Asmik Grigorian:

There’s no need in the world of a second Maria Callas or a second Asmik Grigorian. People want to see you, with your own unique story, with your mistakes and your qualities.
Ph.: Roberto Ricci

Author:

by Bianca L. Nica
October 23, 2022

INTRODUCTION

One of the fiercest dramatic talents in the field (The New York Times), her versatility is astounding (The Times) with a wild voice [that is] rich and dark (Le Monde). Regularly engaged at the world’s leading opera houses & she has recently performed at the Wiener Staatsoper, the Teatro Real, the Salzburger Festspiele, the Bolshoi Theatre and Teatro alla Scala. She was a founding member of Vilinus City Opera, has twice been awarded the Golden Stage Cross (the highest award for singers in Lithuania), was named Best Female Lead in 2019 at the Austrian Music Theater Awards, and was named Female Opera Singer of the Year in 2022 by the Opera XXI. Have you already guessed who we are talking about? She’s the one and only Asmik Grigorian, in an exclusive interview by Bianca L. Nica. Asmik talked to us about the story & the special connection between her and Rusalka, about the balance between acting & vocal technique, about vocal flexibility & the approach of her demanding repertoire. Last, but not least, Asmik told us about her experience of studying singing under the guidance of her parents, but also about her son, that might follow her footsteps!

BIOGRAPHY

Asmik also returns to three other signature title roles this season; Jenufa at the Staatsoper Berlin and the Wiener Staatsoper in a David Poutney production, Manon Lescaut at Frankfurt Oper and Salome which will be toured with the Tokyo Philharmonic in Japan. The latter will also be broadcast along with Elektra on Radio France. Further role reprises include Nastasya in Tschaikovsky’s Charodeika at Frankfurt Oper, Cio-Cio-San in Puccini’s Madama Butterfly with Novaya Opera and Polina in Prokoviev’s The Gambler with Lithuanian National Opera. Concert performances include recitals in La Scala, Frankfurt Oper, Wiener Konzerthaus, Opernhaus Zurich, Santa Cecilia in Rome, Kammerphilharmonie Bremen, Ópera de A Coruña and Salle Gaveau in Paris and the Aids Gala at the Deutsche Oper. Asmik has made a name for herself on both the concert and operatic platforms since her international career began with a triumphant performance in Madama Butterfly at the Royal Swedish Opera. She then went on to perform to conquer role after role including: Salome at the Salzburg Festival (described as “a Salome to end all Salomes” (Financial Times) and the Bolshoi Theater, Fedora at the Royal Swedish Opera House, Marie in Wozzeck at the Concertgebouw Amsterdam, Manon Lescaut at Oper Frankfurt, the Wiener Staatsoper and at the Bolshoi Theatre, Marietta in Korngold’s Die tote Stadt at Teatro alla Scala, Iolanta at Oper Frankfurt, Cio-Cio San at the Wiener Staatsoper, Chrysothemis in Elektra at the Salzburger Festspiele, Rusalka at the Teatro Real Madrid, Jenufa at the Royal Opera House and the Staatsoper Berlin, Tatiana in Eugene Onegin at the Wiener Staatsoper, Pique Dame at the Teatro alla Scala, Mrs. Lovett in Sweeney Todd at Vilnius City Opera, and Senta in Der Fliegende Hollander at the Bayreuth Festspiele.

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INTERVIEW

Dear Asmik, it’s a great pleasure to have you interviewed for OPERA Charm Magazine and I am very much looking forward to attend the performance of your beloved Rusalka with the Czech Philharmonic. What’s your story with this piece and how would you present it to someone who would listen to it for the first […]

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