Karine Babajanyan

La fanciulla del West, Oper Leipzig

“Karine Babajanyan in the title role disproves all reservations of many singers regarding this role. After her first appearance, she slides from smooth parlando passages in a usually difficult mezzo register to the demanding but warmly flooded top notes. In the solos, where Puccini had struggled against the softie image almost with force and with a number of melody brakes, she protects the composer from himself and forms perfect cantilenas - even where none exist. And in the final aria, almost extended to a choral cantata, she finds a kind of empathy which makes her ignore all forte barriers without any effort and overcome them with her vocal skills instead of brute force. Karine Babajanyan ultimately gives the significant arguments to deal with Puccini's western melodrama. At first a discreetly reserved, then a enthralled and great applause." Concerti

Madama Butterfly, Oper Stuttgart

"As ‘Butterfly’, Karine Babajanyan repeatedly succeeds in making the organic design of the melody shine in an enchanting way."  Der neue Merker 

"Karine Babajanyan, who had launched this production and also filled in at the last resumption series, now internalized the nanny with neck and crop. As a result body language and verbal comments are of course linked with each other and alternating recital cadences idiomatically flow into each other even in the narrowest space. With her darkly timbred spinto soprano, she immerses into a sensual bath of softly flowing phrases and definite attacked outbreaks, which only occasionally harden in the tips. Gentleness and aggression stand directly next to each other, resulting in an exciting interplay. Her partners are for the most part carried away by their charismatic and spontaneous as well as emphatic commitment." Der neue Merker

Manon Lescaut, Niedersächsisches Staatstheater Hannover

"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." Online Musik Magazin 

Tosca, Niedersächsisches Staatstheater Hannover

"Karine Babajanyan is a brilliant Tosca, convinced as a jealous fury as well as a passionate fighter and nerve-stricken diva. She owns a powerful and colorful soprano." Der Opernfreund

La Bohème, Hungarian State Opera Budapest

„The most solid performance of the night came from Karine Babajanyan, whose Mimì was endearingly acted and gloriously sang: her Donde lieta usci was especially touching and tender..“ bachtrack.com

Ariadne auf Naxos, Deutsche Oper am Rhein

"Karine Babajanyan as Ariadne convinced with her voice and its exquisite lyrical qualities." WAZ

"And there is also singing, and in an excellent way. Karine Babajanyan is a wonderful Primadonna, who makes us feel Ariadne's pains as deep and fervently as her exultation about the encounter with Bacchus." Revierpassagen

"The Rheinoper is presenting a very convincing ensemble concerning the singing: Karine Babajanyan's Ariadne begins in sensuous depth of complaints with abundant mezzo-like sound [...]. The interpretation of the text is exquisite. You can hear only very seldom the transformation of the apotheosis in such an emotional and electrifying way." Der Opernfreund

"Karine Babajanyan as Ariadne sings and performs very, very good." Der Neue Merker

"two first rate sopranos, who gave their characters moving human depth: Karine Babajanyan as Primadonna / Ariadne [...] with lyrical lines, especially in her great aria 'Es gibt ein Reich, wo alles rein ist'." Rheinische Post

"Soprano Karine Babajanyan managed to merge deeply with her character: The scenes when she was singing about her character's loneliness were moving thanks to her plain acting and intense singing." derwesten.de

Mefistofele, Bayerische Staatsoper Munich

"As Elena Karine Babajanyan shone with heroic high notes." Süddeutsche Zeitung

"Somehow Karine Babajanyan brings across more real emotion [than her fellow cast members] in her brief appearance as Elena in Act Four” Financial Times

"It is right to highligh the very good impression made by the Elena of Armenian soprano Karine Babajanyan with her large, easy sounding and well-conrolled voice." Codalario.com

"Elena was sung by a superb Karine Babajanyan." L'ape musicale

"Karine Babajanyan sang the role of Elena with a powerful [...] voice." Der Neue Merker

"Karine Babajanyan's Elena was of an altogether diferent calibre. The Armenian soprano's dramatic voice convinced in direct contrast [with that of her colleague], demonstrating more fitting vocal potential and ability in the art of singing." Das Opernglas

"Karine Babajanyan, absurdly staged, nevertheless sang a lovely Elena.” Opera News

"In the staging, Faust received medical and therapeutic attention from 'Nurse Elena', performed by the Armenian soprano Karine Babajanyan with luscious, dramatic timbre.”
Marco Frei, Oper! Das Magazin

"She was outperformed by Karine Babajanyan, who sang the role of Elena with a well focused, profound voice and from whom we gladly would have heard more.” Der Opernfreund

"The singers on the side of the Good, Joseph Calleja (Fausta), Kristine Opolais (Margherita), and Karine Babajanyan (Elena) were like stars outshining the fortissimo coming out of the pit and intensified their piani with vocal poetry.” Klassik.com

"Alors que souvent, la même artiste tient les deux rôles, Marguerite ici est chantée par Kristine Opolais et Elena par Karine Babajanyan. Cette dernière, dans une partie très tendue à l’aigu, qui requiert volume et puissance, s’en sort avec beaucoup d’aplomb et de présence, et remporte un très gros succès, mérité : c’est un nom à retenir." wanderer.blog.lemonde.fr

"Karine Babajanyan impressed with a warm, dark soprano sound." Operamagazine.nl

Madame Butterfly, Opera Stuttgart

"The singer Karine Babajanyan is saving as jump in the revival of the Stuttgart production of 'Madame Butterfly' - with great success. Nevertheless, the revival of this production of 2006 worked terrificly, despite the long absence on the programme. Around lunch time, they reached the singer in Budapest, 8 years ago she has sung the premiere. Her last time on the Stuttgart stage as Madame Butterfly was 2009: Karine Babajanyan was a member of the ensemble from 2003 to 2011. In the afternoon, the Armenian Soprano landed in Stuttgart and only some hours later she was on the stage. She could remember incredibly well the sequences of Jacqueline Wagmaker's subtle and plain proudction, which stresses the missunderstanding of two cultures without walking into the trap of exotic clichés or plain political up-to-dateness. [...] Astonishing and a proof of the energetics, that grow out of a spontaneous musicality (not everything needs to be rehearsed!) in the smooth phrasing, that Babajanyan and Rafael Rojas as Pinkerton, who is only controlled by testosterone, found in the love duett at the end of the first act." Stuttgarter Zeitung

"8 years ago, Karine Babajanyan has sung the premiere and most of the following performances. Now she saved the revival, flying from Budapest to Stuttgart only at the day of the performance to replace Catherine Naglestadt, who ought to make her Stuttgart debut as Cio-Cio San. With this additional bonus - no time for rehearsals, spontaneous singing with new partners on stage and a new conductor - even more applaudable performance, the audience, who was at first very dissapointed by the cancellation of Nagelstadt, already enthusiastically hailed Babajanyan before the beginning of the performance. The time seems to have passed without leaving any trace on her dark coloured soprano, the depth of her voice is organically integrated, the middle range soustainable and she uses only little vibrato for her intensively tensioned height. Back then she already had carved out a very detailled role portray, that she could even enhance now. She could give the necessary appreciation to all the little things in the conversation between childisch naivity and imperturbale faith and varied the tone in many different ways, so that this long part got higher estimation. With heart and soul, she incorporates Cio-Cio San, who hopes so long and then is totally disappointed, commits suicide disonhoured and makes us take part in this destiny with an intensity as if it was her own." Der Neue Merker

"Karine Babajanyan can win the audience immediatley, her voice is very versatile and able to big differentiations, an excellent soprano." Online Merker

Un ballo in maschera, Burgplatz Open Air Braunschweig

"In other words, no easy task [the weather conditions], which Karine Babajanyan (Amelia) above all the rest was able to master in amazing fashion. The Armenian soprano provided thrills with her blooming, velvety, dusky voice, which she employed with nuance and which seems predestined for larger, dramatic roles." Das Opernglas

“Soprano Karine Babajanyan rose with throbbing voice into Amelia's exaltation.  As in the recent Andrea Chenier her ability to achieve refined nuances of characterization in her arias through skillfully varied employment of her voice was impressive.” Braunschweiger Zeitung

Carmen, Württembergische Philharmonie

“The soloists, above all the Armenian soprano Karine Babajanyan in the title role, were able to communicate the melodrama of the work enthrallingly and with vocal radiance.  […] Absolutely stunning, the way [Babajanyan] blazed a trail between guttural depths and keen-edged high notes.” Reutlinger General-Anzeiger

“Karine Babajanyan’s Carmen was no tramp but a regal diva in red and – by the end – in black, who gives her favours to whomever she wishes.  She unfurled her mezzo-like timbre out the deep into a lascivious refinement – no wonder that Don José (Juan Pablo Marin) should fall under her spell.” Südwest Presse

Andrea Chenier, Staatstheater Braunschweig

"The Braunschweig opera house was able to engage an internationally experienced singer, Karine Babajanyan, for the female lead, Maddalena di Coigny, in this new production. Born in Armenia, Karine Babajanyan was the vocal highlight of the premiere with her wonderfully blossoming, balsam-laden soprano voice. The role’s great outbursts came out nuanced and pliable, and in her duets with Chénier she adjusted to her partner in splendid fashion." Das Opernglas

"Karine Babajanyan performed a heart melting Maddalena in the central aria about the death of her mother and the hymnic developping love as goddess. Her soprano is rich in vibrato, has a big range of nuances and a striking illmuniating power." Braunschweiger Zeitung 

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