Karine Babajanyan

Karine Babajanyan performs her role [as Manon] adorably, with her multifarious, full bodied soprano, always focused and controlled, which lights up on brilliant heights. She manages to illustrate the true feelings of the moment convincingly as well as her thoughts and the confusing feelings of being torn - especially in Act 2. This raises then to the point of her desperation in Act 3, which is more the moaning about the own failure than the pain that she cannot live her love together with Des Grieux. Besides these big feelings she sets discreet highlights, e.g. with a subtle implied mockery when she sings ‘Geronte schreibt Madrigale’. A great performance of an exceptionally gifted singer and actress.“

Karine Babajanyan completed her vocal studies with honours at the Conservatory of Yerevan, Armenia, and was engaged immediately to the National Theatre Eriwan. Further engagements led her to Koblenz and Bielefeld, to the Komische Oper Berlin, the Niedersächsisches Staatstheater Hannover and to Aalto-Theater Essen. From 2003 to 2011, she was a member of the ensemble at the Staatsoper Stuttgart. Since then, she is working freelance.

In season 2015/16 she made her debut as Elena (Mefistofele) at the Bayerische Staatsoper in Munich and guested as Ariadne auf Naxos at the Deutsche Oper am Rhein Duisburg, as solist in Verdi-Requiem in the Stuttgart Liederhalle and a Tschaikowsky-recital in the Palace of Arts Budapest. In 2016/17 Karine Babajanyan returned to Munich as Elena. Furthermore, she was Manon Lescaut, Tosca and Senta at Staatstheater Hannover, Mimi at the Hungarian State Opera Budapest and at festival Puccini in Torre del Lago as well as Ariadne at Deutsche Oper am Rhein Düsseldorf. In season 2017/18 she is guesting as Tosca at Oper Leipzig and as Cio-Cio San at Staatspper Stuttgart and returns to Hannover as Manon and Senta. Further plans include her debuts as Aida in Hannover and as Fanciulla del West in Leipzig.

Her broad repertoire also includes amongst others Donna Elvira, Fiordiligi, Mimì, Cio-Cio San, Liù, Hanna Glawari, Rachel (La juive), Leonora (Il trovatore), Maddalena (Andrea Chénier), Amelia (Un ballo in maschera) Elisabetta (Don Carlo), Leonora (La forza del destino), Desdemona, Nedda, Maria (Mazeppa), Alice Ford (Falstaff) as well as the title parts in Carmen, Jenufa, Aida, Tosca, Manon Lescaut, Suor Angelica and Norma. Guest engagements also led her to the Staatsoper Berlin, the Städtische Bühnen Frankfurt, the Semperoper Dresden, the Staatsoper Hamburg, the Opernhaus Zürich, the Oper Köln, the Nationaltheater Mannheim, the New Israeli Opera Tel Aviv, the de Vlaamse Opera, the Finish National Opera, to the Grand Théâtre de Génève, the Royal Danish Theatre Copenhagen, the Opera House of National Grand Theatre Beijing, the New National Theatre Tokyo and the Bregenz Festival as well as to Mexico City, Warsaw, Basel and Bern.She worked with conductors and stage directors such as Daniel Oren, Carlo Rizzi, Nicola Luisotti, Robin Ticciati, Lothar Zagrosek, Muhai Tang, Stefan Soltesz, Alexander Joel, Helmut Rilling, Piergiorgio Morandi, Jonathan Nott, Carlo Montanaro und Julian Kovatchev; Peter Konwitschny, Philipp Himmelmann, Graham Vick, Jossi Wieler, Tatjana Gürbaca, Monique Wagemakers, Michael Schulz and Dietrich Hilsdorf. As a “Puccini singer in a class of her own” (Das Opernglas), Karine Babajanyan has recorded a CD of arias and duets (with tenor Giuseppe Giacomini) by Giacomo Puccini for EMI.

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