Asmik Grigorian… la voce del soprano lituano non mostra una grinza ma anzi si espande luminosa e piena negli spazi all’aperto… tanto limpida negli acuti quanto salda nei gravi, oltre a poter contare su un fraseggio curatissimo e su una dizione italiana pressoché perfetta. Grigorian tratteggia una protagonista giovanile senza essere leziosa, affettuosa ma al tempo stesso eterea e distaccata. La recitazione non è mai sopra le righe, e si muove completamente a suo agio anche nel contesto di un allestimento più “tradizionale”...”
“The real point of interest in the revival of this Butterfly lay in the Veronese debut of Asmik Grigorian… the Lithuanian soprano's voice does not show a wrinkle but rather expands bright and full in the outdoor spaces… as clear in the high notes as she is solid in the low notes, as well as being able to count on very careful phrasing and almost perfect Italian diction. Grigorian outlines a youthful protagonist without being affected, affectionate but at the same time ethereal and detached. The acting is never over the top, and moves completely at ease even in the context of a more "traditional" staging…”
- Opera Click, Martino Pinali
“Asmik Grigorian fait partie de ces rares artistes qui attirent la lumière... la jeune soprano impressionne d’emblée par son naturel et par une maturité vocale des plus remarquables... Malgré l’immensité du lieu, l’actrice est fascinante pour ceux qui scrutent les expressions de son visage aux jumelles... après cette prestation, il est évident qu’Asmik Grigorian est la Cio-Cio-San de sa génération. Sa prestation s’inscrit dans les grandes réussites du Festival dell'Arena di Verona qui, à cent ans, offre des premières fois pleines d’éclat.”
“Asmik Grigorian is one of those rare artists who attract the spotlight... the young soprano immediately impresses with her naturalness and remarkable vocal maturity... Despite the immensity of the venue, the actress is fascinating for those who scrutinise her facial expressions through binoculars... after this performance, it is clear that Asmik Grigorian is the Cio-Cio-San of her generation. Her performance is one of the great successes of the Festival dell'Arena di Verona, which, at a hundred years old, still offers first performances full of brilliance.”
- Classique c’est cool, Hugues Rameau-Crays
“Grigorian ha una vocalità piena, sana, salda, dal timbro squisitamente femminile, giovane ma non acerbo. In più, ed è quel che più conta, ha una propensione per il canto di conversazione che appare innata ed è, pure, di certo ben coltivata... nel linguaggio pucciniano inteso nella sua dimensione europea può trovarsi perfettamente a proprio agio. Difatti non sembra intenzionata a perdere un dettaglio nel definire la ferma, incrollabile, ingenua fiducia in un ideale irreale. Ha una trepida, fresca naturalezza che non scade mai nell’ infantilismo, nel bamboleggiamento, bensì fa intendere la statura della donna di quindici anni. È profondamente vera, non verista.”
“Grigorian has a full, healthy, firm vocality with an exquisitely feminine timbre, young but not immature. In addition, and this is what counts most, she has a propensity for conversational singing that seems innate and is, moreover, certainly well cultivated ... in Puccini's language understood in its European dimension, she can be perfectly at ease. Indeed, she does not seem intent on losing a detail in defining the firm, unwavering, naive trust in an unreal ideal. She has a trepid, fresh naturalness that never lapses into infantilism, into dollishness, but rather conveys the stature of a woman of fifteen. It is profoundly true, not verist.”
- L’Ape Musicale, Roberta Pedrotti
“Now at the peak of her career and seemingly able to sing just about any role she chooses, from Dvorak’s lyrical “Rusalka” to Puccini’s dramatic “Turandot,” Grigorian is about to make her Metropolitan Opera debut in another Puccini classic, “Madame Butterfly.” “My only regret is not having booked her sooner,” said Met general manager Peter Gelb. “Asmik is an operatic force of nature, one of the greatest and most complete vocal and acting packages in recent operatic history.”...“She is the best partner I’ve ever had on stage. End of discussion,” said tenor Joshua Guerrero, who recently sang opposite her in “Madame Butterfly” at London’s Royal Opera House. He cited in particular “her willingness to remove ego and to put the other person forward when they are singing their part.” As Butterfly, Guerrero said she brought to the role “a beautiful stillness … She played it very naively, with a childlike approach.”...she’ll be back in future seasons to sing “Salome,” Janacek’s “Jenufa” — and no doubt more.”
- Yahoo, Mike Silverman
“A stunning performance from Lithuanian soprano Asmik Grigorian in the title role made an outstanding impression at the opening night of Madama Butterfly at the Royal Opera House… Cio-Cio-San, known to all as Butterfly, is vulnerable, trusting and loyal, bearing her troubles with unshakeable dignity and Grigorian brings out these qualities perfectly. I had previously seen the story as melodramatic and rather soppy, but Grigorian's performance was heart-rending and along with most of the audience, there were tears in my eyes at the end.”
- Daily Express, William Hartston
“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… she delivers something special…”
- The Guardian, Martin Kettle
“A stunning performance from Lithuanian soprano Asmik Grigorian in the title role made an outstanding impression at the opening night of Madama Butterfly at the Royal Opera House… I had never before appreciated fully the beauty of Puccini’s music or felt the emotional intensity of the tragedy so starkly displayed. Cio-Cio-San, known to all as Butterfly, is vulnerable, trusting and loyal, bearing her troubles with unshakeable dignity and Grigorian brings out these qualities perfectly. I had previously seen the story as melodramatic and rather soppy, but Grigorian’s performance was heart-rending and along with most of the audience, there were tears in my eyes at the end.”
“This time Butterfly is the current shooting star of opera, Lithuanian soprano Asmik Grigorian: an imperious presence, canny, stubborn and impassioned. Her phenomenal voice is not warm, but has white-hot capabilities. She wields its intense focus and searing cut-through with expert pacing and to overwhelming effect.”
- iNews, Jessica Duchen
“I have no superlatives strong enough to describe Asmik Grigorian’s performance as Butterfly. Her voice is an impossibly brilliant web of contradictions. It can be like a wisp of smoke: light, delicate and ungraspable. However, at the same time, it feels all-enveloping, as if being swaddled by a warm blanket of vocals. She never sounds loud but she can always be clearly heard. Her pianissimo is delicate and sensitive and her sparingly used Forte is world-shattering. Combined with all this mastery is her gorgeous tone, staggering colour, and astonishing diction. She has a tangible change of character from Act I to Act II. Upon hearing Grigorian I felt as if I had never heard live singing before.”
“Over the past few years, the Lithuanian Asmik Grigorian has been talked about in operatic circles, not just as a leading soprano, but as an authentic star: the sacred name of Callas has been invoked in discussing her artistry… her Cio-Cio-San is one of the most finely realised interpretations of this relentlessly demanding role that one could ever hope to witness… she is entirely convincing vocally, just as her physical acting - founded on stillness, alternating with small but significant gestures, and only occasionally launching into the grand manner - makes her automatically the centre of attention. She is the real thing.”
“…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 achieves a stature of her own… It is left to Grigorian to carry the evening.”
- Financial Times, Richard Fairman
“There is none of this girly artifice in Asmik Grigorian's poleaxing performance in this outstanding Royal Opera revival of Puccinis classic… Grigorian has established the character's depth of feeling and given her properly tragic weight… Dismayingly for anyone wanting a restful night, she builds the pathos to almost unbearable heights. Her Un bel di, vedremo… is so vividly felt and laceratingly sung it's almost as if she's about to will it into being.”
- The Times, Neil Fisher
“Vero motivo di interesse di queste repliche era quindi la presenza di Asmik Grigorian che ha regalato al pubblico veronese un’interpretazione maiuscola dell’eroina pucciniana. Il soprano lituano ha sfoggiato una linea di canto impeccabile sia nel registro grave che nell’acuto e, nonostante sia arrivata a Verona solo per le ultime due repliche, ha costruito un personaggio a tutto tondo, grazie sia ad un fraseggio impeccabile che le ha consentito di cesellare in chiave espressiva ogni singola battuta, rifuggendo qualsiasi manierismo, sia ad una recitazione estremamente moderna e curata, segnando una cesura netta rispetto agli altri interpreti che, pur validi sulla scena, hanno mostrato più difficoltà a svincolarsi dal convenzionale dettato zeffirelliano.”
(“The real point of interest in these performances was therefore the presence of Asmik Grigorian who gave the Veronese audience a capital interpretation of Puccini's heroine. The Lithuanian soprano showed off an impeccable singing line in both the low and high registers and, despite arriving in Verona only for the last two performances, she built a well-rounded character, thanks both to an impeccable phrasing which allowed her to chisel every single line in an expressive key, avoiding any mannerism, and to an extremely modern and careful acting, marking a clear break compared to the other performers who, although valid on the stage, have shown more difficulty in freeing themselves from the conventional Zeffirellian dictation.”)
- Teatro.It, Davide Cornacchione
Shostakovich Symohony No. 14
“Mit Asmik Grigorian und Matthias Goerne hat die neue Aufnahme des Orchestre Philharmonique de Radio France unter Mikko Franck zwei glänzende Solisten...Grigorian, die ihren Part mit viel Emphase gestaltet und zahlreichen Feinheiten ausdifferenziert.”
(“With Asmik Grigorian and Matthias Goerne, the new recording by the Orchestre Philharmonique de Radio France under Mikko Franck has two brilliant soloists...Grigorian shapes her part with much emphasis and develops numerous subtleties.”)
- Concerti, Christian Lahneck
Il Trittico Recording
“... with Asmik Grigorian’s three performances (alone of the cast, she’s the lead in all three pieces) becoming the golden thread upon which the entire staging hangs. And she really is golden: living on her nerve-ends and singing with a radiance and a dramatic intensity that grows and grows to an ending of almost unbearable pity and power… Then we come to Suor Angelica, and Grigorian holds the stage almost throughout; a performance of heart-rending vocal beauty and equally potent vocal characterisation. Listen to the sweetness with which she floats her ecstatic line about desires being the flowers of the living; then hear the sliver of steel…”
- Gramophone, Richard Bratby
“I’d not had an opportunity to watch Asmik Grigorian before, but in the space of three short hours she had jumped effortlessly to the top of my list of favourite singer-actresses… a performance like Grigorian’s here cannot conceivably be given less than five stars, for she is a sensation – each heroine entirely distinctive, every expression psychologically nuanced, her singing matched only by the unbridled playing of the Vienna Philharmonic.”
-BBC Music Magazine, Alexandra Wilson
“Asmik Grigorian, actrice stupéfiante et timbre prenant… la soprano lituanienne relève haut la main le défi d'incarner les trois héroïnes, avec un crescendo en termes d'exigences vocales puisque…”
Asmik Grigorian, a stunning actress with a captivating timbre… the Lithuanian soprano rises to the challenge of embodying the three heroines, with a crescendo of vocal demands…”
- Classica, Laurent Bury
Dissonance
“This will surely be the first of many releases, so in her thrall are orchestras and opera houses around the world. Her selection of Rachmaninov songs, the majority of them concerned with anguish, heartache and regret, brings out the visceral quality and dramatic expressiveness of her singing, most movingly on How Fair This Spot and a pin-drop Do Not Sing, My Beauty. Beside her, Geniusas is equally transported by this most pianistic of composers. Some have questioned whether Gregorian is apt to sacrifice purity of tone for emotional attack, but that seems overly nitpicky when you witness the power she displays here.”
“Her tone at its fullest, all velvet-wrapped steel, gleams with enough edge to cut through anything a full-throttle Rachmaninov piano part can throw at it!”
-The Guardian, Erica Jeal
“The CD inspires, it captivates, it unsettles, it is moving on many different levels.”
-Deutschlandfunk, Björn Woll
“Grigorian’s singing is pristine, athletic, strong, less formidably impassioned than the never-to-be-replicated Galina Vishnevskaya, but she has delicacy and tenderness, too. Opening song “Dissonance” immediately starts at a high level of intensity. As Grigorian’s last phrase hangs in the air, the heart stands still.”
"The opera singer of the moment also approaches her recital debut with fearless intensity: Rachmaninov's romances are mini-dramas for the soprano, to which Asmik Grigorian surrenders herself with all her being. Short CD (45') that resonates for a long time.”
-Tagesspiegel, Ulrich Amling
“Actually a thing for connoisseurs - but when it's done this well, songs by Rachmaninov also make the charts. Like the CD "Dissonance" (Alpha) by soprano Asmik Grigorian. The late romantic, emotional pieces are performed with the necessary pathos. They are about pain, love, faith and silence on a secret night. Asmik Grigorian has had success as an opera singer with a powerful voice. And you can hear that too.”
-Neue Presse
“Asmik Grigorian ist ein rundum überzeugendes Debüt-Album geglückt. Sie beweist eindringlich, dass Rachmaninows Lieder keineswegs Werke der zweiten Reihe sind. Grigorian gestaltet diese Miniaturen mit viel Feingefühl und Leidenschaft, mit feinen Schattierungen und wechselnden Spannungsbögen. An Eindringlichkeit gewinnt dieses Album auch durch den Pianisten Lukas Geniušas. Beide Solisten bilden ein glänzend eingespieltes, genau aufeinander hörendes Lied-Duo.
(“Asmik Grigorian has succeeded in creating an all-around convincing debut album. She certainly proves that Rachmaninov’s songs are by no means, as occasionally claimed, second-rate works. Grigorian shapes these miniatures with great sensitivity and passion, with fine shadings and changing arcs of tension. This album also gains in impressiveness through the pianist Lukas Geniušas. Both soloists form a brilliantly attuned Lied duo that listens precisely to each other.”)”
En équipe avec un pianiste génial, la plus formidable chanteuse- actrice de notre époque livre un exceptionnel récital de mélodies…la rencontre de deux phénomènes, déjà explosifs quand ils travaillent séparément, mais qui, mis ensemble, se stimulent et s’influencent. Un partenariat d’égal à égal, sans que jamais l’un parvienne à prendre un ascendant durable sur l’autre…
Seulement voilà, il y a aussi, face aux micros, une «bête de scène» : Asmik Grigorian, cette Salome, cette Chrysothemis, cette Senta, qui nous a cloué sur notre siège au cours des derniers étés, à Salzbourg et à Bayreuth, et qui ne va certainement pas accepter de s’effacer. La voix est riche, puissante, gorgée de couleurs, mais garde, en même temps, une vraie flexibilité, y compris quand il faut décocher quelques aigus périlleux.
Et puis, la soprano arméno-lituanienne démontre une compréhension profonde de ce répertoire. Elle y déploie son lyrisme mélancolique et sombre, ses effusions mélodiques, son pathos contenu, avec une pudeur et un sens de la mesure qui préservent de toute vulgarité. Où est-on ? À l’opéra, en train de frissonner, face à une succession de scènes dramatiques ? Au concert, ébahi devant un splendide récital de piano ? Dans un salon, à écouter des romances russes un peu sentimentales ? En fait, Asmik Grigorian et Lukas Geniusas, protagonistes d’exception, savent jouer sur tous ces registres à la fois, et le résultat est époustouflant.
(Teaming up with a brilliant pianist, the most formidable singer-actress of our time delivers an exceptional recital of melodies…the meeting of two phenomena, already explosive when they work separately, but which, put together, stimulate and influence each other. A partnership of equals, without one ever managing to take a lasting ascendancy over the other…
But there is also, in front of the microphones, a "beast of the stage": Asmik Grigorian, this Salome, this Chrysothemis, this Senta, who nailed us to our seats during the last summers, in Salzburg and Bayreuth, and who will certainly not accept to disappear. The voice is rich, powerful, full of colors, but keeps, at the same time, a real flexibility, including when it is necessary to shoot some perilous high notes. And then, the Armenian-Lithuanian soprano shows a deep understanding of this repertoire. She deploys her melancholic and dark lyricism, her melodic effusions, her contained pathos, with a modesty and a sense of measure which preserve any vulgarity. Where are we? At the opera, shivering, facing a succession of dramatic scenes? At the concert, amazed by a splendid piano recital? In a living room, listening to some sentimental Russian romances? In fact, Asmik Grigorian and Lukas Geniusas, exceptional protagonists, know how to play on all these registers at once, and the result is breathtaking.)
-Opéra Magazine, Laurent Barthel, Awarded a Diamond
“exceptional”
-Opéra Magazine, Laurent Barthel, Awarded a Diamond
“…a kaleidoscope of emotions, each of these pieces presenting a little drama…”
-Classica ‘ACCORD PARFAIT’, Olivier Brunel
“Il est rare de pouvoir, dans un récital de mélodies, saluer avec le même enthousiasme la voix et le piano. Préparé conjointement par Asmik Grigorian et Lukas Geniušas, ce programme de dix-neuf mélodies de Rachmaninov enregistré salle Colonne à Paris est une merveille d’équilibre. Dans ce kaléidoscope d’émotions chacune de ces pièces étant un petit drame…Elle s’y révèle une interprète aussi ardente au studio qu’à la scène de ces airs dont la ligne vocale évoque Tchaïkovski et Rimski-Korsakov. Le pianiste russo-lithanien Lukas Geniušas…Il se révèle le partenaire idéal pour défendre ces accompagnements de facture postromantique que Rachmaninov, virtuose accompli, n’a pas cherché à simplifier.”
(It is rare to be able, in a recital of melodies, to greet the voice and the piano with the same enthusiasm. Prepared jointly by Asmik Grigorian and Lukas Geniušas, this program of nineteen songs by Rachmaninoff recorded at the Salle Colonne in Paris is a marvel of balance. In this kaleidoscope of emotions, each of these pieces presents a little drama… She reveals herself to be such an ardent interpreter both in the studio and on the stage of these arias whose vocal line evokes Tchaikovsky and Rimsky-Korsakov. The Russian-Lithanian pianist Lukas Geniušas… proves to be the ideal partner to defend these post-romantic accompaniments that Rachmaninoff, an accomplished virtuoso, did not seek to simplify.)
-Classica ‘ACCORD PARFAIT’, Olivier Brunel
“Asmik Grigorian macht das ganz vorzüg lich, indem sie ihre ruhig geführte Stimme in vielen Farben einsetzt und dann immer wieder zu den dramatischen Höhepunkten „den Turbo zündet“. Man spürt in diesen eigentlich Kammermusikalisch besetzten Stücken, dass Grigorian derzeit als eine der (im besten Sinne) aufregendsten Sängerinnen gehandelt wird, die alles andere als ,,objektiv” oder neutral singt. Bewegend und mitreißend sind Attribute, die auch zu ihrem Liedgesang passen.
(Asmik Grigorian does this excellently, producing many colours with her calm voice and then “igniting the turbo” again and again for the dramatic climaxes. One senses in these chamber music pieces that Grigrian is currently considered one of the most exciting singers (in the best sense) who sings anything but “objectively” or neutrally. Moving and stirring are attributes that also match her Lied singing.)”
“Spectaculair intens, vettig en vullend: de eerste recitalplaat van Asmik Grigorian smaakt als een stevig bord borsjtsj. Het Litouws-Armeense podiumbeest verbluft ook zonder visuedensteun. Slimme keuze: de vlezige, wispelturige liederen die Rachmaninov schreef tussen pakweg 1900 en 1912. Ze drijven op extreme luimen, complexe mengkleuren en poë zie die weigert om zelfs op haar meest romantische momenten het drama af te schudden. Zonder operateske flair, een titanisch vocaal debiet en een emotionele barometer die zich van zilte zucht tot storm op zee laat plooien, blijf je beter weg van deze muziek: dat in zicht doet menige sopraan met een grote boog om het repertoire heen lopen. Dit is een momentum voor herontdekking, dankzij het stemgeluid van Grigorian dat je meesleurt in een kolk die zich op laadt aan de elektrische contrasten in de muziek. Lukas Geniusas is een sterke partner met genoeg lef en presentie om zich in de voetsporen van de legendarische 'Rach' te wagen.”
(Spectacularly intense, greasy and filling: Asmik Grigorian's first recital album tastes like a hearty plate of borscht. The Lithuanian-Armenian stage beast also dazzles without visual fuss and with a set of keys as the only backing. Clever choice: the meaty, volatile songs Rachmaninov wrote between, say, 1900 and 1912. They float on extreme laziness, complex blending colors and poetry that refuses to shake off the drama even in its most romantic moments. Without operatic flair, titanic vocal flow, and an emotional barometer that folds from salty sigh to storm at sea, you're better off staying away from this music: that insight causes many a soprano to walk around the repertoire with a big bow. This is a momentum for rediscovery, thanks to Grigorian's voice, which draws you into a swirl that charges at the electric contrasts in the music. Lukas Geniusas is a strong partner with enough guts and presence to venture into the footsteps of the legendary Rach’)
-Recensie Klassiek
Liza
“Asmik Grigorian fait partie de ces rares interprètes dont la seule présence sur scène électrise une salle…chaque scène où Asmik Grigorian foule les planches prend d’emblée une autre ampleur. Ses talents d’actrice sont indéniables que ce soit pour incarner la jeune fille mutine ou timide, la passion amoureuse ou l’angoisse de la culpabilité au dernier acte. Le chant épouse cette aisance scénique. Avec un juste volume et un souffle conséquent, elle dépeint les affres de Lisa grâce à son timbre aigre-doux et un aigu lumineux.”
(“Asmik Grigorian is one of those rare performers whose mere presence on stage electrifies a room…each scene where Asmik Grigorian treads the boards immediately takes on another dimension. Her talents as an actress are undeniable whether it is to embody the mischievous or shy young girl, the passion in love or the anguish of guilt in the last act. The singing marries this scenic ease. With a fair volume and a consequent breath, it depicts the pangs of Lisa thanks to its bittersweet timbre and a luminous treble.)”
"…'gesto che crea un brulicare di frasi e colori, raffinatezza dei colori, cantanti più a proprio agio’, soprattutto il protagonista, il soprano lituano Asmik Grigorian.”
"…’gesture that creates a swarm of phrases and colors, refinement of colors, singers more at ease’, especially the protagonist, the Lithuanian soprano Asmik Grigorian.”
- Corriere della Sera Milano, Pierluigi Panza
“Asmik Grigorian canta alla grande, ma è la personalità che colpisce; quello di lei o entrare in scena e riempirlo - di un carisma gigantesco.”
“Asmik Grigorian sings great, but it's the personality that strikes us; that of hers or enter the scene and fill it - with a gigantic charisma.”
- Il Giorno Milano, Elvio Giudici
“Artista nel senso più puro del termine è Asmik Grigorian…il talento cristallino di Grigorian fa la differenza, permettendole di superare tutte le difficoltà della parte con apparente naturalezza. L’interprete è quindi abbagliante. Una Liza di un’intensità totalizzante, fraseggio molto ricco e volubile, temperamento da calore bianco, personalità scenica e fascino capaci di concentrare su di lei ogni attenzione con il solo entrare in scena, personaggio in ogni gesto, in ogni sguardo. Nonostante la regia faccia di tutto per tarpare le ali, la Grigorian vola sicura verso un meritato trionfo che il nutrito pubblico le ha elargito con autentico calore.”
(“Artist in the purest sense of the term is Asmik Grigorian… Grigorian’s crystalline talent makes the difference, allowing her to overcome all the difficulties of the part with apparent naturalness. The singer is therefore dazzling. A Liza of an all-encompassing intensity, very rich and fickle phrasing, white heart temperament, stage personality and charm capable of concentrating all attention on her by just entering the scene, a character in every gesture, in every glance. Although the director does everything he can to clip her wings, Grigorian flies confidently towards a well-deserved triumph that the large audience has bestowed upon her with genuine warmth.)”
“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.”
“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.”
- Süddeutsche Zeitung, Reinhard J. Brembeck
“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.”
“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".
- Merkur, Markus Thiel
"Asmik Grigorians Lisa ist eine junge Frau mit starken, heftig wechselnden Gefühlen. Ein metallischer Glutkern in ihrer Stimme, die zu gleißender Intensität fähig ist und noch im verhaltensten Piano den Raum füllt..."
"Asmik Grigorian's Lisa is a young woman with strong, violently changing feelings. A metallic glowing core in her voice, which is capable of glistening intensity and fills the room even in the most restrained piano..."
- Frankfurter Allgemeine, Christian Gohlke
“Asmik Grigorian adelte durch ihre atemberaubende Stimmführung die Rolle der Lisa... gleißendes Soprangold in dramatischem Ausbrüchen enttäuschter Liebeshoffnung.”
“Asmik Grigorian enhanced the role of Lisa with her breathtaking voice leading... glistening soprano gold in dramatic outbursts of disappointed love hope.”
- Bachtrack, Michael Vieth
“All eyes were on Asmik Grigorian. She did not disappoint with genuine stage presence and dramatic intensity particularly in the last duet with Hermann, probably the highlight of the opera.”
“Voor Asmik Grigorian is het een grote avond...Ze weet elke scène op te laden met haar elektriserende verschijning… Ze heeft de best projecterende stem van de avond en alles wat ze zingt lijkt te ontstaan vanuit een eerlijke verinnerlijkte omgang met de tekst. Haar voordracht is intonatie zuiver met grote souplesse in de frasering; de registerovergangen zijn vlekkeloos, het timbre is mooi, de controle van het vibrato totaal. Dit was muzikaal topniveau met echte spinto uithalen die lijken te suggereren dat haar stem een tikkeltje groter is geworden.”
“For Asmik Grigorian, it’s a big night...She knows how to charge every scene with her electrifying appearance… She has the best projecting voice of the evening and everything she sings seems to emerge from an honest internalised handling of the text. Her delivery is tonally pure with great suppleness in phrasing; the register transitions are flawless, the timbre is beautiful, the control of the vibrato total. This was musical excellence with real spinto outbursts that seem to suggest her voice has grown a tad bigger.”
“Asmik Grigorian, habituée du rôle, y garde une remarquable fraîcheur. La lumière du timbre, la souplesse d'une conduite vocale à l'écoute de chaque nuance de la partition, tout a la force de l'évidence dans cette interprétation. Grigorian fait confiance à la musique, sans aucune surcharge expressive : une vraie leçon de chant.”
“Asmik Grigorian, a regular in the role, retains a remarkable freshness. The lightness of the timbre, the suppleness of her vocal delivery, which listens to every nuance of the score, all have the force of evidence in this interpretation. Grigorian trusts the music, without any expressive overload: a true lesson in singing.”
- ResMusica, Dominique Adriane
Recitals
“Ergreifend die Darbietung des Künstlerduos Grigorian/ Geniušas…wie Grigorian selbst sagt, jedes dieser Lieder eine intensive Opernszene en miniature ist, in der eine kräftige und biegsame Stimme sowie höchstes Ausdrucksvermögen gefragt sind. Über beides verfügt sie in Fülle…”
“The performance by the artist duo Grigorian/Geniušas was gripping…as Grigorian herself says, each of these songs is an intense operatic scene in miniature, in which a strong and flexible voice as well as the highest level of expressiveness are required. She has both in abundance…”
-Faust Kultur, Andrea Richter
“Grigorian…feiert ihre Erfolge als Opernsängerin nicht nur wegen ihrer kraftvollen, makellosen, in allen Lagen sicheren Stimme, sondern auch wegen der Wandlungsfähigkeit, mit der sie in jede Rolle schlüpft…Geniušas und Grigorian kosten unterschiedliche Stimmungen aus, spüren Launen nach, ohne Übertreibungen. Sie haben es nicht nötig, Lieder als Vehikel für ihre Virtuosität zu missbrauchen – diese spricht ohnehin aus jeder Note.”
“Grigorian… celebrates her success as an opera singer not only because of her powerful, flawless voice, confident in all registers, but also because of the versatility with which she slips into every role… Geniušas and Grigorian savor different moods, without exaggerations. They don't need to use songs as a vehicle for their virtuosity - it speaks from every note anyway.”
-Frankfurter Rundschau, Volker Schmidt
“Neben ihrer starken Präsenz verfügt Grigorian über die Fähigkeit, mit wenigen mimischen Variationen die unterschiedlichsten Gefühle zu vermitteln und das Publikum in ihren Bann zu ziehen. Im Mittelpunkt steht freilich ihre ausdrucksstarke und farbenreiche Stimme. Leise Pianotöne fließen sanft über ihre Lippen, bei expressiven Tönen bringt sie das Haus fast zum Beben.”
“In addition to her strong presence, Grigorian has the ability to convey a wide range of emotions with just a few facial expressions and to captivate the audience. Of course, the focus is on her expressive and colorful voice. Quiet piano tones flow gently over her lips, with expressive tones she almost makes the house tremble.”
-KulturFreak, Markus Gründig
“Ha una voce fantastica, e un’attrice fantastica… e estremanente bella, e umile, e disciplinata al 100%, non arriva mai in ritardo alle prove. Non incontri una persona del genere molto spesso. Questo soprano lituano, molto attrice nelle pose anche fuori dal palco… Sul palco e un’ottima attrice…"
"She has a fantastic voice, and is a fantastic actress... and extremely beautiful, and humble, and 100 per cent disciplined, she's never late for rehearsals. You don't meet someone like that very often. This Lithuanian soprano, very actressy in poses even offstage... Onstage she is a very good actress..."
-Corriere della sera Milano, Pierluigi Panza
“...stella luminosa del belcanto lituano che non il suo magnetismo folgorante e ipnotico riapre alle 20 la Scala...Il suo e un irresistable concentrato di colori vocali screziati e con una recitazione coinvolgente, che inchioda lo spettatore alla poltrona prima di spingerlo ad applaudire con decisione.”
(“...shining star of Lithuanian bel canto, whose dazzling and hypnotic magnetism reopens La Scala at 8 pm...Hers is an irresistible concentration of mottled vocal colours and an engaging acting style that nails the audience to the seat before prompting them to applaud decisively.) ”
“…gesungen hat die Litauerin auch völlig frei und selbstverständlich: agil, variabel.”
“the Lithuanian also sang completely freely and naturally: agile, variable.”
-Der Standard, Stefan Ender
“She has a full, rich, even tone across all registers, flawless intonation and tremendous agility, but it was her take-no-prisoners approach that really captured us as listeners. She gave everything, pushing expressive outbursts to the limits of possibility, trusting the public and herself to hold the moment.”
-Financial Times, Shirley Apthorp
“Lyrisch ließ Asmik Grigorian ihren kostbaren Sopran erblühen, färbte stimmtypisch charakteristische Introduktionen mit lichten Spitzentönen dank ihres herrlichen Spinto-Timbres… profitieren ungemein bar dieser ausgefeilten Vokal-Flexibilität. Ein breites Kaleidoskop subtiler Musikalität und genialer Ausdruckskraft kamen ebenso mit dramatischen Einfärbungen der Textur zugute.”
“Lyrically, Asmik Grigorian let her precious soprano flourish, colored typical voice-typical introductions with light top tones thanks to her wonderful spinto timbre…immensely from this sophisticated vocal flexibility. A broad kaleidoscope of subtle musicianship and ingenious expressiveness also came with dramatic coloring to the benefit of texture.”
-Online Merker, Gerhard Hoffmann
“Grigorian è stata splendida, capace di un'intensità espressiva contenuta, che entrava nel cuore dell'ascoltatore e non lo lasciava più, in un crescendo emotivo che poteva giungere fino alle lacrime nel Lied finale, Im Abendrot.”
“Grigorian was splendid, capable of a restrained expressive intensity that entered the listener's heart and never left it, in an emotional crescendo that could reach tears in the final Lied, Im Abendrot.”
-Giornale della musica, Mauro Mariani
“Grigorian caught nicely its poignant, passionate, rise and fall. A tear trembles, setting a love poem by Alexey Tolstoy, demonstrated, not for the first time in the evening, her remarkable dynamic range, from the softest pianissimo to a rafter-rattling fortissimo, and all in seemingly the same voice, with no audible ‘break’... Grigorian brought her formidable gifts to I bless you, forests where Alexey Tolstoy holds “all of nature in my embrace” which could be said of Grigorian’s relationship with her audience as a rapturous reception closed the first half…Grigorian’s leap to the notorious unprepared pianissimo top B natural near the close was a thing of wonder.”
-Bachtrack, Roy Westbrook
“Une émotion intense que l’on retrouvera heureusement avec le témoignage bouleversant d’Asmik Grigorian dans les Quatre derniers Lieder de Richard Strauss… Réputée pour ses interprétations lyriques incandescentes, la soprano lituanienne Asmik Grigorian est aussi une bouleversante récitaliste qui sait plier sa voix à l’univers plus intimiste du Lied – un magnifique récital consacré aux mélodies de Tchaïkovski et Rachmaninov cet été au festival d’Aix en Provence en témoigne... 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.”
“Intense emotion is happily restored by Asmik Grigorian's deeply moving performance of Richard Strauss's Four Last Songs… Renowned for her incandescent lyrical interpretations, Lithuanian soprano Asmik Grigorian is also a deeply moving recitalist who knows how to bend her voice to the more intimate world of the Lieder - a magnificent recital devoted to the melodies of Tchaikovsky and Rachmaninov this summer at the Aix en Provence Festival bears witness to this... We need only briefly recall the fullness of the timbre, the disconcerting vocal ease, the power of the perfectly modulated projection, the wide range, the variety of nuances and colours, the sublime legato and the inexhaustible breath, all characteristics brought together in an interpretation of pervasive sensuality, overwhelming with emotion."
-ResMusica, Patrice Imbaud
“Asmik Grigorian ist eine Sängerin, die sich in ihrer Kunst gänzlich offenbart und auf berührende Weise ihr innerstes Preis gibt. Diese tiefe Verletzlichkeit ermöglicht es ihr, in jeder Rolle Momente tiefer und ehrlicher Emotionalität heraufzubeschwören…Sie spielt nicht einfach, sondern fühlt und leidet mit den Charakteren – und das mit jeder Faser ihres Körpers und immer mit ganzem Herzen. „Ich gehöre zu denen, die die Dinge aus der triebhaften Perspektive betrachten.“, sagt sie, „mein wahrer Verstand bildet sich in meinem Herzen und meinem Bauch."”
“Asmik Grigorian is a singer who reveals herself completely in her art and reveals her innermost self in a touching way. This deep vulnerability allows her to conjure moments of deep and honest emotionality in every role…She doesn't just act, she feels and suffers with the characters - with every fiber of her body and always with all her heart. “I am one of those who look at things from an instinctive perspective,” she says, “my true mind is formed in my heart and my stomach.”
-Crescendo, Ilaria Heindrich
“Zusammen mit Pianist und Komiker Hyung-ki Joo zeigte die Sopranistin wieder einmal ihre vokale und darstellerische Hingabe… Ja, es ist alles da, was von einer Salzburger Salome oder Lady Macbeth und von einer Staatsopern-Turandot zu erwarten ist: makellose Lyrik, elegante Linienführung, delikate Pianissimokunst und die kultivierte Pracht dramatischer Ausbrüche, was den mitunter gar etüdenhaften Stücken hilft…Zweifellos ein kostbar-exzentrischer Abend”
“Together with pianist and comedian Hyung-ki Joo, the soprano once again showed her vocal and dramatic dedication… Yes, everything is there that one would expect from a Salzburg Salome or Lady Macbeth and from a State Opera Turandot: flawless lyricism, elegant lines, delicate pianissimo art and the cultivated splendor of dramatic outbursts, which helps the sometimes even etude-like pieces…Undoubtedly a precious and eccentric evening”
-Der Standard, Ljubiša Tošić
“...she’s a hot commodity in Europe. That was easy to tell from the audience reaction to the first notes that came out of her mouth. She can do what she wants because that’s where she is in her career: a star…It is a luxury and she showed us in the evening’s outing that she’s entitled to have it, from the pleasure she’s given us in her operatic work. Even if we may not always agree with the choice of material she’s given us in the recital’s program, that’s Grigorian’s prerogative in being herself. When push comes to shove, I guess that’s what we want from her: The real thing.”
- Broadway World, Richard Sasanow
Verdi Requiem
"Auch sie kann jeden Ton in jeder Lage, Farbe, Intensität und Lautstärke produzieren. Ganz gleich, ob sie die Stille streichelt oder vom Jüngsten Gericht kündet, ob sie es im ewigen Schnee tut oder weiter unten: Auch bei ihr ist jede Silbe zu verstehen und eingebunden in eine Gestaltung, die nicht Schönheit und Virtuosität der eigenen Stimme ins Zentrum rückt, sondern eine Botschaft. Nicht wenigen gilt diese Sopranistin derzeit als die beste. Und obschon derlei Absolutismen in der Kunst nichts verloren haben, könnten sie recht haben. Allein ihre letzten Worten und Töne... machen ihre Stimme zum unsterblichen Teil von Verdis jenseitiger Ewigkeit. Und wie viel Herrliches hat sie davor gesungen."
" She too can produce any tone in any register, colour, intensity and volume. No matter whether she is caressing the silence or proclaiming the Last Judgement, whether she is doing it in the eternal snow or further down: Her every syllable can be understood and is integrated into a style that focuses not on the beauty and virtuosity of her own voice, but on a message. Quite a few consider this soprano to be the best at the moment. And although such absolutism has no place in art, they could be right. Her last words and notes alone... make her voice an immortal part of Verdi's otherworldly eternity. And how many marvellous things she sang before that."
- Leipziger Volkszeitung, Peter Korfmacher
Salome
“Die gesungen, verkörpert, ja sich einverleibt wird von Asmik Grigorian. Man wird Zeuge eines jener so raren, weil hoch risikobehafteten Momente, in denen eine Sängerin total mit ihrer Rolle verschmilzt, sich bis zur Selbstaufgabe hingibt und trotzdem die Kontrolle behält.”
“Asmik Grigorian sings, embodies and even incorporates the role. One witnesses one of those rare, because it is highly risky, moments in which a singer totally merges with her role, surrenders herself to the point of self-sacrifice and still retains control.”
-Die Welt, Manuel Brug
“Asmik Grigorian muss Richard Strauss in seinen Träumen erschienen sein, als er einst seinen Welterfolg konzipierte. Die Litauerin, im vergangenen Jahr Salzburgs „Wozzeck“-Marie, ist als Salome vieles, vor allem ideal. Zerbrechlichkeit, Unbedingtheit, eine herbe, grenzgängerische Schönheit, eine Kontrolle trotz aller Emphase, ein schier übermenschlicher Gestaltungswillen, all das spricht aus ihrem Gesang und ihrem Spiel.”
“Asmik Grigorian must have appeared in Richard Strauss' dreams when he conceived his world success. The Lithuanian, Salzburg's "Wozzeck" Marie last year, is many things as Salome, above all ideal. Fragility, uncompromising, a harsh, borderline beauty, a control despite all extremes, a sheer superhuman will to create, all this emerges from her singing and her acting.”
Merkur, Markus Thiel
“Natürlich verdanken sie ihre Intensität auch und nicht zuletzt der Salome der Asmik Grigorian, bei der Castellucci sich beim Schlussapplaus mit einem Kniefall für eine überragende Darstellung bedankt… die litauische Sopranistin agiert mit vorbehaltloser Hingabe, großer Leidenschaft und beeindruckender Kraft.”
“Of course, they also owe their intensity, not least to Salome to Asmik Grigorian, whom Castellucci thanks by kneeling for an outstanding performance during the final applause…the Lithuanian soprano acts with unreserved dedication, great passion and impressive power.”
“Vor allem gelingt dies dank Asmik Grigorian, die sich mit Hingabe in den Abgrund dieser Figur herabwagt… Erstaunlich: Trotz all dieser szenischen Anforderungen bewahrt Grigorians Stimme Kraft und Flexibilität. Charaktervoll in jeder Lage, vermag Grigorian Töne klanglich – je nach Emotion – zu modellieren. In der Höhe ist poetisches Flehen möglich wie auch dramatischer Exzess. In der Tiefe wird der Befehlston nobel hörbar wie auch eine derbe Verwünschung. Schließlich ist da auch ausreichend Substanz, um finale Gipfel dramatischer Unmittelbarkeit zu erklimmen.”
“Above all, this succeeds thanks to Asmik Grigorian, who dares to descend into the abyss of this character with devotion…Amazing: Despite all these production’s requirements, Grigorian's voice retains its power and flexibility. Full of character in every register, Grigorian is able to mold each tone – depending on the emotion. At the top, poetic supplication is possible, as is dramatic excess. In the depths, the commanding tone is nobly audible, as is a harsh curse. And there is enough substance to climb final peaks of dramatic immediacy.”
Der Standard, Ljubisa Tosic
“Sie ist einfach wahnsinnig gut: Asmik Grigorian singt, verkörpert, ist Salome. Ihr gleißend heller Sopran überstrahlt alle Strauss’schen Orchesterexzesse. Im Piano hat ihre Stimme verführerische Leichtigkeit… beherrscht den Abend: mit Gesten, Schritten, Blicken – und atemberaubenden stimmlichen Kraftreserven.”
“She is just incredibly good: Asmik Grigorian sings, embodies, is Salome. Her sparkling, bright soprano outshines all of Strauss' orchestral excesses. Her voice has a seductive lightness on the piano…dominates the evening: with gestures, steps, looks - and breathtaking reserves of vocal power.”
BRKlassik, Bernhard Neuhoff
“Umwerfend und zu Recht umjubelt wurde die litauische Sopranistin Asmik Grigorian in der Titelrolle der judäischen Prinzessin, deren Liebe zum asketischen Propheten Jochanaan zurückgewiesen wird.”
“The Lithuanian soprano Asmik Grigorian was stunning and deservedly acclaimed in the title role of the Judean princess whose love for the ascetic prophet Jochanaan is rejected.”
“La Grigorian trionfa in scena con capacità vocali e attoriali, sposando alla perfezione il concetto registico e restituendo una Salome acerba e spaesata con mezzi artistici molto maturi.”
“Grigorian triumphs on stage with vocal and acting skills, perfectly marrying the directorial concept and returning an unripe and bewildered Salome with very mature artistic means.”
“cette nouvelle Salomé offre la révélation d’une interprète d’exception en la volcanique Asmik Grigorian…On se demande toute la soirée comment des sons aussi fulgurants parviennent à sortir de cette jeune femme frêle, le corps en transe, au tempérament volcanique et à la voix parfaitement taillée pour Strauss. Timbre concentré, vibrato ardent, projection phénoménale, le jour même où l’on apprend la mort d’Inge Borkh, on découvre une potentielle héritière, dotée du même feu sacré et du même type de pétoire.”
“this new Salomé offers the revelation of an exceptional performer in the volcanic Asmik Grigorian…We wonder all evening how such dazzling sounds manage to come out of this frail young woman, her body in a trance, with a volcanic temperament and a voice perfectly cut for Strauss. Concentrated timbre, ardent vibrato, phenomenal projection, the very day we learn of Inge Borkh's death, we discover a potential heiress, endowed with the same sacred fire and the same type of weapon.”
AltaMusica, Yannick Million
“El recuerdo de cualquier gran Salome del pasado, incluidos Birgit Nilsson y en el mismo Salzburgo Hildegard Behrens y Caterina Malfitano, no hace la menor sombra sobre la suprema presencia teatral y el timbre lirico, ágil y penetrante de Asmik Grigorian.”
“The memory of any great Salome of the past, including Birgit Nilsson and in Salzburg itself Hildegard Behrens and Caterina Malfitano, casts no shadow over Asmik Grigorian's supreme theatrical presence and lyrical, agile and penetrating timbre.”
MundoClasico, Agustín Blanco Bazán
“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.”
“...avec une étincelle d’argent dans le timbre et des trépignements de petite fille dans l’expression, Asmik Grigorian met la salle à ses pieds, au terme d’une formidable performance vocale et physique. Une princesse de Judée est née, que son règne soit long.”
“...with a silver sparkle in the timbre and the timbre of a little girl in terms of her expression, Asmik Grigorian brings the room to its feet, after a formidable vocal and physical performance. A princess of Judea is born, may her reign be long.”
“Central to the success of this production is the astonishing Salome of Asmik Grigorian. The Lithuanian soprano captivates the audience as much as she captivates Herod… Grigorian’s soprano is bright, rippled with steel and it slices tirelessly through a rampant Vienna Philharmonic. Yet she can scale it down too, caressing the phrase “Den Kopf des Jochanaan” sweetly before vehemently repeating her demand, deliberately sliding off note.”
“Asmik Grigorian certainly carries the kind of soaring intensity that the opera's Salome ought to have, reaching the luxurious heights and the depraved depths of the work.”
Opera Journal - Keris Nine
“Voor Asmik Grigorian was dit zondermeer haar beste prestatie totnogtoe en ongetwijfeld zal deze Salomé een belangrijke boost aan haar carrière geven. Haar slanke dramatische sopraan stelde nergens teleur, ze klonk gaaf over het hele bereik en projecteerde net zo goed in de ppp- als in de fff-passages. Haar vertolking was overtuigend en doorleefd.”
“For Asmik Grigorian, this was undoubtedly her best performance yet and no doubt this Salomé will be a major boost to her career. Her slender dramatic soprano did not disappoint anywhere, sounding cool throughout the range and projecting just as well in the ppp and fff passages. Her performance was convincing and lived-in.”
Leidmotief, Jos Hermans
“Allein die litauische Sopranistin Asmik Grigorian in der Titelrolle macht sie zu einem Ereignis. Die zierliche Frau wirkt in der Stimme jugendlich genug, um ihr die schöne Herodias-Tochter abzunehmen... Sie bringt aber gleichzeitig die Wucht und Ausdruckskraft auf die Waage, die für diese Schwergewichtspartie unerlässlich ist.”
“The Lithuanian soprano Asmik Grigorian alone in the title role makes it an event. The petite woman's voice seems youthful enough to take the beautiful Herodias daughter from her... But at the same time she brings the power and expressiveness, which is essential for this heavyweight game.”
Südkurier, ELISABETH SCHWIND
“Stimmlich besticht sie mit schöner Phrasierung, herrlichem Timbre, klaren Spitzentönen und ausreichend Kondition im Finale. Sie ist eine ideale Salome, die jede Nuance gestaltet, in keiner Phase brüllt – und nicht weniger als eine Bühnensensation.”
“Vocally, she impresses with beautiful phrasing, a wonderful timbre, clear top tones and is in sufficient condition in the finale. She is an ideal Salome that shapes every nuance, never roars in any phase - and is no less than a stage sensation.”
“Grigorian alternates between ferocity and tenderness, searching lines reaching out, then receding into regret. A tour de force performance, made even more moving by the sensitive filming which picks up the emotion in her expressive face.”
“Insgesamt schraubt Grigorian das singdarstellerische Agieren zur Perfektion.”
“All in all, Grigorian pushes the singing-acting to perfection.”
“Asmik Grigorian war die Entdeckung der Salzburger Festspiele im vergangenen Jahr. Als Salome wurde die litauische Sopranistin von allen Seiten gefeiert. Für drei Vorstellungen singt Grigorian nun nochmal die Prinzessin. Und bezaubert wieder das Publikum… Denn Grigorian singt fantastisch, ihr Sopran strahlt hell und kräftig in der Höhe, in der Tiefe klingt sie herrlich fies – die schwierige Partie wirkt vollkommen natürlich für sie. Auch schauspielerisch geht sie ganz in der Salome auf: Sie spielt die Prinzessin zwischen Mädchen und Frau; jubelt wie ein Kind, flirtet etwas ungeschickt, kann auch eiskalt sein.”
“Asmik Grigorian was the discovery of the Salzburg Festival last year. As Salome, the Lithuanian soprano was celebrated from all sides. Grigorian sings the princess again for three performances. And wows the audience again… Because Grigorian sings fantastically, her soprano shines brightly and powerfully in the high register, in the low register she sounds wonderfully nasty - the difficult part seems completely natural to her. In terms of acting, too, she is completely absorbed in Salome: she plays the princess between girl and woman; cheers like a child, flirts a bit awkwardly, can also be ice cold.”
BR Klassik, Henrik Oerding
“Face à un orchestre ne la ménageant guère, la soprano lituanienne ne faiblit jamais, capable d’alterner douceur et sauvagerie dans l’expression (avec un registre grave qui demande encore à s’épanouir cependant). Toujours en mouvement, l’actrice occupe l’espace avec détermination, affichant son désir non pas comme une impudeur, mais comme une évidence, fatale, destructrice, qui broie tout autour d’elle.”
“Faced with an orchestra that does not spare her, the Lithuanian soprano never falters, capable of alternating sweetness and savagery in expression (with a low register that still needs to blossom). Always in motion, the actress occupies the space with determination, displaying her desire not as an impudence, but as an obvious, fatal, destructive force that crushes everything around her.”
Opera Online, Emmanuel Andrieu
“Tout repose également sur l’extraordinaire Asmik Grigorian, en qui Castellucci a sans doute trouvé la Salomé de ses rêves, corps gracile d’adolescente, dont sa couronne et sa robe blanche feraient presque une Vierge, incarnation du désir innocent et absolu, voix ductile et légère, trop légère d’ailleurs dans le médium et le grave, mais d’une pureté lumineuse ailleurs, tellement identifiée à la petite princesse qu’on peut finir par succomber.”
“Everything also rests on the extraordinary Asmik Grigorian, in whom Castellucci has undoubtedly found the Salome of his dreams, the slender body of an adolescent, whose crown and white dress would almost make a Virgin, incarnation of innocent and absolute desire, ductile voice and light, too light moreover in the mids and lows, but of a luminous purity elsewhere, so identified with the little princess that one can end up succumbing.”
AVANT SCÉNE OPÈRA, Didier van Moere
“And yet all this seemed to recede into the background behind a woman, the triumph of "Salome" was to become that of Grigorian , and as such it was now being repeated… The Lithuanian performs her role in Castellucci's certainly not the easiest work seemingly effortlessly, not only in terms of singing, but also in terms of acting, but Castellucci's production remains as enigmatic and full of ambiguities as the artists' skills are evident.”
ORF, Sophia Felbermair
“Was für ein unvergesslicher Abend war das in Salzburg gewesen! Eine Intensität als Darstellerin, die schon damals in der Felsenreitschule Löcher in die Netzhaut brannte, weil man schon damals nicht glauben konnte, was passiert, wenn man Grigorian gerade in dieser Rolle zusieht. 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.”
“What an unforgettable evening that was in Salzburg! An intensity as a performer that burned holes in the retina even back then in the Felsenreitschule, because even then you couldn't believe what was happening when you watched Grigorian in this role. With a voice that goes relentlessly to the limit and then wants to go even further. On the other hand, she is also capable of enchanting a full house with beguilingly unprotected pianos during this frenzy of the highest notes. And Grigorian can do all this, again and again, right up to the final scene, in which she gives everything she has left in the Staatsoper premiere.”
- Hamburger Abendblatt, Joachim Mischke
“Schier atemberaubend aber spielt und singt Asmik Grigorian die Salome. Selbst in den hochdramatischsten Passagen verliert ihre Stimme nicht den Wohlklang und hat unglaubliche Kraft. Und in den Momenten der größten Verzweiflung und Melancholie gibt sie ihrem Pianissimo eine Intensität, die bis in den letzten Winkel des Opernhauses berührt. Selten wurde die geschundene und zerstörte Seele Salomes so packend, so erschütternd vermittelt.”
“Asmik Grigorian plays and sings Salome almost breathtakingly. Even in the most highly dramatic passages, her voice never loses its euphony and has incredible power. And in the moments of greatest despair and melancholy, she gives her pianissimo an intensity that touches every corner of the opera house. Rarely has Salome's maltreated and destroyed soul been conveyed in such a gripping, harrowing way.”
- Deutschlandfunk, Elisabeth Richter
“Asmik Grigorian triumphiert in der Titelrolle der Oper „Salome“ von Richard Strauss... Die Sängerin stellte ihre Ausnahmequalitäten bei der Premiere am Sonntag in der Hamburgischen Staatsoper in seiner rundum gelungenen Inszenierung eindrücklich unter Beweis. 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. Und macht der Rest des Ensembles seine Sache auch so gut wie möglich, Grigorian singt in einer anderen Liga.”
“Asmik Grigorian triumphs in the title role of the opera "Salome" by Richard Strauss... The singer impressively demonstrated her exceptional qualities at the premiere on Sunday at the Hamburg State Opera in a thoroughly successful production. A singer with this level of expressiveness is rarely heard in this hall. The soprano conveys every emotion, every emotion not only vividly in her acting, but also through her vocalisation. The voice plays along. Everyone in the audience senses this and is therefore able to sympathise, suffer, love and despair. And if the rest of the ensemble does its job as well as possible, Grigorian sings in a different league.”
- Die Welt, Stefan Grund
“La soprano lituana Asmik Grigorian... una celebridad internacional que todos quieren presentar en sus teatros cuando encarnó a Salomé en el Festival de Salzburgo en 2018... que, al lado de esta, es merecedora del Nobel. Grigorian vuelve a cantar tan bien como entonces, o mejor incluso, y a esforzarse por dar credibilidad a su personaje... Es una cantante que sabe transmitir emoción merced a una gran técnica vocal y a un fabuloso instinto actoral... tiene voz y arrestos para que todo cuanto hace en escena resulte creíble y conmueva al público.”
“Lithuanian soprano Asmik Grigorian... an international celebrity that everyone wants to present in their theatres when she played Salome at the Salzburg Festival in 2018... which, next to this one, is worthy of the Nobel Prize. Grigorian again sings as well as she did then, if not better, and strives to give credibility to her character.... She is a singer who knows how to convey emotion thanks to a great vocal technique and a fabulous acting instinct... she has the voice and the nerve to make everything she does on stage credible and move the audience.”
- El Pais, Luis Gago
“Asmik Grigorian ist das Ereignis des Abends. So gehört es sich für die Heldinnen von Richard Strauss, aber es ist auch faszinierend zu erleben, wie sie die Partie, mit der ihr vor gut fünf Jahren eine Salzburger Festivalsensation gelang, wieder und mit markerschütternder Intensität und Authentizität reaktivieren kann. Dass sie sich dabei die Seele aus dem Leib singt, weil ihr Sopran bei aller perfekter Formung kein Riese ist, dass ihr aber alles mit Schönheit und Jugendfrische gelingt, was an Höhe, Ausdauer und Expressivität erforderlich ist, macht sie in Verbindung mit ihrem Spiel zur idealen Salome. Es ist absolut nichts zu sehen und zu hören, was sie von dieser gefährlichen und gefährdeten Figur trennt, es kommt einem geradezu waghalsig vor, sie das singen zu lassen… Aber natürlich will man auch unbedingt dabei gewesen sein. Jetzt an der Staatsoper Hamburg, wo alle Augen auf der Bühne und im Saal auf sie gerichtet sind.”
“Asmik Grigorian is the event of the evening. This is as it should be for the heroines of Richard Strauss, but it is also fascinating to experience how she can reactivate the role, with which she achieved a Salzburg Festival sensation a good five years ago, with bloodcurdling intensity and authenticity. The fact that she sings her heart out, because her soprano is not a giant despite all her perfect moulding, but that she succeeds with beauty and youthful freshness in everything that is required in terms of height, stamina and expressivity, makes her the ideal Salome in combination with her acting. There is absolutely nothing to be seen or heard that separates her from this dangerous and endangered character; it seems downright reckless to let her sing it… But of course you really want to have been there. Now at the Hamburg State Opera, where all eyes on stage and in the auditorium are on her.”
- Frankfurter Rundschau, Judith von Sternburg
“Die litauische Sopranistin Asmik Grigorian ist bei der Premiere von Richard Strauss' "Salome" an der Staatsoper Hamburg bejubelt worden. Ihr farbenreicher Sopran klang am Sonntagabend mühelos über das riesig besetzte Orchester hinweg. Der Sängerin gelang ein überzeugendes Porträt der zwischen Trotz und Trauma changierenden Kindfrau Salome.”
“Lithuanian soprano Asmik Grigorian was acclaimed at the premiere of Richard Strauss' "Salome" at the Hamburg State Opera. Her colourful soprano sounded effortlessly over the huge orchestra on Sunday evening. The singer succeeded in creating a convincing portrait of the child-woman Salome, oscillating between defiance and trauma.”
- Süddeutsche Zeitung
“Asmik Grigorian, die Salome der Salzburger Festspiele, wird als sopranschlank superintensive Interpretin der Titelfigur am Ende bejubelt wie kaum eine Startgast der letzten Staatsopernjahre. Eine sängerisch- darstellerische Sensation.”
“Asmik Grigorian, the Salzburg Festival's Salome, is acclaimed at the end as a soprano-slim, super-intense interpreter of the title character like no other guest star of recent years at the State Opera. A singing and acting sensation.”
- Concerti, Peter Krause
“Asmik Grigorian singt und spielt die Titelrolle mit umwerfendem Einsatz ohne jede Selbstschonung. Stark und durchdringend gestaltet sie die Forte-Passagen... Gerade in den Vokalen zeigt sich ihre Präsenz, die mit ihrem expressiven Spiel eine solch bedrückende Einheit bildet, daß man Angst hat, sie würde tatsächlich irrsinnig werden. Einmal wirft sie Jochanaan, der sie einfach ignoriert, einen Stuhl nach – sie schmeißt ihn in einen Raum, der ebenso leer ist wie das emotionale Familienleben. Solche Momente schaffen eine beklemmende Nähe zwischen Bühnengeschehen und Zuschauern.”
“Asmik Grigorian sings and plays the title role with dazzling commitment and without any self-effacement. She creates the forte passages strongly and penetratingly... Her presence is particularly evident in the vowels, which form such an oppressive unity with her expressive acting that one fears she might actually go mad. At one point she throws a chair at Jochanaan, who simply ignores her - she throws it into a room that is just as empty as the emotional family life. Such moments create an oppressive closeness between the action on stage and the audience.”
- Der Opernfreund, Andreas Ströbl
"Sie brillierte mit dieser Rolle bereits vor fünf Jahren bei den Salzburger Festspielen... Beeindruckend, wie sie den Klang völlig organisch entwickelt, ihre Stimme gleißt und strahlt."
"She already shone in this role five years ago at the Salzburg Festival... Impressive how she develops the sound completely organically, her voice glistens and radiates."
- Oper! Georg Kasch
“…Asmik Grigorian shines as a traumatised woman-child… Ever since her explosive debut in the role five years ago in Salzburg, Asmik Grigorian has claimed her place as her own… 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…Though Grigorian eclipses everyone onstage, the cast is uniformly strong.”
"...so gestaltet sie in Hamburg, ausdauernd im Zentrum stehend, mit fast erschreckender Perfektion. Sie beherrscht ihre Rotte, jede Nuance ist kalkuliert, ausgestellt, souverän absolviert... So konsequent Ich-bezogen, ihren Willen singend durchsetzend wie Asmik Grigorian das feuerwerkraktengleich mit ...gleißender Stimme gestaltet..."
"...this is how she performs in Hamburg, persistently standing in the centre, with almost frightening perfection. She is in control of her pack, every nuance is calculated, exhibited, masterfully executed... As consistently self-centred, asserting her will in song as Asmik Grigorian does with ...a glistening voice like a firework display..."
- Die Welt, Manuel Brug
"Salome torna a essere Asmik Grigorian e il trionfo è lo stesso di quello sul palcoscenico di Salisburgo di cinque anni fa e, se possibile, la sua portata espressiva è anche più intensa oggi. Ancora una volta impressiona la sua capacità di scavo e l’aderenza al personaggio... Sul piano vocale e attorale, Asmik Grigorian mette tutti in ombra anche se la compagna è di ottimo livello."
"Salome returns as Asmik Grigorian and the triumph is the same as on the Salzburg stage five years ago and, if possible, her expressive range is even more intense today. Once again, her ability to dig and her adherence to character is impressive.... On the vocal and attitudinal level, Asmik Grigorian overshadows everyone, even if the companion is of an excellent standard."
- Giornale della Musica, Stefano Nardelli
Turandot
“Asmik Grigorian... anschaulich eine persönliche Entwicklung. Ihr ungemein farbenreicher Sopran besitzt auch metallische Facetten, und dass beide fabelhafte Darsteller sind, prägt die Produktion Mitunter hat man das Gefühl, dass Claus Guth daraus zu wenig Kapital schöpft.”
“Asmik Grigorian... vividly portrays a personal development. Her incredibly colourful soprano also has metallic facets, and the fact that both are fabulous performers characterises the production.”
-Salzburger Nachrichten, Ernst P. Strobl
“Asmik Grigorian nützt sie für einen Triumph bei ihrem Rollendebüt als Turandot... Vokal betört sie mit gleißenden Höhen, Ausdruck, Furor, nichts fehlt.”
“Asmik Grigorian uses her for a triumph in her role debut as Turandot... Vocally she beguiles with glistening high notes, expression, furore, nothing is missing.”
-News
“... Grigorian... die störrische Rolle singt, gleißend schön, lustvoll ihre Spitzentöne attackiert und somnambul den Text ausdeutet.”
“...Grigorian... sings the stubborn role, glistening beautifully, attacking her top notes with relish and somnambulistically interpreting the text.”
-Die Welt, Manuel Brug
“Grigorian astonished. There was serious blade to ‘In questa reggia’, without bludgeoning the ear, and her high notes glistened. She coloured her soprano sensitively and sang Kaufmann off the stage in the finale. Above all, her acting mesmerised. Thanks to her – and Guth – we saw the real woman behind Turandot, more than a ruthless ice princess.”
“Asmik Grigorian hat für ihre Turandot an der Staatsoper Wien gleißende Höhe kälteste Kantilenen, Mädchensado-Gezicke und tief empfundene Emotionen.”
“For her Turandot at the Vienna State Opera, Asmik Grigorian has the coldest cantilenas, girl-sado bitches and deeply felt emotions.”
-Süddeutsche Zeitung, Reinhard J. Brembeck
“Die beiden haben nicht enttäuscht: 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…”
“The two did not disappoint: 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…”
-Kronen Zeitung, Karl-Heinz Roschitz
“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.”
“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.”
-Der Standard, Ljubisa Tosic
“Asmik Grigorian ist die neue, kraftvoll mit Energie singende Turandot mit starker Ausstrahlung. Große Klasse!”
“Asmik Grigorian is the new Turandot, singing powerfully with energy and strong charisma. Great class!”
-Kronen Zeitung, Karl-Heinz Roschitz
“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.”
“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.”
-Die Presse, Wilhelm Sinkovicz
“In a month when the centenary of the late Maria Callas’s birth has been celebrated, Grigorian’s Turandot is a triumph that casts the mercurial, seemingly unclassifiable Lithuanian soprano in the Greek diva’s mould. 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.”
“Hier zeigte Asmik Grigorian wieder ihre Klasse... immer elektrisierende Stimme und die kluge Darstellung so spontan überzeugend im Einklang erlebt.”
“Here Asmik Grigorian showed her class again... always electrifying voice and the clever performance so spontaneously and convincingly experienced in unison.”
-BR-Klassik, Walter Weidringer
“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.”
“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.”
-Klassik, Oliver Bernhardt
“Fin d’année en beauté pour l’Opéra de Vienne avec cette Turandot particulièrementattendue qui affichait les débuts d’Asmik Grigorian dans le rôle-titre... la projection remplit la salle sans aucun effort. C’est une Turandot qu’il faut voir en même temps qu’on l’entend, tant cette composition dramatique est atypique, vénéneuse et déjantée, parfaitement adaptée à l’interprète. Face à cette performance monstrueuse (au sens propre), les autres rôles sont fatalement en retrait.”
“The Vienna Opera brought the year to a close in style with this particularly unexpected Turandot, featuring the debut of Asmik Grigorian in the title role... the projection filled the auditorium effortlessly. This is a Turandot that must be seen as well as heard, so atypical is this dramatic composition, so poisonous and crazy, so perfectly suited to the performer. Faced with this monstrous performance (literally), the the other roles inevitably take a back seat.”
-Forum Opera, Jean Michel Pennetier
“Asmik Grigorian hat für diese Eislady die richtige Stimmfarbe... Sie verfügt über die notwendige Technik und schauspielerische Hingabe, zusätzlich jene Furchtlosigkeit, ohne die man Turandots Notensprünge und Spitzentöne gar nicht anzugehen braucht. Kurzum: ein weiterer Triumph für die gefragte Sopranistin, die sich gern herausfordert.”
“Asmik Grigorian has the right vocal colour for this ice lady... She has the necessary technique and theatrical dedication, as well as the fearlessness without which Turandot’s leaps of note and top notes need not be attempted. In short: another triumph for the sought-after soprano, who loves to challenge herself.
”
"Für große Glaubhaftigkeit sorgt einmal mehr die großartige Singschauspielerin Asmik Grigorian in der Titelrolle. Es erstaunt immer wieder, mit welcher Differenziertheit sie ihre Rollen szenisch wie auch stimmlich gestalten kann. Von feinsten Piani bis hin zu immer präsenten, kraftvollen Ausbrüchen reicht ihre fulminante Palette, wobei sie dabei immer klangschön singt."
"Once again, the great singing actress Asmik Grigorian provides great credibility in the title role. It never ceases to amaze how differentiated she can make her roles both scenically and vocally. Her brilliant palette ranges from the finest pianos to ever-present, powerful outbursts, whereby she always sings with a beautiful sound."
-Opera Online, Dr. Helmut Christian Mayer
“...she’s a game performer (as she proved in a wildly varied recital a week earlier) whose acting is as thoughtful as her vocalism. From her first notes, in “In questa reggia,” we know that this going to be something different and it is. No ice princess from her, but a wounded soul whose three riddles are meant to protect herself, not simply outsmart her suitors.”
-Broadway World, Richard Sasanow
© Frol Podlesnyi
"Ihre große Arie im letzten Bild lässt für Minuten das jämmerliche Drumherum vergessen: weiter Atem, subtile Schattierungen, auch Attacke, wo es drauf ankommt."
“Her great aria in the last scene makes you forget the miserable surroundings for a few minutes: long breath, subtle shadings, even attack where it counts.”
- Die Presse, Wilhelm Sinkovicz
Elisabetta
“Ihre an sich emotional imposante Darstellung lebt von vokaler Differenzierungskunst und Kontrasten.”
“Her emotionally impressive portrayal thrives on vocal differentiation and contrasts.”
- Der Standard, Ljubisa Tosic
“Die Starsopranistin singt an der Staatsoper erstmals die Elisabetta in Giuseppe Verdis „Don Carlo“. Sie spricht über ihren inneren Zwang und ihren Umzug nach Wien.”
"Betritt sie die Bühne, wird sie zum Zentrum. Zum Phänomen dieser von der Zeitschrift Opernwelt eben gekürten Sängerin des Jahres gehört, jeden Text zu einer sehr eigenen Sache zu machen, sie gibt der Partie der Elisabeth mit ihrem weiten Ambitus sowohl Schmerzenstiefe wie Engelshöhen; dazu Wahrhaftigkeit des Ausdrucks. Die Grigorian ist ein Sonderfall, auch hier, als Teil eines immerhin erstklassigen Casts."
“When she enters the stage, she becomes the center of attention. One of the phenomena of this singer, who has just been voted singer of the year by the magazine Opernwelt, is that she makes every text her very own; with her wide range, she gives the role of Elisabeth both depth of pain and angelic heights, as well as truthfulness of expression. Grigorian is a special case, here too, as part of a first-class cast.”
- Frankfurter Allgemeine Zeitung, Holger Noltze
"... eine starke Persönlichkeit mit wunderschönem, dunklem Timbre, guter Höhe…"
“... a strong personality with a beautiful, dark timbre, good high notes…”
- Kurier, Gert Korentsching
" Es impresionante ver cómo se entrega a cada uno de los roles que encarna, cómo se transforma y cómo le da a cada uno su natural expresión... fue en la extensa aria del último acto (Tu che le vanità) donde lo dio todo y donde pudimos comprobar que es una voz excepcional, increíble en el agudo, segura en el centro y regia en el grave. Grigorian enamora por cómo recita el verso, cómo expresa en cada momento sus sentimientos a través de la música, por un cante cuasi perfecto y sobre todo entregado, visceral, maravilloso. Sin duda el momento más brillante de la noche."
“It is impressive to see how she gives herself to each of the roles she embodies, how she transforms herself and how she gives each one its natural expression... it was in the extensive aria of the last act (Tu che le vanità) where she gave it all and where we could prove that she is an exceptional voice, incredible in the treble, confident in the center and regal in the bass. Grigorian is enchanting for the way he recites the verse, how she expresses her feelings in every moment through the music, and above all, for her dedicated, visceral, wonderful singing. Undoubtedly the most brilliant moment of the night.”
-Platea, Javier del Olivo
Rusalka
“… Impozantně vyklenula melodie, v árii o měsíčku, velmi pomalé a pečlivě deklamované, krásně vázala tóny a doříkávala slova. Velké výstupy se samozřejmostí a přirozeně korunovala otevřenými a dlouhými výškami.”
“She impressively arched the melody, in the ‘Song to the Moon’, very slowly and carefully declaimed, beautifully tying the notes and chanting the words. Darmatic ascents as a matter of course and naturally crowned with open and long heights.”
-Klasika Plus, Petr Veber
“Nádherný, stříbřitý soprán litevsko-arménské sopranistky Asmik Grigorianové je schopný směrem do výšek takové rozpínavosti, že působí dojmem neohraničených zvukových možností. Přitom stále zůstával volný, lyricky čistý a krásný, prostě ideál pro Rusalku.”
“The beautiful, silvery soprano of the Lithuanian-Armenian soprano Asmik Grigorianova is capable of such expansiveness towards the high notes that it gives the impression of limitless sonic possibilities. At the same time, she still remained free, lyrically pure and beautiful, simply ideal for Rusalka.”
-Idnes.cz, Věra Drápelová
“Among memorable individual performances, Asmik Grigorian stands out in the title role… she is a brave artist… an actor of authority, movingly conveying Rusalka’s unhappiness with her original supernatural state…”
“No lunar body was visible, from my seat at least, for Rusalka’s celebrated Song to the Moon (eloquently sung by Asmik Grigorian); imaginatively the rays of moonlight are filtered instead through a circular opening high above her.”
-Evening Standard, Barry Millington
“At the heart of the drama is Asmik Grigorian’s Rusalka, sung with her trademark piercing clarity and accuracy…”
-The Telegraph, Nicholas Kenyon
“V útlém těle skrývá krásný a nosný hlas, jímž obsáhne všechny polohy náročného partu, od něžně lyrických až po dramatické…Její pěvecký výkon ale byl obdivuhodný a publikum jej odměnilo bouřlivými ovacemi.”
(“In a slender body, she hides a beautiful and carrying voice, with which she covers all the positions of a demanding part, from tenderly lyrical to dramatic… her singing performance was admirable and the audience rewarded her with thunderous applause.)”
“Asmik Grigorian was a wonderful Rusalka, intense and human with a sense of constant longing. Her song to the moon was imbued with a powerful feeling of need, along with a beauty of line…”
-Opera Today, Robert Hugill
“...Rusalka’s is so clean and pure that even her pianissimi cut through with clarity: Lithuanian soprano Asmik Grigorian has a voice in a thousand.”
-The Independent, Michael Church
“Asmik Grigorian is a real stage animal, inhabiting her roles completely... Vocally, she displayed plenty of steel, tempered by softer colours in a heartfelt Song to the Moon. If anything, her Act 3 aria as Rusalka returns, pale and sad, to the lakeside, was even more moving. There’s emotional truth to everything Grigorian sings; this was no exception.”
“Asmik Grigorian’s first Rusalka in the UK doesn’t disappoint: her polished-steel soprano glints and flashes.”
“As Rusalka, Asmik Grigorian follows her earlier Jenůfa in London with another major Czech role. Her voice… is keenly focused, a slim sound which carries far, and she brings much intensity to the role.”
-Financial Times, Richard Fairman
“Asmik Grigorian in the title role… sang beautifully, not least in the famous Song to the Moon. Her entire portrayal rang true as she betrayed her true nature by falling in love with a human Prince, only to be betrayed in her turn.”
-Daily Mail, Tully Potter
“Casting was luxurious: the Lithuanian soprano Asmik Grigorian versatile and affecting in the title role.”
“Asmik Grigorian is one of today’s finest sopranos…Grigorian also sounds appropriately young and fresh. She fervently projected Rusalka’s longing and the sheer pain of her ultimate longing that wishing to be what one is not can only end in tears – and, here, death of those closest. We see Rusalka in this opera as a broken woman, and how we felt for her in Grigorian’s assumption of the role.”
-Classical Explorer, Colin Clarke
“Whatever it is, the way you tell your story online can make all the difference.”
“Erstmals singt Asmik Grigorian an der Bayerischen Staatsoper die Rusalka. Ein Energiesprung für die beste Produktion des Hauses…Grigorian führt auf frappierende Weise vor, wie ein Charakter implodiert – und dies, ein Paradox, bei einem Höchstmaß an Expression. Es sind die präzise gesetzten kleinen Gesten… mit denen diese Wunderdarstellerin das Publikum zu sich auf die Bühne holt… Die metallische Färbung, der gut kanalisierte Zartbitterton sichern Asmik Grigorian auch vokal eine Überpräsenz.”
“Asmik Grigorian sings Rusalka at the Bavarian State Opera for the first time. A leap of energy for the best production at this opera house…Grigorian demonstrates in a striking way how a character implodes - and this, a paradox, with a maximum of expression. It is the precisely placed small gestures… with which this wonderful actress brings the audience to her on stage… The metallic colouring, the well-channelled bittersweet tone ensure Asmik Grigorian an overpresence vocally as well.”
-Merkur.de, Markus Thiel
“Die litauische Sopranistin Asmik Grigorian ist der neue Opernstar… Eine leuchtende Kugellampe ist der Mond, den sie in ihrem berühmten Lied ansingt – und wie! Mit ihrem kostbaren Sopran, ihrem reichen Timbre, ihren bruchlosen Registerwechseln und kraftvollen Spitzentönen – ein Naturereignis, diese Stimme… Die Gigorian ist aber auch eine tolle Schauspielerin, schlank und beweglich, die sich ihren Rollen mit einer Natürlichkeit anverwandelt, mit ihnen derart verschmilzt, dass aus Opernfiguren Menschen werden.”
“The Lithuanian soprano Asmik Grigorian is the new opera star… A glowing spherical lamp is the moon she sings to in her famous song - and how! With its precious soprano, its rich timbre, its seamless register changes and powerful top notes - a natural phenomenon, this voice… Gigorian is also a great actress, slender and agile, who adapts to her roles with such naturalness, merging with them in such a way that opera characters become human beings.”
- BR Klassik, Fridemann Leipold
Chrysothemis
“Asmik Grigorian had everything. She was so convincing as an actress. While she had ‘all the notes’, they were also sung with complete abandon. Along with her debut in Bayreuth as Senta, she is definitely the singer of the moment.”
“triomphent surtout la Chrysothémis radieuse et insolemment projetée d’Asmik Grigorian (superbe actrice…)”
“the radiant and insolently projected Chrysothemis by Asmik Grigorian triumphs above all (a superb actress…)”
-Diapason, Emmanuel Dupuy
“Per Asmik Grigorian andrebbe istituito un culto a parte e un giorno dell’anno per festeggiarlo. La sua Chrysothemis brilla di luce propria, oscillando tra fragilità e impeti improvvisi, poggiando il tutto su un canto di meravigliosa luminosità.”
“A separate cult should be established for Asmik Grigorian and a day of the year to celebrate it. Her Chrysothemis shines with its own light, oscillating between fragility and sudden impulses, resting everything on a song of marvelous luminosity.”
-Le Salon Musical, Alessandro Cammarano
“Asmik Grigorian se incorporó a esta reposición… para volver a encarnar una Chrysothemis para nada débil (una de las aportaciones más logradas de la producción), sino dominada por un lirismo apasionado, servido por un canto generoso.”
“Asmik Grigorian joined this revival… to once again embody a Chrysothemis that was by no means weak (one of the production's most successful contributions), but dominated by passionate lyricism, served by a generous song.”
-Opera Actual, Xavier Cester
“Grigorian… sang sich in schwindelerregende Höhen. Mit ihrer klaren, mühevoll alle hohen Spitzentöne erreichenden Sopranstimme verschaffte sie dem Publikum so manchen Gänsehautmoment.”
“Grigorian… sang her way to dizzying heights. With her clear soprano voice, painstakingly reaching all the high top notes, she gave the audience many a goosebump moment.”
- Bachtrack, Alexandra Richter
Senta
“Asmik Grigorian gives one of the finest opera performances I have ever seen and does not just sing Senta, she becomes her! Grigorian’s dramatic conviction is total and her almost hyperactive gesticulations could be annoying if she wasn’t creating such a complex, living, breathing person, with a volcanic personality and eager to grab all life has to offer if she could only get the chance… she is one of the leading singing actors of her generation.”
-Seen and Heard International, Jim Pritchard
“Asmik Grigorian heeft alles in huis voor deze rol waarvoor een licht dramatische sopraan volstaat. Jeugd en charisma zijn de andere troeven van de échte Senta-sopraan… De gehele partij blijft gespaard van de hysterische schrilheid die we van andere sopranen wel eens horen. Ze verzorgt zelfs haar medeklinkers! Met dit debuut positioneert zij zich weer een trede hoger op het ereschavot van de leidende sopranen. Het is het sterkste wat ik van haar al gezien heb.”
“Asmik Grigorian has everything for this role, for which a slightly dramatic soprano is sufficient. Youth and charisma are the other assets of the real Senta soprano… The entire part is spared the hysterical shrillness that we sometimes hear from other sopranos. She even takes care of her consonants! With this debut she positions herself one step higher on the podium of the leading sopranos. It's the strongest I've ever seen from her.”
- Leidmotif, Jos Hermans
“Senta-tionell: Asmik Grigorian begeistert im „Fliegenden Holländer“
Ihre Senta ist sensationell und die Mittelpunktsfigur.”
”Senta-tional: Asmik Grigorian inspires in the “Flying Dutchman”
Her senta is sensational and the centerpiece.”
“Asmik Grigorian’s angsty teenage Senta is jaw-droppingly good.”
“Und sie ist der Star, der das Publikum trampeln lässt: Asmik Grigorian. Vielleicht gar nicht so sehr, weil ihre Stimme so schön ist – vor allem ist sie intensiv. Keine jugendliche, sondern eine dramatische Senta. Ihre Töne erwischen einen, ihr gleißender Sopran berührt körperhaft. Der szenisch eher belanglose Thriller geht musikalisch unter die Haut.”
“And she is the star who lets the audience trample: Asmik Grigorian. Maybe not so much, because her voice is so beautiful - above all, it's intense. Not a youthful, but a dramatic Senta. Her tones catch you, her sparkling soprano touches you physically. The scenically rather trivial thriller gets under your skin musically.”
-BR Klassik, Bernhard Neuhoff
Manon Lescaut
“La soprano lituana es una excelente cantante que se mueve con toda facilidad en la tesitura y que, sobre todo, estuvo excelsa en ese cuarto acto, que es suyo. Como actriz y cantante lo dio absolutamente todo aquí, aunque hay que destacar también los dúos del segundo y el tercer acto, un modelo de entrega y buen canto. Sobra decir que su proyección y fiato están al nivel requerido. Gran (y muy aplaudido) trabajo.”
“The Lithuanian soprano is an excellent singer who moves with ease in the tessitura and who, above all, was excellent in that fourth act, which she is hers. As an actress and singer, she gave absolutely everything here, although we must also highlight the duets in the second and third acts, a model of dedication and good singing. It goes without saying that his projection and fiato are at the required level. Great (and highly applauded) job.”
-Platea Magazine, Javier del Olivo
Nastasya
“Sinnliche und starke Asmik Grigorian…Zum dritten Mal kann sich das Frankfurter Publikum glücklich schätzen, die gefeierte litauische Sopranistin Asmik Grigorian in einer Titelpartie erleben zu können. Ihre Strahlkraft, stimmlich und darstellerisch, ist sehr beeindruckend.”
“Sensual and strong Asmik Grigorian…For the third time, the Frankfurt audience can count itself lucky to be able to experience the celebrated Lithuanian soprano Asmik Grigorian in a title role. Her radiance, voice and acting, is very impressive.”
-KulturFreak, Markus Gründig
“Und dann ist da Asmik Grigorian als Nastasja/Kuma: cool, verführerisch und geheimnisvoll mit ihren langen schwarzen Haaren und den dunkelgrünen Trainingshosen... Der fast jugendlich dramatische Sopran der Litauerin hat seit ihrer Salome vor vier Jahren in Salzburg an dunklen Farben gewonnen; und wie sie sich selbstbestimmt dem Fürsten entgegenstellt und angesichts des Prinzen ganz ihrem Innersten vertraut...das verkörpert Grigorian...ungemein eindrücklich und krönt einen herausragenden Abend.”
“And then there is Asmik Grigorian as Nastasja/Kuma: cool, seductive and mysterious with her long black hair and dark green track pants.... The almost youthfully dramatic soprano from Lithuania has gained in dark colors since her Salome four years ago in Salzburg; and how she opposes the prince in a self-determined manner and, in the face of the prince, trusts completely in her innermost being...this embodies Grigorian...immensely impressively and crowns an outstanding evening.”
“El gran reclamo de la Ópera de Frankfurt, más allá de la curiosidad de la obra, era la presencia de una de las sopranos más aclamadas de la actualidad, Asmik Grigorian, y la cantante lituana cosechó un nuevo triunfo como Nastasia… Si el aria del primer acto fue una delicia de expresividad sincera, a medida que avanzaba la trama la voz se iba liberando en paralelo a la creciente intensidad emocional del personaje… Añádase la naturalidad impresionante como actriz de Grigorian y se entenderá por qué volvió a hechizar al público.”
“The great claim of the Frankfurt Opera, beyond the curiosity of the work, was the presence of one of the most acclaimed sopranos of today, Asmik Grigorian , and the Lithuanian singer reaped a new triumph as Nastasia... If the aria of the first act was a delight of sincere expressiveness, as the plot progressed her voice was released in parallel with the growing emotional intensity of the character… Add in her impressive naturalness as a Grigorian actress and you will understand why she once again cast a spell over audiences.”
“beleven we Asmik Grigorian in volle glorie: ze krijgt de kans alle kwaliteiten tentoon te spreiden die haar tot zo’n gevierde zangeres hebben gemaakt…Absolute ster van de avond was Asmik Grigorian”
“we experience Asmik Grigorian in all its glory: she gets the chance to display all the qualities that have made her such a celebrated singer…The absolute star of the evening was Asmik Grigorian…”
-Place de L’Opera, Peter Francks
“La plus grande ovation de la soirée revient sans surprise à Asmik Grigorian (Nastassia), qui relève haut la main le pari de chanter plusieurs soirs de suite… La Lituanienne se montre autrement plus convaincante en Enchanteresse, du fait d’un rôle qui colle parfaitement à sa tessiture, ne forçant jamais ses aigus. La maîtrise souveraine des graves, charnus et cuivrés, lui permet de livrer une interprétation d’une grande intensité, jouant tour à tour de son assurance et de ses fragilités, avec d’infinies nuances.”
“The biggest ovation of the evening unsurprisingly goes to Asmik Grigorian (Nastassia), who hands down the challenge of singing several evenings in a row… The Lithuanian is very convincing as Enchantress, due to the fact that the role fits her range perfectly, never forcing her middle voice. The sovereign mastery of her lower register, fleshy and brassy, allows her to deliver an interpretation of great intensity, playing alternately with his assurance and her fragility, with infinite nuances.”
“In der Rolle der titelgebenden Zauberin brilliert Asmik Grigorian mit großer Sicherheit. Strahlende Höhen wechseln sich ab mit sanfter Zurückhaltung und dramatischer Kraft. Mit großer Wärme gestaltet sie ihre Rolle höchst differenziert. Sie ist der Mittelpunkt des Geschehens.”
“Asmik Grigorian shines in the role of the eponymous sorceress with great certainty. Radiant heights alternate with gentle restraint and dramatic power. She creates her role in a highly unique manner with great warmth. She is the center of the action.”
-Das Opernmagazin, Svenja Koch
“Starsopranistin Asmik Grigorian und ihre Kolleginnen zeigen, was die "Zauberin" ist: große, russische Oper…In ihrer Natürlichkeit bezaubernd und betörend, weich und klar ist Asmik Grigorian als Nastasja.”
“Star soprano Asmik Grigorian and her colleagues show what the "Magic" is: great Russian opera…Asmik Grigorian as Nastasja is enchanting and beguiling in her naturalness, soft and clear.”
-BR Klassik, Bernhard Doppler
“...das Bühnenteam kann durch Asmik Grigorian eine fesselnde moderne Frau mit Titel-gerechten Zügen und Tönen formen – gipfelnd in der Szene, als sie im tödlich-tobenden Gefühlschaos zwischen beiden, nur halb her- oder weggedrehten, alle Illusionen als „gebaut“ zeigenden Bühnenbild-Welten steht – ein unvergessliches Bild existentieller Verlorenheit!”
“...through Asmik Grigorian, the stage team can form a captivating modern woman with features and tones that do justice to the title - culminating in the scene when, in the deadly raging emotional chaos between the two, she only half turns all illusions as stage set worlds showing “built” – an unforgettable picture of existential forlornness!”
-Neue Musikzeitung, Wolf-Dieter Peter
“Asmik Grigorian „verzaubert“ stimmlich wie darstellerisch”
“Asmik Grigorian “enchants” vocally and theatrically”
“Auch sängerisch bezaubert und betört, weich und klar im Ausdruck Asmik Grigorian als Natasja.”
“Asmik Grigorian as Natasja is also enchanted and bewitched vocally, soft and clear in expression.”
-Taggespiegel, Bernhard Doppler
“Asmik Grigorian scheint von innen zu leuchten und singt wunderbare Bögen, so gelassen wie dringlich, es ist unmöglich, sich ihr zu entziehen.”
“Asmik Grigorian seems to glow from within and sings wonderful slurs, as serene as it is urgent, it is impossible to resist.”
-Die Deutche Bühne, Andreas Falentin
“Man kann den Titel der Oper auch mit “Die Bezaubernde” übersetzen, dann weiß man, was Grigorian macht. Ihr Anderssein ist warme Menschlichkeit, ihr sängerdarstellerischer Instinkt reines Wunder bis ins Detail jeder kleinsten Geste, jeder unscheinbasten Phrase.”
“You can also translate the title of the opera as “The Bewitching”, then you know what Grigorian is doing. Her uniqueness is warm humanity, her singing-acting instinct pure miracle down to the last detail of every smallest gesture, every inconspicuous phrase.”
“Asmik Grigorian in der Titelpartie zu nennen, die mit hochdramatischen Spitzentönen überzeugt und den Zauber Nastasjas stimmlich wunderbar einfängt. Mit weicher Stimmführung gelingt es ihr, sowohl den Fürsten als auch Juri für sich zu gewinnen.”
“Asmik Grigorian in the title role, which is convincing with highly dramatic top notes and vocally wonderfully captures the magic of Nastasja. With a soft voice she succeeds in winning over both the prince and Juri.”
-Online Musik Magazin - Thomas Molke
“In der Titelpartie der "bezaubernden" Witwe und Wirtin Kuma… war mit der litauischen Sopranistin Asmik Grigorian ideal besetzt. Ihre überragende stimmliche und darstellerische Präsenz feierte das ausverkaufte Haus mit Ovationen im Stehen.”
“The Lithuanian soprano Asmik Grigorian was ideal in the title role of the "enchanting" widow and landlady Kuma… The sold-out house celebrated her outstanding vocal and acting presence with standing ovations.”
-Musik Heute
“Stimmlich ist höchstes Niveau geboten: Asmik Grigorian gestaltet ihre Polina wunderbar differenziert und dominiert mit ihrer Bühnenpräsenz”
“Vocally, the highest level is on offer: Asmik Grigorian makes her Polina wonderfully differentiated and dominates with her stage presence”
Polina
“Asmik Grigorian ist eine ideale Paulina: mit lyrischer Grundierung und Expansionsfähigkeit ins Dramatische. Wieder einmal zeigt die Sopranistin, wie Charakter und Wohlklang eine Symbiose eingehen können.”
“Asmik Grigorian is an ideal Paulina: with a lyrical foundation and the ability to expand into the dramatic. Once again, the soprano shows how character and melodiousness can form a symbiosis.”
-Kleine Zeitung, Martin Gasser
“Sensationell: Asmik Grigorian bei den Salzburger Festspielen - Die Sopranistin brilliert als Polina in Prokofjews „Der Spieler“, einem Drama um das Angebliche und die Sucht nach schnellem Glück... Erst durch Grigorians Expressivität, die Wärme ihres Stimmklangs, bekommt man eine Ahnung, wie sehr sie unter der Angeblichkeit leidet.”
“Sensational: Asmik Grigorian at the Salzburg Festival - The soprano shines as Polina in Prokofiev's “The Gambler”, a drama about pretense and the addiction to quick happiness... It is only through Grigorian's expressiveness, the warmth of her voice, that you get an idea of how much she suffers from pretense.”
-Hamburger Abendblatt
"Sopranistin Asmik Grigorian kann große Gefühle wahr und nachvollziehbar singen. Sie reißt mich gesanglich mit. Ihre volle Stimme, wow! Die Rolle enthält viel Verzweiflung, der sie sich stimmlich wie damit auch in der Rolle hart strahlend stellt."
“Soprano Asmik Grigorian can sing great emotions truly and sing comprehensibly. She sweeps me away vocally. Her full voice, wow! The role contains a lot of despair, which she confronts with vocal and thus also in the role with a hard radiance.”
-Klassik-begeistert, Frank Heublein
Four Last Songs
"Grigorian erarbeitet sich diesen Zyklus aus Hesse- und Eichendorff-Liedern vom Lyrischen aus: Wo ansonsten die Hochdramatischen des Fachs ihre Stemmkraft aufbieten, um über die Orchesterwogen zu gelangen, formt die Sopranistin fast mühelos ihre Phrasierungsbögen. Ihre Höhe trägt dennoch, in schillernde Farben gekleidet."
“Grigorian develops this cycle of Hesse and Eichendorff songs from a lyrical perspective: Where otherwise the high dramatists of the field muster their strength to get over the orchestral waves, the soprano forms her phrasing arcs almost effortlessly. Her high notes nevertheless carry, clothed in shimmering colors.”
